Cathedral of San Cristobal de La Laguna

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Catedral Nuestra Señora de los Remedios
19th century facade

19th century facade

Data
place San Cristóbal de La Laguna
architect Juan Nepomuceno Verdugo Dapelo / José Rodrigo de Vallabriga y Peraza de Ayala
Client Diocese of San Cristóbal de La Laguna
Architectural style Neoclassicism / Neo-Gothic
Construction year 1813-1824 / 1905-1913
height Dome 41 m
Coordinates 28 ° 29 '20.2 "  N , 16 ° 18' 59"  W Coordinates: 28 ° 29 '20.2 "  N , 16 ° 18' 59"  W.

The Cathedral of Nuestra Señora de los Remedios in San Cristóbal de La Laguna ( Tenerife , Canary Islands ) has been a cathedral since the diocese of San Cristóbal de La Laguna was founded in 1819 . It is also the parish church of the Nuestra Señora de los Remedios parish.

History of the building 1515–1819

On March 26, 1515, the Cabildo Municipal of San Cristóbal de la Laguna (City Council) decided with the consent of Bishop Fernando de Arce and Adelantado Alonso Fernández de Lugo , to build a second parish church in La Laguna. The patron saint of this church was to be Nuestra Señora de los Remedios . Construction work was completed in 1522. The result was a single-nave Canarian style church 80 feet long and 48 feet wide. The main altar of the church was not oriented exactly to the east, but deviated a little to the east / south-east. In the following period, the building was repeatedly expanded with additions. In 1590 the church consisted of a main and two side aisles. At the beginning of the 17th century the construction of a tower began. In 1656 the parish of Nuestra Señora de los Remedios owned the highest church tower on the island. However, it had to be replaced by a less high new building in 1691 because of the risk of collapse. In the middle of the 18th century, the building was extended on the east side, the altar side. The main nave and the two aisles were of the same height. The side aisles were joined by chapels on both sides, forming two further lower aisles. In 1751 a clock from England was built into the tower.

Floor plan of the church between 1809 and 1905

At the beginning of the 19th century, both the tower and the entrance facade were in danger of collapsing. This prompted the Bencomo brothers to rebuild these parts of the church largely at their own expense. The Bencomos were clerics born in La Laguna and traced their ancestry back to the last Mencey of Taoro. Cristóbal Bencomo y Rodríguez (1758–1835) was first a teacher and later confessor to King Ferdinand VII. Pius VII appointed him titular archbishop of Heraclea . Pedro José Bencomo y Rodríguez (1749-1828) was a canon member of the cathedral chapter of the diocese of the Canary Islands. As dean he was head of the cathedral chapter of the diocese of the Canary Islands. Later, after the founding of the diocese of Tenerife, he headed this diocese as capitular vicar until a bishop was appointed . A third brother, Santiago Bencomo y Rodríguez (1754-1818), was a member of the cathedral chapter in Las Palmas de Gran Canaria. The Bencomo brothers had drawings sent to them of the Pamplona Cathedral , designed by the architect Ventura Rodríguez around 1783 . The plans for the facade were revised in La Laguna by Juan Nepomuceno Verdugo Dapelo and Pedro Díaz and adapted to the local conditions and the existing building. It was taken into account that the main aisles and the side aisles u. U. should be replaced by higher buildings. Construction began in 1813. The first tower was completed on December 15, 1824. This part of the building still forms the main entrance facade of the Cathedral of San Cristóbal de La Laguna today.

History of the building 1819–2014

Simplified floor plan of the cathedral
1 Ambulatory
2 Main altar
3 Crossing
4 Pulpit
5 Choir stalls
6 Organ gallery
7 Main portal
8 Chapel of the Señora de los Remedios
9 Chapel of the Virgen Purísima
10 Chapel of Teresa of Ávila
11 Side entrance from Calle Obispo Rey Redondo (Calle Carrera)
12 Chapel Our Lady of Mount Carmel
13 Chapel of Saint Barbara
14 Image of the Souls in Purgatory
15 Chapel of Christ on the Pillar
16 Chapel of the Virgen de Candelaria
17 Side entrance from Calle Bencomo
18 Chapel of Saint Joseph
19 Baptistery

