Burgos Cathedral
| Burgos Cathedral | |
|---|---|
UNESCO world heritage 
|
|
|
|
| West facade of Burgos Cathedral |
|
| Contracting State (s): |
 Spain
|
| Type: | Culture |
| Criteria : | ii, iv, vi |
| Surface: | 1.03 ha |
| Reference No .: | 316bis |
| UNESCO region : | Europe and North America |
| History of enrollment | |
| Enrollment: | 1984 (session 8) |
| Extension: | 2014 |
The Cathedral of Burgos ( Spanish Catedral de Burgos ) is a Gothic cathedral in Burgos ( Spain ) and the episcopal church of the Archdiocese of Burgos . It is dedicated to the Virgin Mary and is famous for its size and architecture. Since 1984 she has UNESCO - World Heritage Site .
history
The construction of the first great Spanish cathedral in the Gothic style was commissioned by King Ferdinand III. commissioned by Castile and Maurizio, the bishop of Burgos. The occasion was Ferdinand's wedding with Beatrix von Schwaben . The aim was to demonstrate the changed role of Castile in the European power structure through an adequate episcopal church. Construction began on July 20, 1221 on the site of the former Romanesque cathedral. The responsible builder was a Frenchman whose name was unknown. After nine years, the construction of the apse was completed. The high altar was consecrated for the first time on July 20, 1260, after which the building was dormant for almost 200 years.
In 1417 the Bishop of Burgos attended the Council of Constance and saw Gothic cathedrals in France and Germany on this trip. His successor Alfonso de Cartagena also visited southern Germany in 1435 on the occasion of the Council of Basel , visited the tower of the Basel cathedral that had just been completed by Ulrich von Ensingen and returned with the German master builder Johannes von Köln (Spanish: Juan de Colonia), who built the cathedral towers of Burgos based on the Basel cathedral with open stone carvings. Johannes of Cologne certainly knew the facade plan of the planned Cologne cathedral towers from 1310/20. In 1539 the crossing tower he had built collapsed and was then rebuilt in a similar form. The construction of the cathedral was completed in 1567 with the completion of the crossing tower, but changes and additions were made until 1734.
In 1835 the Spanish national hero Rodrigo Díaz de Vivar, El Cid , and his wife Doña Jimena from the monastery of San Pedro de Cardeña near Burgos were reburied in the cathedral. In 1921 it was decided to create a more dignified grave. This is now in the crossing and is covered with a simply designed marble slab. The contradiction between the meaning of the cid and the unspectacular design of his grave is explained in Burgos by the fact that the marble slab is only the outer closure of the grave, the cathedral as a whole should be regarded as his tomb.
On September 26, 1887, it was declared a Monumento Nacional , i.e. a national monument. Pope Pius XI awarded her the title of Basilica minor on July 13, 1921 . On October 31, 1984, it was declared a World Heritage Site by UNESCO , making it the only Spanish cathedral with this status.
architecture
The exterior of Burgos Cathedral is characterized by the richly decorated tower constructions of the facade and the crossing. The upper part of the entire building is richly decorated with pegs, so that the impression of a bulky confectioner style can result. Pierre Loti spoke of a "petrified forest".
The church has a cruciform floor plan and consists of a nave , transept, two aisles , ambulatory and fifteen chapels. The transept lies in the middle of the deep chancel; as in many Spanish cathedrals, the choir divides the nave. The total length of the cathedral is 106 meters, it is 26 meters wide on the main nave and 59 meters wide on the transept. The height of the dome above the transept is 54 meters.
The cathedral of Burgos is not in the tradition of the cathedrals of the Île-de-France , but is based on the dependent episcopal churches of Normandy and Burgundy, which have already modified their style. The floor plan of the choir is compared with that of Pontigny or St-Étienne in Caen. The elevation of the choir is particularly close to that of Bourges Cathedral . The master of Burgos , however, “badly digested” the French building ideas (Robert Branner). “He didn't see through the fundamentals of the new building method, he stayed true to a Romanesque tradition. His spatial concept remains very simple. It emphasizes the horizontal and reinforces it with a richly decorated triforium . The light cannot spread unhindered ”. Both inside and out, the building is characterized by increasing decorative cladding in an ornamental line system. The nave chapels were decorated in the Plateresque style .
The originally clearly structured outer shape of the cathedral is no longer recognizable due to the additions: In addition to chapels on the transepts and side aisles of the cathedral, the cloister was added in the 15th century and the archbishop's palace in the south-west . The view is made more difficult by the dense building structure, the only exception being the Plaza Sta. María represents.
