{"id":48820,"date":"2020-09-10T09:01:06","date_gmt":"2020-09-10T07:01:06","guid":{"rendered":"http:\/\/www.icac.cat\/en\/?p=48820"},"modified":"2020-09-10T19:37:06","modified_gmt":"2020-09-10T17:37:06","slug":"recent-studies-state-the-presence-of-lusitanian-marble-in-the-romanesque-cathedral-of-santiago-de-compostela","status":"publish","type":"post","link":"https:\/\/icac.cat\/en\/actualitat\/noticies\/2020\/recent-studies-state-the-presence-of-lusitanian-marble-in-the-romanesque-cathedral-of-santiago-de-compostela\/","title":{"rendered":"Recent studies state the presence of Lusitanian marble in the Romanesque cathedral of Santiago de Compostela"},"content":{"rendered":"

On-going a new campaign of\u00a0archaeometric\u00a0study\u00a0of the marble pieces,\u00a0now focused\u00a0on the facade of Plater\u00edas\u00a0\u00a0<\/strong><\/p>\n

A masterpiece of medieval art and declared a World Heritage Site by UNESCO in 1985,\u00a0the Cathedral of Santiago de Compostela\u00a0<\/strong>has, in its Romanesque part, a small but very significant number of sculptural and architectural elements in marble that stand out in an essentially set built in granite.<\/p>\n

The Platerias fa\u00e7ade, built between 1103 and 1117, stands out for the\u00a0mixture of original Romanesque reliefs<\/strong>, reliefs from a door that was never built and the Fa\u00e7ade of Paradise, as well as some other sculptures from the choir of Maestro Mateo and which were added later.<\/p>\n

Researchers\u00a0Pilar Lapuente Mercadal<\/a>\u00a0(Unizar), Silvia Gonz\u00e1lez Soutelo<\/a> (MIAS) and\u00a0Anna Guti\u00e9rrez Garcia-Moreno<\/a> (ICAC) have carried out an\u00a0exhaustive visual inspection of the stone components of the frieze and tympanums of the Platerias fa\u00e7ade.\u00a0<\/strong>There has also been a\u00a0sampling of a selection of the Romanesque reliefs and\u00a0<\/strong>marble\u00a0sculptures\u00a0<\/strong>found there.<\/p>\n

\"CarlosVdeHabsburgo<\/a>
Plater\u00edas fa\u00e7ade, Chatedral of Santiago de Compostela. Photo: CarlosVdeHabsburgo, via Wikimedia Commons (CC BY-SA).<\/figcaption><\/figure>\n

The analytical study of the samples obtained has a double objective: the mineralogical and geochemical characterization of each of the pieces and, ultimately, the\u00a0identification of the place of origin of the marble\u00a0<\/strong>used for its elaboration.<\/p>\n

The analytical study of the samples aims to find out if the marbles used in the fa\u00e7ade are only marbles from Galician territory, or if marbles from more distant territories were also used.<\/p><\/blockquote>\n

Recent studies by this research group have verified that, on the main facade of the Cathedral, the P\u00f3rtico de la Gloria, marbles from distant territories and not only Galicians were used (Lapuente et al.<\/em> 2019<\/a>).<\/p>\n

\n

The exceptional results achieved analytically corroborate, for the first time, the presence of Lusitanian marbles\u00a0<\/strong>in this\u00a0building.\u00a0What were the mechanisms and reasons why these materials reached Santiago?\u00a0The new campaign is intended to verify whether they were also used in other parts of the Romanesque complex.<\/p>\n<\/div>\n

 <\/p>\n

\"ICAC
Pilar Lapuente and Silvia Gonz\u00e1lez examine one of the marble columns of the Chatedral of Santiago de Compostela. Photo: ICAC (CC BY-SA 4.0).<\/figcaption><\/figure>\n

The sampling and inspection actions have been possible thanks to the collaboration with the\u00a0Fundaci\u00f3n Catedral<\/strong><\/a>\u00a0and the\u00a0IPCE<\/a>\u00a0<\/strong>(Institute of Cultural Heritage of Spain, Ministry of Culture and Sports), which has facilitated access to the scaffolding placed on the\u00a0Platerias Cover of the Santiago de Compostela Cathedral to carry out studies prior to its restoration.<\/p>\n

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The team is satisfied to have been able to work in a unique building and a World Heritage Site, and appreciates the collaboration of the Fundaci\u00f3n Catedral and the\u00a0IPCE<\/strong>.<\/p>\n<\/div>\n<\/div>\n

This study is part of the actions of the\u00a0project \u201cMarmora<\/em> Galicia\u201d<\/strong><\/a>. It involves the direct continuation of the line of research begun in previous years with the Cathedral of Santiago as the object of study and which began with the analysis of the marble pieces present in the\u00a0P\u00f3rtico de la Gloria<\/strong><\/a>\u00a0(four shafts and the head of an apostle).<\/p>\n

On that occasion, pieces from different spaces of the cathedral preserved in the\u00a0Museo Catedralicio<\/a>\u00a0were also analyzed, among which the magnificent twisted columns probably linked to the\u00a0Portico of Paradise <\/strong>stand out.<\/p>\n

