A large Arab neighborhood has appeared in the excavations being carried out in Murcia for the construction of a parking lot. To a large extent, over 10,000 square feet formerly occupied by the Garden of San Esteban, is now uncovered part of what was a huge slum Andalus which developed extramural over the centuries XII and XIII.
Episodes of incorporation of the kingdom of Murcia to the Crown of Castile are deducted from the reading of The Cantigas de Santa Maria, where you can see the impression left on King Alfonso X El Sabio this land to the conquest of which comes in very early age. The Cantigas de Santa Maria is a set of four hundred twenty-seven compositions in Galician-Portuguese, the fundamental language of poetry cultivated in the thirteenth century in Castile and the wise king knew from having lived in his early childhood in Galicia. Are distributed in four manuscripts, one in the National Library in Madrid, two in San Lorenzo de El Escorial and the fourth is located in Florence.
In all of them and by explicit reference the monarch of the Arrixaca Arrabal, we are interested in ballad number 169, because it relates the miracle of Arrixaca. Also in this ballad is mentioned that as a concession suburb of King Alfonso Murcia from the Moors to live on it and be protected from attacks that were the subject by other Christians.
In 1266, from Seville, King Alfonso sent a letter to Murcia ordering the transfer of the suburbs Moorish walled for protection, calling for peaceful coexistence between the two groups:
Episodes of incorporation of the kingdom of Murcia to the Crown of Castile are deducted from the reading of The Cantigas de Santa Maria, where you can see the impression left on King Alfonso X El Sabio this land to the conquest of which comes in very early age. The Cantigas de Santa Maria is a set of four hundred twenty-seven compositions in Galician-Portuguese, the fundamental language of poetry cultivated in the thirteenth century in Castile and the wise king knew from having lived in his early childhood in Galicia. Are distributed in four manuscripts, one in the National Library in Madrid, two in San Lorenzo de El Escorial and the fourth is located in Florence.
In all of them and by explicit reference the monarch of the Arrixaca Arrabal, we are interested in ballad number 169, because it relates the miracle of Arrixaca. Also in this ballad is mentioned that as a concession suburb of King Alfonso Murcia from the Moors to live on it and be protected from attacks that were the subject by other Christians.
In 1266, from Seville, King Alfonso sent a letter to Murcia ordering the transfer of the suburbs Moorish walled for protection, calling for peaceful coexistence between the two groups:
"E on that he sent my letter to the honorable Mr. Mohamad, King of Murcia, which Fagan the Moors who move to the Arrijaca with all things of the day that saw my letter to forty days ... " (Cascales: Speeches, p ° 58-59).
This historic moment is captured in a miniature illustrated this ballad in which the city is reflected mora, La Arrijaca, walled and having its center at the mosque into a church. appear also represented the King Don Jaime, King Alfonso and a series of colorful characters who inhabit in the neighborhood and are pleading with the monarchs the demolition of the Christian church to clear its slums.
The king tells the miracle of Our Lady of Arrixaca. The miracle is really a series of events that condemn the destruction or removal of the Christian church and who repeatedly fail, even when they Jaime King Alfonso X and I accept the requests of the residents of the suburb, the Moorish king refuses to elimination.
Here are some of the verses that make explicit reference to the facts before us.
CANTIGAS 169 (Fragment)
is of an old church
do
were to gather outside was raised that the queen
unparalleled within
Arreixaca and where to
praying people of Pisa, Genoa
and Sicily will ...
This historic moment is captured in a miniature illustrated this ballad in which the city is reflected mora, La Arrijaca, walled and having its center at the mosque into a church. appear also represented the King Don Jaime, King Alfonso and a series of colorful characters who inhabit in the neighborhood and are pleading with the monarchs the demolition of the Christian church to clear its slums.
The king tells the miracle of Our Lady of Arrixaca. The miracle is really a series of events that condemn the destruction or removal of the Christian church and who repeatedly fail, even when they Jaime King Alfonso X and I accept the requests of the residents of the suburb, the Moorish king refuses to elimination.
Here are some of the verses that make explicit reference to the facts before us.
CANTIGAS 169 (Fragment)
is of an old church
do
were to gather outside was raised that the queen
unparalleled within
Arreixaca and where to
praying people of Pisa, Genoa
and Sicily will ...
was saved by guards,
and therefore able
the Moors were not
for any damage to
in that holy place
or touch any of it,
although its scope was
and locked in their network ...
(although he was not touched on its premises and within their reach)
It happened after this
being in Murcia I
and even in the Arreixaca,
the
Aljama ordered me to the church including
removed and saddened me because it was painted
color ...
(This verse is self-explanatory)
evil Although my degree so I agreed
and Vios
assembly the Moorish king come calling for its demolition
MAS heard him say
Not that he hates Mary
, has a bad end.
(the church is left standing as to the Moorish king refuses to touch)
Photos: Dinopas
Texts:
"The Galician-Portuguese songbooks as historical sources"
López-rained by Eugenio
Valladolid, 2008
Translation cantiga 169 of Galician: Andrew Sovereign Alcayna, professor and poet
Mursiya map and its suburb of Arrijaca, which was made by superimposing the current route of Murcia: "This map was made thanks to Google Maps. Overlaying the existing urban layout with of medieval Murcia. Lack to the alcazar (fortress) is the one seen to the right of the site and is the current Museum building Claras "
With the collaboration of José Luis Morales Limia
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