Relevant bibliographies by topics / Castillo de Cardona (Spain)

Academic literature on the topic 'Castillo de Cardona (Spain)'

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Published: 26 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Castillo de Cardona (Spain)"

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Casado Arboniés, Manuel. "Un contexto temprano de política educativa regia: El “estudio general” de Alcalá de Henares (1293) = An Early Royal Educational Policy Context: the Study General of Alcalá de Henares (1293)." CIAN-Revista de Historia de las Universidades 21, no. 1 (June 1, 2018): 151. http://dx.doi.org/10.20318/cian.2018.4195.

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Abstract: The University of Alcalá de Henares. In terms of origin it was the fourth to be created in Spain after the short-lived University of Palencia (1212), the University of Salamanca (1218) and the University of Valladolid (1241). The University of Alcalá de Henares with its General or Advanced Studies was founded on 20 May 1293 by the Archbishop of Toledo, Gonzalo Pérez Gudiel, and King Sancho IV by royal privilege. The most distant precedent in at the time of theUniversity have set up from the 13 April 1499 Cardinal Francisco Jiménez de Cisneros.Keywords: Origin, University of Alcalá de Henares, General or Advanced Studies,Sancho IV, Archbishop of Toledo Gonzalo Pérez Gudiel, Cardinal Francisco Jiménez de Cisneros.Resumen: La Universidad de Alcalá de Henares. Su origen histórico la sitúa en cuarto lugar de las creadas en España, después de la de Palencia (1212), la primera pero de muy corta duración, la de Salamanca (1218) y la de Valladolid (1241). La Universidad de Alcalá de Henares, con sus Estudios Generales, -estudios superiores-, fue creada el 20 de mayo de 1293 por el Arzobispo de Toledo GonzaloPérez Gudiel y por el rey de Castilla Sancho IV, por privilegio real. El precedente más alejado en al tiempo de la universidad configuró a partir del 13 de abril de 1499 el Cardenal Francisco Jiménez de Cisneros.Palabras clave: Origen, Universidad de Alcalá de Henares, Estudios Generales, Sancho IV, Arzobispo de Toledo Gonzalo Pérez Gudiel, Cardenal Francisco Jiménez de Cisneros.
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Castillo-Esparcia, Antonio, Ángeles Moreno, and Paul Capriotti-Peri. "Presentación Vol 10 No 19." Relaciones Públicas en tiempos del confinamiento 10, no. 19 (June 26, 2020): 01–06. http://dx.doi.org/10.5783/rirp-19-2020-01-01-06.

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Presentation of the new issue by Dr. Antonio Castillo-Esparcia (University of Malaga, Spain), Dra. Ángeles Moreno (University Rey Juan Carlos, Spain) y Dr. Paul Capriotti-Peri (University Rovira i Virgili, Spain).
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Ramos-Sánchez, Jacobo, Álvaro García-Valero, Ricardo Menor-Albero, María José Tarruella-Rodenas, José Luis Fernández-Terrer, Teodoro Martínez-García, and Jesús Miguel Evangelio-Pinach. "First records of Onychogomphus cazuma Barona, Cardo et Díaz, 2020 (Odonata: Gomphidae) for the Castilla-La Mancha region (Spain)." Anales de Biología, no. 42 (December 2020): 167–71. http://dx.doi.org/10.6018/analesbio.42.18.

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En el presente documento se aportan los primeros datos sobre la biología de Onychogomphus cazuma Barona, Cardo et Díaz, 2020 en la región de Castilla-La Mancha (centro-este de España), confirmando su reproducción en dicho territorio mediante el hallazgo de exuvias y una hembra recién emergida. Hasta la fecha la especie solo se había detectado en la provincia de Valencia, en localidades situadas a más de 100 km. The first data on the biology of Onychogomphus cazuma Barona, Cardo et Díaz, 2020 in Castilla-La Mancha region are provided. Its reproduction in this territory is confirmed by the detection of exuvians and a teneral female. The species had been only detected in the province of Valencia, in locations more than 100 km away.
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Vernuccio, Angelo, and Alexandra Georgescu Paquín. "Creación de un paisaje sonoro como herramienta de mediación y de experiencia de visita. El caso del Castell de Cardona." ROTUR. Revista de Ocio y Turismo 14, no. 1 (January 30, 2020): 72–80. http://dx.doi.org/10.17979/rotur.2020.14.1.5946.

