The art in Spain
Zaragoza - I
Nº 23. edicion: Thomas: 2 ptas
EL ARTE EN ESPAÑA
BAJO EL PATRONATO DE LA COMISARÍA REGIA DEL TURISMO Y CULTURA ARTÍSTICA N.º 23
Cuarenta y ocho ilustraciones con texto de
Anselmo Gascón de Gotor
Correspondiente de la Real Academia de San Fernando
HIJOS DE J. THOMAS, S.A.
Mallorca, 291- BARCELONA
RESERVADOS LOS DERECHOS DE PROPIEDAD ARTÍSTICA Y LITERARIA
ZARAGOZA I
THE CATHEDRAL OF THE SAVIOR OR THE SEO
Although it is a great monument of Aragonese art, it has not been included in the list of nationals.
The first Mohammedan mosque, built in Spain, was that of Saragosta (713), almost half a century before that of Córdoba, still subsisting, and as far as it can be appreciated, one can suppose which would be its grandeur; but this mosque perished by a fire in the year 1050, sixty-eight years before the reconquest of Zaragoza, if such a transcendental historical event was carried out. in 1118. It is not to be supposed that the greater building for the Mohammedan prayer would rise next; It is not possible to admit that in doing so, he dominated the ruin, dealing with that much coveted city; less can it be admitted that the work of little more than half a century was in imminent ruin because of old age by taking possession of it and consecrating it to Christian worship.
Be that as it may, the mosque is used. as a Christian cathedral, after the consecration of the factory, until well into the twelfth century, in which the roman temple was finished.
It is thought that our roman cathedral should have to be of a basilical form (I); three ships with another one of quite sharp cruise, and three semicircular apses.
(I). LAMPÉREZ.
Of such a romantic construction, the important central and the gospel side subsist. This inside shelters the square chapel of Our Lady of La Blanca, later in date; the bside on its exterior determines the drum and presents a disfigured window. That other one, the bigger one, now touched with a high body, mud like a royal tiara, still contains a blind, slender, beautiful agime, admirably preserved.
If nothing remains of the mosque, of the roman cathedral, only this can be cited: perhaps the entrance to the cathedral sacristy - there are several sacristies - the architectural skeleton belongs to the same period; the wall thickness and the income perspective, as well they make it suppose in spite of the later ornamentation that it shows.
In order to construct the greater sacristy to Greco-Romanism, it had to be absorbed on the side of the epicenter; by placing these bids on the axis of the current ships, the aforementioned architect deduces that the romanesicas occupied the same situation as they and had the same dimensions.
So, the main part of the temple, subsisting, like the main façade, from the 14th century, although other gothic elements were built with the intervention of Mohammedans that were amalgamated, corresponding to the Aragonese Mudejarism, and, I say, corresponded because the façade of honor disappeared. in the XVIII century. The façade undoubtedly had three arched entrance arches, and it is not to be presumed that these were art poor.
It can be affirmed that the ornamentation of the fronts of the main façade of the Savior was a continuation of the front wall that, although mutilated, exists where it was created. a super-woven tapestry with visible bricks exhornated with other enamel, all varied in shape and size, by combined groups.
The façade I am dealing with, could never be more extensive than the current one and its bell tower was where the surviving one is: before, the square was limited to the line of that tower and the archiepiscopal palace and it was reached by street not very wide.
The Temple of the Savior had three incomes, and now also has them: the central one, open in the arm of the right of the transept, and the collaterals could serve as access to the chapels of San Miguel (parroquieta) and that of San Bartolomà. ; The so-called parish priest, "very disfigured in the eighteenth century," conserved two notable works: one, the presbytery, mud, polychrome; another, the sepulcher with numerous effigies and a statue of D. Lope de Luna. The bell tower existed in the 14th century.
In 1795 the prelate Sr. Añoa y Busto, commissioned the project of a new main façade to the architect D. Julian Yarza, who conceived it according to Greek-Roman or neoclassical.
The existing bell tower, elevated, graceful and elegant, unique in its style, projected it in the year 1685 Juan Bautista Contini, architect of the Hospital of the Crown of Aragon, in Rome; the construction began the following year, with slight variations, by Pedro Cuyen, Gaspar Serrano and Jaime Borbón.