Facades, towers and portals
West facade and main towers
The three-story, 58 meter high main or west facade is a double tower facade in the style of the northern French Gothic , but with completed and identical towers each 88 meters high. Each of the two towers, built on a square plan, ends in an octagonal tower decorated with openwork tracery . Above the three portals, the first floor is separated from the second by a balustrade studded with pinnacles . On the second floor, a pointed arch was placed on the wall in the middle of the three bays and this was broken through by a rose window . This rosette was financed by donations from Burgales Jews and shows a Star of David at the request of the donors .
Above this, on the third floor, the two towers are connected by high, open tracery architecture, at the base of which eight crowned statues (around 1230–1240) of Castilian rulers based on the model of northern French cathedrals form a royal gallery . It continues to the side with the tabernacle figures on the buttresses. The tracery here is in the form of two four-lane windows, each with three quatrains in the arched gusset . This transparent structure is crowned by another balustrade with the inscription PULCHRA ES ET DECORA ("You are beautiful and richly adorned"), which on the one hand can be understood as an allusion to the Virgin Mary and her depiction in the middle of this upper balustrade, but should be understood also be related to the cathedral as a whole. Pointed, octagonal pegs complete the four corners. The ornamental use of inscriptions and coats of arms on the towers as well as the tracery gallery in the central wing of the west facade are indebted to Spanish suggestions.
The builder of the spiers built from 1442 was Johannes von Köln. The models for this tower design can be found in southern German late Gothic spiers such as the Frauenkirche in Esslingen or in the design for the Ulm Minster Tower , which in turn are closely related to the Flemish-Brabant towers. After irreparable damage to the sandstone, the portal zone was rebuilt in a classical style in the 18th century.
Crossing tower
The most important company of John of Cologne in the second half of the 15th century was the predecessor of today's four-way tower, the cimborrio (cimborium), which, according to a contemporary travelogue, ended in eight pinnacles and was decorated with rich sculptures, but collapsed as early as 1539. The new crossing tower was built by Juan de Vallejo from 1539 to 1568. The pillars of the crossing were reinforced into thick cylinders to carry the weight of the new lantern tower . The star vault of the high lantern unites Gothic and Moorish influences (cf. Great Mosque of Taza ) into one unit.
Coronería portal
The Coronería portal (also coronation, apostle or high portal) was the central entrance to the north transept from around 1240/1245. It received its importance, among other things, from the Camino de Santiago that passed by . It is embedded in a niche architecture between the side buttresses. A band of six larger-than-life apostle figures each extends from the left pillar to the portal wall and continues parallel to the right. The two outer figures are attached as so-called spectator figures on the inside of the buttresses, which are thus at right angles to the other apostles.
The tympanum represents the Last Judgment with Christ as Judge in the middle. Right and left, as a Deësis group, the crowned Virgin and John the Evangelist ask for mercy for souls. On the outside and above this group of three angels present Christ's instruments of torture: on the far left an angel shows the lance, on the far right another the column of flagellation, in the crotch zone, floating on an indicated cloud: angel with cross, shroud, crown of thorns and the nails of the crucifixion . Below the central scene on the lintel is the frieze-like representation of the weighing of souls, psychostasis , by the Archangel Michael with the usual division of the righteous on the left and the damned on the right.
The Coronería portal has been closed continuously since 1830, “so that it was not used as a shortcut to the lower part of the city and thus the sanctity of the building was no longer disregarded”. The reason for the closure was that visitors to the market below the cathedral regularly crossed the transept with their purchases, including live animals.
Pellejería portal
The much younger Pellejería portal, dating from 1516, is the eastern exit of the north transept and only a few meters from the Coronería portal. Franz von Köln / Francisco de Colonia created it in 1516, so it is a work of the Renaissance . Opposite were the houses of the "Pellejeros", the manufacturers of wineskins - hence the name. The structure of the portal resembles an altarpiece, also called a retable . The top scene shows Mary with child on a throne, accompanied on the right by angels playing music and on the left by an adoring bishop. The two middle scenes show the martyrdom of John the Baptist on the left and that of John the Evangelist on the right . The lower part of the retable shows figure niches that frame the portal.
Sarmental portal
The oldest portal of the cathedral is the Sarmental portal on the south transept. The portal is named after an influential family whose home could be found nearby. It dates from the time after 1235 and is clearly dependent on the east portal in Amiens . In a basically similar distribution to the Coronería portal, Christ is enthroned in a depiction of the Last Judgment in the middle, surrounded by writing evangelists and their symbols (eagle, lion, man and bull) above a row of apostles on the door lintel. This portal is also embedded in a row of apostles. However, it can be seen much better than the north portal, because it is the end point of a wide staircase that leads up from the lower square.