In 1819 the previous diocese of the Canary Islands became a diocese of the eastern islands (Gran Canaria, Fuerteventura and Lanzarote) with the previous seat in Las Palmas de Gran Canaria and a new diocese of the western islands (Tenerife, La Palma, La Gomera and El Hiero) based in San Cristóbal de La Laguna . A papal bull dated December 21, 1819 designated the parish church of Nuestra Señora de los Remedios as the cathedral of the new diocese. In the middle of the 19th century, the main nave and the two inner aisles of the church were 45.56 m long and 6.90 m wide. The ceiling was supported by 26 Doric columns. The outer aisles were 35.32 m long and 6 m wide. At the end of the 19th century cracks appeared in the walls as a result of constant, mostly somewhat haphazard extensions and conversions, and the supports were partially displaced under the weight of the roof. In particular, the construction of a dome, carried out from 1749, was not beneficial for the statics of the building, as the load-bearing walls were not reinforced before this measure. In addition, several earthquakes and a storm in 1826 caused considerable damage to the structure. The repairs were usually only carried out in a makeshift manner. In 1897 the church was declared a ruin. In the following sixteen years the church of the former Augustinian monastery served as the episcopal church. After some designs for the restoration of the church had proven to be impracticable, a new building was decided. On April 26, 1905, eight years after it was closed, the demolition of the church began. The final drafts for the new building came from the captain of the engineering corps José Rodrigo de Vallabriga y Peraza de Ayala. He also took over the construction management. Only the classicist facade with two towers built at the beginning of the 19th century was spared from the demolition. The marble slabs of the floor, the choir stalls, the pulpit and the altars were kept safe.

In order to raise the funds for the new building, altars were sold to other churches on Tenerife. Another source of funding for the rebuilding of the church was to sell the jewelry of the saints. Donations from home and abroad contributed to building the building. These included “donations in kind” such as those of the Sociedad Anónima de Tranvías Eléctricos de Tenerife (tram company), which took over the transport of building materials free of charge. The then Bishop Nicolas Rey Redondo contributed the most significant individual share of the financing of around a third from his private fortune.

On September 6, 1913, the newly built cathedral was consecrated by Bishop Nicolás Rey Redondo . The exterior of the side walls was stylistically adapted to the neoclassical facade from the beginning of the 19th century, while the interior was designed in a neo-Gothic style. The main and side aisles of the new building were around a third higher than in the previous building. The ceiling was formed by neo-Gothic cross vaults, the crossing ended with a baroque-style dome seated on a drum. An innovation was the ambulatory, which extended the aisles around the chancel. Reinforced concrete, which was unusual in church construction at the time, especially for vaults, was largely used as building material. The altar created by José Miguel Luján Pérez was set up as the main altar.

In 1915 a chapel was added - almost as the right transept - in which the former main altar, the altar of the patron saint Nuestra Señora de los Remedios, was installed. This chapel is still used today as a parish church. In 1950, water seeped through the vaults due to inadequate sealing. This damage was partially repaired. Since the concrete was wrongly made with sand extracted from the beach and therefore contained salt, the reinforcements decomposed. As a result, on June 30, 2002, after smaller parts of the ceiling had repeatedly fallen down, the church had to be closed. In the following years, the Church of Nuestra Señora de la Concepción was used as a bishopric, as was the case during the episcopal ordination in 2005.

After a thorough examination of the building fabric, it was decided to divide the building horizontally, with the exception of the facade built at the beginning of the 19th century, a little below the capitals of the columns. The entire upper part of the structure, i.e. H. Parts of the side walls, parts of the supports, the vaults and the dome were completely removed and replaced. The new walls are made of concrete, which is reinforced with fiberglass and polypropylene fibers instead of metal . In addition, the entire roof was covered with waterproof, soldered copper sheets. When the work is complete, the roof will be formed by 53 vaults. There is also the 41 m high dome. The church reopened on January 31, 2014.

Interior decoration

The following describes the interior of the church as it was when it reopened on January 31, 2014. Changes in the setting up of altars and figures of saints are not only to be expected for the duration of special holidays.

Ambulatory

The ambulatory was created by building the church in 1905–1913. In the hall there are some pictures of historical importance. Seven pointed arch windows refer to the Christianization of the island and a monument commemorates the conqueror of the island.

Funerary monument for Alonso Fernandez de Lugo

In 1496 the conquistador Alonso Fernández de Lugo added Tenerife as the last of the Canary Islands to the government of the kings of Castile and Leon. He is also considered the founder of the city of San Cristóbal de La Laguna. After his death on May 20, 1525 he was buried in the monastery of San Miguel de las Victorias (then) just outside the city. After this monastery burned down in 1810, as it was already in the process of being dissolved , it was not rebuilt. It was not until 1860 (50 years later) that the remains of the Adelantado were exhumed and transferred to the Santuario del Cristo. In 1881 they were buried in a new tomb in the Nuestra Señora de los Remedios church. The Carrara marble funerary monument was designed by Manuel de Oraá and executed by Angelo de Cherubini. When the cathedral was rebuilt at the beginning of the 20th century, the memorial was moved to the newly created ambulatory.

