Ricardo da COSTA

Original title: Presentación Mirabilia Journal 31

Ángel PAZOS LÓPEZ, José María SALVADOR GONZÁLEZ

Original title: La visualidad de los colores. Efectos materiales y simbólicos entre la originalidad y la semejanza

Manuel ÁLVAREZ JUNCO

Original title: Lúdica y burla gráfica en el Antiguo Egipto

The hieratic image of the Egypt of the pharaoh’s art has its counterpart in a series of playful works and mocking graphic realizations that discover the transgressive side of this influential civilization. This research analyzes the meaning of images with parodies, caricatures and satirical figures as well as highlight the worship of some divinities of the playful and informal, which provide a counterpoint to the severe and strict culture of the Nile. It aims, in short, to be a reflective note on the sense of humour since ancient times.

Antonio Celso RIBEIRO

Original title: De Aristóteles a Castel: relações intertextuais entre a cor do som e o som da cor – afetos e sinestesia

The aim of the present work is to analyse the intertextual relationships between musical notes and colours and its ramifications under the point of view of emotions, humors, and science. The research will comprise the historical period starting in ancient Greece with Aristotle, ending in Baroque with French mathematician Louis Bertrand-Castel (1688-1757). Thus, it will take in assumption that music and colors are correlate languages, and we will support the analysis in considering scientific concepts and semiotic approachs and the concept of migration of meanings (synesthesias).

Antoni GONZALO CARBÓ

Original title: La senda cosmológica y alquímica de siete colores (haft rang) en el Haft paykar de Niẓāmī Ganǧawī (m. ca. 570-610/1174-1222)

From a miniature belonging to a magnificent Iskandar Anthology (Persia, Šīrāz, 1410-11, folio 66v; Lisbon, Calouste Gulbenkian Foundation), the cosmology, the symbolism of the seven colors (haft rang) and the alchemical progression are analyzed in the mystical tale Haft paykar (Seven princesses) by the Persian poet Abū Md. Ilyās b. Yūsuf Niẓāmī Ganǧawī (d. ca. 570-610 / 1174-1222). This inner path of transmutation through colors (ch.:pp.: black: HP26:180-181; yellow: HP27:196-197; green: HP28:214; red: HP29:234; blue: HP30:266-267; sandalwood: HP31:291 and white: HP32:315) ends, in tune with the Iranian tradition (Mazdeism, Zoroastrianism, išrāqī illuminative wisdom), with the color white, symbol of the purity of the soul and enlightenment.

Águeda ASENJO BEJARANO

Original title: Lo corpóreo y lo etéreo: la abstracción del color en Fra Angélico

With this study I intend to carry out a plastic and pictorial analysis of the work of the famous quattrocentist author Fra Angelico from the details that the Italian painter captured in his works where he combined colors in a totally heterogeneous way as watercolor surfaces, which recall and emulate to small abstract paintings generating an interconnection between the author’s innate creativity and his context. These fragments are like fields soaked in water and the colors flashes of pigment that spread across the canvas. He experimented with color and its possibilities within the painting, since although many authors define it as marbles, its originality and uniqueness are undoubted.

Marica COSTIGLIOLO

Original title: I colori nell’opera di Niccolò Cusano

When we think about colour and its meanings, we must consider the historical path that colours have gone through, and how they have changed over the course of history. Until the seventeenth century, those who dealt with the perception of colour mainly analyzed its nature, its organization in a system of relationships. From Newton onwards, the understanding of colour is analyzed starting from the relationship of the mechanisms of vision and perception. In Nicholas of Cusa work, we find both perspectives. On the one hand, Cusanus is interested in the mechanism of sight, on the other hand there are numerous metaphors with light and divine light. The philosopher's discourse therefore addresses both an analysis of the mechanism of perception and a broader discourse that becomes a theological and mystical metaphor. In this sense, his work proves to be a rich source also in the context of the history of colours and in general in the history of art.

