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                  <text>Site: Barn</text>
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              <text>Enrique Meléndez Galán</text>
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            <description>An account of the resource</description>
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                <text>A traditional wooden bowl designed for multiple uses in an Asturian kitchen</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>19th/20th</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Art,PEOPLE,SOCIAL HISTORY</text>
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            <description>The size or duration of the resource.</description>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>melendezenrique@uniovi.es</text>
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            <name>Identifier</name>
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                <text>535</text>
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            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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                <text>12/08/2025</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Cuenco</text>
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            <description>Spatial characteristics of the resource.</description>
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            <description>The Europeana material type of the resource.</description>
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      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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              <text>Black clay of Molelos</text>
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              <text>The black clay bowl is used for oven cooking, such as oven-baked rice.</text>
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              <text>To make a black clay bowl, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the bowl the desired shape. After shaping the piece, it is left to dry slowly before being placed in the kiln. </text>
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              <text>The black clay bowl is traditionally used for cooking, especially for preparing rice in the oven. </text>
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              <text>Potter's wheel and finishing tools.</text>
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          <name>Place</name>
          <description>The town or city</description>
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              <text>Molelos, Tondela, Portugal</text>
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          <description>A link to a wiki entry about this item.</description>
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              <text>https://culturality.museum/wiki/index.php/Bowl</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Bowl</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A black clay bowl has a truncated cone shape with a circular base, a wide mouth and a rim that usually has four ‘spouts’ (or ‘ears’) that make it easier to handle and hold.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>1858</text>
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            <description>A language of the resource</description>
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                <text>Portuguese</text>
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            <description>An entity responsible for making contributions to the resource</description>
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            <name>Identifier</name>
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                <text>748</text>
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                <text>craftedobjects,portugalobjects</text>
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            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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                <text>https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/&#13;
https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf&#13;
https://www.youtube.com/watch?v=W3FS07QYpD0 </text>
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            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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                <text>27/10/2025</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Alguidar</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>current,40.530278,-8.095556;</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
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                <text>TEXT</text>
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  <item itemId="1300" public="1" featured="0">
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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        <element elementId="132">
          <name>Material</name>
          <description/>
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              <text>Trysil Garn Sportsgarn, three stranded 100% wool yarn. Uses leftover strans for embroidery. Elastic and metal ring.</text>
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          <name>Natural Cultural</name>
          <description/>
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          <description/>
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              <text>Crown for wearing as a bride.</text>
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        </element>
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          <name>Creation Purpose</name>
          <description/>
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              <text>Bengtsson made a bridal crown during an education for a competition. She has shown it at exhibitions. She thinks about giving it or lending it to the church for weddings.</text>
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          <name>Technique</name>
          <description/>
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              <text>Made with nålbindning technique, see RV_CP_06 for further information.</text>
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          <name>Material Source</name>
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              <text>Bengtsson buys her yarn in Norway, at Europris. trysilgarn.europris.no</text>
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          <name>Conecept</name>
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              <text>The bridal crown is inspired by the Dalby mitten, and the usage of a bridal crown (usually made in metal) is a old tradition too in this region.</text>
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          <description/>
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              <text>One</text>
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          <name>External ID</name>
          <description/>
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              <text>RV_AR_30</text>
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          <name>Field Worker</name>
