Tag Archives: Flamboyant

Capilla de la Presentación – Catedral de Santa María de Burgos by neobit

Dedicada a la Consolación y a la Presentación fue realizada entre los años 1519 a 1524 por el maestro Juan de Matienzo, quien llevó a cabo un espacio de planta central cubierta con bóveda estrellada con plementería central calada. Sigue el gusto por las capillas suntuosas como la de los Condestables, en la que se inspira. Fue patrocinada por el canónigo Don Gonzalo de Lerma, cuyo sepulcro tallado en alabastro por Felipe de Vigarny, con su estatua yacente, ocupa el centro de la misma.
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This chapel is dedicated to Our Lady of the Consolation and Our Lady of the Presentation and was built between 1519 and 1524 by the Master Builder Juan de Matienzo, who constructed a space with a central floor covered with a stellar vault with a pierced central plementería (stone design). It follows the same lines as sumptuous chapels such as the Chapel of the Constables on which it is based. It was commissioned by Canon Gonzalo de Lerma, whose tomb in alabaster with its recumbent statue was carved by Felipe de Vigarny and occupies the centre of the chapel.

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Capilla de los Condesables – Catedral de Santa María de Burgos by neobit

La capilla de la Purificación, en el centro de la girola, mas conocida como capilla de los Condestables por haber sido erigida por el Condestable de Castilla y su esposa a fines del siglo XV. Es el recinto más suntuoso de la catedral. Fue construida entre 1482 y 1496, por Simón de Colonia. En su interior destaca el cuerpo de luces, el grupo de ventanales ochavado, con sus vidrieras flamencas y su bóveda de doble estrella calada. Asombra su prodigiosa escultura pétrea y la de sus tres retablos en los que trabajaron Gil de Siloe y Diego de la Cruz, en el retablo gótico y Diego de Siloe, Felipe de Vigarny y León Picardo, en los retablos renacentistas. Toda ella es una teofanía de los grandes misterios de la fe cristiana; verdadero deleite para los ojos del cuerpo y del espíritu.

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Crucero y cimborrio – Catedral de Santa María de Burgos by neobit

[more for English]
Sobre la intersección de las naves mayor y transversal se levanta el cimborrio del crucero, de cincuenta metros de altura, con doble cuerpo de luces y asombrosa bóveda de estrella calada, que permite el paso de la luz cenital. Lo construyó Juan de Vallejo entre 1540 y 1568 posiblemente inspirado en el anterior que construyeron Juan y Simón de Colonia, terminado hacia 1495 y que se derrumbó en 1539. Aunque fue construido en pleno renacimiento contiene concesiones y recuerdos del gótico tardío, hábilmente armonizados con el perfil gótico de la Catedral. Es todo él un prodigio de escultura, tanto en estatuas exentas como en relieve; más de cien estatuas se distribuyen en todo su ámbito exterior e interior. De él decía Felipe II, absorto en su contemplación , “que más parecía obra de ángeles que de hombres”.
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The dome of the crossing which is about fifty metres high rises up above the intersection of the Great Nave and the Transversal Nave. It has a double body of lights and an amazing pierced stellar vault, which permits the entry of light from above. It was built by Juan de Vallejo between 1540 and 1568 may well have been inspired by an earlier dome built by Juan and Simón de Colonia, which was finished around 1495 and collapsed in 1539. Although it was built in the midst of the Renaissance period, it still makes some concessions to Late Gothic and skilfully blends in with the Gothic profile of the Cathedral. The sculpture-work is awesome, both in terms of free-standing statues and in relief carving; over 100 statues can be seen inside and outside the Cathedral. King Philip II said while rapt in admiration of the building “that it seemed more the work of angels than of men”.

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Escalera Dorada – Catedral de Santa María de Burgos by neobit

Adosada a la pared del hastial norte de la nave del transepto, se levantó entre 1519 y 1522, una escalera para salvar el desnivel existente entre la puerta de Coronería y la nave norte del transepto. Es del tipo de las llamadas imperiales. La obra fue diseñada y realizada por el gran arquitecto Diego de Siloe, que se inspira en el proyecto que hiciera Bramante para el “Cortile del Belvedere” en Roma. El rejero francés Hilario realizó los antepechos en hierro repujado y dorado con minucioso trabajo de medallones.

