Tag Archives: nave

Coro de la Catedral de Santa Maria de Segovia by neobit

El Coro de la Catedral de Segovia se encuentra situado frente al Altar Mayor y ocupa los tramos tercero y cuarto respectivamente. Proviene, en su mayor parte, de la catedral antigua. Posee sillería alta y baja. Un total de 116 sillas. A este número debemos incluirle las dos reservadas a los Reyes y a la Episcopal. Los entalladores Juan Gil y Jerónimo de Amberes fueron los encargados de colocar esta sillería en el año 1558, que procede, en su mayor parte, de la catedral antigua.
La sillería es de estilo gótico. La decoración es geométrica en los respaldos. En los brazos destacan temas naturales. La sillería alta está aderezada por doseletes dispuestos sobre finas columnas y con tracerías caladas. El respaldo son arcos coropiales que a su vez encierran arcos rebajados sobre larguísimas columnas.
En la silla episcopal destaca el respaldo adornado con el escudo de armas del obispo Juan Arias Dávila. Este gobernó en la diócesis segoviana entre los años 1461 y 1497.
Conviene destacar que el doselete que cubre esta silla fue rehecho por Huici en 1789. Este evanista, vecino de La Granja fue el encargado de terminar la sillería, en el año 1790.
Las sillas destinadas a los reyes se encuentran al lado de la silla episcopal. Estas poseen varios escudos: cuatro de ellos con las armas de Castilla y Portugal; otros cuatro con las armas de Castilla. Todos ellos policromados.
También, poseen estas sillas reales, agudos doseletes coronados, respectivamente, por un heraldo que sostiene el blasón de Castilla y por un león abanderado.La relevancia depositada en la construcción de estas sillas viene dada por la tradición de Enrique IV de asistir a los oficios divinos en el coro.
Llegando al centro del coro encontramos el facistol, atribuido a Vasco de la Zarza en el siglo XVI. Este se asiente sobre un bello pie renacentista .
Los suntuosos órganos completan el coro. En ellos se disponen dos doradas cajas que, llenando de todo el hueco de la arquería, llegan hasta la clave. Las cajas son obra del tallista Juan Maugan, mientras que los opulentos órganos son obra de José y Pedro Chavarria y datan de 1770.
El órgano de la Epístola y el órgano del Evangelio nos revelan el esplendor del que goza la música en la catedral y que tan unida está a la solemnidad litúrgica.
Una reja barroca, que fue forjada en Elgoibar y colocada en 1729, cierra el coro. Esta fue construida por Antonio de Elorza, quien también se encargó de la construcción de la Valla o Vía Sacra. Este provenía de una ilustre familia de rejeros a quienes se debe gran parte del resto de las rejas del templo.
El final de la vía sacra da paso a la Capilla Mayor, espacio reservado al Cabildo. Carlos III (1759-1788) fue quien mandó construir el altar actual, con diseño de Francisco Sabatini (1722-1795). Su construcción data del 1768 y terminado en el año 1775 en los talleres del Palacio Real de Madrid.

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Crucero de la Catedral de Santa María de Segovia by neobit