From the time of D. Lope de Luna (1352-1382) is the head of that has treated, very run over in the eighteenth century. On the lower part, it has a wide frieze of intertwined arches and zig-zag frets, producing angrelados and ajaracas whose backgrounds are dotted with enameled bricks in the shape of stars and in some they painted the founder's coat of arms. The horizontal line interrupted by mullioned windows with polychrome mosaic frets interrupt their arches, in whose corner it appears equally identical; on a strip of white tiles, the inscription stands out, the mosaic and another band of fine serrated elements stand on top of which the mosaic turns to dot the filigree work and the enameled stars complete this area. Above it, divided and framed by bands, there are large pavements, tapestries of slight relief, completely ornamented with combined geometric patterns, crowned by two frets of zig-zag and one of dients of sierra that already touches the eave of the roof. Immediate to such an incomparable beauty of decorative art, are the bids that I have described, on the central one, they built an enlargement at the height of the presbytery - apse, nowadays; work of the maestro Gaspar (1497).
In the rest of the conglomerate of the building, there are not more than two incomes to be cited: San Bartolome and San Agustin, more interesting than here.
The temple consists of five naves, in the buttresses there are chapels, it is a flat head and in its center is the polygonal bside; in walls and in blocks there are pillars, moldings, capitals, angels, hermetic, cross, tiles, large covers and in the center the jewel of the trascoro, all in friendly consortium, in harmonious adaptation.
From the Cimborio can not reach a final conclusion for lack of documents: in the only book of accounts of the fourteenth century of the archives of the town hall, it is read that the works of the Cimborio ended in 1376, working on the l Juan de Barbastro and Domingo Serrano; The Cimborio rests on the cruise made up of geometric arches, two of which boast the Pope's hermitage. It is octagonal the first body limited by beautiful friezes and in its edges by different columns in its decoration topped by cherubs, copados and nymphs were worked by Antóno Redondo; in the ornaments they placed the statues of the evangelists and the paders of the church, the work of Pedro Laguardia. From the top of this first body, the nerves that through interlacing have to determine the beautiful starry mud wall, and in all the crosses placed decorative fleurons; in the cupboard, also octagonal, they tore windows with semicircular arches and part lights, ending in a flower with a saucer.
The great altarpiece was subdivided into two zones: Basamento and main body; the first also is distributed in two horizontal bands superimposed limited by two doors with carving and effigy; the card contains cartouches and angels with the herd; the upper section consists of seven talberos, four historiados and three with vegetable ornaments; all are separated by pilasters with architectural details and at each end of the set beautiful winged angels supporting the Murian herbalist; on the reliefs there are gotivist canopies. Four large pilasters decorated with an equal number of isolated statuettes held by cells and shaded by canopies of sharp needles subdivide the three great high-reliefs: Epiphany, in the center, Transfiguration and Ascension of the signer , collateral. Under the great central canopy they ripped the corpse where the santiago is exposed.
On the Gospel side he shades the sarcophagus of Prelate Infante D. Juan I; highlights the bed with frontal decorated with canopial arches and statuettes, and at the bottom of the niche carved angels, the Sorrowful Mother holding the descended son and other figures.
The choral silversmith, grandiose furniture composed of 117 stalls of falcon oak, work of the brothers Antonio and Francisco Gomar; The three armchairs of the presidency stand out for their magnificence, with high carved canopies and high sculptured backs, the rest being of a simple simplicity. Of 1413 it is the lectern of the walnut, a great example, almost unique in its genre.
The foot of the organ, a gothic carved decorative wealth model, is not very popular in the great cathedrals.
On the coral lectern rest enormous miniature books by Ezpeleta in the second half of the century CVI.
The lateral walls and the outer end of the choir are an indisputable marvel, produced by the resurgent classic constituted by great statues of the blessed within niches, of countless naked nudes that crown the general entanglement; of columns, shrines, high-reliefs, masks, busts, garlands, alcheops, friezes, plinths and arcades of chapels, all meticulously modeled.