Clock and papamoscas
Seen from the main facade, on the left aisle above the triforium, there is a large mechanical clock with a diameter of 312 cm in length, 80 cm in width and 193 cm in height. It not only controls the hands, but also the papamoscas (flycatcher), a play figure from the 15th century. She rings a bell every quarter of an hour and lets her jaw snap shut.
inner space
The interior of the cathedral was once "French", modeled on the cathedrals of Normandy . But over the centuries it acquired a distinctly Spanish character with carved retables, chiseled stone barriers, and the large iron bars. As a result, the interior, as well as the exterior, has become very confusing. The subdivision of the cathedral by chapels takes some of the space out of the room. The interior is magnificent and richly filled with art treasures. It contains 19 chapels, 35 bars, 38 altars and around 60 columns.
Coro and Trascoro
The coro is a separate area dedicated to the canons of prayer and singing . It can often be found in Spanish cathedrals and is responsible for blocking the unobstructed view through the nave. Entering from the west portal, the viewer first looks at the Renaissance-style rear wall, the Trascoro . Inside the choir is furnished with 103 walnut and boxwood chairs decorated with carved motifs from the Old and New Testaments (chronological order, starting on the left) and created by Felipe Bigarny and other artists. In the middle is a figure of the founding bishop Mauricio from the 13th century. His grave is also here.
The choir also houses the cathedral's two largest organs. They face each other on the epistle side and the gospel side. In the upper area of the choir you can see the organ prospectuses from the 17th and 19th centuries with partly horizontally stored pipes, the Spanish trumpets . The side walls of the choir are adorned with six paintings by Juan Andrés Ricci .
Chapels
In the south aisle
Chapel of Santísimo Cristo ( Christ of Burgos ): The chapel on the first right of the entrance is entered through the Santa María portal . It is narrow and elongated, a corridor of the former cloister, dedicated only to cult and prayer and usually not accessible to tourists. It has had its current name since January 30, 1836, due to the statue of Christ crucified in the head part of the chapel. This 16th century figure is of Flemish origin. For a long time it was the destination of pilgrims and supplicants. Their veneration spread from the 16th century mainly in Andalusia and Latin America, where they were called El Señor de Burgos .
Chapel of the Presentación ( Virgin Mary Sacrifice ): This square chapel next on the right-hand side was built by master Juan de Matienzo in 1520–1524 at the request of the protonotary and canon Gonzalo Díez de Lerma . Noteworthy are the star vault from 1524 with an openwork rose window, the alabaster statue of the founder by Felipe Bigarny from before 1527 and the tomb of Santiago de Bilbao by Juan de Vallejo, before 1540.
Chapel of St. Juan de Sahagún : It has been documented since the middle of the 16th century. It contains a reredos designed by José Carlos Cortés between 1766 and 1769 , made by the architect and sculptor Fernando González de Lara and gilded by Andrés Carazo . In the niche of the middle section you can see a portrait of the namesake carved by Juan Pascual de Mena . Also noteworthy are two Gothic wall paintings from the 14th century showing Saints Catherine and Mary Magdalene.
The reliquary chapel: This chapel can only be reached from the previous one. So many relics have been given to Burgos Cathedral over the centuries that it needed its own chapel. In 1765 it was given its present form by the Carmelite José de San Juan de la Cruz.
Chapel of the Visitación ( Visitation of the Virgin Mary ): Accessible from the south transept, right next to the Sarmental portal is this large rectangular chapel, which was built between 1440 and 1442 at the request of Bishop Alonso de Cartagena , a convert . It also contains the alabaster tomb created by Gil de Siloé . The most important work of art in it is an oil painting by Carlos Luis Ribera from 1890. It shows the Catholic kings and their courtiers in front of Granada. The picture itself has no relation to the chapel. It was donated to the cathedral by Archbishop Luciano Pérez Platero in 1963 and hung there because the empty wall had not yet had any decoration. The tomb of Alonso de Cartagena, which was created in two phases: first by John of Cologne before 1456 and then by Gil de Siloé from 1490 to 1495, is more related to the chapel.