Vinícius Saebel LEMOS

Original title: Ritmos e contrastes: cor e corpo nas iluminuras de Loyset Liédet (1420-1479)

Cet article vise à analyser les expressions imagées des corps et des couleurs dans leurs rythmes et leurs contrastes. Dans une sélection d'enluminures de l'artiste Loyset Liédet (1420-1479) dans les Chroniques (MS Bnf 2643) de Jean Froissart (1337-1405), outre l'aspect formel, cette œuvre passe par les manifestations des éléments Couleur et Corps comme preuve d'un permanence de ces thèmes dans l'Histoire de l'Art et comme occurrence ponctuelle de l'époque médiévale. Les niveaux de compréhension de l'image, explorés par Erwin Panosfsky (1892-1968), sont ici exposés et développés dans leurs couches jusqu'au niveau des valeurs symboliques dans lesquelles les couleurs ont joué un rôle substantiel. Après tout, les enluminures ont joué ce rôle: apporter la lumière – ou apporter de la lumière – au manuscrit un fait ou une imagerie narrative présentée aux yeux de l'observateur à travers les couleurs. Les enluminures, dans cet article, initient l'une des Chroniques qui rapportent les actes de la Guerre de Cent Ans qui a commencé en 1337 entre la France et l'Angleterre, un événement qui a duré jusqu'à la décoloration du Moyen Âge, mais qui une fois passé à la plume et à l'encre sur le terrain das Artes, a servi à splendide toute la vigueur du Gothique Tardif et l'élan de l'Art Flamand naissant.

Carlos Jesús SOSA RUBIO, José Antonio MUÑIZ-VELÁZQUEZ

Original title: La evolución del color en la retratística carolina y su relación con la estrategia propagandística imperial: aportaciones de Tiziano

The importance of the court portrait is decisive to understand the painting of the 16th century in its correct artistic and propaganda dimensions. Charles V was born into a family with very clear ideas in this regard. In him, as in few men and women in history, an evolution from the local factor to the global reality is perceived, which is reflection and consequence at the same time of a life that took him from the County of Flanders to being the most powerful ruler in the world. This paper analyzes the evolution of his effigy in the light of those events, as well as the role played by color in its consolidation, focusing in a special way on the contributions of Titian, the great architect of the imperial image that has survived to this day.

Maria Leonor García da CRUZ

Original title: Em tempos de um catolicismo ameaçado: prevenções e definições confessionais na época moderna sob a cor púrpura cardinalícia

For a deeper understanding of issues related to Catholicism and threats to it in the 16th century, the temporal and spatial spectrum must be increased, given that it is a time of great knowledge of non-European peoples and of interaction with different religious professions in Christian Europe itself. One, therefore, must reflect on the external threats and the internal crises of a “Christianity” that had been in collapse since the late Middle Ages (according to mediaeval imagery), on the restraints that States put on the Church and the religious communities that develop alongside the Church and on the strategies that the bodies of the Catholic Church find to constantly adapt to stimuli and tensions. Within the scope of the environment of disturbances produced in modern Europe from the very often blood-red clashes of different religious professions, analyses and comments have been made on a Protestant image that was confiscated in the 1560s from a New Christian merchant in Rua Nova dos Mercadores, resulting in his arrest and prosecution by the Lisbon Inquisition. The direct attack on the Papacy and the Church is clearly shown in pictorial terms, transparent in its symbolism around mass, whose officiants are foxes (enhancement of their colour, similar to that of the high dignitaries of the Church), illustrated in both the text of that image and in its discursive elements. But Catholicism clandestinely or openly adapted in a dynamic manner in both Europe and overseas territories. In particular, in Portuguese America, invasive multiculturality appears to constitute a true threat vis-à-vis catechetical programmes and cultural syncretisms. The article is therefore a summary of threats, resistances and adaptations, subdivided into four modules: the first addressing the external threats and internal crises in Catholic Europe, the second the vicissitudes and restraints, the third a pictorial testimonial of the attacks against the Papacy and the fourth addresses catechetical programmes and multicultural syncretisms.

