Sculptors' signatures on Iberian stone statues from Ipolca-Obulco (Porcuna, Jaen, Spain).

Sculptors' signatures on Iberian stone statues from Ipolca-Obulco (Porcuna, Jaen, Spain). Introduction Iberian culture is defined as that which flourished from the sixthto the first centuries BC within the Iberian Peninsula Iberian Peninsula,c.230,400 sq mi (596,740 sq km), SW Europe, separated from the rest of Europe by the Pyrenees. Comprising Spain and Portugal, it is washed on the N and W by the Atlantic Ocean and on the S and E by the Mediterranean Sea; the Strait of Gibraltar . Its roots can bedetermined from at least the ninth century BC, when the local lateBronze Age Bronze Age,period in the development of technology when metals were first used regularly in the manufacture of tools and weapons. Pure copper and bronze, an alloy of copper and tin, were used indiscriminately at first; this early period is sometimes called the population developed a strong interaction with thePhoenicians, who had founded important establishments on the Spanishsouthern coast. The Phoenician presence provoked economic changes amongthe indigenous population, investing it with a special personalitywithin the Mediterranean context (Cunliffe & Keay 1995; Ruiz &Molinos 1998). The major features of the Iberian culture include a tendencytowards urban structures, an intensification of long-distance trade,specialisation in metallurgical and ceramic production, and theformalisation Noun 1. formalisation - the act of making formal (as by stating formal rules governing classes of expressions)formalizationsystematisation, systematization, rationalisation, rationalization - systematic organization; the act of organizing something of a particular cosmology that had no apparentrelationship with that of the Greek world. Nonetheless, Iberianreligious customs shared with those of Greece or Etruria the practice oferecting stone statues in sanctuaries and cemeteries. Eastern Andalusia saw an appreciable increase in the number ofsculptors' workshops linked to the process of urbanisation, adevelopment with its roots in the Orientalising period (eighth--sixthcenturies BC) that would reach its climax in the fifth century BC.Numerous pieces of sculpture have been discovered in the province ofJaen, some with works of great quality, such as the Pajarillo de Huelma(Chapa et al. 2006). However, the most important site in terms of thenumber and quality of pieces is that of Cerrillo Blanco de Porcuna,known as Ipolca to the Iberians andas Obulco in Roman times (Figure 1).The sculptures were cut in limestone and unfortunately they wererecovered with no archaeological control. Most of them were discoveredin a ditch dug at the edge of an Orientalising cemetery (Blazquez &Gonzalez Navarrete 1985; Gonzalez Navarrete 1987), although thesculptures can be dated by means of their style during the fifth centuryBC. A total of 1486 fragments of different sizes were recovered thatwere later partially pieced together at the Jaen Museum, where they arestill held. The most complete study of these fragments was made byNegueruela (1990), although other interesting works have been published(Leon 1998; Olmos 2002). [FIGURE 1 OMITTED] All the studied Ipolca sculptures were violently broken and dumpedin the above-mentioned ditch, although some fragments appear to havebeen scattered over the surface of the surrounding hillside--some wereeven used as construction material in fourth-century graves. Thedestruction of these pieces has been related to the rejection of theelite groups that were represented, but it could also have been theresult of a ritual transfer from the sanctuary to which they belonged,at the moment this monument was abandoned, renewed or moved to a newplace (Zofio & Chapa 2005). To date, research has been focused on iconography and style,stressing the links between Iberian and eastern Greek, especially Ionicworkshops. However, those authors who have compared them indicate thelack of direct dependency between these two areas. Iberian sculpture hasits own tastes and formulae, and in general does not coincide properlywith supposedly Hellenic models in terms of its subjects nor technicalfeatures (Boardman 1994: 69; Marcade 1997; Croissant 1998). Moreover,the recent discovery of a stone sculpture Stone sculpture is the result of forming 3-dimensional visually interesting objects from stone.Carving stone into sculpture is an activity older than civilization itself. showing clear Phoenicianinfluence in the Tartessian village of Carmona (Belen & GarciaMorillo 2006) indicates this type of sculpture was already present inpre-Iberian times, Therefore, the origins of Iberian stone sculpturemust be searched on the Orientalising period, with strong links withPhoenician religion and iconography. Similarities with Greek art Greek art,works of art produced in the Aegean basin, a center of artistic activity from