Heinrichskapelle ( Capilla de San Enrique ): The first chapel east of the south transept is right next to the portal to the cloister. It was created by merging two older chapels from the 13th and 17th centuries and therefore still has two entrances from the ambulatory. Today it is the burial chapel of Archbishop Enrique de Peralta y Cárdenas (brother of the Ambassador Alonso de Cárdenas ) with a size of 11.5 × 7 meters. It was designed by Juan de la Sierra Bocerraiz and Bernabé de Hazas and was completed in 1674. “Peralta paid the monstrous sum of 32,000 ducats to have the six iron bars of the headboard of the nave, in which the archbishop's coat of arms is shown, and the two stone reredos on the sides of the rear altar room , made.” The bishop's tomb is that too Main work of this chapel. The high retable was created by Policarpo Nestosa and gilded and painted by Alonso Álvarez Ruyales from 1671 onwards . A Flemish Ecce Homo sculpture by an anonymous artist from around 1500 is incorporated.
Main sacristy
In the two adjoining rooms of the main sacristy there are some technical equipment such as lighting, loudspeaker systems, telephones, etc. This is where the reliquary chapel was originally located before it was relocated. The previously dark sacristy was completely renewed from 1761 to 1769 at the instigation of Archbishop Juan Francisco Guillén . This structural measure cost 247,182 reales (about 100 million pesetas ). Nevertheless, she received extremely negative public criticism at the time. Martínez Sanz said it was “a very well done bad work”. The aforementioned José de San Juan de la Cruz directed the renovation. It ensures a dome vault and a light-filled room. The main work of the sacristy is the large wooden retable from 1765 with two depictions of saints on the subject of the Assumption of the Virgin.
In the north aisle
Chapel of St. Thekla : The first chapel to the left of the main entrance is the largest of them all. Four medieval chapels had to give way to it from 1731 to 1735. Since the 14th century, several bishops had tried to demolish this old church in order to be able to expand the cathedral. But only Archbishop Manuel de Samaniego y Jaca (1728 to 1741) was finally able to enforce it. The Holy. Thekla is traditionally associated with the origins of the first Christian community in Tarragona linked. Samaniego belonged to this diocese before coming to Burgos. Around 1735 a semicircular dome with a diameter of 12 m was created on large pilasters with a hanging gusset system and around it four small domed vaults, all richly and colorfully decorated. The large gilded main altar is very richly decorated in the Rococo style.
Chapel of the Concepción ( Mary's Conception ) and St. Anna : The second chapel on the left side of the nave borders directly on the north transept. Here lies the tomb of Bishop Luis de Acuña (1456 to 1495), to whom the cathedral owes a lot. In this chapel alone he invested the equivalent of 30 million pesetas. Johannes of Cologne began construction in 1477, which he left unfinished when he died before August 3, 1481, and his son Simon completed it in 1488. The chapel is therefore a work of the late Gothic . On the left wall is the tomb of Fernando Díaz de Fuentepelayos (died 1492), a work by Gil de Siloé . Fernando was an assistant to Acuña as archdeacon and supervised the work on the chapel on his behalf. This grave complex de Siloés became a style for other graves, also outside of Burgos. Another member of the family - Diego de Siloé - designed the tomb of Bishop Luis de Acuña in 1519. Gil de Siloé also created the main retable of this chapel in 1492. Diego de la Cruz then painted it. But that is no longer visible today, because from 1868 to 1870 Antonio Lanzuela was commissioned by a conductor to whitewash the reredos with “screaming shades”, as the official church leader regretfully notes and lets himself be carried away to the remark: “A shame”. Detailed recordings of this remarkable retable make this assessment seem a little too pessimistic. Among the paintings in this chapel there is a “ Holy Family ” from around 1528 attributed to Andrea del Sarto .
Chapel of St. Nicholas : This first chapel following the north transept is only accessible from here and is one of the smallest. It was founded by the cantor Pedro Díaz de Villahoz (d. 1230), "who was buried standing here in a cupboard that is let into the wall."
- Archdeacon Villegas burial place
Between the Nikolauskapelle and the adjoining Nativity Chapel there is - half in the wall - the tomb of the archdeacon Pedro Fernández de Villegas, created by Simón de Colonia around 1510. Villegas was the first translator of Dante's Divine Comedy into Spanish. In the design of the tomb, Simón de Colonia was obviously based on that of Fernando Díaz de Fuentepelayos in the Chapel of the Conception of Mary. The first elements of the new Renaissance seem to have been woven into the late Gothic formal language .
Chapel of Our Lady (Nativity Chapel ): The first chapel accessible from the left ambulatory has two entrances. Construction began in 1562, and in 1582 it was architecturally completed. The ornaments were not finished until 1590. The main retable was created by Martín de Bérriz and others between 1562 and 1590.
