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The distracted believer and the return to the first basilica: Marqués de Ureña’s Reflexiones sobre la arquitectura, ornato, y música del templo of 1785

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dc.contributor.author Macsotay, Tomas
dc.date.accessioned 2020-05-25T08:40:36Z
dc.date.available 2020-05-25T08:40:36Z
dc.date.issued 2018
dc.identifier.citation Macsotay T. The distracted believer and the return to the first basilica: Marqués de Ureña’s Reflexiones sobre la arquitectura, ornato, y música del templo of 1785. Architectural Histories. 2018 May 25;6(1):4. DOI: 10.5334/ah.249
dc.identifier.issn 2050-5833
dc.identifier.uri http://hdl.handle.net/10230/44662
dc.description.abstract A key text on Spanish architectural reform, Marqués de Ureña’s Reflexiones sobre la arquitectura, ornato, y música del templo of 1785, contains a rich and layered discussion of the doctrinal and aesthetic foundations of ecclesiastical architecture. Ureña’s Reflexiones appears at a moment of transition for Spanish architectural history by calling for a return to the ancient basilica type. The paper reconstructs a discussion waged by Ureña and his contemporaries on problems within the contemporary Spanish church interior: its use of wooden ornament, ephemerals, transformable altars and other Spanish late-baroque ecclesiastical décor. Thus, the return to origins in Christian architecture might be framed in terms of a wider debate on usage, and the sense in which the basilica offered a corrective for the relationship between the religious building and religious practitioners. The integration of doctrine and aesthetic reason in this defence of the original basilica furthermore demonstrates Ureña’s wish to modernize devices that had traditionally undergirded religious practice and featured materially in the education of the faithful. Finally, the paper argues for the importance, given Ureña’s introduction of a framework that allowed for an aesthetic way of reasoning, of considering affective responses to architecture in the Iberian and Hispanic context.
dc.description.sponsorship The research for this article was carried out under a Marie Curie Actions Post-doctoral Fellowship (Gerda Henkel Stiftung) and the RYC-2015-18371 (MINECO) program. I also wish to reserve a special thank you to Caroline van Eck, Christian Michel, Erika Naginski, and Hendrik Ziegler, who commented on my work at these meetings, along with Bonaventura Bassegoda and the Spanish research project HAR2012-39182-C02-02, which animated the heuristic phase.
dc.format.mimetype application/pdf
dc.language.iso eng
dc.publisher Ubiquity Press
dc.relation.ispartof Architectural Histories. 2018 May 25;6(1):4
dc.rights © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/
dc.rights.uri https://creativecommons.org/licenses/by/4.0/
dc.title The distracted believer and the return to the first basilica: Marqués de Ureña’s Reflexiones sobre la arquitectura, ornato, y música del templo of 1785
dc.type info:eu-repo/semantics/article
dc.identifier.doi http://dx.doi.org/10.5334/ah.249
dc.subject.keyword Neoclassicism
dc.subject.keyword Late-Baroque
dc.subject.keyword Basilica
dc.subject.keyword Ecclesiastical architecture
dc.subject.keyword Hispanic architecture Ornament
dc.relation.projectID info:eu-repo/grantAgreement/ES/1PE/RYC2015-18371
dc.relation.projectID info:eu-repo/grantAgreement/ES/3PN/HAR2012-39182-C02-02
dc.rights.accessRights info:eu-repo/semantics/openAccess
dc.type.version info:eu-repo/semantics/publishedVersion


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