Tag Archives: Vía de La Plata

Claustro bajo – Catedral de Santa María de Burgos by neobit

Es una obra equilibrada y armónica del gótico del último tercio del siglo XIII, proyectado y ejecutado por el maestro Enrique. Sus amplios y luminosos ventanales, la riqueza escultórica, tanto monumental como decorativa, con numerosas esculturas de santos, obispos, reyes, y paisajes bíblicos en los pilares de los esquinales y las portadas de sus dependencias, crean un espacio ambiental único en consonancia con su función primordial: la religioso-cultual, y le constituye en uno de los claustro ojivales más bellos de España.
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This is a balanced, harmonious work in the Gothic style of the last third of the 13th Century which was projected and executed by the master builder, Enrique. Its wide, bright windows, the richness of its sculpture-work both monumental and decorative, with a variety of sculptures of Saints, Bishops, Kings and biblical landscapes in the pillars of the cornerpieces and the gates to the rooms off it create a unique atmosphere which accords with its religious/cultural function making it one of the most beautiful ogival arch cloisters in Spain.

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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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La iglesia de San Nicolás de Bari de Burgos by neobit

La iglesia de San Nicolás de Bari de Burgos es un templo católico situada al lado del Camino de Santiago, en la calle de Fernán González, en frente de la catedral.
Desde que la Iglesia de San Esteban fue convertida en el museo del Retablo es la sede de la parroquia de San Esteban.
Fue levantada en 1408 sobre otro templo románico. La preside uno de los retablos más impresionantes y monumentales del Arte del Renacimiento Castellano, realizado en el siglo XV en el taller de Simón de Colonia, diseñado por él y realizado por su hijo Francisco. También de gran interés son sus sepulcros góticos, el arco renacentista de María Sáez de Oña y Fernando de Mena y las tablas de la escuela burgalesa del Maestro de San Nicolás.
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Iglesia de San Nicolás de Bari is a Catholic church on Calle de Fernán González in Burgos, Spain, located next to the Camino de Santiago, in front of the cathedral. Since the Church of San Esteban was turned into a museum, it has served as the seat of the parish of San Esteban. The church was built in 1408, replacing another Romanesque temple. It contains notable examples of fifteenth century Castilian Renaissance art by Simón de Colonia and his son Francisco. Also of great interest are the Gothic tombs, and the Renaissance arc by María Sáez de Oña and Fernando de Mena.

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Claustro alto – Catedral de Santa María de Burgos by neobit

Es una obra equilibrada y armónica del gótico del último tercio del siglo XIII, proyectado y ejecutado por el maestro Enrique. Sus amplios y luminosos ventanales, la riqueza escultórica, tanto monumental como decorativa, con numerosas esculturas de santos, obispos, reyes, y paisajes bíblicos en los pilares de los esquinales y las portadas de sus dependencias, crean un espacio ambiental único en consonancia con su función primordial: la religioso-cultual, y le constituye en uno de los claustros ojivales más bellos de España.
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This is a balanced, harmonious work in the Gothic style of the last third of the 13th Century which was projected and executed by the master builder, Enrique. Its wide, bright windows, the richness of its sculpture-work both monumental and decorative, with a variety of sculptures of Saints, Bishops, Kings and biblical landscapes in the pillars of the cornerpieces and the gates to the rooms off it create a unique atmosphere which accords with its religious/cultural function making it one of the most beautiful ogival arch cloisters in Spain.

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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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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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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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