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La museografía inmersiva proporciona un tipo de experiencia centrado en la percepción del visitante, dándole un papel activo en una visita patrimonial. El presente trabajo se plantea como objetivo principal la conceptualización de un recurso de mediación complementario, novedoso y diferenciador, para el entorno patrimonial del castillo de Cardona, fundamentado en el uso de una herramienta de tipo tecnológico, que emplea el sonido inmersivo (binaural ) como medio de transmisión.Para ello se plantean una investigación historiográfica, para determinar nuevos temas interpretativos, una valoración de la actual museografía y de las posibilidades del entorno. Se crean ambientaciones sugerentes, para que el visitante pueda sentirse protagonista de la experiencia de visita y se configura además como un recurso sostenible para el gestor turístico y con un gran potencial comunicativo para la puesta en valor de los elementos patrimoniales.
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Bernaldo de Quirós, Federico, José-Manuel Maíllo-Fernández, Pedro Castaños, and Ana Neira. "The Gravettian of El Castillo revisited (Cantabria, Spain)." Quaternary International 359-360 (March 2015): 462–78. http://dx.doi.org/10.1016/j.quaint.2014.07.060.

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Mills, Patti A. "FINANCIAL REPORTING AND STEWARDSHIP ACCOUNTING IN SIXTEENTH-CENTURY SPAIN." Accounting Historians Journal 13, no. 2 (September 1, 1986): 65–76. http://dx.doi.org/10.2308/0148-4184.13.2.65.

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This paper examines an early modern contribution to the literature on stewardship accounting, the Tratado de Cuentas or Treatise on Accounts, by Diego del Castillo, a sixteenth-century Spanish jurist.
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Miralles, L., M. Sans, J. J. Pueyo, and P. Santanach. "Recrystallization salt fabric in a shear zone (Cardona diapir, southern Pyrenees, Spain)." Geological Society, London, Special Publications 174, no. 1 (2000): 149–67. http://dx.doi.org/10.1144/gsl.sp.1999.174.01.09.

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Saurí-Pujol, David, and Joan Carles Llurdés-Coit. "Embellishing nature: the case of the salt mountain project of Cardona, Catalonia, Spain." Geoforum 26, no. 1 (February 1995): 35–48. http://dx.doi.org/10.1016/0016-7185(95)00016-e.

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Ros-Fábregas, Emilio. "THE CARDONA AND FERNÁNDEZ DE CÓRDOBA COATS OF ARMS IN THE CHIGI CODEX." Early Music History 21 (September 4, 2002): 223–58. http://dx.doi.org/10.1017/s0261127902002061.

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The Chigi Codex occupies a place of honour among music manuscripts of the Renaissance; thirteen masses by Ockeghem along with L'homme armé masses by Josquin, Busnoys, Brumel and Compère figure prominently among its contents. According to Herbert Kellman, it was copied between 1498 and 1503 for the Burgundian nobleman Philippe Bouton. Several coats of arms of the Spanish families Cardona and Fernández de Córdoba appear in different places in the manuscript and Kellman suggested that the transfer of the Chigi Codex to the Spaniards occurred after the death of its first owner in 1515. Seven works, the foliation in the upper right margin of the recto folios and a table of contents with a heading that reads Tabla de missas y motetes were added by a Spanish scribe. Since Mouton's motet Quis dabit oculis, written on the death of Anne of Brittany in 1514, is also among the added works, Kellman concluded that these additions to the Chigi Codex were made after that date. The assumption that the manuscript travelled to Spain is further supported by a seventeenth-century inscription written in Italian on the flyleaf of the manuscript, which affirms that the book was used in Spain.
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Rink, W. J., H. P. Schwarcz, H. K. Lee, V. Cabrera Valdés, F. Bernaldo de Quirós, and M. Hoyos. "ESR dating of Mousterian levels at El Castillo Cave, Cantabria, Spain." Journal of Archaeological Science 24, no. 7 (July 1997): 593–600. http://dx.doi.org/10.1006/jasc.1996.0143.

