The assessment of facial expression is an important aspect of a clinical neurological examination, both as an indicator of a mood disorder and as a sign of neurological damage. To date, although studies have been conducted on certain psychosocial aspects of myasthenia, such as quality of life and anxiety, and on neuropsychological aspects such as memory, no studies have directly assessed facial emotion recognition accuracy. The aim of this study was to assess the facial emotion recognition accuracy (fear, surprise, sadness, happiness, anger, and disgust), empathy, and reaction time of patients with myasthenia. Thirty-five patients with myasthenia and 36 healthy controls were tested for their ability to differentiate emotional facial expressions. Participants were matched with respect to age, gender, and education level. Their ability to differentiate emotional facial expressions was evaluated using the computer-based program Feel Test. The data showed that myasthenic patients scored significantly lower (p < 0.05) than healthy controls in the total Feel score, fear, surprise, and higher reaction time. The findings suggest that the ability to recognize facial affect may be reduced in individuals with myasthenia.
el maestro de obras catedralicio en Castilla a finales del siglo XV * Begoña aLonso ruizUniversidad de Cantabria begona.alonso@unica.es ResumeNEste trabajo se ocupa de la figura del maestro de obras catedralicio, el director del amplio colectivo que integraba los diferentes talleres de cantería que al final del siglo XV levantaban las últimas grandes catedrales góticas castellanas. Se comienzan analizando las vías para llegar a ser maestro de obras catedralicio. La firma del contrato de maestría avala al arquitecto como maestro de obras de la catedral; el análisis de las condiciones generales y las variantes de la aplicación del sistema de maestría en la contratación del maestro de obra catedralicio nos lleva a estudiar sueldos y jornal, especificaciones acerca de su residencia, condiciones y jornada de trabajo, así como el desarrollo de sus competencias específicas de responsabilidad. La lista de estos arquitectos es reducida pero su prestigio profesional grande; su experiencia les avala para compartir el cargo de maestro entre diferentes fábricas, informar sobre otras muchas obras, mantener estrechas relaciones con los promotores eclesiásticos, viajar acompañando a los reyes o adquirir una posición económica alta reflejada en la dotación de su propio espacio funerario y la adquisición de bienes como canteras, molinos, tierras o casas propias. En otras ocasiones, sin embargo, la maestría catedralicia se relacionó con problemas con la justicia que reflejan lo conflictiva que podía llegar a ser la vida en el taller de la catedral.Palabras clave: cantería, tardogótico, Guas, Gil de Hontañón, Alonso Rodríguez, Jusquín, Egas, Ála-va, Colonia. AbstRActThis research examines the figure of the cathedral master builder, the director of the wide group who was integrating the differents roles of masonry at the end of the 15th century were working in the last big Gothic Castilian cathedrals. At the beginning, we analyze the routes to be a cathedral master builder. The study of the general conditions of the contract and the variants of the application of the system of mastery in this contracting of the master builders leads us to studying salaries and wage, specifications about their residence, conditions of work, as well as the development of their specific competitions of responsibility. The list of these architects is reduced but their professional prestige is big; their experience supports them to share the masters builders between different cathedrals, to report on other many works, to support narrow relations with the ecclesiastic promoters, to travel with kings or an economic position acquiring discharge reflected in the endowment of their own funeral space and the acquisition of goods like quarries, mills, lands or own houses. In other occasions, nevertheless, the cathedral mastery related problems to the justice that reflect how troubled life could be in the Cathedral's workshop life.
This article focuses on a recently identified and hitherto unpublished drawing of Seville Cathedral, recently located in the Bidaurreta convent (and thus described in this article as the ‘Bidaurreta drawing’). This document is of international importance as it constitutes a rare example of a medieval drawing of a Gothic cathedral, and is indeed the oldest known complete ground plan of any Gothic cathedral. It is also the only plan preserved intact that depicts any fifteenth-century Gothic building in Castile. The drawing, which this article suggests dates from the third quarter of the fifteenth century, is a modified copy of a 1433 plan of Seville Cathedral. It records the building as it was in 1433 and some of the subsequent changes, undertaken as part of a building campaign that ultimately lasted until 1506, by means of which the cathedral took on its present form: 126.18 m in length, 82.6 m in width and 30.48 m high (Figs 1-2). This article traces the reconstruction work in detail by examining the original documentary sources, many not previously discussed in English, together with the evidence of the drawing itself.
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