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Catedral de Santa María de la Sede de Sevilla by neobit

La catedral de Santa María de la Sede de Sevilla, better known as Seville Cathedral, is a Roman Catholic cathedral in Seville (Andalusia, Spain). It is the largest Gothic cathedral and the third-largest church in the world. It is also the largest cathedral in the world, as the two larger churches, the Basilica of the National Shrine of Our Lady of Aparecida and St Peter’s Basilica, are not the seats of bishops.
Seville Cathedral was built to demonstrate the city’s wealth, as it had become a major trading center in the years after the Reconquista in 1248. In July 1401 it was decided to build a new cathedral. According to local oral tradition, the members of the cathedral chapter said: “Hagamos una Iglesia tan hermosa y tan grandiosa que los que la vieren labrada nos tengan por locos” (“Let us build a church so beautiful and so grand that those who see it finished will think we are mad”). Construction began in 1402 and continued until 1506. The clergy of the parish gave half their stipends to pay for architects, artists, stained glass artisans, masons, carvers, craftsman and labourers and other expenses.
Five years after construction ended, in 1511, the dome collapsed and work on the cathedral recommenced. The dome again collapsed in 1888, and work was still being performed on the dome until at least 1903. The 1888 collapse occurred due to an earthquake and resulted in the destruction of “every precious object below” the dome at that time.
The interior has the longest nave of any cathedral in Spain. The central nave rises to a height of 42 meters and is lavishly decorated with a large quantity of gilding. In the main body of the cathedral, the most noticeable features are the great boxlike choir loft, which fills the central portion of the nave, and the vast Gothic retablo of carved scenes from the life of Christ. This altarpiece was the lifetime work of a single craftsman, Pierre Dancart.

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Capilla de la Concepción o Santa Ana – Catedral de Santa María de Burgos by neobit

This Chapel occupies the site of two earlier chapels and a small courtyard; it was built between 1477 and 1488, by the architects Juan and Simón de Colonia, and was paid for by Bishop Luis de Acuña y Osorio. In the wall of the apse there is a lavish altarpiece in the Flemish Gothic style dedicated to St Joaquin and St Anne. This is the work of Gil de Siloe, who put the finishing touches to the main section in 1492; it depicts the Tree of Jesse around the embrace of Joaquin and Anne, the parents of the Virgin Mary. The lateral sections shelter under fine porches, with numerous statues of saints and prophets, Marian scenes, hagiographies and an image of the founder bishop.

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Catedral de Santa María de Burgos by neobit

La Catedral de Santa María de Burgos is a Gothic-style Roman Catholic cathedral in Burgos, Spain. It is dedicated to the Virgin Mary and is famous for its vast size and unique architecture. Its construction began in 1221 and it was in use as a church nine years later but work continued off and on until 1567. It was primarily built in the French Gothic style, although Renaissance style works were added in the 15th and 16th centuries.
The construction of the cathedral was ordered by King Ferdinand III of Castile and Mauricio, the English-born Bishop of Burgos. Construction started on the site of the former Romanesque cathedral on July 20, 1221, beginning at the chevet, which was completed in nine years.
The high altar was first consecrated in 1260, then there was a lengthy hiatus of almost 200 years before construction was recommenced. The cathedral was completed in 1567, with the completion of the lantern spire over the main crossing (which rises above a delicate openwork star vault).
The architects who directed its construction were a Frenchman in the 13th century and a German in the 15th century. In 1417, the bishop of Burgos attended the Council of Constance and returned with the master builder John of Cologne (Juan de Colonia), who completed the towers with spires of open stonework tracery.
Among the most famous of the bishops of Burgos was the 15th-century scholar and historian Alphonsus a Sancta Maria.
It had very important modifications in the 15th and 16th centuries (spires of the principal façade, Chapel of the Constable[es] by Simón de Colonia, cimborio of the transept by Juan de Vallejo: these elements of advanced Gothic give the cathedral its distinguished profile). The last works of importance (the sacristy or the Chapel of Saint Thecla) occurred during the 18th century, the century in which the Gothic statuary of the doors of the principal façade was also transformed. The principal façade is similar to the French cathedrals of Paris and of Reims. It consists of three bays topped by two lateral square towers. The steep spires are a German influence that were added in the 15th century and are the work of Juan de Colonia.
Some elements of great interest within of the cathedral are the ‘Papamoscas’ (Flycatcher), an articulated statue which opens its mouth upon the sounding of the bells every hour, the Romanesque sepulchre of Mudarra, the vengeful stepbrother of the death of the seven princes de Lara (brought to the cathedral from its original location in the Monastery of San Pedro de Arlanza due to its abandonment by alienation), the carved chairs of the choir, the sepulchre of the Bishop Mauricio, the tomb of El Cid and his wife Doña Jimena, the letter of security of El Cid and his chest.

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Catedral de Santa María de Burgos by neobit

