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A Gallery of Stones : = The Castilian Frontier City of Avila.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	A Gallery of Stones :/
其他題名:	The Castilian Frontier City of Avila.
作者:	Thomson, Hannah Maryan.
面頁冊數:	1 online resource (547 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-09, Section: A.
Contained By:	Dissertations Abstracts International85-09A.
標題:	Art history. -
電子資源:	click for full text (PQDT)
ISBN:	9798381953763

A Gallery of Stones : = The Castilian Frontier City of Avila.
Thomson, Hannah Maryan.

A Gallery of Stones :The Castilian Frontier City of Avila. - 1 online resource (547 pages)

Source: Dissertations Abstracts International, Volume: 85-09, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2024.

Includes bibliographical references

At the close of the eleventh century, Avila emerged as a strategic Christian city on the arid Castilian Meseta as part of the centuries-long struggle for control of the Iberian Peninsula. Along with other nearby polities, Alfonso VI granted Avila the privileged status of founded city as part of the program of frontier settlement (repoblacion). This period of urban development, which spanned the end of the eleventh century to the end of the thirteenth, witnessed a construction and population boom responsible for the erection of over two dozen parish churches, a small handful of monasteries or convents, a fortified cathedral, city walls, bishop's palace, alcazar, and number of mosques and synagogues that no longer survive. Despite Avila's exceptionally preserved medieval architectural landscape, studies on medieval Castile tend to privilege documentary sources at the expense of art-historical evidence. Moreover, Avila's existing architectural scholarship primarily focuses on stylistic analysis and construction history, overlooking the unusual distribution and utilization of local stone, and to a lesser extent, brick, across Avila's medieval monumental landscape-a scholarly lacuna I correct in this dissertation.This dissertation takes a novel approach to the medieval city's art history, one that engages with the materials of each of the city's surviving monuments to argue that material was used as an expression of status, social division, as well as solidarity for Avila's Christian society. The city walls, cathedral, and urban churches all prioritize different local building materials in construction-a topic as yet unstudied in the scholarly literature- which I argue symbolized the structures of authority responsible for their building. That is, spolia in the city walls conveyed ancient glories for the emerging city's nascent lay government, the concejo; piedra sangrante, or "bleeding stone," in the cathedral's sanctuary bolstered episcopal status through associations to Christ and wartime victories; the pragmatic employment of combining piedra calena and grey granites in the city's parish churches paralleled the solidarity of the city's parish-militia organization; and brick was used in a single parish church outlier to affirm the parishioners place of origin. Looking beyond traditional studies of Avila as a "frontier city," my project instead analyzes urban social boundaries through a material lens.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798381953763Subjects--Topical Terms:

1180038
Art history.
Subjects--Index Terms:

AvilaIndex Terms--Genre/Form:

554714
Electronic books.

A Gallery of Stones : = The Castilian Frontier City of Avila.
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520 $a At the close of the eleventh century, Avila emerged as a strategic Christian city on the arid Castilian Meseta as part of the centuries-long struggle for control of the Iberian Peninsula. Along with other nearby polities, Alfonso VI granted Avila the privileged status of founded city as part of the program of frontier settlement (repoblacion). This period of urban development, which spanned the end of the eleventh century to the end of the thirteenth, witnessed a construction and population boom responsible for the erection of over two dozen parish churches, a small handful of monasteries or convents, a fortified cathedral, city walls, bishop's palace, alcazar, and number of mosques and synagogues that no longer survive. Despite Avila's exceptionally preserved medieval architectural landscape, studies on medieval Castile tend to privilege documentary sources at the expense of art-historical evidence. Moreover, Avila's existing architectural scholarship primarily focuses on stylistic analysis and construction history, overlooking the unusual distribution and utilization of local stone, and to a lesser extent, brick, across Avila's medieval monumental landscape-a scholarly lacuna I correct in this dissertation.This dissertation takes a novel approach to the medieval city's art history, one that engages with the materials of each of the city's surviving monuments to argue that material was used as an expression of status, social division, as well as solidarity for Avila's Christian society. The city walls, cathedral, and urban churches all prioritize different local building materials in construction-a topic as yet unstudied in the scholarly literature- which I argue symbolized the structures of authority responsible for their building. That is, spolia in the city walls conveyed ancient glories for the emerging city's nascent lay government, the concejo; piedra sangrante, or "bleeding stone," in the cathedral's sanctuary bolstered episcopal status through associations to Christ and wartime victories; the pragmatic employment of combining piedra calena and grey granites in the city's parish churches paralleled the solidarity of the city's parish-militia organization; and brick was used in a single parish church outlier to affirm the parishioners place of origin. Looking beyond traditional studies of Avila as a "frontier city," my project instead analyzes urban social boundaries through a material lens.
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