 Thank you Miranda, and thank you this week for being the sole of these beautiful day lectures. So, I'll begin with this one. On the screen, display on the screen are images of the camera stand, the Honichambe, the treasury of the cathedral of O'Yellow, an 8th century building that has attached to a vial thanks to its conversion to an architectural renaissance. The treasury was built in some point between the reigns of Asturian kings of also the Second and Raleigh of the Third to house a collection of rents and recoveries that confirm the ties between Paul the disability kingdom and the new Asturian monarchy, but at the start of the revolution of the southern lands taken by the Muslims. Probably built alongside the acts of the 9th century church dedicated to the saviour, the camera stand cannot be used as a comparandum to establish the possible architectural models of early medieval and Iberian traceries. It is a unicorn because of the restancy of what it was built, the type of building it was, and the way it was being conserved. From the 11th century on they are, however, some surf fetches and consistencies within the architecture type of the cathedral sacristy, which varied in its form and placement. First, there were usually two sacristies. The first was a small structure adjacent to the main altar with cabinets to store cult objects. It could be located in the chapel behind the main altar, or in the sensory access flank in the main altar. These areas might also be the site of a larger sacristy that housed a bigger collection of cult objects, including liturgical books, and which played an important role in the liturgy, because it was where the clergy dresses, where earnings from the treasury were stored temporarily, and where the processions that negorated religious services began. In an act with an ambulatory, the location of the sacristy could vary. From the chapel close to the altar, the separated structures connected directly to the main altar or, more usually, attached a space of the transit. Treasuries were simply an expansion of the space of the sacristy into an independent structure, a protected space whose purpose was to safeguard the most religious possessions of the church. The architecture of the treasury could also vary from form and interior quality of the sacristy to be an architectural dependency more or less protected in an upper slurry. For an independent building whose sole purpose was to be a protected space that communicated directly with the main altar. In most cathedrals with ambulatories, the sacristy was located in or gave on to one of the rabbiting chapels, which established a collection between the sacristy and the main altar through a pair of doors that were often more mentalized and which framed the transition between the space that facilitated the liturgy and the presbytery itself. Indeed, the metal grills and doors that closed off the entrance to the ambulatory seemed to be sensible means of protecting the sacristy, the main altar, and the tranquility of the liturgical processions. Processions began by moving from the sacristy to the altar, following the same path taking by relics in the journey from the treasury to the presbytery. This is a basic point about the celebration of the liturgy. Inside the sacristy, the priest dressed as the... dressed as he recited sacred or private prayers that radiated him to officiate demands. Upon reading the sacristy, the root between the sacristy and the presbytery was transformed into a sacred path, framed by decorated doors. The portal of Calvary on the face in the ambulatory with the cathedral of Leon faces the ambulatory chapel that served the sacristy and that was expended at the same time as the doorway in the 15th century. In Toledo, Caetano, the indentation of the architectural link between the presbytery and the sacristy can largely be attributed to the failure of cardinal Pedro Morfale de Mendoza, died in 1495. Although it has scarcely been essentially since the completion of the pedophiles on Reticore, Mendoza sought to close off the space behind the presbytery adjacent to the return chapel of Santa Cruz and also ask the cathedral chapter for a space to the north of the main altar adjacent to the first pillar of the ambulatory for his burial site. Both the recent completion of construction as well as the importance of the burial site and the request gave the chapter pros. Upon Mendoza's death, his successor, Francisco Jiménez, oversaw the completion of the project under the supervision of the chapter and delegates of Archbishop Mendoza among whom was Queen Isabel. It has been suggested that the location chosen by Mendoza by Mendoza was a sign of his arrogance. Through perhaps this was not a touring case. He chose the space that communicated between the main altar and the sacristy which was, at that time, the first chapel in the north ambulatory where the chapel of the return of the San Gario was later erected. It would seem that the model for the funerary monument constructed starting in 1503 was a large, double-faced screen defined by two lateral doors. The altar of the Holy Cross which preserved the dedication of the coffee critter chapel that had been taken apart when the tomb was built was the face of the ambulatory when Mendoza's tomb was built towards the main altar. To a certain extent, the model chosen with respect to the original idea of the cardinal who, in 1494, indicated that his tomb should be formed by a large charge with a grimo between the main altar and the side chapel of the sacristy. In any case, the face, too, provided a magnificent frame for the processions of the officer and