In the choir
Chapel of San Antonio Abad ( Annunciation Chapel ): In the beginning of the curvature of the ambulatory preaching chapel is located. Their existence has been documented since the 13th century. It is the burial place of various capitulars and some bishops . The retable from 1540 is mannerist and comes from Juan de Lizarazu.
Chapel of St. Gregorius : Except for the entrance arch, this chapel still has its primitive structure from 1238. It is the only chapel in a pure, simple Gothic style . The most important works are the tombs of the bishops Gonzalo de Hinojosa (d. 1327) and Lope de Fontecha (d. 1351), masterpieces of Gothic sculpture that stand in stark contrast to the overloaded adornment of the Spanish late Gothic.
Chapel of the Condestable ( Purification Chapel ) / Kronfeldherrnkapelle : Where the Axial Chapel is in French and German cathedrals, the Condestable Chapel is located in Burgos. The result is a completely different spatial impression than in the north of Europe. From the nave, through the huge main altar, one believes that the church interior ends there. But when you walk past the main altar and enter the Condestablenkapelle from the ambulatory, you have the surprising feeling of entering a second church. Sometimes the Condestablenkapelle is even referred to as a cathedral in the cathedral, attached to the features there: altar with altar retable, suggested nave and transept, crossing dome, sacristy, side altar, organ and choir stalls.
Construction began in 1482 after a small St. Peter's Chapel had been demolished at this point. The founders were the Condestable Pedro Fernández de Velasco and his wife Mencia de Mendoza, both of whom are buried here. The first master builder was Simón de Colonia (d. 1511), a son of Juan de Colonia (John of Cologne). Then came his grandson Francisco, who completed the construction of the chapel in 1517. Many important works of art were added later by masters such as Gil and Diego de Siloé , Felipe Bigarny, León Picardo and others. The Condestables Chapel is huge for a chapel and is very elaborately furnished. It has the shape of an octagon and a diameter of 15 m. It has an eight-pointed star vault , in the middle of which a small eight-pointed star is cut out and is made of glass. The reredos by Felipe Bigarny from the years 1523 to 1526, which depicts the life of Christ, and the tomb of the founding couple (white marble on a red Nagelfluh ) should be emphasized . The coat of arms decoration outside and inside comes from Diego de Siloé and represents one of the most imaginative uses of elements of heraldry in the entire architecture. The painting of Maria Magdalena comes from the environment of Leonardo da Vinci , by Giovan Pietro Rizzoli , known as Gianpetrino.
In the cloister complex
.jpg)
St. James Chapel (Santiagokapelle) : From the Baptist Chapel you get to the large St. James Chapel (consecrated to the Apostle St. James ), which connects the church with the cloister complex. It is located south of the Condestables Chapel and is of a similar size, and is permanently separated from the ambulatory by a huge grating. There has been a Santiago chapel here since the 14th century, which has been expanded several times. Since the need for space was still not satisfied, it was decided in 1521 to build a completely new building. Juan de Vallejo directed the work from around 1524 and completed it in 1534. It proved difficult to vault the large and irregular space. De Vallejo achieved this with an intricate cross-rib system that converges in very decorative rosettes.
The main work of art in the chapel is the tomb of Canon Juan Ortega de Velasco, prior of San Quirce, also by Juan de Vallejo, in 1547.
Escalera Dorada / Golden Staircase
Due to the hillside location of the cathedral, the Coronería portal is 15 meters above Calle Paloma. This difference in height was compensated for by a staircase in the north transept, which was replaced by Diego de Siloé in 1519 with a double-barreled, mirror-inverted, symmetrical Renaissance staircase in the Plateresque style. It is called one of the most beautiful Renaissance staircases and is one of the more important sights of the cathedral. It got its name from the gilded wrought iron railing.
Charles Garnier was inspired by this staircase when he designed the open staircase of the Paris Opéra Garnier .
Reredos
The main retable is a work by Diego de Siloé and Felipe Bigarny. It was created between 1523 and 1526. The main view shows the representation of the Lord . The polychromy comes from León Picardo.
The reredos of Saint Anne was started by Gil de Siloé and completed by his son Diego de Siloé around 1522. The reredos of Saint Peter was completed in 1523. Like the main retable, it is the result of a collaboration between Diego de Siloé and Felipe Bigarny. Here, too, the polychromy comes from León Picardo.