          <description/>
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              <text>Ulrika Jäger, Kajsa Stinnerbom</text>
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        </element>
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          <name>Craft</name>
          <description/>
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              <text>fibre and textile crafts</text>
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          <name>Tool</name>
          <description/>
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              <text>Needle made from moose bone, pattern templates, embroidery needle, pliers, chochet needle. Also uses a glass of water and ”såpa”, gel like (toilet) soap made from fat and potassium, to moist the fingers to help splice the threads and yarn. Saliva is also possible to use. </text>
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          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
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              <text>Sysslebäck, Sweden</text>
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          <description/>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Bridal crown</text>
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            <description>The nature or genre of the resource</description>
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            <description>An account of the resource</description>
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                <text>The bridal crown is made in the nålbidning of Northen Värmland with black wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mitten, but in this case the crown, was made.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2020s (before 2025)</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>1234</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Swedish</text>
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            <description>The size or duration of the resource.</description>
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            <description>An entity responsible for making contributions to the resource</description>
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            <description>An unambiguous reference to the resource within a given context</description>
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            <description>A related resource from which the described resource is derived</description>
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              <text>iain</text>
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              <text>Carina Haglund felts artefacts that she sells and shows at exhibitions. She arranges workshops and courses for children and adults. She's also doing lectures about her craft. Haglund is member and participating in the event "Fårfesten" in the town of Kil, a large annual event focusing on all things related to sheep - wool, husbandry, leather and meat. Prior to the even she's been teaching all children in the town of Kil in class four (ages 10) in felting. haglund lives ruraly with her husband and she has a studio on the farm where she makes her wool craft. She's also working part time at a pre-school 30%.</text>
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              <text>Haglund attended several educations and courses. She can't remember all of them, but mentions: Marianne Andersson (Kil, Sweden), Fiona Duthie Canada (Canada), Yvonne Habbe (Gotland, Sweden). Schools: Kyrkeruds Folkhögskola (Årjäng, Sweden), Handarbetets vänner (Stockholm, Sweden).</text>
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              <text>Ulrika Jäger, Kajsa Stinnerbom</text>
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              <text>Haglund's got knowledge of how to prepare wool all the way leading up to felting. She is knowledgable of the different qualities of wool and how to practice crafts related to felting.</text>
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              <text>Åddebo ull: addeboull.com; Filtmakeriet: filtmakeriet.se; Bibbis textil: bibbistextil.se; Korps: korps.se; IKEA: ikea.com. Second hand and inherited craft supplies</text>
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              <text>Carina saves and sorts her leftover needle felt which she then uses in other craft projects.</text>
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              <text>Bubbelplast, yes diskmedel, olivvål, vatten, rundstav. stänkflaska, tovträ, nål, sax, rullkniv, symaskin, maskin för tovning.</text>
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              <text>Water which is just pour out on the farm. The leftover wool is used for new projects.</text>
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              <text>She sells her products at her home, but also as a guest at the cooperatives Konsthantverkarna i Karlstad: konsthantverkarnakarlstad.se; Konsthantverkarna i Arvika: arvikakonsthantverk.se (both online and on site stores), and at events.</text>
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              <text>Haglund says it's everyone</text>
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              <text>Her own label with the laser engraved leather tag: "Ullting" (loosely translated to "wool stuff"). A paper tag is also fastened to the products with her name and contact info.</text>
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              <text>Vi hyr ju ut till turister men det är ju inte på det sättet men vi kanske i och med vårat skogs....mitt...vårat andra företag...företaget att...att...det blir mer naturturism.....och kombo kanske med nån tovning kanske, vem vet.</text>
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              <text>Guest member of Karlstad konsthantverkare, member of Arvika konsthantverkare, previous member of Åmåls konsthantverkare (all cooperatives), member of Fåreningen (local wool association). She's been teaching felting at the municipalities schools. Held exibitions at G:a Kraftstationen (Deje, Sweden), Karby Gård (Täby, Sweden), Galleri Borgenhad Holmqvist (Eskilstuna, Sweden) and at craft events. Is in collaboration with a crafter and friend in Stockholm, with whom she's also teaching felting.</text>
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              <text>There's challanges with reaching out with what she's doing - with PR. She finds it's difficult to write the texts for scholarships and funding. Crafting is very often overlooked and easily "falls through the cracks", since it's not art. It's important to think ahead, since it's not profitable as of now. She would not be able to manage if she didn't have her husband. It's a struggle to have economic sustainability.</text>
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              <text>Men nu gör jag ju en kombo här i vår med att gå tillbaka och jobba lite som förskolelärare men jag har ju många projekt på gång också, så jag ska inte jobba för mycket som förskolelärare eftersom jag har som vi pratat om här preciss två stora utställningar ochj ja fårfesten som är årets grej. Men jag behöver ju också det här eld i baken så att det blir gjort.</text>