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Dissertations / Theses on the topic "Castillo de Cardona (Spain)"

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Johnston, Philip Andrew. "Pottery Production at the Phoenician Colony of El Castillo De Doña Blanca (El Puerto De Santa María, Spain) C. 750-550 BCE." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463135.

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This dissertation uses scientific analysis of pottery to examine social and economic process at a Phoenician colony in the Bay of Cádiz, Spain. Previous research on the Phoenician colonial economies has neglected social and diachronic dynamics, due to a lack of adequate data and proper theoretical frameworks. I address these shortcomings by examining the relative effect of the colonial encounter on Phoenician and indigenous potters, and studying changes in the organization of production over the duration of the Phoenician colonization. I accomplish this using a ‘colonial economic history,’ which combines a critical postcolonial perspective, anthropological methods for the study of production and knowledge transmission, and scientific (chemical, microscopic) data. I apply this approach to 169 pottery fragments from the site of El Castillo de Doña Blanca (CDB). The sample is structured to allow a comparison of Phoenician and indigenous practices, and of four chronological phases spanning the 8th to 6th centuries BCE. Visual examination of the samples combined with Neutron Activation Analysis (NAA), portable X-Ray Fluorescence spectrometry (pXRF), and petrographic microscopy provides a basis for identifying technological practices and trends related to raw material use, vessel formation, and surface treatment. These in turn are used to infer the organization of production, and continuity in knowledge transmission among potters. The results shed light on the effect that the colonial environment had on the activities of both indigenous and Phoenician producers, as well as on CDB’s economic development, between c. 750 and 550 BCE.
Near Eastern Languages and Civilizations
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DuBard, Bryana. "The Key to All the Indies: Defense of the Isthmus of Panama." Thesis, 2013. http://hdl.handle.net/1969.1/149481.

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Beginning in the 16th century, the Isthmus of Panama was identified as a region of strategic importance. Although mountainous and prone to adverse weather, it provided the most direct route between the Atlantic and Pacific oceans. During this period the Isthmus served as the primary route for the shipments of silver and gold extracted from the mines of Peru. The bullion was transported via coastal armadas from Peru to Panamá la Vieja, where it was loaded onto pack mules and hauled across the Isthmus to Nombre de Dios until 1597, and after that to Portobelo. Once the bullion arrived at the Caribbean port cities it was transferred to the ships of the Armada de la Guardia de la Carrera de Indias and shipped across the Atlantic to the royal coffers of Spain. Because of the Isthmus’s role in the transportation of valuable commodities, it quickly became a region prone to attacks by pirates and privateers looking to profit from the plunder of Spanish assets. Thus the Spanish crown began a campaign to defend the Isthmus early on and repeatedly adapted its defensive strategy in order to meet the ever-changing tactics of the pirates and privateers. This thesis investigates the history of the Isthmus of Panama and the ways in which Spain defended this strategically significant locale during the 16th century. It incorporates an historical analysis of the tactics planned, ordered, and executed by the crown; an overview of the most relevant structural remains of the fortifications built during this period; and a synopsis of previous archaeological investigations, as well as the prospects of future archaeological research. The thesis begins with a brief history of the three main cities located on the Isthmus as well as a general description of the geography and climate in order to better explain the challenges faced by the inhabitants, soldiers, and attackers in this region. It then discusses the strategic importance of the Isthmus as it was perceived in the 16th century. Since defense would not have been necessary had it not been for the presence of pirates and privateers, the history of attacks on the Isthmus is discussed, and a general overview of piracy in the Spanish Main during the period under analysis is presented. Lastly, the archaeological work previously undertaken in the region is examined and summarized, and recommendations for further research are provided in an effort to provide a basis for future study of the ships and infrastructure used during this era for the defense of the Isthmus of Panama.
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Books on the topic "Castillo de Cardona (Spain)"

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Conde, Antonio Linage. El castillo de Castilnovo. Villafranca del Condado, Segovia: Castilnovo, 1993.

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López, Jesús Sánchez. El castillo de Torija. Guadalajara: Aache Ediciones, 2004.

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Guerra, Fernando Cobos. Castillo de Ponferrada. León: Edilesa, 2002.

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Fernando, Pérez Simón, ed. Javier: El castillo redescubierto. Pamplona: Gobierno de Navarra, Dirección General de Comunicación, Oficina del Portavoz del Gobierno de Navarra, 2007.