his minister at the start of the mass. Turning back to the architectural type, beginning in the late Middle Ages independent spaces connected wide away or another in the depths of the church were built to function as sacristies, often with a treasury in the upper story. There are several early and especially significant examples of this type of structure such as the cathedrals of Hugo de Ojma, Alida and Weske dated, respectively, to the 13th and 14th centuries whose perfectly regularized format of functional characterist paintings made us to think that they are representatives of an established type. The sacristy of Hugo de Ojma probably complemented to another structure in one of the answers of the early cathedral was conceived as a monumental space adjoining the law of transit whose two historic functions as sacristy and treasury. Another independent sacristy was constructed in Alida in the 13th century between its unusual transit and gaze of the cathedral. Part of this structure survives and was incorporated into the fabric at Weske where the church was built atop the site of a Christianized moat at the end of the 13th century, had two starred axiolarius paints and on the sacristy dot by a treasury was built between 1306 and 1508 and turned into the eastern side of the southern axis of the cathedral and it was expanded with another big building just behind the main chapel during the 16th. At this point, it is possible to speak of the architectural type of the sacristy which would enjoy such popularity in the coming centuries. That is, a building with a rectangular plan with large acrosolium in several walls and which armorace and chest for the restoration of liturgical objects would have been located along with a sacrarium or fountain with its basing for a ocean descendant of the Biscinus, originally located in the Axis where the priest would wash himself and the objects used for the mass. Moreover, these new sacristies perfectly planned from the star were also able to include an adversary that could serve as a treasury or wouldn't place for the audience of the sacristy. In that one hour, the oldest sacristy located between the Axis and the Canon's cloister was remodeled creating a new two-story space that functioned as a treasury and the living quarters of the treasury with its own window that enabled him to keep watch on the entrance and even defend it. Indeed, the Valencian revolt of the Germaninas prompted the treasury of the cathedral to be secure with a monumental door with a fireplace much like the fortified entrance to the city which impeded access to the sacristy and treasury of the cathedral that, let us not forget, had housed the king's collection of relics since the reign of Alfonso V of Aragon died in 1458. Between the 15th and 16th century, the concept of sacristy as an independent space persists in both newly constructed buildings as well as remodeled ones. The Gothic sacristy of the cathedral of Tamora was conceived as an extremely complex two-story place surrounding and taking advantage of the stereo saves of the earth. In the case of the surprisingly Gothic construction of the earth, the emulatory necessitated the construction between 1493 and 1518 of a complex space serving as the main sacristy in which underground basement helps resolve the unevenness of the area and which was accessed near the southern side of the emulatory. This was the first dependency in a complex sequence of spaces to attain the cathedral chapter that surrounded the east part of the exterior of the cathedral. Here is the big sacristy and here the chapter house. In Santiago de Compostela, the old accidental sacristy maintained its antiquated form and a new space needed to be built within the cathedral cluster. The reconstruction of the cluster provided the opportunity to construct a sacristy, temporarily established on the side where a new chapter house was to be built and which came to be known as the Lower Sacristy, as opposite to the Upper Sacristy behind the emulatory. The most sumptuous complex of chapter buildings built during the Spanish Renaissance are those of the cathedral studio and a series of dependencies among which was the sacristy and the living quarters of the treasure protected with a spiky constructor for firemen. How did these sacristy treasures look? That is to say, what is the internal appearance of these actuary storage spaces? We would not be mistaken to think that these, of these as cabinets of curiosities, contained everything from tragic symmetrical objects to books and vestments usually organized into chests and drawers or sometimes installed in cells that were built into the walls of the building itself. We get some idea of these spaces from inventories and descriptions or visits to sacristy's traceries. At the beginning of the 20th century, Rocher, Villanelle and Castor, the Abyssin and Raúl, published an indispensable collection of inventories of cathedral traceries from the 13th century onwards which gives us a great insight into this topic and opens up possible avenues of study. The inventory of the cathedral of Gerona, written down in 1477, is a special enriching tale. It lists the large art enclosed by two grills and secured with two keys in which most of the most Christian's metalwork objects were the chapter warehouses. Art of this art was a silver casket enclosed by two doors. There were also metalwork objects in an armor and the visus amictus and a book described in civic processions were contained in another smaller chest. The main custodia was kept in a large armor while titers of their pieces were not enclosed in containers but nevertheless, meditators