very early times (see Aegean civilization). This article covers the art of ancient Greece from its beginnings through the Hellenistic period. alongthe development of Iberian sculptures can be considered as theintroduction of new techniques and styles without changing the basicfoundations of the local production. Our purpose is to analyse the manufacture of these Iberiansculptures, from the selection of the stone to the finished piece. Theaim is to determine the decisions taken in their design, the systems ofstone extraction and transport employed, the tools and the cuttingmethods used, the places where the finished pieces were located atmonuments, and the possible processes behind their deterioration ordestruction. Unlike Greek and Roman sculpture Roman sculpture refers to the sculpture of Ancient Rome. Roman sculpture often involved copying of Ancient Greek sculpture. Much Roman sculpture survives, although some of it is damaged. There are many surviving sculptures of Roman emperors. , both of which have beenwell-studied from these viewpoints (Jockey 1998; Palagia 2006), thetechnique of Iberian sculpture has been the subject of only a few basicstudies (Negueruela 1990-1991; Blanquez & Roldan 1994). During the detailed examination of the Ipolca sculptures undertakenby our team, engraved marks were noted on the surface of some pieces. Wepropose that these might be interpreted as sculptor or workshop marks.Until now, only one of the pieces from Ipolca was known to have apossible inscription that was interpreted as a name (Untermann 1990:658-9). The signs studied here are non-epigraphic marks, and it is thefirst time they are being recorded on any Iberian sculpture. The sculptures and their marks The study of these sculptures has allowed different groups to bedistinguished (Blanco 1987, 1988a & b). One of these corresponds tosome well-armed warriors killing others who are inadequately preparedfor battle. Unfortunately, the head of only one of the figures has beenconserved. On different occasions the piece has been described to sharefeatures with Ionic art (Rolley 1994: 407), although no exact parallelscan be traced (Figure 2). A second group is composed of masculine andfeminine figures that appear to be at a sanctuary. One of the women iscarrying a snake on her left shoulder, and the other is holding two ramsdose to his body. The fracture of the sculptures makes it very difficultto determine what these people are doing, although their activitiesappear solemn, in accordance with a religious context (Figure 3). Alarge number of representations of real and fantastic animals, includinggriffins, birds, dogs, wolves, lambs and bulls, have also beenrecovered. These appear to be static figures or to belong to scenesdepicting hunting or acts of aggression. They are of great interestsince they are the finest of the Ipoka sculptures. The signature marksdiscussed in the present work were made on these figures. [FIGURE 2 OMITTED] [FIGURE 3 OMITTED] The marks found to date appear only on certain pieces representinganimals, although since many of the sculptures are incomplete it cannotbe ruled out that they were also made on other types of figure. Themarks were engraved with a very fine-pointed instrument and are hardlyvisible without special lighting. Although these works have been held atthe Jaen Museum for over 25 years, the mentioned marks have hithertogone undetected by researchers. They were first noticed by FranciscoAguilera, an experienced quarryman and sculptor from Porcuna whoaccompanied us to the museum to assess the techniques employed in theproduction of the sculptures. On inspection, Mr Aguilera immediatelynoticed the marks, and based on his own experience, suggested them to besignature marks. There follows a description of the pieces carrying themarks and the marks themselves. [FIGURE 4 OMITTED] 1. Lion-griffin with palmette pal��mette?n.A stylized palm leaf used as a decorative element, notably in Persian rugs and in classical moldings, reliefs, frescoes, and vase paintings. and snake (height 0.779m, length0.56m, width 0.26m) (Figure 4), This sculpture represents an animal thatwould clearly be a lion were it not for a crest running down the back ofits neck--the mark of a griffin. The beast lacks wings and has teethrather than the beak of a bird of prey bird of preyAny member of the order Falconiformes (eagles, falcons, hawks, and vultures) or Strigiformes (owls). Falconiforms are also called raptors. They are active during the day, whereas owls are nocturnal. typical of griffins, tending toconfirm its feline identity. Anyway, the sculptor emphasised ambiguityas a main feature of this monster. The animal rests its claws on a halfpalmette and is in the process of violently turning its head to confronta snake that has wrapped itself around its body. The head of the snakehas not been preserved, but a series of marks repeated in pairs on