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García, Mariano Martín. El Castillo de Velillos. Armilla, Granada: Ediciones Osuma, 1999.

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Almena, Fernando. Ex, o la irrefrenable marcha del cangrejo ; !Viva Cardona! ; Made in Spain. Madrid: Editorial Fundamentos, 1999.

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Lara, Fernando Sáez. El castillo de la Alameda. Madrid: Ayuntamiento de Madrid, 2012.

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Vílchez, Carlos Vílchez. El Castillo de Bibataubín, 1238-1752. Granada: Universidad de Granada, 2011.

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Esteban, Jorge Jiménez. El castillo medieval español y su evolución. [Madrid? Spain]: Agualarga, 1995.

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Adell, Joan-Albert. Colegiata de Sant Vicenç de Cardona: Guía histórica y arquitectónica. Barcelona: Curial Edicions Catalanes, 1994.

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Book chapters on the topic "Castillo de Cardona (Spain)"

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de, Federico Bernaldo, Pedro Castaños, Fernandéz Maíllo, Manuel José, and Ana Neira. "The Solutrean unit of El Castillo cave, Spain." In Forgotten times and spaces: New perspectives in paleoanthropological, paleoetnological and archeological studies., 410–17. Brno: Masaryk university, 2015. http://dx.doi.org/10.5817/cz.muni.m210-7781-2015-30.

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Maudslay, Alfred Percival. "How letters came to Cortés from Spain from Don Garcia de Loaysa, Cardinal of Siguenza, who was President of the [Council of] the Indies and soon afterwards Archbishop of Seville, and from other gentlemen, [advising him] in any case to come at once to Castile, and they brought the news that his father Martin Cortés was dead, and what he did about it." In The True History of the Conquest of New Spain. By Bernal Diaz del Castillo, One of its Conquerors, 139–53. Ashgate, 2021. http://dx.doi.org/10.4324/9781003210627-24.

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"4 Alonso del Castillo: Translator, Author?" In The Orient in Spain, 95–120. BRILL, 2013. http://dx.doi.org/10.1163/9789004250291_006.

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"Women Prophets for a New World: Angela of Foligno, “Living Saints”, and the Religious Reform Movement in Cardinal Cisneros’s Castile." In Gender and Exemplarity in Medieval and Early Modern Spain, 136–62. BRILL, 2020. http://dx.doi.org/10.1163/9789004438446_006.

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Lawson, Andrew J. "El Castillo, Cantabria, Spain with Las Chimeneas, Las Monedas, and La Pasiega." In Painted Caves, 269–90. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:osobl/9780199698226.003.0010.

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Linehan, Peter. "The English Mission of Cardinal Petrus Hispanus, the Chronicle of Walter of Guisborough, and news from Castile at Carlisle (1307)." In Historical Memory and Clerical Activity in Medieval Spain and Portugal, 605–21. Routledge, 2018. http://dx.doi.org/10.4324/9781351219105-14.

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"1 Post-Patriarchal Comedy in Mexico (and Spain): Three Films of Fernanda Castillo." In Mexican Genders, Mexican Genres, 17–38. Boydell and Brewer, 2021. http://dx.doi.org/10.1515/9781800101005-004.

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Kolb-Neuhaus, Roberto. "Breaking Down False Consciousness." In Silvestre Revueltas, 263—C6N30. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780199751488.003.0007.

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Abstract Revueltas’ continuous cross-references to a wide array of compositional styles through montage and collage bewildered more than one at the time (and still does today). Planos, which mixes stylistic referents quite freely and even provocatively, is a prominent example of a critical stance regarding values and practices that were standard in the field of modern art music, such as a “personal style” and stylistic unity. Previous approaches have overlooked the obvious satire in the work’s subtitle, “Geometric Dance,” poking fun at positivism and exoticism—Planos is neither “geometric” nor suitable for dance. Establishing a dialogue with two other analyses performed by Alejandro Cardona and José Luis Castillo, the present approach identifies Revueltas’ mostly satirical references to pentatonic primitivism, aggressively juxtaposed with derivatives of pregones (street cries), used by the composer to mark this score politically. The score thus appears to sound a debate between nationalist self-exoticization and a political definition of cultural identity. A program note with handwritten examples of such street cries symbolically used in other scores by Revueltas lends support to this interpretation. The study is complemented by a discussion of Revueltas’ link to Stravinsky, defined not as representing the canon but, as in the case of the Mexican, as a composer challenging the Eurocentric canon from the periphery.
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Sainz, César González. "Dating Magdalenian Art in North Spain: The Current Situation." In Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0018.