Cloister
On the south side of the choir is the two-storey cloister, also linguistically differentiated as "high" and "low" cloister due to the different uses . The low one was completed around 1260, the high one between 1265 and 1270. In the catacombs of the lower part you can see the layout of the former Romanesque cathedral. The wing lengths of the almost square and not quite right-angled cloister are 38 and 39 meters. The north and south wings are each divided into seven bays , while the west and east wings consist of six somewhat wider bays (each without the corner bays). The southern wing of the lower cloister opens onto the street through a series of arcades with simple pointed arches. On the south-west corner there is a stair tower from the 13th century, and another, slightly smaller tower without stairs on the south-east corner. During the restoration of the lower cloister between 1899 and 1911, large parts of the tracery were replaced and supplemented, and the open arcades were closed by glass windows.
Sculptures from the 13th century
The strikingly regular masonry of the upper cloister with a continuous layer height of 39 centimeters can be assigned to a single construction team using uniform stonemasons. The back panels of a large part of the wall sculptures are also seamlessly integrated into the masonry and cut accordingly, so these sculptures were created at the same time as the masonry. The royal couple to the left of the original entrance to the upper cloister from the south transept is part of the inventory of original sculptures. They are probably depictions of King Ferdinand III. and Beatrix von Schwaben , whose marriage took place on November 30, 1219 in the Romanesque predecessor building of the cathedral. Between the royal couple and the main entrance there is a depiction of Saint Paul , who is facing the portal, with the figure of Peter in the southwest corner yoke corresponding to him .
The group of the four kings on the north-western corner pillar opposite is made from a square block of stone, two of the figures look at each other. The approximately 110 centimeter high figures seem to stand freely in front of the pillar and resemble the royal couple in details such as the folds of the robes and the shoes. On the outer wall of the west wing there is a row of unknown bishops, recognizable by their miter and crosier. This series is interrupted by a second king figure, which could represent King Alfonso X and which is noticeable by a Mudejar element in the crown circlet. In the south wing and in the north wing there is another bishop figure. The adoration of the kings on the southwest corner pillar appears as a procession of kings around the pillar to Mary and the baby Jesus.
The outer walls of the south wing and the east wing are decorated with partially unknown prophets, apostles and saints. These sculptures are less carefully crafted than the sculptures in the west wing. The apostle Bartholomäus and Saint Catherine can be recognized in the south wing, as well as the apostles James and Abraham in the east wing. The group of figures on the southeast corner pillar shows a bishop, a king and another cleric and probably represents the laying of the foundation stone of the Gothic cathedral.
Tombs and other equipment
Since 1323, burials have been allowed in the high part. These tombs represent important works of art in the cloister today. From the east wing you can get to the other chapels of this multi-layered cathedral complex of Burgos, from left to right: Chapel of St. John the Baptist (Baptist Chapel), St. Catherine's Chapel, Corpus Christi Chapel, from which you can see reached the chapter house . All four chapels are now exhibition rooms.
The cathedral also houses the grave of the Spanish national hero El Cid and his wife Jimena. On the grave slab embedded in the floor is the following inscription: “Aquí yacen Rodrigo Díaz, el Campeador, muerto en Valencia en 1099, y su esposa Jimena, hija del conde Diego de Oviedo, de regia estirpe. A todos alcanza la honra del que en buena hora nació. ”[Here rest Rodrigo Díaz, the Campeador, who died in Valencia in 1099, and his wife Jimena, daughter of Count Diego of Oviedo, of royal family. All attained the honor of Him who was born in the right hour.]
In the cloister is also the silver body, which is intended for the transport of the golden monstrance during the Corpus Christi procession .
The Cofre del Cid (chest of the Cid) stands high on the wall between the cloister and the chapter house. According to legend, it is the same chest that plays a role in the old Spanish epic El Cantar de Mío Cid . The most important works of art include a Visigoth Bible by the deacon Gómez from the period between 910 and 914 (Corpus Christi Chapel) and the collection of paintings in the Chapter House.
Organs
Originally the organs probably stood in a chapel near the crossing. The first mentions of organs date back to 1223. The representation of a positive with two rows of pipes on the Sarmental portal comes from around the same time . In 1377 the cathedral chapter of Burgos passed a resolution on which festivals the organs were to be played on.
Organ on the epistle side of the choir
The organ was built in 1636 by Juan de Argüete. The gilding was done in 1645 by Juan Delgado. In 1706 Juan de Echevarría installed a new organ in the original case for 827,020 Maravedís . The 32 angel heads originally carrying the horizontal tongues were probably only attached at this point in time. In the middle of the 19th century a new organ was built into the case from 1636 by Juan Roques. Today the organ contains only a few historical components due to repeated renovations.