Memorial plaque for the Bishop Nicolás Rey Redondo

When the cathedral was completed in September 1913, the people of La Laguna put a plaque in honor of Bishop Nicolás Rey y Redondo (February 12, 1834– September 5, 1917) in the altar ambulance as a perpetual commemoration and as a token of gratitude. On this plaque the bishop is praised for his piety, his zeal in the rebuilding of the church and his generosity. The background for this was the donation from the bishop, which covered about a third of the new construction costs.

painting

The paintings hanging in the ambulatory were donated to the church by Archbishop Cristóbal Bencomo y Rodríguez . The rectangular picture with a representation of Christophorus, the patron saint of the city, adheres to traditional templates of the 16th and 17th centuries in terms of structure and color.

The Holy Ferdinand was appointed patron of the cathedral in order to then King Ferdinand VII. To honor. The oval painting shows Saint Ferdinand with a crown, sword and globe. The city of Seville can be seen in the background. The appointment of Saint Elizabeth of Portugal as patron saint of the cathedral was initiated in order to honor the Spanish Queen Maria Isabella of Portugal at the time. Saint Elizabeth of Portugal is depicted in the oval painting with a crown, a scepter and a red coat lined with fur. In the background the Teide and the facade of the Cathedral of La Laguna can be seen.

The oval painting on the subject of the meeting between Abraham and Melchizedech was painted by Juan Ventura de Miranda Sejas y Guerra (1723–1805), as was the picture entitled Elijah receives bread and water by an angel .

Main altar

Main altar

The main sanctuary is separated from the walkway by 10 columns and from the crossing by four steps. There used to be a balustrade between the main sanctuary and the crossing. In the center of the sanctuary is a wooden tabernacle by the Gran Canaria sculptor and architect José Miguel Luján Pérez . The Portuguese painter Manuel Acosta Villavicencio gave the surface a structure that simulates jasper and bronze . The altar was consecrated in December 1795. The antependium of the main altar was clad in silver in 1877. The tabernacle is closed at the top with a crucifix from the 16th century, the Cristo de los Remedios. To the right and left of the main altar are the figures of Saint Peter and Saint Paul, which were also created by José Lujan Pérez. The tomb of Archbishop of Heraclea Cristóbal Bencomo is located within the chancel on the right-hand side, directly on the column.

Crossing and dome

Above the crossing there is a dome placed on a drum , which is closed at the top with a lantern and a stone cross. The crossing of the church, which was demolished in 1905, already had a dome. The dome of the new building, which was consecrated in 1913, was not made of brick, but made of reinforced concrete that had been cast on the ground. During the renovation from 2009 to 2014, the entire ceiling structure, including the dome, was removed and replaced by new structural elements made of concrete reinforced with polypropylene. The shape of the building was restored. Since the renovation in 2014, the dome and the lantern have been clad with copper sheet. In the area of ​​the crossing is the grave slab of Pedro José Bencomo Rodriguez (1758–1835), the first dean of the cathedral chapter of the newly created diocese.

pulpit

The marble pulpit of the church was completed in 1767 by the Genoa-based sculptor Pascuale Bocciardo . It was commissioned by the merchant Andrés José Jayme, who lives in La Laguna. It therefore bears the inscription DIOLO ANDRES IOSEPH IAISME ANN 1767 in the base. The pulpit is on a support on the left side of the main nave. On a hexagonal base stands an angel on a cloud, carrying the hexagonal pulpit body. The four evangelists with their symbols are depicted on three side walls. The stairs, which are now painted white, are made of wood. It used to be designed with a tap that was supposed to simulate marble. The pulpit has no sound cover .

Choir stalls

The arrangement of the choir stalls in the newly built cathedral not directly in the chancel, but at the other end of the main nave came about after long disputes. The furniture used today was designed by Juan Miguel Inclán Valdés and executed in 1832–1833 by the carpenter Domingo Estévez from La Laguna. After the church was rebuilt at the beginning of the 20th century, the number of seats was reduced and the choir was closed with wood paneling. As in the old building, bars in the middle of the main nave separate a passage from the choir to the main sanctuary.