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The graphic activity of Magdalenian human groups forms the most spectacular part of the archaeological record in Cantabrian Spain and, at the same time, represents probably the most expressive aspect of the culture of those Upper Palaeolithic hunters. Since the early 1990s, several projects have tried to fix more precisely the chronology of the cave art through the application of radiocarbon dating by Accelerator Mass Spectrometry (Valladas et al. 1992, 2001; Moure Romanillo and González Sainz 2000; Fortea Pérez 2002). The present article attempts an integrated discussion of the results of the absolute chronology for Magdalenian cave art and the present situation of the most reliable parallels between this and the mobile art of the same period. It is well known that the ordering in time of cave art is rather more complex than that of decorated objects, which are dated by their archaeological context (and therefore both this context and the artefacts themselves can be dated by radiocarbon). In Cantabrian Spain, the approaches to dating cave art, especially for the Magdalenian depictions, are the series of superimpositions known on certain walls of a few caves, the analogy with stratified mobile art, and absolute dating, essentially for this period, radiocarbon dating by accelerator. Other procedures, such as the correlation with stratigraphic sequences, offer good results in pre-Magdalenian periods (Fortea 1994), but are limited in the period that interests us here to just a few cases, such as Cueva del Mirón, in relation with some rather modest depictions (González Morales and Straus, 2000). 1. Series of superimposed figures of different kinds have often been described, on panels in a limited number of cave sites. In Cantabrian Spain, the main examples are found in the caves of La Peña del Candamo, Tito Bustillo, Llonín, Altamira, El Castillo, La Pasiega, and La Garma Lower Passage—in other words, the main cave art centres, repeatedly used over long periods in the Upper Palaeolithic. These sites tend to differ quite clearly from the other cave art sites, which are more or less synchronic internally (they have a much lower number of depictions which, above all, are more homogeneous in style and techniques).
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"Concerning some errors and other things written by the Historians Gómara and Yllescas about affairs in New Spain." In The True History of the Conquest of New Spain. By Bernal Diaz del Castillo, One of its Conquerors, edited by Alfred Percival Maudslay, 67–68. Hakluyt Society, 2018. http://dx.doi.org/10.4324/9781315551883-18.

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Conference papers on the topic "Castillo de Cardona (Spain)"

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Casas, A., D. Deiana, J. Gili, L. Rivero, and V. Pinto. "Geophysical surveys for detecting subsidence and collapse areas at Cardona salt diapir (Catalonia, Spain)." In 8th EEGS-ES Meeting. European Association of Geoscientists & Engineers, 2002. http://dx.doi.org/10.3997/2214-4609.201406179.

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Rodríguez-Navarro, Pablo, and Teresa Gil-Piqueras. "El Castillo de Bairén (Gandía, España). Proyecto de documentación gráfica." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11420.

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Bairén Castle (Gandía, Spain). Graphic documentation projectBairén Castle was built in the Almoravid period, carring out the function of border hisn of the Taifa of Dénia. It was the administrative, political and legal-religious center of more than 20 farmhouses or qurà and castles. At present is possible visit the castle, although only part of its walls and remains of ruins scattered throughout the hill remain. The abandonment that has been suffering during these last years, together with the uncontrolled growth of the vegetation, make necessary to carry out urgent actions to conserve and put it in value. Within the framework of the study carried out in the initial phase of the Project for the authorization of the archaeological park of the castle of Bairén1, we have been developing an important work of graphic documentation, which will serve both to demonstrate the current state of the castle, as well as for the archaeological and restoration works. The main objective of this communication is to set the methodology for the graphic survey according to this type of monuments, establish the workflow, and finally, show the graphic documentation obtained.
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Mileto, Camila, Fernando Vegas López-Manzanares, and Salvador Tomás Márquez. "La recuperación de los espacios abovedados del Castillo de Petrés (Valencia, España)." In FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.17941.