Organ on the gospel side of the choir
The present work was created in 1806 by Juan Manuel de Betolasa. At that time it cost 165,329 reales. The neo-classical housing was erected by the Burgaleser Manuel Cortés. In 1950, minor changes were made to the swell , in particular . The baroque organ has 47 stops on two manuals and a pedal . The playing and stop actions are mechanical.
|
|
|
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
- Coupling : II / I, I / P, II / P
Organ of the Capilla del Condestable
It was built in 1615 by Gaspar de Soto, a son of de Francisco de Soto from Palencia . The case was created by Diego de Siloé. The instrument was hardly changed.
Positive of the Heinrichskapelle
The positive with its richly decorated case dates from the first half of the 18th century at the latest. The keyboard on the narrow side has 42 keys. The registers are divided, the separation between the bass and treble halves is c 1 / c sharp 1 . The organ has an attached pedal with a range of eight notes. The current pipework probably dates from the 18th century.
Bells
The cathedral of Burgos has important examples, among which the Campana de las horas (hour bell) stands out. Some peculiarities, such as fonts, and some peculiarities suggest the year 1350 as the date of manufacture.
The cathedral's two towers contain 15 bells spread over two floors within the towers. The bells of the right-hand tower are movable and rigid, while in the left-hand tower the three upper bells are fixed for the quarter-hour and hour-strikes, while the lower four can also be used for liturgical beating. A small bell on the roof of the choir completes the ensemble of bells. It is also the last of the bells with the original wooden yoke. There are still numerous bells in the various chapels of the cathedral. These are small bronzes with a diameter of about 18 centimeters. Most of them are uninscribed and probably date from the 18th century.
| Bell jar | Surname | Type | Manufacturer | year | Height (cm) | Diameter (cm) | Weight (kg) |
|---|---|---|---|---|---|---|---|
| 1 | San Pedro | movable | Widow of Angel Perea | 1963 | 98 | 126 | 758 |
| 2 | La Asunción | movable | Widow of V. Perea Arcos | 1950 | 112 | 140 | 1040 |
| 3 | Santa Bárbara | movable | Pedro Güemes | 1737 | 96 | 98 | 545 |
| 4th | Bell 4 | movable | Constantino Linares Ortiz | 1927 | 100 | 101 | 597 |
| 5 | Santa Tecla | movable | Widow of Angel Perea | 1961 | 46 | 54 | 91 |
| 6th | Santa María | movable | unknown | 1790 | 68 | 70 | 199 |
| 7th | Santa María y San Esteban | movable | unknown | 1816 | 58 | 62 | 138 |
| 8th | San Mamerto | movable | unknown | 1844 | 71 | 76 | 254 |
| 9 | La Campana Madre | rigid | unknown | 1594 | 120 | 156 | 1439 |
| 10 | Mauricia | rigid | M. Andes | around 1400 | 138 | 174 | 1997 |
| 11 | San Jose | rigid | unknown | 1785 | 96 | 102 | 614 |
| 12th | Concepción | rigid | unknown | 1856 | 93 | 121 | 671 |
| 13 | Campana de las horas | rigid | Pedro Gunsalvo Famucense | around 1350 | 113 | 142 | 1085 |
| 14th | Jesús, María y José | movable | unknown | 1743 | 57 | 65 | 1743 |
| 15th | El Papamoscas | rigid | Widow of Angel Perea | 1950 | 57 | 66 | 166 |
| 16 | Cimbalillo de coro | movable | unknown | 1770 | 26th | 28 | 13 |
There are still some unusual matracas (rattles), mostly made of iron. They are reserved for the Triduum Sacrum at Easter.
literature
- Regine Abegg: King and Bishop Monuments. The 13th century sculptures in the cloister of Burgos Cathedral . zip (Zurich InterPublishers), Zurich 1999 = Zurich writings on the history of art, architecture and culture 1 = Dissertation University of Zurich .
- Xavier Barral I Altet (ed.): The history of Spanish art . Cologne 1997, pp. 150-152, 164.
- Pascual Calvete: Campanas de las Catedrales de las Diócesis más importantes de España y Aragón = "Campaners" 4. València 1991, pp. 11-13.
- Alain Erlande-Brandenburg : Gothic Art . Herder, Freiburg-Basel-Wien 1984, FT-25, Fig. 202, pp. 787-790.
- Henrik Karge: Burgos Cathedral and 13th Century Spanish Architecture . G. Mann, Berlin 1989.
- Natascha Kubisch: The Way of St. James to Santiago de Compostela. On the way to art and culture of the Middle Ages . Wissenschaftliche Buchgesellschaft, Darmstadt 2002, pp. 67–73.
