I put these days on the subject, and could not miss here. The image of the door he found, floating in the ocean of Google, the last few months Tabernero. A door drawn by Emile Louis Vernier in the second half of the nineteenth century, during a trip to Spain where he left many works that describe several southern cities (but not only) country.
The identification of the door is now unfinished, although you may still have escaped us some details that may help us to achieve.
The author, born in Lons-le-Saulnier, French town near Switzerland 1829, and died in Paris in 1887, was a specialist in lithography until consecrated, late, to paint scenes of fishing and coastal.
The picture belongs to the Louvre Museum, which can be seen here complete (in French)
I acojonao you have between each other. The work you are pouring here is priceless. The bottom, by forms, by Charisma. I stay muelto. Greetings to all.
I am with shashlik. I am also amazed. There is a cultural project in the city that reaches the height of the shoe is great you are doing. No longer in Córdoba, nowhere in Spain I saw a similar thing.
No if you are aware of what you are doing together, but it is a revolution in the social and cultural patterns. It is more important than you think. It is a lesson in citizenship and participation.
Congratulations to all. And bite the dust with their useless political money. And you, please, stand still in.
I am with Gravel… I think we are still not very aware of what, between all, we are doing.
And, Door, son, from now, not venture to call you so… You will be IMs IANUS, god of doors, Lord of the inputs, beginning and end of road, alpha and omega of every trip… ante ti, oh divinity, we bow down and praise so much wisdom… And you, Publican, hoyaré ever your name, MERCURY divine cyberspace, Lord of the posts… What are you hiding for you? nothing. Other, Deadly, waited only a dream, that you fellowship with us.
[this can be exagerao, but it is no joke]
Did you dao Hill something he takes hold marathon pa?
Not. He drank to the mu agony…
On Friday I gave a dose but the effect makes the 3 days.
Congratulations on your find, Door.
And l @ s other: please some, q I is aconGojando mi tb,q Do not Panic!
In my blog I have seen that has ruled the Puerta de Martos, Where have you found the information that speaks to its demolition?. What date was?
Lisi, at the entrance and in my blog that the delivery was finding Tabernero, when he opened one of his best bottles long since. We were locked in if the door was Colodro what came in an image of 1862, when to discard some wine with that door that he had long had localized.
And The Hill, Ramirez de Arellano speaks of the original gate, which would antiquity, It was after the Lisbon earthquake demolished in 1755, for damages suffered. However, the File there are plenty of resolutions and records on flour weight Martos door or the sun in the nineteenth century. Probably rebuilt more or less seedy way, the sole purpose of preventing goods from entering the city without paying taxes.
I think I read something somewhere, about how ugly and how upset I was Martos door in the nineteenth century. Almost certainly I had to be in the book of Cristina Martin, “Córdoba in the nineteenth century”. The final demolition would guess about the same time that the convent of the Martyrs.
I wanted to get there, may not be the door look this. I say this because if spacious drawing and view the inside of the door
go right of man that looks like a blue water. That water can only be the Guadalquivir. Like water or “river” is the right side of the door that can only be given if it is placed as is the Puerta de Martos and with a background of houses in front.
jejeje, Hill, ves that water for tos laos.
Mm.. I do not much verges with blue, seems to me something of an artifact or painting, but unintended.
I remember now you say q and reread your blog, but son, with this “charchealseimer”–>(by harazem) q I have forgotten things overnight.
My compliments to Workgroups finding and publishing.
On the door Inédita.
We have at our disposal in photography, tres planos: that of 1811, 1851 and 1884, and a list of the doors of the city plane 1851. Figure door near the Molino de Martos in the oldest plane as Puerta del Sol, that of 1851 also listed by that name, and in the 1884 not include the door.
I have checked a chronology demolition of the Gates.
