The aim of this article is to explain the design and construction processes employed in the ribbed vault prolonged by translation which Diego de Riaño (†1534) built in the antesacristy of the church of Santa María in Carmona. The vault represents an outstanding synthesis between the Late Gothic diagonal ribs and severies and the emerging systems that adopt the form of orthogonal grids and tend towards a unitary volumetric composition. The work reflects the coexistence of two different architectural languages in Andalucía in the first half of the sixteenth century, a transitional situation which, in our view, Riaño deliberately embraces in his design. Based upon rigorous photogrammetric mapping, this paper analyses the formal and geometric characteristics of this exceptional work. The analysis conducted reveals that this was not simply an experiment with form, because beneath their singular appearance the geometric designs point to the investigation of new solutions.

中文翻译：

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Diego de Riaño Vault 中的哥特式文艺复兴风格

本文的目的是解释迭戈·德·里亚诺 (Diego de Riaño) (†1534) 在卡尔莫纳 (Carmona) 的圣玛丽亚 (Santa María) 教堂的圣堂内建造的因翻译而延长的棱纹拱顶所采用的设计和建造过程。拱顶代表了晚期哥特式斜肋和系列与采用正交网格形式并趋向于单一体积组合的新兴系统之间的杰出综合。这件作品反映了 16 世纪上半叶安达卢西亚两种不同建筑语言的共存，在我们看来，里亚诺有意在他的设计中融入了这种过渡情况。基于严格的摄影测量映射，本文分析了这项特殊工作的形式和几何特征。