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The Castle of Petrés (Valencia, Spain) was built and renovated in several phases between the 15th and 20th centuries when, in the first half of the 20th century, its upper part was dismantled, leaving it in ruins. Today, the ground and underground floors of this old palace-fortress are still preserved. After producing a preliminary survey, several studies and a master plan, various phases of intervention have been carried out in different parts of the complex with extensive archaeological excavations that have made it possible to find some previously unknown storage and dungeon spaces. In the conservation and restoration phase, in addition to the consolidation of the walls, the tile vaults that covered three spaces on the ground floor have been reconstructed with multiple objectives: to protect the archaeological remains and to consolidate the structures, to recover the interior spaces, as well as to recover the traditional technique and its historical connection with the complex.
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Del Rey, Miguel, and Antonio Gallud. "Intervención en el Castillo de Biar. Consolidación de una ruina como alternativa posibilista en la defensa del patrimonio." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11352.

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Biar's Castle intervention. Consolidation of a ruin as a possibilist alternative in the defense of heritageConsolidation of ruin and didactic recovery of the castle's profile dominating the landscape. Almohad fortress that should have been recorded at the beginning of the powerful existing tower, surrounded by a protective wall with adarve, all on steep rocks. The fortress is transformed over time, being in service as a defense between Muslim Spain and Christian Spain in the twelfth and thirteenth centuries, to later, be a point of friction between the Kingdoms of Castilla and Aragón, remaining active until the mid-sixteenth century, with an intervention in the nineteenth century during the Carlist wars. Is located on the top of a hill at 745 m altitude, next to the town. The orography marks a deep slope to the northeast, more than 100 m high, while to the west, falling towards the population, the slope is smoother. Because of its situation, the castle has a very important visual impact, so landscape considerations acquire a special meaning. The intervention is partial on the second walled enclosure and in total ruin, proposing an eloquent restoration that allows to approach its complex history and the construction techniques used, within a strong economy of means in the project and subsequent maintenance. We can restore the image of the courtyard, its spatiality and know the remains of existing buildings. Both, the remnants emptying of crashes, and the restoration of the traces of the internal walls, the various heights of the walls and their guard steps, allow us to understand the whole along the time. The undoubted visual and landscape interest of Biar Castle is a relevant aspect of the intervention.
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Carta, Federica, Diego Ros McDonnell, and Pedro Enrique Collado Espejo. "El Castillo de La Atalaya (siglo XVIII), en Cartagena (Región de Murcia, España). Análisis formal y constructivo." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11366.

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The Atalaya Castle (eighteenth century), in Cartagena (Region of Murcia, Spain). Formal and constructive analysisThe Atalaya Castle (eighteenth century) is one of the military fortifications that were part of the defense of Cartagena. The defensive system of the period was composed of an important walled enclosure, which surrounded the city, the arsenal, and a group of fortresses outside the city wall, located on the nearby hills. One of these defensive constructions is the Atalaya Castle or Fort, located to the west of the city from its position it protected the population from attacks both by land and by sea. To the north and west by land, through the Almarjal and the Pelayo mountains, the south by sea covered the possible landings in the bays of the Algameca Grande and the Algameca Chica. The building is a magnificently construction, the fort has a pentagon ground plan with five bastions at each angle. It has an interior building in U arranged on a solid bastioned platform the whole complex is surrounded by a dry moat. The fortification present certain formal elements used in other constructions that had been lifted in the city at that time, circumstance gave unity to the whole. The materials consisted of employed mainly stone and brick, the constructive elements introduce certain heterogeneity. The purpose of the communication is to present the results of the comprehensive analysis carried out in the Atalaya Castle as well as to contribute, through its dissemination to raise awareness of the need for its restoration and enhancement. Research has studied the characteristics of the formal and constructive system of the fortification currently in a state of semiabandonment, a proposal has also been conducted for a new cultural use as a guarantee of its correct recovery and conservation.
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Navarro Luengo, Ildefonso, Adrián Suárez Bedmar, and Pedro Martín Parrado. "El castillo de San Luis (Estepona Málaga): Origen y evolución de una fortificación abaluartada. Siglos XVI-XXI." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11552.