La Catedral de Santa María de Burgos is a Gothic-style Roman Catholic cathedral in Burgos, Spain. It is dedicated to the Virgin Mary and is famous for its vast size and unique architecture. Its construction began in 1221 and it was in use as a church nine years later but work continued off and on until 1567. It was primarily built in the French Gothic style, although Renaissance style works were added in the 15th and 16th centuries.
The construction of the cathedral was ordered by King Ferdinand III of Castile and Mauricio, the English-born Bishop of Burgos. Construction started on the site of the former Romanesque cathedral on July 20, 1221, beginning at the chevet, which was completed in nine years.
The high altar was first consecrated in 1260, then there was a lengthy hiatus of almost 200 years before construction was recommenced. The cathedral was completed in 1567, with the completion of the lantern spire over the main crossing (which rises above a delicate openwork star vault).
The architects who directed its construction were a Frenchman in the 13th century and a German in the 15th century. In 1417, the bishop of Burgos attended the Council of Constance and returned with the master builder John of Cologne (Juan de Colonia), who completed the towers with spires of open stonework tracery.
Among the most famous of the bishops of Burgos was the 15th-century scholar and historian Alphonsus a Sancta Maria.
It had very important modifications in the 15th and 16th centuries (spires of the principal façade, Chapel of the Constable[es] by Simón de Colonia, cimborio of the transept by Juan de Vallejo: these elements of advanced Gothic give the cathedral its distinguished profile). The last works of importance (the sacristy or the Chapel of Saint Thecla) occurred during the 18th century, the century in which the Gothic statuary of the doors of the principal façade was also transformed. The principal façade is similar to the French cathedrals of Paris and of Reims. It consists of three bays topped by two lateral square towers. The steep spires are a German influence that were added in the 15th century and are the work of Juan de Colonia.
Some elements of great interest within of the cathedral are the ‘Papamoscas’ (Flycatcher), an articulated statue which opens its mouth upon the sounding of the bells every hour, the Romanesque sepulchre of Mudarra, the vengeful stepbrother of the death of the seven princes de Lara (brought to the cathedral from its original location in the Monastery of San Pedro de Arlanza due to its abandonment by alienation), the carved chairs of the choir, the sepulchre of the Bishop Mauricio, the tomb of El Cid and his wife Doña Jimena, the letter of security of El Cid and his chest.

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Capilla de la Virgen de la Esperanza- Catedral de León by neobit

Hace pocos años que está presidida por esta imagen de la Virgen de la Esperanza. Es de piedra, esculpida a finales del siglo XIII. Su policromía es posterior. Representa, en realidad, a la Virgen apocalíptica, con el Niño Dios en su vientre, perseguido por el dragón. Pasó en muchas ocasiones a cerrar el árbol de Jesé. Originó, así mismo, el tipo de imágenes llamadas “abrideras”, a modo de tríptico abierto que mostraba el fruto de sus entrañas. Finalmente, era bastante común representarla en el momento de la Anunciación, embarazada también, como creemos que es el caso presente, a juzgar por la filacteria que porta. Es una imagen lograda con gran realismo, muy querida por todos los leoneses.
En las vidrieras hay escenas de la vida de Jesús y de María. Todas ellas sufrieron profunda restauración el siglo pasado. El sepulcro del muro izquierdo pertenece al obispo Diego Ramírez (1344-1354). Expresa la temática funeraria común.
Frente a esta capilla hay un fresco de Nicolás Francés, roto en el siglo XVIII para dar acceso al altar. En el hueco se colocó un lienzo del Ecce Horno, pintado por Neira en 1834. Suponemos que dicho lienzo intentó sustituir al original, en torno al cual se desarrolla toda la escena, que ocurre en el palacio de Pilato, mostrándose en todas las figuras un gran aire cortesano, rayando la caricatura.

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Catedral de León by neobit

The León Cathedral, dedicated to Santa María de la Regla, was declared of Cultural Interest in 1844. It is known as the Pulchra Leonina and is a masterpiece of the Gothic style dominating the mid-13th century, by master architect Enrique. By the late 16th century it was virtually completed.
The main façade has two towers. The southern tower is known as the ‘clock tower’. The interior represents a combination of architecture, painting, sculpture and other arts. The Renaissance retrochoir contains alabaster sculptures and the choir was built by three great artists: Jusquin, Copin of Holland and Juan de Malinas. Particularly noteworthy is the Plateresque screen in the wall behind the sepulchre of King Ordoño.
It has three portals decorated with sculptures situated in the pointed arches between the two towers. The central section has a large rose window. Particularly outstanding is the image of the Virgin Blanca and the Locus Appellatione, where justice was imparted.
Its almost 1,800 square meters of stained glass windows are one of the main touristic attractions of the cathedral. The great majority of them are original, which is a rarity, and date from the thirteenth to the fifteenth century. They are among the world’s finest stained glass works.
In the Main Chapel, there is an altarpiece by Nicolás Francés (15th century) and a silver urn containing the relics of San Froilán, the town’s Saint patron, made by Enrique de Arfe. The 13th- to 15th-century cloister contains singular sculpted details in the capitals, friezes and ledges.
The Cathedral Museum houses a large collection of sacred art. There are almost 1,500 pieces, including 50 Romanesque sculptures of the Virgin, dating from pre-historic times to the 18th century (Neoclassicism) with works by Juan de Juni, Gregorio Fernández, Mateo Cerezo, a triptych of the School of Antwerp, a Mozarabic bible and numerous codices.
The Cathedral is also one of the three most important Cathedrals on The Way of Saint James (El Camino de Santiago). Along with The Burgos Cathedral and the Cathedral in Santiago De Compostela, it is visited a lot and it is a holy worshipping place, and very sacred to the people of its city. It is one of the things that makes Leon so famous, and one of the main stops on the camino.

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