Inmaculada DELGADO JARA, Miguel Anxo PENA GONZÁLEZ

Original title: Presentación San Jerónimo: vida, obra y recepción

José Manuel MARTÍNEZ SÁNCHEZ

Original title: Hieronymus classicus et christianus. La defensa de los clásicos como medio para los autores cristianos

In a time of changes of paradigm between the Roman world that approached its end and the new political, social and cultural situation of Christianity, saint Jerome repre-sents the example of christian writers and philosophers who try to bring both worlds together. With a great classical education from the imperial educational system, due to the fact that a specific christian educational system had not been yet developed, saint Jerome struggles between the benefits of such propedeutic education and the spiritual need of focusing in theological literature.

Manuel Andrés SEOANE RODRÍGUEZ

Original title: La Crónica de Eusebio de Cesarea y la traducción (y continuación) de san Jerónimo

At first, the apologetic intention of inserting chronological studies in the works of authors of Greek and Jewish antiquity was clear, since the assessment of their claims depended largely on their antiquity. With the triumph of Christianity over paganism, chronologies end up emancipating themselves from other treatises, no longer apologetic (less necessary), but even historiographical in nature, until they become autonomous works that confirm the fullness of historical time with the coming of Christ to the world. In this paper we analyze the literary antecedents of the chronologies prior to Eusebius of Cesarea, the characteristics that his Chronicle might have, and the peculiarities of the translation and extension of Saint Jerome, who launched this historiographic subgenre up to the Middle Ages and beyond.

Eusebio GONZÁLEZ MARTÍNEZ

Original title: Jerónimo, traductor de la Biblia: hebraica veritas vs. graeca veritas

Among modern scholars Jerome is specially recognised as having rescued the Hebrew language as the main source for Bible studies, both on matters of translation and of interpretation. It is said, besides, that Jerome’s Hebrew methodology might be summarized under the famous phrase hebraica veritas, which he himself used quite frequently. The paper attempts to explain, beginning with a study of the expresion hebraica veritas, that putting too much weight on this expression and the hermeneutical principle involved, could bring us to forget the esteem Jerome had for the Septuagint. To bring forward the discussion the paper evaluates four aspects of Jerome’s exegesis: 1) the priority of the Hebrew original text; 2) the priority of the sense over the letter in translation; 3) the priority of the spiritual interpretation over the litteral one; and, 4) the translation of both Hebrew and Greek texts as lemmas in Jerome’s commentaries.

Anselmo MATILLA

Original title: La controversia en torno a la traducción de Orígenes de Alejandría

In Church’s history, the 4th and 5th Centuries A. D. are characterized by the for or against theological thoughts associated with Origen of Alexandria. Two of the prota-gonists in relation to this argument are saint Jerome and Rufin of Aquileya, each of whom will translate the Περὶ ’Αρχῶν. Both translations will be an object of huge con-troversy between them. This article addresses the different ways in which both authors translate that origenean work from the saint Jerome’s apologetic treatise against Rufin of Aquileya (Adversus Rufinum).

María Teresa MUÑOZ GARCIA DE ITURROSPE

Original title: Jerónimo a la luz de su Epistolario: el uso de la oratoria escrita para la conformación de su personaje

A careful reading of the epistolary confirms that in his most “personal” texts Hieronymus of Strido follows, with Paul as a model, the guidelines of the epideictic genre (and sometimes also the judicial one). Self-praise and humiliation, self-defense and confession are completed with isolated data on his origin, age, studies and physical appearance. All these elements − which in the classic prescriptive were applied to the speaker and which he adapts to impose a powerful self-portrait as a Christian intellectual − can help to explain how he managed to promote himself to be distinguished in the Christian community through the spread of his collection of letters.

Ana RODRÍGUEZ LAIZ

Original title: La recepción del Evangelio de Marcos desde Jerónimo hasta Erasmo

The reception of the Gospel of Mark throughout history has been paradoxical. Its early connection to the figure of Peter and to Rome was not enough for it to occupy a prom-inent place in patristic and medieval times. Studies and comments on this work from St. Jerome to Erasmus are scarce but significant. On the other hand, in the reception of the Gospel of Mark during this period, the figure of St. Jerome will have great im-portance. He is not only one of the few Fathers of the Church who paid attention to this Gospel, but, in addition, studies after him will be diffused associated with his name.

