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Open Access Book

This editorial project arose with the initial motivation of transferring the research carried out in the chapel of Álvaro de Luna (Retórica artística en el tardogótico castellano: la capilla de Álvaro de Luna en contexto, Madrid, 2018) to a field of high dissemination and transfer to the society.

To do this, under the same umbrella of rigor and scientific quality, we propose a work in a double format -online and printed- and in a double language -Spanish and English- that will clearly enhance its perceptive and multisensory nature.

An approach for which the collaboration with the graphic designer Cristina Carrascal has been decisive, who has delicately and expertly formatted our initial project, and with TREA for the editorial support and backing for this initiative.

The visual approach determines that the anatomy of the study —the index— is structured in colors that mark the nodular axes of the work and, at the same time, reflect a symbolic reality: the blue, red and green mottos of the Mendoza and Luna lineages, the commissioners of the commission.

We were interested in the story but also looking for interactive and multisensory ways that generated different links with the reader. The voice and sound flow through the links with the verses and musicalized dances dedicated to our protagonist, contributing to the climax of the narrated events (pp. 29 and 52). The voice and movement reappear in the video made during the intervention campaign on the altarpiece (pp. 101 and 125). In a few short minutes, the assembly of the technical team of the Institute of Cultural Heritage of Spain is evoked (a workshop on wheels), the execution of the work in situ and the subsequent laboratory and library process. Time, dedication and qualification developed first in the cathedral of Toledo and later in the IPCE laboratories.

A laborious and necessary process that allowed us to approach the work from the visible and its hidden reality, which we have synthesized in different schemes of our own elaboration destined to scales and measurements of the altarpiece and tomb, the creative process of the polyptych with the use and codification of models, the comparisons and links between foreign and Hispanic authors, crypto-portraits, and the confrontation and interrelation between the different image techniques of the works.

An apprenticeship that includes a fundamental chapter on image analysis methodologies where we have believed necessary both the approach to the tooling itself (the description of the precise machinery), as well as the evaluation of the results through diagrams or microsamples that, with their gaze laboratory, allow us to almost touch this pictorial reality.

Sight, hearing, touch, word and emotion as bastings of a visual anatomy of the Hispanic late Gothic.

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