thebody and face of the lion-griffin would appear to represent where thesnake has sunk its teeth. The entire piece, which was cut from a singleblock of limestone, is extraordinarily expressive and shows anunderstanding of volume, a quality that would surely be reinforced ifthe hindquarters of the animal had been conserved. The surface of thestone was carefully polished, but at the points of most difficult accessfor the sculptor--and therefore those least visible to theobserver--chisel marks are still visible. [FIGURE 5 OMITTED] The engraved sculptors' marks are found on the back of thelion-griffin's neck, and are formed by interconnecting lines atangles to one another. The maximum width of the mark is 75mm and itsmaximum height 80mm. The impacts sustained during the destruction of thepiece caused the deterioration of the surface, and some of the linesmaking up these signatures are truncated at certain points. 2. Wolf attacking a lamb (height 0.77m, length 0.55m, width 0.39m)(Figure 5). This piece remains incomplete, despite a good part of ithaving been reconstructed from various fragments found at the site, andrepresents a lamb being bowled over by a charging wolf. The wolf, withits jagged mane about its neck, has sunk its fangs into the upper partof the lamb's back and has dragged them backwards, leaving marks inthe lamb's flesh and pulling back the victim's skin. Thewolf's pupils express the tension of the situation, while its frownlines indicate the violence of the attack. Again, expressivity expressivity/ex��pres��siv��i��ty/ (eks?pres-siv��i-te) in genetics, the extent to which an inherited trait is manifested by an individual. is themain argument of the sculpture, the sculptor clearly having undertaken acareful study of a complex position and attitude. [FIGURE 6 OMITTED] The engraved mark is found on the lamb's left side, next tothe area where the wolf's bite has lifted the skin. Its shapereminds one of the letter 'A'. Lying a little obliquely, itsvertical lines, with a maximum height of 50mm, are somewhatdiscontinuous discontinuous/dis��con��tin��u��ous/ (dis?kon-tin��u-us)1. interrupted; intermittent; marked by breaks.2. discrete; separate.3. lacking logical order or coherence. . In contrast, its horizontal lines, with a maximum lengthof 55mm, are more continuous. One of the impacts suffered by the piecein the process of its destruction affected the lower horizontal line (Descriptive Geometry & Drawing) a constructive line, either drawn or imagined, which passes through the point of sight, and is the chief line in the projection upon which all verticals are fixed, and upon which all vanishing points are found.See also: Horizontal ,truncating it. Once again, the mark is very fine and almost invisiblewithout adequate illumination. 3. Hunter with hare and dog (height 0.80m, width 0.60m) (Figure 6).The lower part of this piece was produced in relief, while the upperpart of the human figure is independent of any background. This work hasbeen reconstructed from eight fragments recovered at the site, but thehunter's head is still missing, along with his right foot, and alarge part of the dog's head and legs. The energy of the scene isrevealed by what remains of the dog's open mouth, which shows apanting tongue. Both the backplate (thickness 0.14m) and the base(maximum height 0.16m) of the work show clear chisel marks about 20mm inwidth. There appears to have been no attempt to hide them, suggestingthe lower part of the figure might have been placed in the ground whilethe sides made contact with similar structures to produce something likea frieze frieze,in architecture, the member of an entablature between the architrave and the cornice or any horizontal band used for decorative purposes. In the first type the Doric frieze alternates the metope and the triglyph; that of the other orders is plain or . The engraved sculptors' mark (maximum height 80mm, width 55mm)lies on the dog's right shoulder blade shoulder bladen.See scapula. . Despite its fine tracing itis the most easily observed of all those inspected. In fact, itspresence was mentioned in an internal report regarding the consolidationand restoration of these sculptures, although this was never mentionedin any later archaeological studies. The mark consists of interlockinglines forming three rhomboids of unequal size, the one on the right-handside being the smallest and the one on the left remaining incomplete. Asmall vertical line 10mm in length extends upwards from the tip of thecentral rhombus. [FIGURE 7 OMITTED] 4. Body of a bird with outstretched wings (maximum height 0.70m,maximum width 0.98m) (Figure 7). The back of this piece has been leftunfinished, indicating that it was to be viewed from below. The piecehas been reconstructed from five fragments, but the head and feet aremissing. The two large wings are outstretched, each showing two clearsets of feathers separated by engraved bands. The bird's body islarge, leading to interpretations of it representing an eagle, but thepossibility that it is intended as a harpy cannot be rejected. The surface shows signs of erosion, with many impacts andscratches. However, a potential signature mark can be seen on the leftside of the body near the insertion of the wing: two straight incisionsthat meet to form a 'V' shape which appears to have the samecharacteristics as those described above. In the area where the linesmeet the piece has suffered much surface damage, which makes itimpossible to determine whether these lines extended any further. 