Pauline RENOUX-CARON

Original title: San Jerónimo en España en el siglo XVI

A Doctor of the Church and a polyglot philologist, Saint Jerome influenced generations of Spanish men of letters and men of the Church and was a central figure of 16th centu-ry humanism. Many studies have focused on the numerous representations of the Saint in Spanish art, but little has been written about the texts that testify to the importance of Saint Jerome in 16th century Spain. Saint Jerome can be defined in various ways: as an observant monk, he was chosen by the monastic Order of the Hieronymites as their patron; he was also considered as the spokesman of Erasmus’s humanism; as a Chris-tian Hebrew scholar, he interested Spanish Bible scholars; as a man of the Church, he was frequently quoted in arguments and debates over the ideas of the Counter-Reformation. Once his Latin Vulgate was declared to be ‘authentic’ at the Council of Trente, he appeared as the defender of the Roman church. A Hebrew scholar and a Bible translator, the Doctor Maximus was both from East and West, and his influence never was greater than in the late 16th century, a time of controversies between the ad-vocates of biblical philology and the partisans of the Vulgate in a climate of anti-Judaism. Saint Jerome thus appears as a great and multifaceted figure, who demon-strates the intensity of the spiritual and intelectual life in 16th century Spain.

Inmaculada DELGADO JARA

Original title: Erasmo editor de san Jerónimo: las Opera omnia (1516)

The biblical and patristic project of Erasmus began in 1516, after a long maturation period of at least 15 years (from 1500 to 1516), with the publication in that annus mi-rabilis of the Novum Instrumentum and the Opera omnia of Saint Jerome –two milestones in his biblical and patristic project that will continue for twenty years with the edition of more than a dozen Fathers of the Church, both Greek and Latin–. At this time he had already discovered that the Sacred Scripture and the Fathers of the Church (espe-cially Saint Augustine, Chrysostom, Basil, Origen and Saint Jerome) could renew what he understood by theology: he does not want a scotist, nominalist, thomisttheology, that is, that of the recentiores, but a true theology, the vetus theologia or later the bibli-cal philosophia Christi, centered on the gospels and apostolic letters. But to reach this, we not only have the texts of the Scripture, but also the Fathers of the Church –and among them the greatest Latin Father, Jerome–, from which to take in the purest mes-sage of the Scripture, a redditio ad fontes, which he will defend throughout his life as the foundation of the theological renewal that he perceived as profoundly necessary in his time. The study deals with his herculean nine-volume edition of Saint Jerome’s Opera omnia –the first and most important of his many editions of the Fathers of the Church–. Because we anticipate that, with Erasmus, “the first patrology” was born. Its great editorial and translating task will facilitate the dissemination of patristic thought that will influence studies on New Testament philology as well as the development of dogmatic theology and Christian piety itself.

Victoriano PASTOR JULIÁN

Original title: Erasmo, biógrafo de san Jerónimo: Hieronymi Stridonensis Vita (1516)

The life of Jerome of Stridon was written by Erasmus as an introduction to the edition of his Opera Omnia (1516). He developed it mainly from Jerome’s own correspondence, the first four volumes consisting of its edition. Erasmus read and imitated Jerome’s work, due to his piety and knowledge since his youth. This is the reason why the Vita Hieronymi will develop around two axes: Jerome according to Jerome and Jerome according to Erasmus. Thus, he conceives life as a forensic speech in which he defends Jerome’s cause and, at the same time, that of Humanism and of the vera theologia, of which he will be a defender and advocate. Thereby, Jerome’s biography turns, so to speak, into an apologia pro vita sua for Erasmus. In this work, we have translated –for the first time in Spanish language– more than a third of its 1565 lines, keeping the Latin text at the bottom of the page. At the same time, we have studied both Jerome’s and Erasmus’ context, focusing especially on the almost total complicity of both theologians and humanists.

Marco Antonio CORONEL RAMOS

Original title: Influencias de Jerónimo de Estridón en J. L. Vives

It is obvious that St Jerome is a key author in shaping European Renaissance Huma-nism. His figure, however, has been practically unstudied in relation to Juan Luis Vi-ves. This work is a first approach to this question, which attempts to illustrate some points of contact between the two authors. Specifically, it relates the aspects of Jero-me’s philology that coincide with the historiographic, pedagogical and religious as-sumptions of the Valencian humanist.

