Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de Castro

The action what today we recognize as restore and the values that justify it, emerged, historically speaking, very early. It wasn't the official character of this attitude of safeguard, specially consecrated in the legislation, national and international, the only in charge for which today...

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Main Author: Antónia Fialho Conde
Format: Article
Language:English
Published: Associação Profissional de Conservadores - Restauradores de Portugal 2009-01-01
Series:Conservar Património
Subjects:
Online Access:https://doi.org/10.14568/cp9_8
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spelling doaj-169fb3587aaa445cb1690413a9acdd4c2020-11-24T20:59:04ZengAssociação Profissional de Conservadores - Restauradores de PortugalConservar Património1646-043X2182-99422009-01-019677610.14568/cp9_89_8Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de CastroAntónia Fialho Conde0Departamento de História da Universidade de ÉvoraThe action what today we recognize as restore and the values that justify it, emerged, historically speaking, very early. It wasn't the official character of this attitude of safeguard, specially consecrated in the legislation, national and international, the only in charge for which today we are more awake for this problems. Individual persons and institutions may demonstrate, along the History, as some documents are proving, how sensitive they were about preservation of the heritage. In a local level, we have the example of D. Mariana de Castro, in 1597, concerned with the repair of tapestries belonging to her personal estate. She made a contract with a local official to work and restore her collection of tapestries, proving also that she was conscious of what culturally Évora signified in this period: city of intellectuals, of writers, humanists and poets, of painters, sculptors and musicians, but also of weavers and upholsterers, in a world of artists and craftsmen worried in meet the demands of a public that was accustomed to demanding.https://doi.org/10.14568/cp9_8Restore/restorationTapestryHeritage
collection DOAJ
language English
format Article
sources DOAJ
author Antónia Fialho Conde
spellingShingle Antónia Fialho Conde
Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de Castro
Conservar Património
Restore/restoration
Tapestry
Heritage
author_facet Antónia Fialho Conde
author_sort Antónia Fialho Conde
title Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de Castro
title_short Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de Castro
title_full Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de Castro
title_fullStr Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de Castro
title_full_unstemmed Restoration of mobile heritage in Évora in the context of XVIth century: the Panos de Armar of D. Mariana de Castro
title_sort restoration of mobile heritage in évora in the context of xvith century: the panos de armar of d. mariana de castro
publisher Associação Profissional de Conservadores - Restauradores de Portugal
series Conservar Património
issn 1646-043X
2182-9942
publishDate 2009-01-01
description The action what today we recognize as restore and the values that justify it, emerged, historically speaking, very early. It wasn't the official character of this attitude of safeguard, specially consecrated in the legislation, national and international, the only in charge for which today we are more awake for this problems. Individual persons and institutions may demonstrate, along the History, as some documents are proving, how sensitive they were about preservation of the heritage. In a local level, we have the example of D. Mariana de Castro, in 1597, concerned with the repair of tapestries belonging to her personal estate. She made a contract with a local official to work and restore her collection of tapestries, proving also that she was conscious of what culturally Évora signified in this period: city of intellectuals, of writers, humanists and poets, of painters, sculptors and musicians, but also of weavers and upholsterers, in a world of artists and craftsmen worried in meet the demands of a public that was accustomed to demanding.
topic Restore/restoration
Tapestry
Heritage
url https://doi.org/10.14568/cp9_8
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