The search in the file of protocols during unexplored and almost unknown years, encouraged by the patronage of Villahermosa Guaqui, has already given its result, since in documents there are new names of artists, true authors of the works attributed to others.
Until now, the trasooro of the Seo was created by Tudela Mart, but notarial document says that it was Arnal de Bruselas, and possibly this is not the only surprise, that because I am still in merit, I have deserved this attention from the researcher towards more and more. (I)
The most interesting chapels are: that of San Miguel, grandiose, burial of Zaporta (sixteenth century), that of San Bernardo, burial of the prelate D. Hernando de Aragón, sculptured, the work of Bernardo P & ecute; rez and Pedro Moreto , and the remarkable baldachin, which shelters the image of Santo Cristo de la Seo, the work of Juan Ramírez.
From the mid-fourteenth century is the parish cross, with romantic remnants; at the end of the same century the enameled busts of Santos Valero, Lorenzo and Vicente; of the sixteenth century, the monumental professional custody, "sumun" of the plateresque style, made by Forment-Lamaison; of 1552, it is the bust of San Hermenegildo, of silversmith Juan Orona; to the sixteenth and seventeenth centuries, corresponds a naveta of silver and shell, the holy ark, busts, frontal, viriles, sun, blandones, trays and other objects dedicated to the cult.
It is abundant, splendid, the costumes, embroidered in the XV, XVI, and XVII centuries; This is a black chasuble whose ornaments were made with thousands of fine pearls.
The collection of tapestries that is exhibited at Easter, is 32, there are two from the early fifteenth century made before Giotto's cartons, measuring 8.32 meters wide, by 4.16 high; of equal is the Flemish series of King Ahasuerus, and one that represents the exaltation of the Cross; of the sixteenth century, is the collection of Moses, flamencos; Aquitaine sea expedition, and other confectioners are from the end of that century.
(I). ABIZANDA
CATHEDRAL DEL PILAR
At the beginning it was simple humiliating and in the course of time it has become a famous temple; merit constantly the predilection of Popes and Kings; When the city was reconquered, its neighborhood inhabited by Mozambians, corresponded. D. Gastón, Viscount de Béarne: de l'es is the sculpted ivory horn that this temple possesses.
Before constructing the current building, the Santa Capilla was closed by iron bars and illuminated by eighty silver lamps; the two revenues of the church bore alabaster, sculpted covers; they contained nobiliary altarpieces. The Bull Union got the cabildo crazy and demolished. the old temple and built the current one, projected by Herrera el Mozo, who in the next century almost completed Ventura Rodriguez, varying its decoration; the great Cardinal Garcia Gil, in the mid-nineteenth century, last year; the works; the first stone had been placed in 1681.
The house of the Senora is crowned, eleven small cells, ten lanterns, two bell towers, with two missing in the back; there are four ignresos. In its Greco-Roman style the building is of an interesting structure. From the old tower, the bell of Aragón, from 1400; In the new tower are the two bells that were in the famous, mud, isolated Torre Nueva, arbitrarily executed in the late nineteenth century, whose defense began. and I held. The total floor of the temple measures 130 meters in length by 67 in width.
The main altarpiece is alabaster, 19 meters high, begun in 1484 by Miguel Gilbert, which faleci & oacute ;; the works were resumed twenty-four years later by Dami6n Forment; This sculptor was brought to Zaragoza by D. Fernando the Cat. Unquestionably, this work urged by Forment can be described as the maximum potential art of that great sculptor, who was confused. with the dictation of Gothic, for the fact of completing this work.
The cathedral choir, which is closed in its previous part by grandiose grille, the work of Tomás Celma (1574-1577), contains 146 seats distributed in three levels; in 1542-1548 Lobato, Zaragozano, Obray, Navarro, and Moreto, Florentino, they carved under historiated reliefs, columns, cards, garlands, mythological subjects of customs, children, etc .: Champeaux, this sillery is said to be one of the masterpieces of wood art.
The Holy Chapel, projected and directed by Ventura Rodriguez; It is of marble, jasper, bronze and silver.