5. Hock hock:see wine. of a horse with human face and inscription (height 0.17m,width 90mm, thickness 115mm) (Figure 8). The surface of the piece wassmoothed down to allow the facial features Facial FeaturesSee also anatomy; beards; body, human; eyes.gnathismthe condition of having an upper jaw that protrudes beyond the plane of the face. — gnathic, adj. to stand out, which consistof some roughly hewn hewn?v.A past participle of hew.Adj. 1. hewn - cut or shaped with hard blows of a heavy cutting instrument like an ax or chisel; "a house built of hewn logs"; "rough-hewn stone"; "a path hewn through the underbrush" eyes and mouth, and a nose flattened horizontallyat the level of the nostrils. This figure, made after the horse'sleg itself was completed, shows an inscription in a vertically-arrangedframe divided into two unequal parts. The finely engraved signs withinwere studied by Untermann (1990: 658-9), who identified them asbelonging to the Southern Iberian alphabet, and to possibly reflect aperson's name, perhaps that of the sculptor. However, thepreservation of these lines is very poor as they have suffered at thehands of erosion, and their reading and meaning are very doubtful (deHoz 1995: 168). [FIGURE 8 OMITTED] Interpreting the marks on the Ipolca sculptures As it has been previously stated, this is the first time such signshave been noticed on the surface of Iberian sculptures, and they need tobe interpreted carefully within the cultural and material contexts towhich they belong. The marks are clearly different to the signaturesrecorded in other Mediterranean sculptural productions. During the sameperiod, Greek sculptors sometimes signed their work, a mark of personalprestige transferable to the client (Viviers 1992; Duplouy 2006).Potters, painters, goldsmiths and jewellery-makers could also sign theirproducts, both in Greece and pre-Roman Italy (Marcade 1957; Colonna1975). A small number of imported signed objects arrived in the IberianPeninsula, such as the sixth-century BC fragmented kylix attributed toEucherios, found at a tomb in the Orientalising site of Medellin (Olmos2000: 261). Further, although it is commonly said that the theocratic the��o��crat?n.1. A ruler of a theocracy.2. A believer in theocracy.the ,political and social structure of the Middle East did not favour therecognition of individual artists (Siebert 1978: 113; Stewart 1990: 67),a review of the materials available from that area has revealed thesignatures of sculptors (Laroche 1958), always within a clearlyepigraphic ep��i��graph?n.1. An inscription, as on a statue or building.2. A motto or quotation, as at the beginning of a literary composition, setting forth a theme. context. However, the marks engraved on the studied Iberian pieces do notcorrespond well to the letters used in the different forms of Iberianwriting (Figure 9A). In the south and east of the Iberian Peninsulathere were two forms of writing during the Iberian period (de Hoz 1997:210): 'Levantine Iberian' and 'Southern Iberian'.Both are semi-syllabic, i.e, they have signs that represent syllablesplus others that represent individual phonemes. An area of thesouth-east was also home to a Greek-Iberian alphabet that used the IonicGreek Ionic Greek was a sub-dialect of the Attic-Ionic dialectal group of Ancient Greek (see Greek dialects).Ionic (or Ionian) dialect appears to have spread originally from the Greek mainland across the Aegean at the time of the Dorian invasions, around the 11th Century B.C. alphabet for writing in Iberian (de Hoz 1995). However, thepresent signs do not match any known letters in these alphabets. Themajority of preserved Iberian inscriptions have been found on leadsupports and are usually linked to commercial transactions or funerary fu��ner��ar��y?adj.Of or suitable for a funeral or burial.