1852 Demolition of the Puerta del Rincón.
1854 Murallón between Martos Mill and Cross Trail.
1863 Demolition of Ex-Convento Martyrs.
1868 Felling Gate Baeza.
1870 They talk about the surveillance of open spots in the city and quote the Door of Martyrs.
1883 Works in the old door of the Martyrs, to build a walk to Ribera Fuensanta.
A quote from that date says: "Much has won the spot where once stood the Puerta del Sol to the creation and opening of the Chapel of the Martyrs”.
1895 Demolition of the Puerta de Alfonso XII or New (appointment wood sheets are taken to Provincial Museum for preservation. Finish the felling 4 November).
1905 Demolition Door Ossuary.
Conclusions of a layman:
-We are shuffling 3 different names. Door Martyrs, Puerta del Sol and proximity to the Mill Gate Martos. I believe that the three definitions correspond to the same door. Del Sol to be facing east, to the exit of. Martyrs by its proximity to the new Convent and Chapel of the ditto, Martos and for the same reason with the Mill.
I agree with Puerta Ossuary, to be an authority on Doors, in its view that the right of the people there drawing what may be a sheet of water (I what I see is a “pizeles” gordísimos)if you look at the level of 1811 and 1851 input would mill weir -That it is now so presentable-. The view from inside the door would. Shadow of the picture to the left, the former Convent would project in summer, because the sun is displaced to the northeast. And the right kind of ram that would possibly be the actual carriage entrance to Molino de Martos, or starting the seawall, or a lot of land. One thing to consider is always the street alignment with the Wind.
Conclusion: I'm a mess. But I think we're dealing on Doors Trinidad in Cordoba, that condense in the "unpublished", ie three doors on one; Sol, Martyrs and Martos.
I close the big book of Pegoletes.
“@_@´´¡josú!–> amazed with lysis “pegoletes” that ponies. How you aconGojáis!! up with Pepe tino , I quedao curdles me… q digo yo tabernero, that…, My has not llegao me any payroll, pa q no sign that dnd? jejeejje>;oP
Lysis in ¿tell me that you will in all Arrivals? There is no right.
I have hull son. q what happens, q be here is aunq husk, pa mi is a lujasso, jeejej, “asinque” I forgive the bartender what payroll
saluditos and saluditas
I should have put the horizontal plane, because to go look at the list of doors has given me some torticollis.
Paco, I do not think it's water, the truth. But speaking of the door Martos, you may have misunderstood the paragraph “Walks Córdoba”. The selling picked up what opinais.
“Among its lowered and the party goes off Martyrs there is a corner where the old door was open Martos, so named because she came by Álvar Pérez de Castro and other Christians of that brave people who went to San Fernando to the conquest of Cordoba. It is also called the Sun, for looking at this, and the Seven Metals, why did the square tower that was on this site and following a stretch of wall to elextremo, ie the angle of the door Baeza, in which there was another tower called the Seven Corners, to be Ochavada, having one of those attached to the wall. The earthquake 1755 the left so bad off that it was necessary to break it down.”
I have interpreted what was there to knock down the door, but maybe he was talking about the Tower of Seven Corners. In the old edition of the “Hiking”, the first point and is followed by the paragraph as two points (“: has been called”), and the second as a semicolon. And another thing, here it is said that by the door was a tower, that of the Seven Metals, does not appear in the recorded.
On the other hand, Ramirez de las Casas Deza also describes-door area roughly around the same time (editing 1867):
“Few years ago has been walled in place to open another door into the next wall and towards the site occupied by the Convent of the Holy Martyrs and demolished, which has left its name to the new door, that even this far from having any decoration, is nothing but a wicket very ugly”.
The name of the target of the Martyrs in my opinion is not equivalent to the door or the Sun Martos: the Martyrs is more opened to this, closer to the corner of the wall, tripped when the de Martos, that is the hole that appears in the planes of 1811 and 1851.
And I will put my fingers in ice water.
I'm hot, I have a headache and still can not stop thinking about the damn door!!!