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              <text>Tova- gammal teknik på nytt sätt. Gunilla Paetau Sjöberg Att välja färg- Berit Bergström Får boken- Anders Jansson, Nina Östman Felt passion- Ellen Bakker, RIchard Assman</text>
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              <text>facebook,https://www.facebook.com/UllTing/;instagram,https://www.instagram.com/ullting;</text>
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Blessings and Rewards: Hosts welcome the carollers with food, sweets, nuts, apples, and sometimes money as a token of appreciation and blessing for the new year.&#13;
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Religious Carols: Many songs focus on the birth of Christ, the Virgin Mary, and the Nativity.&#13;
Folk Carols: Some carols reflect local legends, pastoral life, and historical elements of the region.&#13;
Joyful and Festive Carols: These include songs meant to bring good luck, prosperity, and happiness to the family.&#13;
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Traditional Costumes: Carollers often wear beautifully embroidered garments specific to the Maramureș region.&#13;
Wooden Churches and Community Gatherings: Villagers often gather at local wooden churches to celebrate with communal carolling and festive meals.&#13;
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&#13;
5. Celebration of Identity and Regional Pride&#13;
Maramureș is known for its strong cultural identity, and carolling is an expression of this. The songs, costumes, and rituals associated with carolling reflect local customs, linguistic expressions, and folk beliefs that distinguish Maramureș from other regions in Romania.&#13;
&#13;
6. Spiritual and Moral Education&#13;
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&#13;
7. Social Entertainment and Festivity&#13;
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&#13;
8. Strengthening Rural Social Structures&#13;
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&#13;
Inclusivity: People of all ages participate, from children to the elderly, creating a shared sense of belonging.&#13;
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>It is a forged and hammered iron piece consisting of a large central blade and lateral extensions that form the handles, which are covered with wooden grips to make it easier to hold and use.</text>
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              <text>Sturdy needle punched felt with wool from the Northern European short-tailed sheep. The pattern is made of wool from Gotlandsheep (black wool) and Leistersheep</text>
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              <text>Either a carpet or a wall decoration. As a warming, beautifying element or sound absorbant.</text>
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              <text>It's a product development from Haglund's previous work with seat cushions (see RV_AR_07), but scaled.</text>
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              <text>Wet felting with a felting machine that Haglund's husband built (see video)</text>
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              <text>Felt: Filtmakeriet, filtmakeriet.se, Wool: Åddebo ull: addeboull.com</text>
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              <text>Carpets have been used to heat floors and provide comfort indoors. As decorations indoors.</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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                <text>Carving a small bread model</text>
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                <text>Barbara Ivančič Kutin</text>
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                <text>Carving tools that can also be used when working with rolled clay. The tool had previously belonged to Lidija's grandfather.</text>
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                <text>Barbara Ivančič Kutin</text>
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                  <text>Museum: University of St Andrews</text>
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              <text>With mountain cattle farming and the so-called fiestas de prao—traditional outdoor celebrations in northern Spain, especially in Asturias—people gather to eat and drink together, enjoy dancing, and listen to traditional music. These events often form part of the patron saint festivals of towns or parishes. </text>
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              <text>Knowledge of the type of milk and rennet used, the kneading of the product, and the maturation processes is essential. The curd is passed through the “rabilar machine” several times, with salt being added during some of the passes. The mass (known as gorollos) is then shaped by hand into a truncated pyramid and stored in an airing chamber for a period ranging from five days to two weeks, at a temperature of 14–20 °C. The gorollos may be kneaded in the machine as many times as necessary to achieve the texture desired by each producer. The greater the number of passes, the finer and more homogeneous the cheese will be; it will mature better and develop a stronger flavour. Finally, it is shaped by hand into a cylindrical–disc form or a round wheel and the upper face is marked with a punch or stamp bearing the producer’s emblem. It is then kept for at least one day in the airing room. The marcu casín (the stamp applied to the cheese) goes beyond the simple identification of an individual cheese, as it also seeks visual appeal: its impressions are placed on the most visible face of the cheese, covering it completely.</text>
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              <text>The tradition was passed down within families, essentially from mothers to daughters. Today, there is no generational transmission, and it is produced by only two dairies.</text>
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              <text>Quesería Redes was founded in 1989 by Marigel Álvarez, and in 2018 it was inherited by her daughter, Natalia Lobeto Álvarez. The complex includes the dairy, a hotel, and a shop selling cheeses and other local products. Quesería Ca Llechi was opened in 2012 and is run by Alberto Valiente.</text>
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              <text>The human connection is intrinsic to the essence of this product, particularly when discussing its unique method of production. Today, cheese production remains purely artisanal and highly labour-intensive, resulting in limited output that once threatened its survival. Its preservation has relied largely on the efforts of the women who produce it for family consumption and the dedication of a cheesemaker who, for a long period, was the only person to showcase and sell the product at fairs and traditional markets throughout Asturias and across Spain. The support of local rural development groups has also been important.</text>