Organ loft

The Church of Nuestra Señora de los Remedios had a small organ right from the start. The organ was occasionally changed or replaced. These were always small, rather insignificant instruments. When the church was transformed into a cathedral in 1819, the demands placed on the quality of the musical accompaniment of the ritual acts also increased. In the 20s of the 19th century, various negotiations with organ builders were started, but ended with no results because of the high costs. After organs from the English company Henry Bebington and Sons had been installed in the Santuario del Cristo in Tacoronte (1856) and in the Santuario de las Nieves on the island of La Palma (1857) , an organ came in the first days of July 1858 Company in the port of Santa Cruz de Tenerife. The organ was placed in the middle of the choir on a gallery, which was roughly in the middle of the central nave, because this location was thought to be the most favorable for the acoustics. As early as July 27, 1858, the organist from Gran Canaria was able to perform the instrument as part of the celebrations for the feast of St. Christopher. When the cathedral was rebuilt, the organ gallery was relocated above the main entrance.

Capilla de Nuestra Senora de los Remedios

Altar of the Virgen de los Remedios

The merchant Pedro Afonso Mazuelos, who comes from Portugal and lives in La Laguna, ordered a large altarpiece in Flanders for the Church of Nuestra Señora de los Remedios. This was only delivered after the death of the founder and erected in 1614 as the main altar of the church. The surfaces were adorned with a large number of pictures, presumably by the Flemish painter Hendrik van Balen . About a century later, the altar was replaced by a new one that Antonio Francisco de Orta had created in the years 1709-1715. This new altar contained a niche in the center for the figure of Nuestra Señora de los Remedios, surrounded by seven paintings of the old altar. Some of the remaining paintings were taken to the Nuestra Señora de la Concepción church in 1912 . This altar remained the main altar until the church was demolished in 1905. After the rebuilding of the cathedral (1905-1913), the Capilla de Nuestra Señora de los Remedios was planned. From May 1913 the chapel was added as a kind of right transept. After various interruptions in the construction work, the former main altar, which was rebuilt in the chapel, was used again for church services from September 15, 1927. As the left transept, a chapel, which was to be consecrated to St. Christopher, was at times under discussion. A left transept was never built. The dimensions of the extension were based on those of the altar, which was set up here as an altar for the parish. It still fulfills this purpose today (2014). The lower part of the altar (antependium) is covered with silver plates, which come from the altar of Nuestra Señora del Carmen and were created in 1772.

The themes of the paintings on the altar:

When it was founded in 1515, the church was placed under the patronage of the Virgen de los Remedios . It is not known exactly whether there was a statue or an image of the patron saint at that time. In 1548 a wooden figure is described that was sometimes, not always, dressed in textiles. This figure was not carrying a child in her arms. The portrait of the child was apparently created in the Canary Islands at the beginning of the 18th century. The origin of the figure of Mary is now believed to be around the brothers Jorge and Alejo Fernández, who worked in Seville. The sculpture is completely executed and set. The right arm and left hand can be moved. Initially, the figure stood in a very narrow niche in the main altar of the church. Only in the altar erected in 1614 and then in the still used altar retable by Antonio Francisco de Orta from the years 1709–1715 was the figure of the titular saint shown in a representative place.

On the west side of the chapel there is a 306 × 190 cm painting by the painter Juan de Miranda depicting the Last Supper .

On the east side of the chapel, a memorial plaque commemorates the first bishop Domingo Pérez Cáceres from Tenerife .

Retablo Ánimas del Purgatorio

Painting Ánimas del Purgatorio

The painting Ánimas del Purgatorio (Souls in Purgatory ) used to be part of the retable of an altar of the same name. It is considered one of the most important paintings by the painter Cristóbal Hernández de Quintana (1651–1725) from La Orotava . He created the 500 cm × 395 cm large work in 1717. It depicts purgatory, judgment and the kingdom of God on three levels . Today (2014) the picture hangs on the wall across from the Capilla de Nuestra Señora de los Remedios the place of a non-existent left transept.

A painting depicting Santa Águeda is set over the painting of souls in purgatory.

The representation of the Virgen del Socorro has been integrated into the lower part of the painting. The author of this picture is unknown. But it was certainly made before 1731. This type of representation of Mary, the fight against evil at her feet with an arrow-like lance, developed in Italy.

Side chapels

Outside the aisles there are four chapels and a side entrance. The chapels contain z. T. several altars or altarpieces. Mass celebrations no longer take place in these chapels .