I'm just making observations and drawing artist:
From what I've seen in the Louvre (en su web, clear), This painter was quite thorough in your pictures, there is nothing more to see the view of the river and has a door next to the hospital in San Seastián, plus other cities as Granada. I mention this because at first I thought the door Gallegos, but I reached to the photo and saw it was not exactly the same, therefore proportions as its elements.
In the wake of comments that all that ye have ever seen Martos door was damaged in the earthquake 1755 and had to be demolished [so if we interpret “walks in Córdoba”]. But… ¿Fue rebuilt? I gather itself for what it says Casas Deza was boarded up and opened another.
Moreover, the Gallegos door was also damaged in the earthquake and had to be rebuilt. And what I'm getting is that Gallegos door and this drawing have common elements such as vain, that is both semicircular, and Baroque kick crowning two, so that… Can it be that the drawing is that of Martos and suffered damage in the same year that Gallegos has similarities with that, and therefore were reconstructed simultaneously? I think in this sense, besides the fact the shadow as Paco says, but maybe it's the shadow of the tower.
I think there is a factor we did not consider in the early stages: Sevilla door, which is my favorite, was shot in 1865 and rebuilt in the twentieth century. We have no idea what it was. But in the old forum I hung this comparative:
http://farm3.static.flickr.com/2482/3630710608_a756ab3fdf_o.jpg
And now I'm going to over do not give for more.
For comparative viewing and have no doubt that it is the de Martos…, is true that coincides with that of Seville in all things.
The shadow does not mean anything, There are photos of Córdoba doors with a very different orientation and have the same type of shadow.
Good, for me to say that to the left of the door there was a similar building today at the door of Seville, at a similar distance and similar height.
In fact, the house you saw Vernier (if that is the site) and that we see is the same, according to the record of the Planning.
http://gmu.ayuncordoba.es/portal/verdocumento.php?documento=2394
Certainly, uncle, to see when we get an avatar with Fuenseca, it's not hard and I miss…
What data do you have to say there was a similar to the existing building on the left side today?.
Do not know if I've lost something “In fact, the house you saw Vernier”Did you write somewhere or just have that image?.
See the same arguments can be used for the Gate of Mercy, and instead of saying that the building casts a shadow, would be cast by the wall itself.
Yo tengo leido, would be sought, that the lands that are outside the door were higher Sevila, there were some mounds, that were on sale. I mean in the picture looks like it's all flat and a house is seen in the background.
The door had a Misedicordia houses in the background belong to the Ward Ollerias while the Puerta de Sevilla not know the existence of houses. The cemetery Health was more to his right.
I mean the house there today to the left of the door of Seville (inner side) has more than 200 years old. The former Sevilla door, as seen in the plane of 1851, was located as today regarding this house. Whereupon, All I'm saying is that fits perfectly, I see no reason why it can not be the target of Seville, and several veil in favor.
I do not know what the mounds, but the plane is seen to be in an area with woodland garden or walkway plan, which also fits, because it seems like there's a tree behind the arc.
As the door of Mercy, initially not seen as a candidate. See the map:
If it is an interior view, no free canvas wall right. If it is an outside view, there is nothing to give shade to the left.
The Shadow, I say the same the wall itself can give shade and as seen in the drawing, a small square and a restángulo.
Regarding the shading of Mercy Hospital I do not know if it was all building, unaware as the property is delimited. Know if that part was standing, etc..
I think what's important here are the Castilian rods comprising the drawing space. The roughly, may be a 22 rods, that is talking about
http://es.wikipedia.org/wiki/Vara
22 Castilian varas * 0,8359 (m / be)= 18,38 meters.
That's what comprises the door and the wall on the right 22 rods.
If the French plane 1851 s scale 5oo sticks castellanas. We can say that the space was about Puerta Sevilla 30 rods, which gives sufficient space to accommodate the desired target. Also the door telling all the wall Colodro comprised about 60 rods therefore also worth. Instead I see in Puerta Mercy as much a 20 rods, which is little to hold the door of the drawing.
Mmm… now, front facade to the square of the door measured Sevilla 18,8 meters plus / minus a small step.