[MORE] for English
La Santa Iglesia Catedral de Nuestra Señora de la Asunción y de San Frutos de Segovia, conocida como la Dama de las Catedrales por sus dimensiones y su elegancia, es una catedral construida entre los siglos XVI y XVIII, de estilo gótico con algunos rasgos renacentistas. La catedral de Segovia es una de las catedrales góticas más tardías de España y de Europa, erigida en pleno siglo XVI (1525-1577), cuando en la mayor parte de Europa se difundía la arquitectura renacentista.
Destruida la antigua Catedral de Santa María de Segovia en 1521 durante la Guerra de las Comunidades, por su cercanía al Alcázar, el claustro —obra de Juan Guas— y otros elementos fueron trasladados a este lugar. Comenzó su construcción en 1525 según las trazas de Juan Gil de Hontañón; fue financiada por el pueblo segoviano mediante aportaciones de los gremios y sisas del ayuntamiento.
Posee una estructura en tres altas naves y girola, destacando sus hermosas ventanas de complicada y fina tracería calada así como la extraordinaria calidad de los numerosos vitrales. El interior muestra una notable unidad de estilo (gótico tardío), excepto en la cúpula de 1630 y presenta un aspecto imponente y sobrio. Sus bóvedas góticas se elevan a 30 metros de altitud y mide de ancho 50 metros y 109 de longitud. El crucero está cubierto con una cúpula finalizada por Pedro de Brizuela en el siglo XVII. La poderosa torre alcanza casi los 90 metros. El actual chapitel de piedra que corona la torre, data de 1614, erigido luego de un gran incendio originado por una tormenta eléctrica. El chapitel original enteramente gótico construido de madera de caoba americana, de estructura piramidal alcanzaba la mayor altura de España.
Entre las capillas destacan la del Santísimo Sancramento, con un magnífico retablo de José de Churriguera, así como las de San Andrés, con el tríptico flamenco del Descendimiento de Ambrosius Benson; y la del Descendimiento con extraordinario Cristo Yacente, de Gregorio Fernández. El retablo del altar mayor, obra de Francisco Sabatini, está dedicado a la Virgen de la Paz. Le adornan esculturas de los santos segovianos San Frutos, San Geroteo, San Valentín y Santa Engracia. El coro conserva la sillería gótica de la antigua catedral y está flanqueado por dos grandes órganos barrocos, del siglo XVIII. El Museo Catedralicio tiene notables obras artísticas de Pedro Berruguete, Sánchez Coello y Van Orley, entre otros, y el Archivo Catedralicio custodia, entre otros muchos, el Sinodal de Aguilafuente, primer libro impreso en España.
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The massive cathedral was built between 1525-1577 in a late Gothic style, outdated elsewhere in Europe. The previous cathedral of Segovia had stood adjacent to the Alcazar, and had been used by the royal armies in defending the latter against siege. The rebellious Comuneros were intent on taking the Cathedral to protect its holy relics, and to use its position against the walls of the Alcazar in order to defeat its defenders. In a famous exchange, prominent city officials urged the comuneros to halt their attacks on the church, saying they should consider the injustice of razing so sumptuous a temple while making war against those who, serving their king, defended his Alcazar. But their plea fell on deaf ears, and the comuneros replied: la Iglesia era de la Ciudad (the Church belonged to the City).[1] After a bitter siege lasting months, the cathedral lay in ruins.
Overall view of the Cathedral of Segovia, Castilla y Léon, Spain and the surrounding Jewish Quarter of the city (la Judería)
Due to fears of a repeat assault, the cathedral was relocated to the present site and built using a design by the Trasmeran mason named Juan Gil de Hontañón, and the work was continued by his son Rodrigo Gil de Hontañón.
The building’s structure features three tall vaults and an ambulatory, with fine tracery windows and numerous stained glass windows. The interior is characterized by unity of style (late Gothic), except for the dome, built around 1630 by Pedro de Brizuela. The Gothic vaults are 33 meters high by 50 meters wide and 105 long. The bell tower reaches almost 90 meters. The current stone spire crowning the tower, dating from 1614, was erected after a major fire caused by a thunderstorm. The original spire, entirely Gothic, was built of American mahogany, had a pyramidal structure, and was the tallest tower in Spain.
Among the most prominent chapels are that of the Santísimo Sacramento, with a Reredo by José de Churriguera, and the Chapel of San Andrés, with a Tryptich of the Deposition by Ambrosius Benson; and the chapel of the Deposition with the recumbent Christ by Gregorio Fernández.

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Sacristía Mayor – Catedral de Santa María de Burgos by neobit

Ocupan el espacio de una de las capillas de la girola; fue construida en 1765 con los proyectos de Fray José de San Juan de la Cruz, en estilo barroco del período rococó. Llama la atención su cúpula y cascarones con yeserías pintadas y, sobre todo, la gran cajonería y retablos en los que trabajaron José Cortés, Manuel Romero y en las pinturas de los frontales, sobre temas de la Virgen, Lucas Jordán y artistas de su taller.
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This was built on the site of one of the chapels of the ambulatory; it was built in 1765 using projects drawn up by Fray José de San Juan de la Cruz, in the baroque style of the rococo period. Particularly noteworthy are the dome and the cascarones (vaults in quarter spheres) with painted plasterwork and above all the grand chest of drawers and altarpieces which were the work of José Cortés and Manuel Romero. The paintings on the front relate to the Virgin Mary and were painted by Lucas Jordán and artists from his workshop.