Verónica MURILLO GALLEGOS

Original title: Evangelización y traducción a la lengua náhuatl: las Sagradas Escrituras en la Nueva España del siglo XVI

This chapter presents the linguistic, theological and cultural mesh found in the transla-tion of excerpts of the Holy Scriptures into Nahuatl that were carried out by religious missionaries in sixteenth-century New Spain. It aims to consider the translation of the Bible into Indoamerican languages as an extension of the European problems of that time, signaling the caracteristics and difficulties that they acquire within the context of the evangelization and colonization of the American indigenous people.

Lucía LAHOZ

Original title: San Jerónimo: de la imagen al imaginario

In the chapter, an approach to the image and the imaginary of Saint Jerome is presen-ted. Far from a logocentric conception, we prefer a cultural approach, which encom-passes the web of meanings concreted in a visual culture, and delimitates the areas and contexts in which certain iconographies flow. Jerome articulates a great variety of ico-nographic types: the father of the church, the author of exegesis on the scriptures, the translator, but also the anchorite. His figuration does not belong to a single type, but rather articulates several iconic models: he continues to metamorphose himself re-vealing new aspects to please an ever-expanding audience, and thereby reflects the de-velopment of a social dynamic of devotion.

Jorge JIMÉNEZ LÓPEZ

Original title: Los manuscritos iluminados con obras de san Jerónimo en la Librería del Colegio Mayor de san Bartolomé en 1433-1440 y en 1550

The study shows the presence of the Saint Jeronimo in different moments of the school library, taking the only preserved documentary testimonies as reference: the 1433-1444 inventaries, the 1550 index and the registers before the closing of the School in 1798. From then, the manuscripts conserved nowadays are located and the analysis of his iconic repertoire is approached, with the objective of defining the ways and space of his creation. That is how the testimonies from the primitive laic ateliers in Languedoc or from the most relevant groups in the parisian setting are identified in the 12th century, Maître de Blanche de Castille. The contrast of these refined pieces with the copy promoted by Diego de Anaya also allows to understand the attitude and the relationship of the founder with the books and the bartolomea library.

Elena MUÑOZ

Original title: El Epistolario de Jerónimo de Estridón como fuente de problemas iconológicos

Some exegetes of the Late Antiquity used a system of allegorical and figurative relationships to extract Christian meanings from texts, and in this way, writing a historical memory. Later, in the 20th century, historians such as Erwin Panofsky, established the principles of the iconological method through a ‘scientific’ interpretation of figurative arts, that subjected those texts to the historical context, the iconographic code, and the technical medium of each work, in order to ‘reconstruct’ its meaning and, therefore, the history of art. In this essay, based on examples from Jerónimo’s Epistolary, Panof-sky’s theoretical texts, and Flemish painting, we try to observe how –underneath historical contexts and technical mediums– these disciplines can share processes of construction and communication of historical reality content, by means of figures and images.

Hélio Angotti-Neto

Original title: Legado cultural e valores profissionais no Livro I de Método da Medicina, de Galeno (129-217)

This work translates excerpts from Book I of the work Method of Medicine, by the ancient doctor Galen. In its content, aspects related to the transmission of knowledge to the next generation of professionals and the necessary attention to the moral elements of the profession, which must permeate the practice and its transmission, are discussed.

Spyros P. PANAGOPOULOS

Dans le présent article, nous essayons de présenter comment la fête de la Dormition de la Vierge Marie s'est formée dans la tradition orthodoxe, pendant l’Empire byzantin. Le travail est structuré en trois parties: La première partie traite brièvement de la fête originale de la Mère de Dieu qui a été célébrée dès le 5ème siècle presque dans tout l’empire. La deuxième partie étudie la genèse et l’évolution de la fête de la Dormition de la Vierge Marie et à la fin examine l’histoire de la fête notamment à Constantinople. L’écriture de la dernière partie, après que la capitale soit devenue le principal centre d’honneur de la Mère de Dieu, un honneur associé au statut de la Vierge Marie en tant que patronne de la Basileuousa.