It is a temple in the form of a roundabout sheltered by the Cathedral.
Its architecture belongs to the compound order; it is entered through the great pines; thirty-four columns and as many pilasters support the block on which blissful angels, garlands, and flags emerge. The presbytery, closed by a large balustrade of silver and jasper, contains three altars, two of them with altarpieces by Ramírez, and in the others the Ephie of the Virgin is venerated on the Pilar, covered by rich embroidered mantles, and here. It is crowned with silver, gold or pewter medals, with silver around it.
The chapels of the Pilar present few phage of the great art that exists there.
Of the paintings of this temple, they deserve to be mentioned: the Ecce-Homo, of Potenciano de Palermo; martyrdom of San Lorenzo, by Jose Rivera, El Espagnoleto the Annunciation, work of Coello. They painted the fresco, the great Goya, the allegory of Glory, in the corner of the Corillo de la Virgen, and the Virgin reigns over the border in the San Joaquín Chapel.; Francisco Bayeu, made the blocks in front of and behind the Santa Capilla; Antonio González Velázquez, the palm that shelters the holy Chapel and Ram Bayau, the rest of the dishes.
In the central city they painted Montañes Unceta, Pescador and some other.
Of the two cathedral silver altars, the bust of Santa Ana, XV.XVI century, and the processional image of Our Lady of Pilar, by Miguel Cubeles (1620) stand out. In the treasure of the Virgin stands out the golden crown and gleams, full of stones, work of Ansorena de Madrid.
The upholstery in the Pilar shows the importance of this temple; highlights among the countries the Series of the Virgin, and this tap of the Coronation of the Virgin, XV-XVI century.
This is in essence the main thing of the two artistic-religious monuments of the capital of Aragon.
ANSELMO GASCON DE GOTOR
CATHEDRAL OF THE SAVIOUR. MAIN ENTRANCE AND BELL-TOWER
CATHEDRAL OF THE SAVIOUR. APSE AND PART OF THE MUDEJAR WALL
CATHEDRAL OF THE SAVIOUR. FRONT VIEW OF THE MUDEJAR WALL
CATHEDRAL OF THE SAVIOUR. VESTRY ROOM, WOODEN CUPOLA OF THE SANCTUARY
CATHEDRAL OF THE SAVIOUR. DOME OVER THE CROSSING
CATHEDRAL OF THE SAVIOUR. SIDE NAVE OF THE CHURCH
CATHEDRAL OF THE SAVIOUR. NAVE WITH PART OF THE BACK OF THE CHOIR
CATHEDRAL OF THE SAVIOUR. GRAN CAPILLA. PANTHEON OF THE ZAPORTA
CATHEDRAL OF THE SAVIOUR. HIGH ALTAR.
CATHEDRAL OF THE SAVIOUR. HIGH ALTAR. PART OF THE BASE
CATHEDRAL OF THE SAVIOUR. NAVES OF THE BACK OF CHOIR. CHAPEL OF THE SANTO CRISTO
CATHEDRAL OF THE SAVIOUR. NAVES, BACK OF CHOIR AND CORNER STONES OF THE CHURCH
CATHEDRAL OF THE SAVIOUR. ENTRANCE TO THE CHOIR
CATHEDRAL OF THE SAVIOUR. DETAILS OF THE BACK OF CHOIR
CATHEDRAL OF THE SAVIOUR. CHAPEL OF THE BACK OF CHOIR
CATHEDRAL OF THE SAVIOUR. A SIDE ENTRANCE TO THE CHOIR
CATHEDRAL OF THE SAVIOUR. THE CHOIR
CATHEDRAL OF THE SAVIOUR. ROOFING OF THE CHOIR-STALLS
CATHEDRAL OF THE SAVIOUR. THE CHORISTER´S DESK OF POPE LUNA
CATHEDRAL OF THE SAVIOUR. FOOT OF THE ORGAN