And one more for those interested planillo.
Gate Gallegos:
Puerta de Plasencia (Trinity):
For this measure could dismiss Puerta Sevilla,
thus the drawing comprises 18 meters or more and from
there would have to be seen in the drawing the species
aqueduct that exists outside of the wall as well
reflecting plane 1851.
It will be necessary to fine tune throughout the drawing as if
passing of this measure is not Puerta Sevilla.
This is the gate of Colodro. It is the one that makes me doubt, and if I'm not mistaken is the favorite of Tabernero.
Another note. The door can not Colodro be drawn as if it is real, what was behind door Colodro was not flat but sloping. There was a significant slope and therefore not drawn. That does not correspond to reality.
The door was on a dimension Colodro 105 and possible road houses that existed was in front of 113. In the drawing of this gap is not appreciated 8 meters.
I remember this photo.
http://www.flickr.com/photos/rafaelji/3145187218/sizes/l/in/pool-785472@N22/
The width of the stretch of wall is drawn 4,3 times the height of the arc. When compared to the dugout, I would say be measured 4 m height, with what would 17,2 m in total wall. It need not be the double arch. But then, are estimates. Where are knocked your 22 rods?
What Colodro, as you say, Did not mean to paint Vernier San Cayetano, would have to be at least partly. But we, I do not see that much detail on the outside as to rule.
And another thing, I know you do not like there enforcarlo, but I've been thinking about the shadow. And while falling with the same angle as pictured door Sevilla… is much longer, lying on the floor and it seems the shadow of a larger building a two-storey house. Could you put that door in the pools Plasencia?
Regards,
To me at first I had in mind Gate Plasencia, thinking small casetilla you see on the left could be a chest-record some of the water coming to the site (venerate the Palma, Aguas de Miraflores).
But then I come to realize that then the church should get out of the Trinitarians, although perhaps (although I do not think) the drawing is a simple sketch and when the door pictorial subject could ignore the rest.
ssi is that drawing is the door from out of town and not from within).
I think the key is the last. It makes me that is a view from the inside, with which the Church of the Trinity would cast that shadow so great about the scene. It is one of the possibilities.
The day of San Juan to the sun will be there, to see how far the shadow reaches a maximum. Luego me IRE looking joanets Under the ferns and see the stars of the magic night…
After much knowledge and tenacity in this conversation, casi me the dread participate, but still, I'll do.
Seeing the shadow projected, for me, there are only four doors that can offer this: Gallegos, Colodro, Excused and Plasencia.
Gallegos rule out by design (or after the Lisbon earthquake no one had rebuilt historicist manner as we see in old photographs). Both are Colodro as Excusada “tucked” in a drop of ground which is not observed in the recorded.
To me that is the door of Plasencia at sunrise in winter, and the wall you see to the right is the mortar that built on the Almoravids and still enjoys Avenue Marrubial. The looming trees are part of the square that Alpargate (I think) then existed, and the lines that resemble water, the stream of San Lorenzo, that penetrated through this area, penetrating into the city for Friars Street and then heading for the wall to the door of Andújar.
I hope I have contributed something.
If you're there for me for now is that brings greater possibilities for what I said. We will have to seek buts recharzar our hypothesis.
Very scientific, The Hill, we reject the hypothesis, I like (irony is not). I reject it because with both underground wall on the right, would have to see or yes part of the Church of the Trinity. But the view in the interior seem so outlandish.
Two things that do not fit me, Ben-Saprut, Why the door is discarded Sevilla? The other, At what point in history crossed the stream of San Lorenzo door Plasencia, or passing in the street of the Friars? I am interested because I'm reading about the underground stream in the neighborhood of San Lorenzo in a time when I believed it was going all the way extramural, mid-nineteenth century.