[Latin fner contexts--into which the present marks clearly do not fall--while thoseon ceramic and other supports are generally later than the Second PunicWar Parameter not given Error...''Template needs its first parameter as beg[in], mid[dle], or end. Parameter not given Error... and thus not contemporaneous with the stone sculptures studied.Indeed, it seems that the usual development of Iberian societies madeonly an exceptional use of writing before the third century BC. As themarks engraved on the sculptures do not match with any Iberian letter,we tend to think that they are more likely to represent lapidary lap��i��dar��y?n. pl. lap��i��dar��ies1. One who cuts, polishes, or engraves gems.2. A dealer in precious or semiprecious stones.adj.1. signsrelated to particular individuals or workshops. [FIGURE 9 OMITTED] Certainly, the iconography of the previous Orientalising periodalso made use of signs, but in a different way. A number of signs can beseen on the bodies of the bulls and lions drawn on the sides of ceramicvases from the Tartessian Montemolin sanctuary (de la Bandera 2002: 152,Lam. II), or on the ivory combs of the Bonsor Collection (Moret &Rouillard 1997: 5) (Figure 9B-C). These objects have strong links withthe eastern Mediterranean, especially the Phoenician world (Kantor 1947;Buchholz 2005: 95-8), where these kinds of marks appear on similarsupports as well as on tridracnae (Stucky 2007: 221, Cat. 330). However,their typology typology/ty��pol��o��gy/ (ti-pol��ah-je) the study of types; the science of classifying, as bacteria according to type. typologythe study of types; the science of classifying, as bacteria according to type. and position favour their interpretation as decorativemotifs, stylised representations of the anatomy, symbolic indicators, oreven assembly instructions (Millard 2005). In no case do they appear tobe signature marks. The oldest stone Iberian sculpture, dated in the sixth century BC,has unmistakeable roots in the Orientalising Tartessian period and showssome parallels with the previously cited examples. Some stone bulls fromthe Spanish Mediterranean area wear an engraved rectangle on theforehead that resembles an ox-hide ingot ingotMass of metal cast into a size and shape such as a bar, plate, or sheet convenient to store, transport, and work into a semifinished or finished product. The term also refers to a mold in which metal is so cast. , a motif that was widespread atTartessos and in the initial phases of Iberian culture (Chapa 2005). AtIpolca, the sculpture of a bull showing clear Orientalising iconographywas recovered years before the finding of the Cerrillo Blanco. The pieceshows floral motifs on the shoulders and forehead, as well as deep lineson its hindquarters (Blanco 1960: 37-40, Figures 56-7). These motifs arecarefully designed and profoundly engraved on the bull's body, andtherefore are an important part of the figure. Ingots and floral motifsare frequently used in Orientalising iconography, and they should beinterpreted as symbolic features linking this animal to its associateddeities and rituals. These marks, therefore, do not coincide with thoseof the studied Ipolca sculptures, which must be interpreted in otherterms (Figure 10). Certain later Iberian objects are known to carry identifying marks,such as ceramic recipients (Mata & Soria 1997), weaving looms andbrooches (Flores etal. 1999). Generally, these are interpreted as signsof property, origin or content, although no pattern has beendemonstrated that can confirm any of these possibilities. However, thefew texts that have appeared on ceramic vases or metallic objects aremuch younger (the end of the third century BC at the latest) than thestudied Ipolca sculptures. The word 'ekiar' appears frequentlyon these supports, and has sometimes been interpreted to mean 'madeby', but it could also mean 'property of' (de Hoz 1992:335). The actual meaning remains elusive given the difficulties that thereading and translation of Iberian languages still entail. In summary, none of these examples provide an adequate explanationfor the marks that have been noticed on the surface of the sculptures.Closer to our object of study are the marks made by the quarrymen andstonemasons on some Iberian stone monuments. The Pozo Moro (500 BC)tower in Albacete, which rises above four lions at its corners, showsmarks on some of its ashlars. Even though they were only finelyengraved, they are perfectly visible from a certain distance (Figure11), and were probably intended to indicate the exact position of theblocks (Almagro-Gorbea 1983: Lam. 31). We could then turn to the world of specialised stoneworkers inorder to find an adequate context for these expressions. In medievaltimes This is the article on the Medieval Times dinner theater chain. For the historical time period, see Middle Ages.Medieval Times Dinner & Tournament , quarrymen, stonemasons, sculptors and donors often'signed' their work for personal recognition or theidentification of their workshop, generally for economic reasons.However, engravings were also made for practical purposes, such astransport information, or to denote the position of a piece in amonument (Esquieu & Hartmann-Virnich 2007). [FIGURE 10 OMITTED] The most outstanding features of the Ipolca marks are theirnon-epigraphic character and the fineness of their traces, which wouldnot