![]() I conclude with a sketch of some of the early historiography of Gothic architecture in Spain (especially in the English-speaking world), followed by short summaries of individual essays. In this Introduction I will briefly set out some of the key themes of the essay collection, exploring the architectural and rhetorical significance of invention and imitation, and then unpicking some of the issues raised by the idea of ‘Gothic architecture in Spain’. But it is hoped that for Anglophone scholars and students-and indeed those working in any language-this essay collection may draw attention to the quality and vitality of recent scholarship on Gothic architecture in Spain, and encourage further research on the tremendous variety and interest of Gothic buildings in the Iberian Peninsula. Gothic Architecture in Spain: Invention and Imitation-the fruit of a workshop, symposium and three lectures held at The Courtauld Institute of Art from 2015 to 2017-is in no sense intended to be a substitute for Street’s magnificent study. Street would indeed be disappointed, for there has been no major scholarly survey of Spanish Gothic architecture in English since Some Account was published in 1865. But at the same time she formed a true branch of art for herself, and one so vigorous, so noble, and so worthy of study, that I shall be disappointed indeed if her buildings are not ere long far more familiar than they now are to English Ecclesiologists. Mark, as he of Cologne from Amiens or Beauvais, so Spain profited, no doubt, from time to time, by the example of her French neighbours. Mark at Venice borrowed from the East, as he of Perigueux from S. ![]() Just as we obtained a French architect for our Canterbury, as the people of Milan obtained one from Germany for their cathedral, as the architect of S. These tours also offer a detailed map with the route and information to book accommodation.In the final pages of the ‘General Summary’ that concludes Some Account of Gothic Architecture in Spain, the British scholar and architect, George Edmund Street, remarked on the combination of imitation and invention that characterises so much medieval architecture across Europe, Spain included: If you're not sure where to go or which monuments to visit, the association also offers organised tours, and suggestions for two- or three-day trips, such as "Visigothic Art in Palencia", "Pre-Romanesque in Orense", or "Medieval Burgos". This tool also provides information so you can book accommodation, restaurants and other facilities close to the area. It also includes a tour management system that helps you to organise your own personalised route: you can choose the number of days and monuments you want to visit, and a map and trip planner will be generated with the distances and selected details. On the association's web site there is comprehensive information on more than one hundred monuments built during that time. The Asociación de Amigos del Arte Altomedieval Español association will help you to discover more about them. The list of buildings and monuments built during this period in Spain is endless. Santa María del Naranco, San Pedro de la Nave, San Miguel de Escalada, the Collegiate Church of Santillana del Mar… These are essential names in Spanish cultural heritage, which highlight the variety of artistic styles developed in Spain during the Early Middle Ages. Now it's easier to find out more thanks to the online tour system created by the Asociación de Amigos del Arte Altomedieval Español, an association that studies the art from this period. ![]() Would you like to discover Spanish art and architecture in the Early Middle Ages? This means monuments built in Spain between the 5th and 11th centuries, in the Visigothic, Asturian pre-Romanesque, Mozarabic and Romanesque styles.
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