TAILIEUCHUNG - SACRED IN SECULAR: SCULPTURE AT THE ROMANESQUE PALACES OF ESTELLA AND HUESCA

They were given titles only after a maquette (at leas) had been made. In some cases the work had already been put together as a full-scale mockup or fabricated in steel before its image became clear and it was named. Occasionally titles .came to me all at once. Moses is an instance of the latter. The parallel uprights suggested the horns in Michelangelo’s Moses. We know that these strange attributes were the result of a misunderstanding by the Latin Vulgate of the Hebrew ‘shone,’ derived from the word meaning ‘horn,’ and used figuratively to denote rays or flashes of light proceeding from a luminous object, ., the head of MosesMistranslation. | Spanish Medieval Art Recent Studies edited by Colum Hourihane Tempe ACMRS 2007 ISBN 978-0-86698-394-5 Sacred in Secular Sculpture at the Romanesque Palaces of Estella and Huesca Therese Martin Civil architecture perhaps even more than churches can be extremely revealing about the purposes of decorative art for the medieval patron. The historiated capitals chosen for the twelfth-century royal palaces at Huesca Aragón and Estella Navarra provide us with two instances in which we can recognize ornamentation specifically designed to make a statement about the patron. At these residences I suggest that we can read the ruler s interest in imagery that was public and private sacred and secular. For the Middle Ages it is anachronistic to separate these pairs of terms for private public and secular sacred are not opposed ideas but rather points along a continuum. These concepts were interwoven as the example of civil architecture demonstrates. Although the nature of a medieval church often guaranteed its survival palaces were generally converted to other uses through the centuries few palaces therefore have come down to us in a complete state of preservation. Taken together however the royal residences at Huesca and Estella provide complementary views that allow us to begin to construct an understanding of Romanesque palaces in Spain. 1 I have chosen to juxtapose these two structures because my re-examination of their individual historical contexts leads me to suggest new dating for both of them to the decade of the 1160s. At Estella only the exterior of the palace survives showing us the accessible face that was directed out toward the townspeople. By contrast at Huesca the remaining decoration is in the intimate interior of the palatine chapel designed for the elite audience of the royal court. In setting they are also different the Estella palace was newly built in the center of town directly on the busy road that led to Santiago de Compostela whereas the Huesca palace .

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