have left them noticeable to a cursory look. These facts show thattheir main goal was to leave a very personal signature only detectableby their author and maybe other specialists that were familiar with thesculptural process. We cannot discard also economic reasons, as themarks identify authorship, and thus justify payment, but very oftentraditional stonemasons and sculptors engrave en��grave?tr.v. en��graved, en��grav��ing, en��graves1. To carve, cut, or etch into a material: engraved the champion's name on the trophy.2. hidden marks on theirworks just as a sign of self-and peer-recognition. Ancient sculptures that carry the signatures of their makers arenaturally in the minority, even in the Greek world. Certainly, theideological and social contexts of Iberian groups seem to haveconsidered the social status of sculptors better as manual workers thanartists. As far as we know, neither their signature, nor that of theclient, was considered appropriate to appear on the surface of thesculpture. The scarce use of a formal script among the populationreinforced this tendency. Nevertheless, the makers of these magnificentsculptures probably wanted to leave their mark on their work. The question remains as to whether this situation reigned in otherpre-Roman Mediterranean contexts. Certainly up to now, recognisableauthors' signatures to which attention has been paid have alwaysbeen clearly visible. However, it is possible that other formulae wereused to identify sculptors' works. Perhaps many other sculpturesfrom the pre-Roman Mediterranean carry similar marks awaiting discovery. [FIGURE 11 OMITTED] Acknowledgements This paper has been developed within the Research ProjectHUM2007-60074, funded by the Spanish Ministry of Science and Innovation.We are deeply grateful to the Director of the Jaen Museum, FranciscaHornos and Margarita Sanchez, Keeper of the Jaen Museum, for helping usin different ways while we studied the sculptures. We also want toacknowledge Professor Javier de Hoz for his thorough advice about theengraved signs and their relation with the Iberian language For other uses, see Iberian languages.The Iberian language describes a linguistic group identified with the Iberian civilisation (7th century BC – 1st century BC), formed in the eastern and south-eastern regions of the Iberian peninsula. , and toProfessors Robert Chapman Robert Chapman may refer to: Robert Chapman (cricketer) (born 1972), English cricketer who played first-class cricket for Nottinghamshire and Worcestershire between 1992 and 1998 and Gonzalo Ruiz Zapatero for their helpfuland encouraging comments. 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See Beau monde.Demi mondeSee Demimonde. Arabe, Paris, Novembre2007-Avril 2008): 219-23. Paris: A. Somogy Eds, UNTERMANN, J. 1990. Monumenta Linguarum Hispanicarum III: dieiberischen inschriften aus Spanien. Wiesbaden: Reichert. VIVIERS, D. 1992. Recherches sur les ateliers de sculpteurs et laCite d'Athenes a l'epoque archaique: Endoios, Philergos,Aristokles. Brussels: Academie Royale de Belgique. ZOFIO, S. & T. CHAPA. 2005. Enterrar el pasado: la destrucciondel conjunto con��jun��to?n. pl. con��jun��tos1. A dance band, especially in Latin America.2. A style of popular dance music originating along the border between Texas and Mexico, characterized by the use of accordion, drums, esculturico del Cerrillo Blanco de Porcuna (Jaen). Verdolay9: 95-120. Teresa Chapa (1), Maria Belen (2), M. Isabel Martinez-Navarrete(3), Alicia Rodero (4), Bautista Ceprian (5) & Juan Pereira (6) (1) Department of Prehistory prehistory,period of human evolution before writing was invented and records kept. The term was coined by Daniel Wilson in 1851. It is followed by protohistory, the period for which we have some records but must still rely largely on archaeological evidence to , Facultad de Geografia e Historia,Universidad Complutense de Madrid, 28040 Madrid, Spain (Email:tchapa@ghis.ucm.es) (2) University of Seville The University of Seville or sometimes Seville University, in Spanish Universidad de Sevilla, is a public university in Seville, Spain.In 2004 it had 73,350 students scattered around different campuses, being the second Spanish presential university by , 41004 Seville, Spain (Email:mbelend@telefonica.net) (3) Spanish National Research Council, E-28006 Madrid, Spain(Email: cehmn1g@ih.csic.es) (4) National Archaeological Museum, C. Serrano 13, Madrid, Spain(Email: alicia.rodero@MCU (1) (MicroController Unit) A computer on a single chip. See microcontroller.(2) (Multipoint Control Unit) A device that is used to moderate a videoconference of three or more end points (users at computers or groups of users .es) (5) Castulo Museum, Calle General Echague 2, 23700 Linares, Spain(Email: bautista.ceprian.ext@juntadeandalucia.es) (6) University of Castilla-La Mancha, Plaza Padilla, 45071 Toledo,Spain (Email: Juan.Pereira@uclm.es)