Image, ritual and urban form: Porto in the 16th Century

In the early 17th Century, the Spanish painter Francisco Pacheco railed against his apprentices, telling them that the image should stand out of the picture. The topic was the one most debated in the art of the Counter-Reformation, whose main directives, outlined in the Council of Trent, would be put in motion simultaneously with urban "Christianisation". They presupposed a social contract, established between producer and receiver, implying maximum clarity of the message, which involved an ambiguous grey area that would be reserved for the outside of the focus. In painting, which sacrificed everything that was incidental or extraneous to the story, showing the essential and neglecting the accessory, the binary radicalism of the concept became more explicit, through the Caravaggian illumination or in the case above, the Spanish tenebrism of Velásquez, to whom Pacheco's admonition was addressed. In our Doctoral Thesis presented at the School of Architecture in Barcelona, we sought to demonstrate that the Plastic Arts were not the only field for the application of Luminist principles. In this article we aim to summarise this thesis by exposing the important relationships between image, ritual and urban form in 16th Century Porto, after a time, therefore, the late Middle Ages, which Huizinga classified as deeply iconophile , in which image and ritual were put at the service of the reformulation of a State becoming increasingly centralised and interventionist, whose action extended to the sphere of the Church: with King João II, and especially King Manuel I, the Crown was an active sponsor of religious reform that was pursued with redoubled energy and systematisation, from the reign of "the Pious", then already within the political system of close bilateral cooperation that was designated the Confessional State. We therefore believe that this type of approach to anthropological and symbolic components, which seeks to take into account the increasing importance that is given in contemporary research on the city's history, can be very fruitful

Dos moinhos do Huíma à Fábrica de Fiação de Crestuma: (Portugal) um contributo para a história de uma importante unidade industrial (séculos XVI-XIX)

The Uima river, left tributary of the Douro, in its final route traverses the parishes of Santo André de Lever and Santa Marinha de Crestuma. Along the Soutelo hill in Lever, the valley narrows, the river coordinate difference is accentuated and current speeds; there existed a large number of mills and there was founded, in the late eighteenth century, the Fábrica dos Arcos de Ferro e Verguinha, wich was succeed, in the following century, by the Fábrica de Fiação de Crestuma.info:eu-repo/semantics/publishedVersio

A igreja velha da Misericórdia de Barcelos: arquitectura, pintura, retabulística e artes decorativas

The Misericórdia of Barcelos is presently installed in the former convent of S. Francisco,to where it moved in 1836, after the dissolution of the religious orders held two yearsbefore. The former headquarters of the brotherhood were ceded to the Municipality andits church would be included in the New City Hall, begun in 1849. A recent architecturalintervention revealed the old church, and access to unpublished documentation, depositedin the archives of the confraternity, has enabled us to reconstruct some of the majorphases of its construction and execution of original paintings and altarpieces.La Misericordia de Barcelos está instalada en el antiguo convento de San Francisco, donde se trasladó en 1836, después de la extinción de las órdenes religiosas dos años antes. La antigua sede de la cofradía fue cedida a la municipalidad y su iglesia se incluiría en la nuevo ayuntamiento, empezado en 1849. Una intervención arquitectónica reciente reveló la antigua iglesia y el acceso a documentación inédita, depositado en los archivos de la cofradía, nos ha permitido reconstruir algunas de las principales etapas de su construcción y ejecución de las pinturas y retablos originales.A Misericórdia de Barcelos encontra-se actualmente instalada no antigo convento de S. Francisco, para onde se deslocou, em 1836, após a extinção das ordens religiosas ocorrida dois anos antes. A antiga sede da confraria foi cedida à Câmara e a sua igreja viria a ser incluída nos novos Paços do Concelho iniciados em 1849. Uma intervenção arquitectónica recente revelou a antiga igreja e o acesso a documentação inédita, depositada no arquivoda confraria, permitiu-nos reconstituir algumas das principais fases da sua construção e da execução dos retábulos e pinturas originais

Porque se destroem e substituem obras de arte? Três exemplos da época moderna, em S. Torcato, Porto e Amarante

Along the 16th century altar pieces and wooden structures arose at churches in Foz do Douro, S. Torcato and Amarante. There structures were often substituted, transformed or simply destroyed.A lo largo del siglo XVI se levantaron retablos y estructuras de madera en las iglesias de Foz do Douro, S. Torcato y Amarante que, en su mayor parte, fueron sustituidos, transformados o simplemente destruidos.Ao longo do século XVI ergueram-se retábulos e estruturas de madeira em igrejas da Foz do Douro, S. Torcato e Amarante que, na sua maior parte, viriam a ser substituídos, transformados ou simplesmente destruídos

Turistas na nossa própria cidade

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Património, centros históricos e arquitectura

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O chafariz de S.Domingos: Venturas e desventuras de uma obra de arte comunitária

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