2011 January 31, 2011
Are you going to follow my blog you will have seen that one of the issues I have been interesting has been the dispute over who has Lleida sacred art from the Gaza West. I always discussed this as a simple fan and recognizing that there is nothing I understand. But the issue that concerns me and it hurts me to see that things are being done directly and in the end, prevail obscure interests that hide the truth.
Looking on the subject, I found a blog which speaks very well, and-the topic. This is the blog of Aleix Barbera Gine http://eixrestaura.blogspot.com/ Nathan holds a Diploma in Conservation and Restoration of Cultural Property (ESCRBCC), specializing in sculpture. Therefore, a connoisseur of art topics. When I asked permission (and very generously gave me) to be able to use information from your blog telling me there was a book that studied the issue very well and is provided for you if someone is interested in deepening on the subject. The book is as follows:
CASANOVA, Eugene.'s Plot. The plot in the segregation of the diocese of Lleida and litigation artwork. Farmer Editors. Lleida, 2008.
From today, and for a few days, I ll bring some of the blog entries of Aleix Barbera, while encouraging you to go to your blog, which I consider very interesting.
The work in dispute
Silverio Nieto, director of the Legal Service Civil Spanish Episcopal Conference, ordered to deliver Barbastre works established his report of 8 September 2005, the nuncio and the Congregation for Bishops took full. The work reported herein is 107, of which fifteen Nieto found that belonged to Lleida. Some thirty who entered the museum at the time of the bishop and the diocese admits mesh that are on deposit and agrees to deliver.
It was obvious that the Diocesan Museum brought together all parts of the diocese, but nobody knew the details. The museum initially installed in the Episcopal Palace of Lleida was during the long period of bishop without mesh prosper parts were not exposed or they were so irregular, there was no documentation or catalogs known the origin of the works.
In November 1993, with the opening of the exhibition Pulchra was intended to present the best parts of the museum, study them and present them in a good catalog, but according to museum curator Carmen Berlabé, the catalog was do with scarcity of data, so that had to be rectified. However, the bishopric of Barbastre was based on the parts catalog that mistakenly attributed to claim the Aragonese churches. Furthermore, from the Aragon also investigate the issues of the Official Gazette of the Bishopric of Lleida time to include other parts demand.
For the realization of the catalog, we studied the Bulletin, the journal of the seminar and a catalog concise Hope you Armengol priest in 1936, when the works amid the Civil War had begun a series of transfers.
Following an extensive search continued Pulchra by Carmen Berlabé and professor Francis Fité UDL. We searched for similarities between the 1936 catalog of the publications of the diocese. The registration numbers that were used at the end of the war, when parts of the museum came to Zaragoza, were also useful for locating and dating works. The form of payment (donation, purchase and exchange) was also essential