The aim of the present study was to evaluate the relative attenuation of VIS, UV and NIR solar radiation through a large pond skylight into the interior of the l’Almoina Archaeological Museum (Valencia, Spain), and to determine how relative attenuation varied throughout the year and time of day. Measurements were taken at 9:00 a.m., 12:00 p.m. and 3:00 p.m. during July 2019 and January 2020. Relative attenuation values were obtained from the measurement of spectral irradiance in the exterior and at different points in the interior by means of two Ocean Optics spectrometers: HR4000CG-UV-NIR for VIS (400–700 nm) and NIR (700–1000 nm) bands, and FLAME-S-UV-VIS for UV-A (280–315 nm) and UV-A (315–400 nm) bands. The central points of the skylight had relative attenuation at 520 nm, reaching a value of 50% in summer at noon and 38% in the afternoon. At noon in winter, there were two relative attenuation peaks above 33% at 520 nm and at 900 nm. For mean relative attenuation, in the UVB range, the highest relative attenuation (20%) was inside the ruins in the morning in both summer and winter, and the UVA band relative attenuation was quite constant throughout the museum, but lower than that of the UVB band, in the range 0–3%.

IGLESIA DE LA INMACULADA EN SANTA EULALIA DEL CAMPO (TERUEL). APUNTES SOBRE EL PROCESO CONSTRUCTIVO

Since ancient times alabaster has been used in architecture for many different purposes: as a loadbearingmaterial in the construction of walls and columns, in the manufacture of decorative elements(altarpieces, sarcophagi, capitals...), and as a substitute for glass in the illumination of interiors. InSpain, in areas with abundant natural resources, such as the region of Aragon, it is common to findchurches and hermitages with alabaster windows and oculi in clerestories and lanterns. In manyinstances the alabaster plates in these churches and hermitages are broken, detached or have beenreplaced with different materials. This material can also be found in traditional architecture close toalabaster quarries, including ones no longer in use, and has been used for ashlar plinths or lintel arches.This paper seeks to provide an introductory characterization of the material, the geographical locationof natural resources in Aragon, and the techniques most frequently used in the construction of historicarchitecture in rural areas, It also offers basic recommendations for the prevention, repair andmaintenance of the main pathologies identified.

The Maestrazgo is a historical region located in the eastern part of the province of Teruel (Spain), madeup of fifteen municipal districts and numerous villages sheltered by the mountains of the Sierra de Gúdar.After the Christian Reconquest, military orders played a decisive role in controlling the territory. Theregion reached its peak at the end of the Middle Ages before the Industrial Revolution, thanks to theexploitation of livestock and the wool trade. The modern era, on the other hand, was marked by a drasticeconomic and demographic crisis in rural areas, which brought many of these villages to the brink ofextinction. This phenomenon - shared by large areas of the interior of the Iberian Peninsula - largelycoincided with the global development of urbanization and industrialization. Fortunately, the rural-urbancomplexes under study have hardly been affected by the transformations brought about by the modern era.This has favoured the preservation of the essence of vernacular architecture with few alterations. Thedefinition of the uses and the typological characteristics of the buildings in these villages reveal the flowof traditional daily life behind their thick stone walls. This study aims to explain and understand the raisond'être of these invariant architectural structures in a decisive period of the region's history, the 16th and17th centuries.

Orientalism, as a variant of exoticism in the Romantic period, adopted a series of topics linked to distant countries and oriental cultures, including Spanish lands, especially Andalusian. This phenomenon was especially prolific in the world of the arts around the Alhambra, «doubly romantic for its medieval and oriental origin» (Raquejo, 1989).Alhambrism was developed by traveling writers in the early 19th century, eager for suggestive scenarios in which to recreate their poems and stories. Later it spread to the plastic arts, with painters such as François Antoine Bossuet, John Frederick Lewis, David Roberts, Gustave Doré or Jenaro Pérez Villaamil. In the case of architecture, Alhambrism was nourished by parallel sources. On the one hand, the awakening to the conservation of the Alhambra as a monument witness to a dreamy period in the history of Spain, and the first interventions by Rafael Contreras, still under babbling and unscientific criteria. On the other hand, the impulse to decorativism through the seminal studies of Owen Jones and Jules Goury, convinced that «in the Alhambra the exemplary paradigm of the most perfect ornamental and chromatic system of all historical styles had existed was hidden» (Villafranca).Music also found fertile ground for creativity in the Alhambra between the mid-19th and early 20th centuries, within the nationalist romantic movement. However, it was mainly the Spanish composers who chose the Alhambra to reflect the national identity: Tárrega, Turina, Albéniz, Bretón, De Monasterio, to which we should add a Debussy influenced by Falla.The communication aims ultimately to investigate through analysis the musical resources used by the last-mentioned composer, Claude Debussy, to evoke with sounds the architecture and the sensual atmosphere of the Alhambra in one of the most representative works of Alhambrism in music: La Puerta del Vino (The Wine Gate).