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              <text>Canut (2000) maintains that “Casín cheese, due to its method of production and the rustic tools used, may be one of the oldest in Spain and forms part of the group of cheeses made in the Cantabrian Mountains that trace their origins directly back to the Neolithic and the first settlers who arrived in the backbone of the Peninsula.” Written records of cheese production in the area date back to the 14th century. In the leases of the mansos of San Salvador de Sobrecastiello and San Juan del Campo, managed by the Convent of Nuestra Señora de la Vega in Oviedo, Casín cheese is mentioned for the first time: in 1328, during the abbacy of Dª. Gontrodo, the mansos of San Salvador de Sobrecastiello were leased for six years at a price of 70 maravedís, payable on 1st September, along with “ten roasted cheeses” (dolze quesos assaderos) to be paid on each Saint Martin’s Day in November. Further references to this cheese appear in the writings of Jovellanos (18th century), in Madoz’s Diccionario Geográfico published in the early 19th century, and in Dionisio Martín Ayuso’s Curso de Agricultura Elemental, published at the end of the 19th century. Mentions of Casín cheese continued in various 20th-century publications. In the 1980s, at the First Casín Cheese Fair organised by the Ayuntamiento de Caso, 42 female artisans participated; today, in 2025, only two remain. Regarding the process, Casín was originally made exclusively with milk from the casina cow (Asturian Mountain breed). The milk from these dual-purpose cows has an excellent fat content, imparting unique characteristics to the cheese. Today, while the casina cow is still used, milk may also come from higher-yielding breeds such as the Friesian. Indeed, the casina is considered an endangered native breed. What has changed are the materials used in cheesemaking, such as the rabilar machine, which was formerly wooden with rollers operated by a manual crank. Today, it is an electric steel machine, as are the stamps and marks</text>
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              <text>El Certamen del Queso Casín es un evento anual que trabaja por mantener viva la tradición ancestral de este milenario queso. Tiene lugar el último sábado de agosto en Campo de Caso. Sin embargo al quedar unicamente dos queserías este va a ser dificl de mantener. Antiguamente este certamen se celebraba al aire libre y llegaban a participar hasta 30 elaboradoras de queso.</text>
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              <text> See in the Practitioners section.</text>
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              <text>The rabilar table or machine originated as an adaptation of a tool used in traditional baking. It is a device consisting of two rollers rotating in opposite directions, designed to break up, crumble, or shred the pressed curd. There are two types of stamps used to imprint the cheese. The first, applied to the semi-processed curd or gorollo, was called an ochavau: a cylindrical or spindle-shaped wooden piece, decorated at the ends with simple symbols, which was pressed onto the gorollo as many times as it had been kneaded. For the finished cheese, the marcu or cuñu is used—also made of wood but larger and more complex, with a variety of imprints—serving both decorative purposes and to identify the production. Today, these stamps are made of stainless steel. </text>
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              <text>The procedures with the public administration are very tedious, and the purchase of steel equipment for its production is costly, which prevents new initiatives from emerging.</text>
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              <text>The practice has declined to the point that there are now only two producers of this cheese. They are young, but generational succession will be needed. Health regulations and the costs associated with adapting the dairies have partly contributed to the decline in production of this cheese.</text>
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              <text>For several decades, the Casín Cheese Festival has been held annually. The event revolves around two main pillars: the market, featuring stalls from Casín cheese producers, and the cheese competition for dairies registered under the Casín PDO. In parallel, various complementary activities take place, such as cooking contests, tastings, workshops, exhibitions, performances by folk groups, a charity marathon, and special menus.</text>
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              <text>Yes, because it uses local raw materials for its production.</text>
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              <text>Queseria Redes, Campo de Caso 43°10'53"N 5°20'26"W- Queseria Ca Llechi, Pintueles, Piloña 43°22'27"N 5°21'31"W</text>
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              <text>A full-fat, matured cheese made from whole, raw cow’s milk, using enzymatic coagulation and a kneaded curd, with a semi-hard to hard texture. It has an irregular cylindrical–disc shape, with one face embossed with floral or geometric motifs, symbols, or the name of the person who makes it. It measures up to 20 cm in diameter and up to 7 cm in height. It has a strong, slightly piquant flavour. </text>
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                <text>Casín, which is produced by only two small dairies in Asturias, is one of the cheeses with the oldest written references in the world, one of the most intense in flavour, protected by a Designation of Origin since 2011, and unique in its method of production. Casín takes its name from its place of origin: the municipality of Caso, which also gives its demonym to the Asturian Mountain cattle breed, or “casina” cow, which yields little milk but of exceptional flavour thanks to the excellent pastures on which it feeds. Documentary references to Casín date back to the 14th century, when it was known as queso assadero. The cheesemaking technique used for Casín cheese arose from the need to achieve a safe and long-lasting method of preservation in an area where mild temperatures and the predominance of rainy, overcast days create high ambient humidity, which hinders the drying of the curds produced by milk coagulation. Thus, kneading emerged as the customary method of combining several small-format curds into a single piece. Repeating this process resulted in drier, more compact pastes, producing a longer-lasting product without the need for pressing. To facilitate kneading, the ‘rabilar machine’ was developed (see description below).</text>
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                <text>D.O.P (n/d). El queso Casin. http://www.dopquesocasin.es/&#13;
D.O.P (2008). PLIEGO DE CONDICIONES DE LA DENOMINACIÓN DE ORIGEN PROTEGIDA (DOP) “QUESO CASÍN”&#13;
Marcet, I., Rendueles, M., &amp; Díaz, M. (2023). De la que tábemos faciendo un quesu…. Ciencies. Cartafueyos Asturianos de Ciencia y Teunoloxía, 13. pp 81-93&#13;
SOCIEDAD ASTURIANA DE ESTUDIOS ECONÓMICOS E INDUSTRIALES (1985). Los quesos artesanales asturianos. Oviedo: Gráficas Summa.&#13;
Videos: Canal Prestosu | Secretos de Asturias: queso Casín https://www.youtube.com/watch?v=eISrTnGZ2wU; </text>
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                    <text>Cheese vat

Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

164

2.

Registered images count

156/164

3.

Points count

181908

4.

Total projections

739010

5.

Average images per tie point

4.1

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.43

8.

Mean reprojection error [pixels]

0.55

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

25409184

2.

Low Poly Triangle count

74986

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 6 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

Fig.8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Author

Alfar de Llamas del Mouro / Pottery Workshop from Llamas del Mouro

Site

Muséu del Pueblu d´Asturies

Origin

Llamas del Mouro

Creator

Alfar de Llamas del Mouro

Technique

Wheel-thrown; Modeling

Material

Ceramic

Date

Ca. 1925/1950

Purpose of

Cheese Production

Production
Size

20x18x16cm

Description
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are
made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'
which is due to the smoke used during the firing process.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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                <text>Konsten att väva. En praktisk handbok. Av Åsa Pärson och Amica Sundström. ISBN: 9978-91-7887-085-1&#13;
Handbok i vävning. Bindningslära med konstvävnader. Av Ulla Cyrus- Zetterström. ISBN: 91-36-00445-6&#13;
Tapestry with pulled warp. INspiration, Technique and the Creative Process. Av Susan Iversen. ISBN: 987-0-7643-5933&#13;
A handweavers patterns book. Av Marguerite Proter Davison</text>
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                <text>A one-handle jug that starts from the neck and ends at the widest part of the body. It has a trilobate lip, with a wide neck that narrows as it joins the globular body. The body tapers down to a circular base. This piece is made using a slow wheel and is glazed in white with yellow and green painted decoration. It features a yellow band flanked by green lines around the edge and lower part of the body. In the central area of the body, three identical representations of the Bird-Fish are painted.</text>
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                <text>de Aldecoa, E. I. (1985). La cerámica vidriada de Faro: motivos decorativos. Liño: Revista anual de historia del arte, (5), 235-246.</text>
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                <text>04/07/2025</text>
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