No abstract

Following the conquest of Islamic Majorca in 1229, the Christian settler-colonizers embraced a purist identity that rejected altogether the island’s Islamic past and its artistic heritage. Visually, this new identity found its expression in the form of a clean, restrained, and mathematical gothic style. Palma’s towering gothic monuments embodied an ideological attempt at cultural erasure that has shaped Mallorquin identity to the present day. However, through the interstices of collective memory and material evidence it becomes clear that Islam and the Islamicate lingered beyond the singular point of the conquest through the continuity of local artistic production, the arrival of new Muslim artisans, imports of Islamicate objects, and the survival of monuments. The result was a hierarchical aesthetic system with two axes: the first consisted of the superimposed monumental, public, and official Gothic, while the second consisted of portable and less durable Islamicate objects that circulated in the gothic halls.

GeoloGical imaGination in Romanesque sculptuRe.Resumen: El artículo parte de la remarcable similitud formal existente entre los patrones observados en las rocas de los Pirineos y un motivo escultórico generalizado. El artículo explora varios factores que posiblemente dieron lugar a que los escultores incorporasen un patrón geológico en el ámbito de la iconografía. Entre estos factores hay que señalar las particularidades del paisaje pirenaico, las especulaciones medievales sobre la formación de la piedra, las doctrinas teológicas, las metáforas religiosas y la experiencia de los escultores sobre su propia práctica.Palabras clave: Esculturas románicas, Pirineos, patrones geológicos, procesos creativos, liquidez abstRact: The paper's point of departure is a striking formal similarity between patterns found on rock in the Pyrenees and a widespread sculptural motif. The paper explores several factors that possibly led carvers to transpose a geological pattern into the domain of iconography. Among these factors are the particularities of the Pyrenean landscape, medieval geological speculations on stone formation, theological doctrines, religious metaphors, and the carvers' experience of their own practice. GeoloGical imaGination in romanesque sculpture.

© Études de lettres * Une version anglaise de cet article a été publiée dans Peregrinations : Journal of Medieval Art and Architecture, VI-4 (2018), p. 112-122 (en ligne ). La traduction française est due à Michele Tomasi. 1. J. Munro, « Before and after the Black Death », p. 335.

served as the seat of the College of Merchants as well as a stock exchange mainly for merchants engaged in maritime trade. Construction was carried out throughout the rst half of the fteenth century under the supervision of the architect Guillem Sagrera. e contract signed between Sagrera and the Merchant Guild has survived and allows us a better understanding not only of the merchants' practical goals in building the Lonja but also their symbolical ones. e paper will demonstrate how the Lonja's architectural sculpture transgressed its pure iconographical function and used to point to urban landmarks important to the merchants. By doing so the merchants generated an imaginary map that formed only a slice of the city's geographic reality. e merchants did so in order to assert ownership and make territorial claims in light of tensed and con ictual political climate.