Analysis of the marbles of the cathedral\u00a0is already underway within the framework of the doctoral thesis jointly supervised by the\u00a0University Bordeaux Montaigne<\/a>\u00a0and the\u00a0University of Zaragoza<\/a>, by\u00a0Marie-Claire Savin<\/a> (IRAMAT-CRP2A UMR 5060 CNRS-UBM<\/a>)\u00a0and under the direction of Pilar Lapuente<\/a>\u00a0and\u00a0R\u00e9my Chapoulie<\/a>.<\/p>\n

 <\/p>\n

\n

The project\u00a0\u201cMarmora<\/em> Galicia\u201d<\/a>\u00a0began in 2012 under the coordination of\u00a0 Silvia Gonz\u00e1lez Soutelo<\/a>\u00a0and\u00a0Anna Guti\u00e9rrez Garcia-Moreno<\/strong><\/a>, and has been linking I+D+i projects funded by the Spanish MICINN and the\u00a0Laboratoire Sciencies Arch\u00e9ologiques de Bordeaux <\/a>(program n\u00baANR-10-LABX-52).<\/p>\n

More recently, it is linked to the projects\u00a0\u201cEl mensaje del m\u00e1rmol: prestigio, simbolismo y materiales locales en las provincias occidentales del imperio romano entre \u00e9poca antigua y alto-medieval a trav\u00e9s del caso de Hispania y Aquitania\u201d<\/a> (PGC2018-099851-A-I00), led by\u00a0Anna Guti\u00e9rrez Garcia-Moreno<\/strong><\/a> (ICAC), and \u201cSulcato marmore ferro<\/em>. Canteras, talleres, artesanos y comitentes de las producciones art\u00edsticas en piedra en la Hispania Tarraconensis<\/em>\u201d (PID2019-106967GB-I00), led by\u00a0Diana Gorostidi<\/strong><\/a> (URV-ICAC) and\u00a0Pilar Lapuente<\/a> (UniZar-ICAC), recently granted.<\/p>\n

The project is also part of the recently recognized as\u00a0\u201cRed de Investigaci\u00f3n\u201d<\/a>\u00a0by the Spanish MICINN: \u201cEl ciclo productivo del marmor<\/em> en la pen\u00ednsula Ib\u00e9rica desde la antig\u00fcedad: extracci\u00f3n, elaboraci\u00f3n, comercializaci\u00f3n, usos, reutilizaci\u00f3n, reelaboraci\u00f3n y amortizaci\u00f3n\u201d<\/a> (RED2018-102722-T), coordinated by\u00a0Virginia Garc\u00eda Entero<\/strong><\/a>\u00a0and\u00a0which has its own line of research (Group 6), led by\u00a0 Silvia Gonz\u00e1lez Soutelo<\/a> (MIAS\/UAM), for the area of \u200b\u200bthe NW of the peninsula.<\/p>\n

 <\/p>\n

\n

Pilar Lapuente<\/a><\/strong>\u00a0es profesora titular del Departamento de Ciencias de la Tierra de la Universidad de Zaragoza<\/a>, e\u00a0investigadora adscrita en el ICAC<\/a>.<\/p>\n

Silvia Gonz\u00e1lez Soutelo<\/a><\/strong> \u00e9s investigadora posdoctoral Tom\u00e1s y Valiente del Departamento de Prehistoria y Arqueolog\u00eda del Madrid Institute for Advanced Study, MIAS<\/a> (Universidad Aut\u00f3noma de Madrid<\/a> \u2013 Casa de Vel\u00e1zquez<\/a>).<\/p>\n

Anna Guti\u00e9rrez Garcia-Moreno<\/a><\/strong>\u00a0es investigadora Ram\u00f3n y Cajal y directora de la Unidad de Estudios Arqueom\u00e9tricos<\/a>\u00a0en el ICAC.<\/p>\n

\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

On-going a new campaign of\u00a0archaeometric\u00a0study\u00a0of the marble pieces,\u00a0now focused\u00a0on the facade of Plater\u00edas\u00a0\u00a0 A masterpiece of medieval art and declared a World Heritage Site by UNESCO in 1985,\u00a0the Cathedral of Santiago de Compostela\u00a0has, in its Romanesque part, a small but very significant number of sculptural and architectural elements in marble that stand out in an […]<\/p>\n","protected":false},"author":160,"featured_media":48796,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":""},"categories":[328,342,334,336,333],"tags":[657,658,455,520,522],"_links":{"self":[{"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/posts\/48820"}],"collection":[{"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/users\/160"}],"replies":[{"embeddable":true,"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/comments?post=48820"}],"version-history":[{"count":4,"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/posts\/48820\/revisions"}],"predecessor-version":[{"id":48855,"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/posts\/48820\/revisions\/48855"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/media\/48796"}],"wp:attachment":[{"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/media?parent=48820"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/categories?post=48820"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/icac.cat\/en\/wp-json\/wp\/v2\/tags?post=48820"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}