Touching Female Memories in the Purification Funerary Chapel in Burgos (c. 1482-1531)
Late medieval women were able to promote highly sophisticated funerary ensembles, which included architecture, painting, sculpture, liturgy, textiles, lighting and other ephemeral elements, and to adapt them to their specific ideas and needs. These material and ephemeral elements were manipulated to...
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| Format: | article |
| Publication Date: | 2024 |
| Country: | España |
| Institution: | Universidad Nacional de Educación a Distancia |
| Repository: | e-spacio. Repositorio Institucional de la UNED |
| Language: | English |
| OAI Identifier: | oai:e-spacio.uned.es:20.500.14468/25219 |
| Online Access: | https://hdl.handle.net/20.500.14468/25219 |
| Access Level: | Open access |
| Keyword: | 55 Historia::5506 Historia por especialidades::5506.02 Historia del arte medieval architecture gender intersensoriality |
| Summary: | Late medieval women were able to promote highly sophisticated funerary ensembles, which included architecture, painting, sculpture, liturgy, textiles, lighting and other ephemeral elements, and to adapt them to their specific ideas and needs. These material and ephemeral elements were manipulated to create complex spaces so as to generate sensory experience. This article will focus on the Purification Chapel in the Cathedral of Burgos (Spain) built by the Countess of Haro, Mencía de Mendoza, at the end of the fifteenth century. We will use art historical analysis to understand the relation between gender and the senses, and the ways in which intersensorial interaction shapes experience and memory. The analysis of the construction and design of spaces by actors like Mencía de Mendoza shows that robust models of perception and cognition were tacitly operating in the medieval era in ways that are not adequately captured by textually-focused approaches. |
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