Maybe you are wrong, but I've always believed that the stream of St. Lawrence penetrated the city at Fuensantilla (I'm not saying that the door of Plasencia) and ran along the north side of the street of the Friars, leaving his left the parish cemetery. Upon reaching the current Arroyo Street San Lorenzo, turned left, off the wall by now called Round Andújar, with the wall on your right and the Cerro de la Golondrina left. And because this is still lengthens. I guess reading your comment, voy mal, Huh? I would like to see tu version, especially for corregir MIS data. The truth is I can not guarantee one hundred percent, because I do not have any reliable document. Thanks.
Well I do not know, the truth is that I did not know of any surface watercourse that came through the Fuensantilla. I always imagined the description of Ramirez de Arellano:
This epidemic is increased in those neighborhoods judged by the stream of Santa Marina and San Lorenzo, passing by them until the second rejuela, and which not only ran all the neighbors throwing filth, but the Slaughterhouse, penetrating in town for an immediate arquillo the tower Malmuerta, the Lagunilla, Main Street, Santa Isabel, Poplar and others who today has the current, being so deep in places that already near Good Success was a place called the cliff, taking in all avenues bridges.
From there it was on the street in San Rafael Arroyo out into the Arroyo de San Lorenzo, and from there to the street, as you say. Then I have understood to be pulled back in town 1800, encauzándolo by Ollería, Fuensantilla and Marrubial, extramural.
They began to close the arch next to the tower Malmuerta let in the Matadero Creek, and the other that runs through the fenced haza, making the channel which now has ahead of Ollerías and Fuensantilla to Marrubial, where he joined the Stones of, and even then the bed that was blinded in the streets and raided, since it only had water running down them rain-, with which it is sometimes very mighty. It can be inferred that our readers would be when the two streams entering the field, with those neighborhoods were filled with water, as happened in 1698 at San Lorenzo.
In these works was spent 46.000 real, more 3.000 it was necessary to invest in the next year 1790 Stoning to finish the streets. That's when the Los Alamos he uprooted the trees of this class, that took the title. The stream of Ollerías to solve it ended in 1804, workers to fill.
The existence of water in that area is not a necessary condition
(C.N.) nor sufficient condition (C.S.) to reject the hypothesis
I therefore remain. The blue may be water, streams,
encharcamientos, o no.
No, voucher, the church can not see, it may be an external view, be all and so was the door of Plasencia, but it seems very caught with pins all being so close to the door of Seville, the truth. But that's just my opinion, in this topic that I never will have the absolute certainty…
Sorry to say that according to the orientation of the shadow, this door could never be on the south side of the wall ( and unless the picture is taken looking towards the river ) since we see the face would be permanently shaded, never give the Sun.
( an example is the north side of the mosque.) Never gets the sun ( ni refilón).
So I all I have is just the opposite course. You may belong to any stretch of wall, less than it hits the river. Also, if the light is on the left side This rule also, because when you give always would light the right side.
Rojunson here have a picture of the Gate of the Old Bridge looking south and has a similar shade we seek.
Exact, but those watching from the river and
We're talking about the drawing is taken from the inside.
I put the door but the sun giving the other side. Now if you look from within the shadow goes in the same direction that the shadow of the intended target.
By the Shadow, I do not think it can be to Sevilla: winter would be oblique, from the right, and not from the left as shown in the engraving. In summer, also from the right, but straighter. Also a small detail: the arches of the aqueduct visigótico?? we see today restored and / or reconstructed, and that at that time but remain impaired, does not show the artist. If someone would paint or draw, Would you let that detail so characteristic? Almost by logic (but not overwhelming) the include. In the end: musings. I bet by the Plasencia.
Pesao not want to be with this composition, but the shadow is almost identical. In fact, if the shadow of the wall itself, as you have said the Hill, if the cut: is the shadow of a building.
http://farm3.static.flickr.com/2482/3630710608_a756ab3fdf_o.jpg
In previous reviews we were seeing is that the wall on the right is not so long that it had to do compulsory Arches. By Little, but I think not.
Not bad, much less. But, What about the aqueduct that penetrates right? There is no review. Fuck, pease dilemma! I think either will be able to find out, unfortunately.
