Publications
Upper Cretaceous Limestones as Stone Resources for the Monuments of Oviedo (Asturias, NW of Spain): Petrographic Variability and Stratigraphic Origin
Two distinct lithotypes of Upper Cretaceous limestones, Piedramuelle and La Granda, dominate the construction of Oviedo's historical monuments, including UNESCO World Heritage Sites. These stones originate from the San Lázaro and Oviedo Formations, with Piedramuelle primarily used in pre-18th-century structures, while La Granda became prevalent during the 17th and 18th centuries. The study analyzed over 100 samples from monuments and outcrops, classifying them macroscopically and identifying finer varieties at a microscopic scale. This research sheds light on the stratigraphic origin and petrographic variability of the stones, revealing their significance in Oviedo's architectural heritage.
Un inventario de reliquias inédito de San Salvador de Valdediós (Asturias)
A previously unnoticed and undeciphered Latin text, preserved on the plaster of San Salvador de Valdediós church in Asturias, has been successfully read through advanced photographic retouching and comparative analysis with Visigothic and medieval texts. The text reveals a meticulously ordered inventory of 16 relics from 13 saints, biblical figures, or early Christian leaders (III-IV centuries), deposited in the main altar during the Asturian Kingdom period. Notably, the inventory includes a unique mention of Saint Basilissa, distinguishing it from other Asturian catalogs linked to Oviedo. Linguistic and paleographic analysis suggests the text dates to around 893, coinciding with the church's pre-Romanesque parietal decoration phase or shortly before 968. This discovery sheds new light on the religious and cultural practices of the time, particularly in the context of the Kingdom of Asturias.
Paintings in the Church of San Julián de los Prados in Oviedo. An Analysis of Aniconic Paintings in the Framework of Art in the Mediterranean
The Church of San Julián de los Prados in Oviedo features unique aniconic paintings that challenge traditional understandings of medieval Iberian art. These paintings, devoid of human figures but adorned with geometric patterns and golden crosses, suggest a deliberate artistic choice influenced by the Asturian monarchy's desire to assert its authority while drawing from both Roman heritage and contemporary Mediterranean trends. The study critically examines past research, comparing these works to those in Ravenna, Thessaloniki, and Damascus, while exploring potential links to iconoclasm and 'adoptionist heresy' beliefs prevalent in 9th-century Iberia. Through a fresh analysis of historical and artistic evidence, the research sheds light on the theological and political motivations behind this distinctive body of work.
Sculture asturiane del IX secolo
Asturian art, particularly during the reign of King Ramiro I, exhibits a distinct and original style characterized by significant architectural and sculptural achievements. This 'Ramirense' period, marked by maturity in the Kingdom of Asturias, is represented by masterpieces such as the Santa María de Naranco palace and the San Miguel de Liño palatine church, both located near Oviedo on Monte Naranco. While the Santa Cristina de Lena church is also linked to this style, its attribution remains debated among scholars, with some associating it with King Ordoño I. The research highlights the importance of sculptural decoration in these monuments, contributing to the understanding of artistic development during this pivotal era.
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