Publicación: La influencia de las piedras ornamentales en el desarrollo de la ingeniería en el siglo XVI. Reconstrucción del molino de corte de mármol del monasterio de El Escorial
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2022
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Atribución-NoComercial-SinDerivadas 4.0 Internacional
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Universidad Nacional de Educación a Distancia (UNED)
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La construcción del monasterio de El Escorial en la corte de los Austrias del siglo XVI supuso la afluencia a ésta de un buen número de artistas y técnicos, que trajeron consigo, entre otras, las técnicas de trabajo con piedras duras redescubiertas en el renacimiento italiano. Dichas técnicas, estaban generalmente vinculadas a las artes suntuarias, y, por lo tanto, muy poco extendidas y prácticamente reservadas a las obras reales, del clero y de la nobleza. La prisa por terminar la obra magna de Felipe II propició un despliegue sin parangón de herramientas y máquinas específicas para los trabajos en piedra allí realizados y cuyo origen puede rastrearse en los escasos tratados y cuadernos de anotaciones que habían comenzado a producirse cerca de un siglo antes y cuyo máximo exponente fue, sin lugar a duda, los cuadernos de Leonardo Da Vinci, que llegaron a España de la mano de Pompeo Leoni uno de los constructores del retablo mayor de El Escorial. La premura en la terminación de las obras propició la mecanización de ciertos trabajos con las piedras duras que de otra manera hubieran dilatado en exceso la finalización del retablo. Un claro ejemplo fue la construcción del aserradero para el corte de mármol del monasterio de El Escorial. Este aserradero supuso un claro avance tecnológico para la época que evidentemente pudo lograrse aunando los conocimientos desarrollados en los ambiciosos proyectos de arquitectura, hidráulica e ingeniería civil que tuvieron lugar en la España del siglo XVI.
The construction of the monastery of El Escorial in the 16th century involved the influx of a good number of artists and technicians, who brought with them, among others, the techniques of working with hard stones that were rediscovered in the Italian Renaissance. These techniques were generally linked to the sumptuary arts, and, therefore, very little extended and practically reserved for royal works, the clergy, and the nobility. The rush to finish the great work of Felipe II propitiated an unparalleled display of tools and specific machines for the stone works carried out there, the origin of which can be traced in the treatises and notebooks that had begun to be produced nearly a century before. The greatest exponent was, without a doubt, the notebooks of Leonardo Da Vinci, which arrived in Spain from the hand of Pompeo Leoni, one of the builders of the main altarpiece of El Escorial. The haste in the completion of the works led to the mechanization of certain works with hard stones that otherwise would have delayed their completion excessively. A clear example was the construction of the sawmill for cutting marble in the El Escorial monastery. This sawmill was a clear technological advance for the time that could obviously also be achieved due to the knowledge related to the ambitious hydraulic architecture or civil engineering projects that were developed at the same time.
The construction of the monastery of El Escorial in the 16th century involved the influx of a good number of artists and technicians, who brought with them, among others, the techniques of working with hard stones that were rediscovered in the Italian Renaissance. These techniques were generally linked to the sumptuary arts, and, therefore, very little extended and practically reserved for royal works, the clergy, and the nobility. The rush to finish the great work of Felipe II propitiated an unparalleled display of tools and specific machines for the stone works carried out there, the origin of which can be traced in the treatises and notebooks that had begun to be produced nearly a century before. The greatest exponent was, without a doubt, the notebooks of Leonardo Da Vinci, which arrived in Spain from the hand of Pompeo Leoni, one of the builders of the main altarpiece of El Escorial. The haste in the completion of the works led to the mechanization of certain works with hard stones that otherwise would have delayed their completion excessively. A clear example was the construction of the sawmill for cutting marble in the El Escorial monastery. This sawmill was a clear technological advance for the time that could obviously also be achieved due to the knowledge related to the ambitious hydraulic architecture or civil engineering projects that were developed at the same time.
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Renacimiento, piedras duras, técnicas lapidarias, corte del mármol, aserradero de mármol, siglo XVI, Renaissance, hard stones, hard stone cutting, 16th century, cutting marble, sawmill
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Facultad de Geografía e Historia
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Prehistoria y Arqueología