- Nicolás López Martínez: Burgos Cathedral - short guide . 1999.
- Nicolás Menéndez González: Empirical construction as an epistemic method: the construction of a turret helmet at the Cathedral of Burgos . In: INSITU 2019/1, pp. 55–64.
- Rudolf Reuter: Organs in Spain . Kassel 1986, pp. 43-47.
- Wim Swaan: The great cathedrals . Cologne 1969, p. 260, fig. 34, 304, 306-312.
- Rolf Toman (ed.): The art of the Gothic. Architecture - sculpture - painting . Cologne 1998, p. 204.
- Miguel Ángel Alonso Rodríguez, Ana López Mozo, José Carlos Palacios Gonzalo, José Calvo-López, Alberto Sanjurjo Álvarez: Functionalism and Caprice in Stonecutting. The Case of the Nativity Chapel in Burgos Cathedral (PDF). In: Karl-Eugen Kurrer , Werner Lorenz , Volker Wetzk (eds.): Proceedings of the Third International Congress on Construction History . Neunplus, Berlin 2009, ISBN 978-3-936033-31-1 , pp. 31-38
Web links
- Official website of Burgos Cathedral (Spanish, English, French)
- Information on Burgos Cathedral ( Memento of July 24, 2008 in the Internet Archive ) (Spanish)
- Entry on the website of the world cultural heritage
- Official website for tourism in Spain: Burgos Cathedral (english)
- Burgos Cathedral as a 3D model in SketchUp's 3D warehouse
Individual evidence
- ↑ Burgos Cathedral. In: Structurae
- ↑ Erlande-Brandenburg, p. 543
- ↑ López Martinez, p. 19
- ↑ López Martínez, p. 58
- ^ López Martínez, p. 85
- ^ López Martínez, p. 92
- ^ Wim Swaan, p. 264
- ↑ Abegg, pp. 33-40
- ↑ More information on the Gospel organ ( Memento from January 18, 2012 in the Internet Archive ) (Spanish)
Historic city centers:
Alcalá de Henares with university (1998) |
Ávila with churches outside the city wall (1985) |
Cáceres (1986) |
Cordoba with Mosque-Cathedral (1984) |
Cuenca (1996) |
Granada with Alhambra and Generalife Palace (1984) |
Salamanca (1988) |
San Cristóbal de La Laguna (1999) |
Santiago de Compostela (1985) |
Segovia with Aqueduct (1985) |
Toledo (1986)
Structures:
Almadén Mine (2012) | Architecture of the Mudéjares in Aragón (1986) |
Monuments of Oviedo and the Kingdom of Asturias (1985) |
Escorial in Madrid (1984) |
Tower of Hercules (2009) |
Burgos Cathedral (1984) |
Cathedral , Alcázar and Archivo General de Indias in Seville (1987) |
Catalan Romanesque churches in the Vall de Boí (2000) |
Poblet Monastery (1991) |
Monasteries of San Millán de Yuso and San Millán de Suso (1997) |
Royal Monastery of Santa María de Guadalupe (1993) | Monumental Renaissance buildings by Úbeda and Baeza (2003) |
Palau de la Música Catalana and Hospital de la Santa Creu i Sant Pau in Barcelona (1997) |
Puente de Vizcaya (2006) |
Roman city walls of Lugo (2000) |
Valencia Silk Exchange (1996) |
Works by Antoni Gaudí (1984)
Archaeological sites:
Atapuerca (2000) |
Antequera Dolmen (2016) |
Rock art of the Mediterranean on the Iberian Peninsula (1998) |
Altamira Cave and Paleolithic Cave Paintings in Northern Spain (1985) |
Las Médulas (1997) |
Madīnat az-zahrāʾ (2018) |
Mérida (1993) |
Siega Verde * (2010) |
Tarraco (2000)
Cultural and natural landscapes:
Old beech forests and primeval beech forests of the Carpathian Mountains and other regions of Europe (2017, N) |
Aranjuez (2001, K) |
Ibiza (1999, K / N) |
Way of St. James (1993, K) |
Monte Perdido (1997, K / N) |
Doñana National Park (1994, N) |
Garajonay National Park (1986, N) |
Teide National Park (2007, N) |
Palm grove of Elche (2000, K) |
Serra de Tramuntana (2011, K)
* Expansion of the archaeological sites in Vale do Côa , Portugal;
Coordinates: 42 ° 20 ′ 27 " N , 3 ° 42 ′ 16" W.