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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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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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Basílica de Santa Maria del Pi by neobit

Basílica de Santa Maria del Pi is a 14th-century Gothic church in Barcelona, Catalonia, Spain. It is situated on the Plaça del Pi, in the Barri Gòtic district of the city.
There are unsubsantiated claims that there was an early Christian church on the site in 413. However it is known that in 987 there existed a church outside the city walls and to the west of Barcelona. This was a small Romanesque church dedicated to the Blessed Lady of the Pine Tree (one of the titles of the Virgin Mary). The church was built between 1319 and 1391. The style of the church was Catalan Gothic, with a single nave almost devoid of ornamentation. However in 1936 the church was gutted by a fire and was later restored.
The floor plan of the church comprises a single nave made up of seven rectangular sections, each covered with a vaulted ceiling and with side-chapels placed between the supporting pillars. The interior length of the nave is 54 metres, the width is 16.5 metres and the height is 12.2 metres. The fire of 1936 destroyed the high altar, the altarpiece, the statues, the choir stalls from 1868 and the organ created in 1808 by Johan de Kyburz.
The high altar is made of alabaster and is the work of Joaquim de Ros i de Ramis. It was installed in 1967.
In the presbytery is a statue of Santa Maria del Pi, 3.3 metres high, created in 1973 by sculptor Enric Monjo.
The original Baroque choir stalls dated from 1771 and were designed by Josep Mas i Dordal. In 1868 these were replaced by neo-gothic stalls, which were destroyed in the fire of 1936. In 1986 the previous baroque stalls were re-instated.
The original stained-glass windows have not survived. The oldest of those that exist now date from 1718. Of these, the window depicting the Adoration of the Magi (above the Door of Avemaria) is the work of Antoni Viladomat.

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Reial Monestir de Santa Maria de Pedralbes by neobit

The monastery was founded by King Jaume el Just (James II of Aragon) for his wife Elisenda de Montcada in 1326.
The construction work of the monastery started in March 1326. Queen Elisenda chose its location in the village of Sarrià, which back then was far out of the city of Barcelona. The name “Pedralbes” derives from the Latin Petras Albas (white stones), a white stone is the cornerstone of the apsis. On May 3, 1327 the nuns moved into the monastery.
Since the monastery was built within just one year, it was not influenced by any other architectural styles and is a fine example of particularly homogeneous gothic architecture in Catalonia.
It was not before the 15th century that the third and lowest storey was added to the cloister.
The church has a single nave, with rib vaults and a polygonal apse, and houses a Gothic retablo by Jaume Huguet. The façade is characterized by a large rose window.
Inside the church, on the right side next to a presbytery – a choir which is only accessible by the clergy – the tomb of Queen Elisenda is located. There is something particular about Queen Elisenda’s tomb: the sarcophagus is double-sided. On the cloister side Elisenda is figured as a mourning widow, on the church side as a queen.

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Monestir de Pedralbes by neobit

The monastery was founded by King Jaume el Just (James II of Aragon) for his wife Elisenda de Montcada in 1326.
The construction work of the monastery started in March 1326. Queen Elisenda chose its location in the village of Sarrià, which back then was far out of the city of Barcelona. The name “Pedralbes” derives from the Latin Petras Albas (white stones), a white stone is the cornerstone of the apsis. On May 3, 1327 the nuns moved into the monastery.
Since the monastery was built within just one year, it was not influenced by any other architectural styles and is a fine example of particularly homogeneous gothic architecture in Catalonia.
It was not before the 15th century that the third and lowest storey was added to the cloister.
The church has a single nave, with rib vaults and a polygonal apse, and houses a Gothic retablo by Jaume Huguet. The façade is characterized by a large rose window.
Inside the church, on the right side next to a presbytery – a choir which is only accessible by the clergy – the tomb of Queen Elisenda is located. There is something particular about Queen Elisenda’s tomb: the sarcophagus is double-sided. On the cloister side Elisenda is figured as a mourning widow, on the church side as a queen.

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