would describe it. In front of these caverns containing the traditional objects were another five pieces of furniture as well as a sixth mounted on to the wall containing the vestments were written by the clergy or reduced to a volume of chapels, altars, images, poppins or caress stalls. A missed call of these objects we also find the metalwork cathedral of the bishop and the ceremonies as a symbol of the bishop's authority as well as a theatrical pieces used in the presentations of the Resurrection or for the post of the day on Corpus Christi. An afternoon for the readings performed during the holy weeks at the renouter, the conglomerate Pascal Candelabrum accessed with the flags used during the processions of the corpus and during the probation days we found out that coven the stories chess in the sacrosity where the corpus were kept. Moreover, the library of vision John Marieri, donated for use by his purest condition of a school for color-boys was also always stormed in the treasury. The treasury also housed a box filled with money referred to in 1463 where the cathedral documents were kept in a chess in the chapter house. Is this a misdescription of the cathedral of Girona was not evocative enough? Corpiero is the clear example of a treasury whose architectural form ended up conditioning the form of the cathedral as a whole. As I refer to as a star of paper, the camera center holding the chamber as it became known thanks to its rich collection of works was built on the south side of the cathedral complex. Its placement, conditioning, the construction of the 14th and 15th centuries part of the cathedral's transit work processions exited the relics or crosses granted to the cathedral by the early medieval historian Kings who the star of finish in the modern period an alchemy in the modern period an alchemy was opened up on the south of the cathedral near the access point for the camera center on the second story from which point the obvious shroud one of the cathedral's most precious relics was displayed. Combining a relic and an alchemy for its display was a non-established custom. There from a print of view created for justice function the relic shown to the faithful. In the crystallized most of the relics there was a lively aside from which the sanctor of the holy face the precious most important relic was displayed. In the 16th century an alchemy was built in the new cathedral just for justice purpose. In Korea a large stone alchemy was built next to the north corner of the cathedral where the relic of the holy table cloth from the last supper was displayed to be adored by the faithful. Can we interpret the balcony in the north assay of the cathedral of Korea along these lines? There are all monumental sites for exceptional celebrations from that of the alchemy to preaching or public display of relics. We should not separate these three functions which often work together. In the context of the display of relics from balconies and palpites at another site we find a large reliquary built into walls that enable the display and the protection of the relics. Although we do not know much about how it functioned as much chamber was erected about the bones of the self-ambulatory of the cathedral of Alentheia. We contain the relic of the Holy Throne which had arrived to the city in the 13th century. This space was the liberty period to be difficult to access and could be reached only by a power several meters above the ground of the internal wall of the sacristy. The reliquary was embedded into the wall and surrounded by a cycle of Gothic paintings that refer to the passion. Alas we knew nothing on the ceremonies celebrated around this space. Finally, in Lela the revolving of the cathedral apps in the 14th century included a large pictorial cycle on the north wall divided into scenes depicted in stories from the life of Christ in the image of the activity. There it is. This space was constructed to restore the relic of the Holy Swatting of Christ the curious almost surrealistic object of particular devotion in the cathedral. Much less than we saw in the case of the Holy Throne in Alentheia the Holy Swatting in Lela must have been removed from its inward reliquary and had been displayed at the door at specific points of the cathedral in surroundings during the liturgical year. The pictography of relics and her coat also had an impact on the organ setting of the cathedral on the side of the church itself. In Haka we would see that since the 15th century an elevated structure built in the cemetery surrounding Lela was the site where the body of Saint Rosia was displayed by Bishop during celebrations of the Patron Cemetery. This is a photograph done in 1895 and we can still find this late Gothic structure that was preserved until the beginning of the 20th century when it was sadly demolished in a not very beautiful architecture and the extent of the cathedrals of the cathedrals in some the sacristy and the treasury in the Tiva Liberia displayed different architectural types and topographical models always conditioned by the circumstances of each cathedral chapter and I think that's really important. In addition to the possible ways of cataloguing their architecture the functional principles that unified these spaces and the Rome as axillary structures for the liturgy containers of precious objects and the first stop in a liturgy that dispersed the relics and displayed them throughout the cathedral and surrounding area in the sense the sacristy's and treasury's were spaces that created the Rome called Uses in though with their own liturgical ceremonies. Thank you very much.