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The castle of San Luis (Estepona Málaga): Origin and evolution of a bastion fort. Sixteenth to twenty-first centuriesThe results of the investigation prior to the excavation work in the Castle of San Luis, in Estepona (Málaga, Spain) are presented. It is a coastal fortress built in the last quarter of the sixteenth century, in the context of the reorganisation of the defense of the western coast of Malaga after the Moorish rebellion of 1568. After analysing the available literature, we propose that it was designed by the Engineer Juan Ambrosio Malgrá, Maestro Mayor de obras del Reino de Granada. The Castle of San Luis is devised as an add-on construction on the southern front of the walls of Islamic origin, dominating the natural anchorage of the Rada beach. Its most prominent elements are three bastions, two of them with casemates, and a large main square. However, various defects in the design and execution of the works, added to the insufficient provision of artillery and garrison, affected the effectiveness of the fortification throughout its history. In the middle of the eighteenth century, part of the Castle of San Luis is restructured as a cannons’ battery. Following the damage caused by the Lisbon Earthquake, in 1755, and by the French and English blastings in 1812, during the second half of the nineteenth century much of the castle disappears, leaving only the cannons’ battery, which is incorporated as a courtyard in height as an add-on to a house built at the end of the nineteenth century. At present, after several decades of abandonment, excavation works have been undertaken on the remains of the battery, after which the site will be prepared to be used as a museum.
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Ortega Camacho, Fernando, and Luis José García-Pulido. "El sistema de abastecimiento de agua de la fortaleza más icónica de la Orden de Calatrava en la Encomienda de Martos (Jaén): El Castillo de La Peña." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11538.

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The water supply system of the most iconic fortress of the Order of Calatrava at the Command of Martos (Jaén, Spain): The Castle of the RockThis article deals with the analysis of the conserved remains of the water storage system of the Castle the Rock or the High Fortress of Martos (La Peña or Fortaleza Alta de Martos), which constituted the castle and main headquarters of the Master of the Order of Calatrava at the Commander of Martos between the thirteenth and fifteenth centuries. The elements that compose it make a unique hydraulic complex that still allows to be recognized and documented. Due to its importance and meaning, this castle is one that better shows the constructive techniques and the polyorcetic typologies developed and updated by this Order in its Commands in Castile-La Manche and Andalusia. The hydraulic system to supply water to this rocky fortress is a reflect of these technology, and it is unique in its design and layout.
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Sánchez Corrochano, Álvaro, Enrique Martínez Sierra, Alessandro Greco, and Daniela Besana. "Técnicas digitales para el estudio del Patrimonio Defensivo: “Puerta de Almenara” y lienzos sur del Palacio del Gobernador y Plaza de Armas del Castillo de Sagunto (Valencia)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11387.

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Digital technicals for the study of the Defensive Heritage: “Puerta de Almenara” and south walls of “Palacio del Gobernador” and “Plaza de Armas” of the Castle of Sagunto (Valencia)The use of digital documentation and registration techniques in Cultural Heritage is becoming more common every day, thanks to its ability to capture a large amount of data in a fast and efficient process. Its high geometric precision, thoroughness, performance retrieved and especially the generation of high fidelity and precision of architectural good assets make these tools optimal for the planimetric surveys. The work of intervention or conservation of cultural heritage requires a previous graphic registration using different techniques available. This article presents a combined method of implementation of various digital techniques that allow to achieve the most accurate graphic documentation possible. The different results obtained from the use of photogrammetry by drone or by manual camera are discussed. It is intended to seek the standardization and optimization of the process of documentation and value of the Cultural Heritage by combining these techniques. These techniques have been used in a real case: the three-dimensional modeling of various parts of the defensive set of the Castle of Sagunto (Valencia), called the “Puerta de Almenara”, which gives access to the square of the same name, on the eastern side and some walls of the fortification. The Castle of Sagunto is a mosaic of the different cultures who occupied it (Iberians, Romans, Goths, Arabs...). The fortification is located on top of a hill of the Sierra Calderona, controlling even the Mediterranean coastal road and the communication route with Aragon. During the last years, the castle has been immersed, for almost 20 years, in various works of consolidation and restoration to initiatives of the Institute of Cultural Heritage of Spain.
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