Eirini ARTEMI

In the forty-one oration, Gregory of Nazianzus analyzes the divinity of the Holy Spirit, a subject that is developed again with more severe way in his Fifth Theological Oration. Gregory tries to establish the point by quite a different set of arguments from those adopted in the former discourse, none of whose points are here repeated. In the other oration, forty-five, Gregory refers to the importance of the resurrection for the human race. He presents Christ as the new Adam who saved the human from the death and reunites again the man with God. This is a subject that is referred to the oration forty-one, too. In this paper, we will examine the teaching of Gregory of Nazianzus about the divine status of the Holy Spirit and his equality to the other two persons of the Triune God through theological and biblical images. Also, we will present how he connects his teaching for anthropology based on the Christology. In the end we will show how Gregory produced these orations for public festivals within the literarily ripe tradition of pagan festival rhetoric, but he gives to his orations theological content.

Marcos PIÑEIRO BOULLOSA

Original title: La Acedia. Negarse a acogerse a sagrado o el peligro de la secularización

The acedia, is received by the Patristic, with special development in the Egyptian desert with Evagrio Pontic. The development of this logismoi and sin will revolve around its relationship with sadness and laziness, as well as a discursive development in the monastic and secular space, projected throughout the Middle Ages. The objective is to show the transmutation of the term and the conceptualization of acedia throughout the medieval period in the Latin west, with special attention to the writings of Evagrio Ponticus and Saint Thomas Aquinas.

Elena Ene D-VASILESCU

In 1084 the most important of the few consecrations of St Mark’s church in Venice – that which solemnized the completion of its largest altar – took place. It is assumed that Doge Dominico Selvo (1071-1084) assigned Byzantine mosaicists to finish the decorative programme in time for the respective event. In part because of the beauty and the remarkable quality of the works they created, the eleventh century saw the prestige of this Venetian shrine increase. Also what in the popular imagination was the miraculous appearance of the relics of its patron saint from a pillar (either in 1084 or 1094, depending on the source employed) further augmented it. The article attempts to prove that the eleventh century was the most important period in the existence of the medieval Venetian church which much later became the cathedral San Marco. It will venture a description of this shrine not only on the basis of its similarities, claimed by most scholars, with the Apostoleion church in Constantinople, but also using information from extant documents as well as results of new scientific and archaeological discoveries, especially those published in the catalogue of the exhibition organised by its Procuratoria between July and November 2011, in Ken Dark and Ferudun Özgümüş’s works, in the reports concerning the research undertaken by the British Museum, and in other sources.

José María SALVADOR-GONZÁLEZ

After pointing out that St. Bonaventure of Bagnoregio conceives his Aesthetics as a free way to be able to ascend contemplatively towards God, this article seeks to explain the surprising and ingenious “arguments” (deeply imbued by faith) that this author proposes to base the second level of the “transcendent” stage of his peculiar Aesthetics. In the first four levels of his Aesthetics, Bonaventure establishes this initial ascent to God by considering the external beings of the material world as vestiges of the Creator (first and second levels), and then by examining our mind as an image of God, in which he can be seen reflected in a mirror (third and fourth levels). St. Bonaventure states that in the third stage of his Aesthetics (the "transcendent" stage), the human mind can look over itself to speculate on God in his essential property as the Supreme Being (fifth level) and in his personal properties as highest Good (sixth level). Our article focuses exclusively on the expression of this sixth level of Bonaventurian Aesthetics.

Luís Carlos Silva de SOUSA

Original title: Paz e guerra justa de acordo com Tomás de Aquino

The goal of this text is to analyze the notion of peace in Thomas Aquinas’ theory of just war. The texts of Summa theologiae are as follows: STh. IIa-IIae, q. 40, a. 1 and STh. IIa-IIae q. 29, a. 1 and 2. Thomas Aquinas places the notion of peace as the goal of war in the broad context of an ethics of virtues in the line proposed by Aristotle. However, we will argue that Thomas Aquinas’ reception of the Augustinian notion of peace as tranquillitas ordinis (tranquillity of order) plays a fundamental role in his view of just war by allowing him a transcendental justification.