CATHEDRAL OF THE SAVIOUR. PROCESSIONAL SILVER MONSTRANCE. A WORK EXECUTED BY FORMENT-LAMAISON
CATHEDRAL OF THE SAVIOUR. PART OF THE PROCESSIONAL MONSTRANCE
CATHEDRAL OF THE SAVIOUR. SEPULCHRE OF THE PRELATE JUAN I
CATHEDRAL OF THE SAVIOUR. BURRIAL IN THE CHAPEL OF SANT BERNARDO
CATHEDRAL OF THE SAVIOUR. THE VIRGIN. CHAPEL OF THE VIRGIN OF THE SNOWS
CATHEDRAL OF THE SAVIOUR. "LAS NAVES". A PIECE OF TAPESTRY OF THE 15TH CENTURY
CATHEDRAL OF THE SAVIOUR. "AMÁN Y LOS JUDÍOS". A PIECE OF TAPESTRY OF THE 15TH CENTURY
METROPOLITAN HOLY CHURCH OF EL PILAR
THE CATHEDRAL OF EL PILAR. NAVES OF THE CHURCH
THE CATHEDRAL OF EL PILAR. NAVES WITH ACCESS TO THE HOLY CHAPEL
THE CATHEDRAL OF EL PILAR. DOME
THE CATHEDRAL OF EL PILAR. DOME PAINTED IN FRESCO BY GOYA
THE CATHEDRAL OF EL PILAR. VESTRY-ROOM OF THE VIRGIN
THE CATHEDRAL OF EL PILAR. HIGH ALTAR, A WORK EXECUTED BY FORMENT
THE CATHEDRAL OF EL PILAR. PART OF THE HIGH ALTAR
THE CATHEDRAL OF EL PILAR. BASE OF THE MAIN REREDOS. FRAGMENT
THE CATHEDRAL OF EL PILAR. DETAILS OF THE BASE OF THE HIGH ALTAR
THE CATHEDRAL OF EL PILAR. HIGH ALTAR. "LA VISITACIóN"
THE CATHEDRAL OF EL PILAR. PART OF THE MAIN SECTION OF THE HIGH ALTAR
THE CATHEDRAL OF EL PILAR. MAIN REREDOS. FRAGMENTARY COMPOSITION
THE CATHEDRAL OF EL PILAR. MAIN REREDOS. "LA PURIFICACIóN". THE VIRGIN
THE CATHEDRAL OF EL PILAR. RAILINGS OF THE HIGH CHOIR
THE CATHEDRAL OF EL PILAR. CHOIR-STALLS OF THE GRAND CHOIR
THE CATHEDRAL OF EL PILAR. CHOIR-STALLS OF THE HIGH CHOIR. DETAILS
THE CATHEDRAL OF EL PILAR. BACKS OF THE CHOIR-STALLS. SERIES OF PARADISE
THE CATHEDRAL OF EL PILAR. ORGAN OF THE HIGH CHOIR
THE CATHEDRAL OF EL PILAR. "REGINA MARTIRUM".PART OF A SKETCH BY GOYA
THE CATHEDRAL OF EL PILAR. PIECE OF TAPESTRY NAMED "THE GLORY OF THE VIRGIN"
Ample your information on Aragon
If you want to extend your information on Aragon you can begin crossing another interesting route is the Mudejar, Patrimony of the Humanity, also you can extend your cultural knowledge on Aragon examining its municipal and institutional heraldry without forgetting, of course, some of its emblematics figures as Saint George Pattern of Aragon also book of Aragon.
Also Aragon enjoys a diverse and varied Nature where passing by plants, animals or landscapes we can arrive at a fantastic bestiario that lives in its monuments.
The information will not be complete without a stroll by its three provinces: Zaragoza, Teruel and Huesca and his shines, with shutdown in some of its spectacular landscapes like Ordesa, the Moncayo or by opposition the Ebro.
Also you can dedicarte to the intangible ones: from the legend compilation that also does to universal Aragon you can persecute the presence of the Santo Grial in Aragon.
Huesca |
Teruel |
Zaragoza |
Aragon |
Maps |
Fauna |
Flora |
Geology |
Fungi |
Tourism |
Mudejar |
Goya |
Alphabetical Index |
Thematic
Cover. Zaragoza I. The art in Spain 1938. Home. (El arte en España: Zaragoza I).
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