The belief that the wall construction having attached is an aqueduct is widespread. This error is in a historiographical 60 years so identified Samuel de los Santos and I think Felix Hernandez-, and no current historians as Basilio Pavon that keep-this man also believes that the Roman tomb next door from the old way of Almodovar is a Muslim oratory, I say this with all-. Currently already seen that it is a late medieval work, a watchtower associated with door, as was customary in Christian doors. If you are fijais are sillarejos calcarenite, namely, with a smaller module that Muslim ashlar, ready to rope and brand but work to be Mudejar, and the arches are semicircular, no horseshoe.
Historian Escobar Camacho brings some interesting facts about:
“in the Puerta de Sevilla was,in the words of Vaca de Alfaro, rocket of a tower or castle was King Henry Factory, it was but a square tower built outside the fence as other flanking towers made
during the reign of Henry II, at which time are arranged and regrow the walls, serving not only defense for the gateway to the Alcázar Viejo but watchtower, being linked to the wall by two arcs.” (ESCOBAR CAMACHO, J.M.: “The walled recnto of Córdoba bajomedieval” City Hispanic XIII in the sixteenth century. Edit. Complutense University. Madrid, 1987. Pp.. 135-136). It can be downloaded at this link:
http://revistas.ucm.es/ghi/02143038/articulos/ELEM8787110125A.PDF
For that.
Maybe the power assist accurately dating the time of travel to Cordoba Vernier. I think the romantic travelers did not travel to Andalusia in summer, graphic records in all there are very abrigaditos.
It is important because it is not the same shade of winter summer.
Another interesting thing to define is whether the view is from the outside or inside the fence. To me it is clear that the view is from within for many reasons: flaring door design, shots that are higher crest panoply in which the shield is not, the absence of landscape through the door.
This rule is important because if the average wall studied by shadow.
To me that is squaring me out the door mythical Colodro. What happens is that we have insisted both certify that we have come to dismiss without much foundation.
Colodro, Plasencia, Seville, Martos. Yosque I've given many laps Drawing the brains that I have made mud. The next analog cane, a seance and call the Emilio, tell us where the hell painted.
This to like the va. I've been talking to Rojunson inspiration… you asked me for a high resolution image of Cordoba Guesdon, something like this:
http://img19.imageshack.us/img19/9168/v14.jpg
You're welcome. 😀
But what good is that if we extended to ridiculous extremes can see the gates of Colodro and Plasencia, better this last.
Here expanded: http://farm4.static.flickr.com/3543/3641258875_e9b39d62ec_o.jpg
In practice I do not think is worthless, but it has made me dream. Too bad the drawing is cut by San Basilio, if we would have a very good document door Sevilla. Among Guesdon and Ramirez de Arellano, seems that the neighborhood is cursed.
We tenéis asustao…. the above, Door zilch…. Janus, God of Doors.
Good, I reserve for the day 6 one little article on remodeling the door Colodro, Calleja and the blog, including the only known image (paint 1860, about, photography based) of said door… Estimate Estimate (not expect much, but it is the only one there).
And, as, wondering if the famous door Vernier.
Hello
My name is Fino Lorenzo and I live in O Rosal, about A Guarda, at the mouth of the Miño river, in Galicia.
I am cataloging some private collections of stereoscopic photography from the late s. 19th and early 20th, mostly of French origin, so I try to gather as much information as possible for each image.
Specifically, I am looking for information on two missing doors from Córdoba that are part of a collection.
The first image seems to be the Puerta del Puente before remodeling, (in 1912 ?) although I have many doubts because it seems to be demolishing. If the state of the Gate helps determine the date, it would be very useful.
I have more problems with the second image, a door I can't identify, although it has features that make it related to the Puerta de Gallegos, without being. In any case, the note points to Córdoba, and in general, the annotations of that collection are reliable.
If you give me an email address I will send you the images. I appreciate any information or contact you could provide me.
A greeting
Until
finolorenzo@icloud.com
fino@finolorenzo.es