Marco Alexandre RIBEIRO

The use of war to expand the limits of Christianity or the limits of the power of the Christian Church was, from an early age, regular. This theme, which over the centuries has been the subject of intense debates among intellectuals who tried to justify the morality of this war or, by contrast, served to develop various attacks on the Church, is the focus of the present work. In this way, we seek to understand here the development of the concept of just war in St. Thomas Aquinas Summa Theologiae, it’s way of justifying the use of war, the moments when its use is legitimate, the applicability of the Double Effect Doctrine in this concept and also the influence that his thought exercised on chronologically closer thinkers, but also contemporary philosophy, using to this purpose, the work of Elizabeth Anscombe, a striking figure in twentieth-century philosophy, to understand the pertinence of the medieval theologian thought in this matter.

Sheila ADÁN LLEDÍN

Original title: El principio del camino a la igualdad: Una comparativa de textos medievales femeninos y masculinos sobre la mujer en la Edad Media

We are used to read medieval texts created by men, but there were not only male’s quills. There were also many documents written by women that have not been discussed so far, where they stand up for other women, speaking of their selves, their circumstances, their lives, their feelings, their sex’s conception, and their opinions, despite the prohibitions and impediments that were imposed to them. This is what this article aims to show: inspirational testimonies that stand for progress, change, fight, and equality. A comparison between what men in the Middle Ages wrote about women, and what women at that time wrote about women.

Simona DELIĆ

Original title: El romance pan-hispánico La bella en misa: La belleza femenina en la descriptio mulieris de la poesía tradicional y de los poemas petrarquistas croatas y españoles

This study tries to interpret the descriptio mulieris in the Croatian and Pan-Hispanic traditional poetry in the comparative study with the Petrarquist poetry. Its common denominator is the poetic formula of the feminine beauty. A special attention is dedicated to the study of the Mediterranean traditional poetry, the poems from the Dubrovnik region and some manifestations of the Sephardic poetry, the ballad type of La bella en misa, of the Mediaeval ethos and aesthetics. The thematological study also includes the analysis of the Croatian Petrarquist poems and its poetics and poetical language, with the particular interest for the poetry of the Croatian poet Hanibal Lucić. The different poetical discourse of the “small Venus” and the “large Venus” is distinguished. It is considered in fact as the same poetical image stylistically nuanced distributed in the artistic and in the traditional poetry, inspired in the poetical and philosophical Dasein, with the specific voyage toward the revelation of the knowledge thanks to the aristocratic sensuality and the first instinct, singularly Dalmatian and at the same time Mediterranean and universal.

Joana SEQUEIRA

Original title: A regulamentação dos ofícios têxteis no mundo urbano em Portugal, séculos XIV-XV

This article examines the regulations concerning the different textile occupations in Portugal between the 14th and 15th centuries, with a specific focus on those emanated by the municipalities of Lisbon, Porto and Évora. To understand the specificities of the textile sector in contrast to other crafts in different spaces, the regulations are classified and analysed according to its contents. Since these contents vary depending on the authors of the regulations, the analysis considers the socio-political context of its production. I. Introduction: Crafts regulation as a research topic II. The Portuguese legal context and the available sources III. The textile sector in Portugal in the Middle Ages IV. The contents of regulations: setting wages V. The contents of regulations: weights and measures control and quality control VI. The contents of regulations: activities settings and sanitary conditions VII. The contents of regulations: levies VIII. The silences of the regulations IX. Conclusions.

Clementina CALERO RUIZ, Domingo SOLA ANTEQUERA

Original title: Iconografía cristiana: El Gran Poder de Dios y su desarrollo iconográfico en Canarias. Arte, Historia y Tradición

The Great Power of God is an iconography based on that wounded and pensive one called Humility and Patience Christ. This representation changed to another triumphant and glorious one throughout the 18th Century. This iconography was adopted in the Canary Islands, especially in the Tenerife town of Puerto de la Cruz, after the arriving of a statue with that advocation at the very beginning of that century. In 1754 an engraving of this sacred icon was done. Several paintings derive from it helping to spread its miraculous fame outside the Islands, even reaching Latin American territories.

Bárbara DANTAS

Antonio CORTIJO OCAÑA