Capilla de Nuestra Señora de la Inmaculada Concepción

The Capilla de Nuestra Señora de la Inmaculada Concepción or Capilla de la Purísima joins the Capilla de Nuestra Señora de los Remedios on the right side ( Lado de la epístola ) of the cathedral. The Purísima Altar was created in the workshop of Mariano Benlliure in 1915 and donated to the church by Bishop Rey Redondo. The altar suffered badly from the damage to the roof of the church and the renovation work between 2002 and 2014. He is in need of renovation in the chapel. The sculpture of the Virgen de la Luz is today (2014) in the Capilla de la Purísima. The colored wooden figure of the Virgin has long been a part of the Nuestra Señora de los Remedios church. Their origin is not clear. Today it is assumed that the 132 cm high polychrome and gilded wooden sculpture was created in Seville in the middle of the 16th century. The grave slab of Bishop Nicolás Rey Redondo (February 12, 1834– September 5, 1917) is embedded in the floor of the Capilla de la Purísima.

Capilla de Santa Teresa de Ávila

Señor de la Cañita

The altar of Santa Teresa de Ávila is a neo-Gothic style altar. In the center is a textile-clad sculpture of Teresa of Ávila . The altar of Ecce Homo in the Capilla de Santa Teresa de Ávila was consecrated shortly after the cathedral reopened in March 2014. The idea of ​​the altar goes back to José Luis Salazar y Frías. The design comes from the architect Francisco Trujillo. The work was carried out by the carpenter Vicente González, the carver Jorge González and the painter Juan Felipe Plasencia. All three artists work in Los Realejos. The original depiction of Ecce Homo probably came from José Rodríguez de la Oliva (1695–1777). The sculptor and restorer Ezequiel de León Domínguez created a true-to-original copy of the sculpture, which was destroyed in the fire in the church of San Agustín (La Laguna) in 1964 . The sculpture is popularly known as "Señor de la Cañita" (man with the cane).

Capilla de la Virgen del Carmen

The altar of the Virgen del Carmen is a neo-Gothic style altar. In the center is a textile-clad sculpture of the Virgen del Carmen . In the side niches stand sculptures of Teresa of Ávila and St. Andrew. The sculpture of the Virgen del Carmen : Since 1619, the church of Nuestra Señora de los Remedios has celebrated the festival of the Virgen del Carmen on July 16 . In 1672, the sculptor Lázaro González de Ocampo created a statue of the saint, which was placed in a side chapel with "everything that is needed" (clothing and jewelry). In the middle of the 18th century, Sebastián Fernández Méndez, a grandson of Lázaro González de Ocampo, replaced the Child Jesus, who was perceived as too small, with a larger one. The child's appearance approximated the models that came to Tenerife from Genoa in the first half of the 18th century. In addition, he created a new wooden body for the figure of the saint, which was painted in color. The face and hands, the only things that could be seen due to the textile furnishings, were preserved from the old sculpture. The current sculpture of Teresa of Ávila replaces a saint figure donated to the church in 1670. The sculpture of Saint Andrew is the work of a workshop in the Canary Islands. The crucifix of Santísimo Cristo de Burgos was originally the work of the sculptor Lázaro González de Ocampo and the painter Cristóbal Hernández de Quintana from 1680. The original was lost in the fire of the Church of San Agustín (La Laguna) in 1964. The copy that hangs today in the chapel of the Virgen del Carmen is the work of the La Orotava sculptor and restorer Ezequiel de León Domínguez . The sculpture is popularly called "Cristo de la faldita" (Christ in the little dress).

Capilla de Santa Barbara

The altar of Saint Barbara in neo-Gothic style was designed by the painter Francisco Bonnín Guerin (1874–1963) from Santa Cruz de Tenerife and created by members of the Artillery Corps of Santa Cruz de Tenerife. The altar of Saint Barbara was in the San Francisco Church in Santa Cruz de Tenerife until 1995. The figure of Saint Barbara in the center of the altar is a wooden sculpture. The Altar Nuestra Señora de la Saleta was donated by Estanislada González in 1915.

Capilla del Cristo a la Columna

Cristo a la Columna

The sculpture of Christ on the pillar was consecrated on June 6, 1756. It was created by Pietro Galleano, a sculptor in Genoa. The altar, in the middle niche of which the sculpture of Christ on the pillar now stands, was completed in 1763 and gilded in 1765. The sculpture Nuestra Señora de los Angustias is now attributed to the Seville-based sculptor Gabriel Astorga y Miranda (1805–1884). The figure, clad in textiles, shows only the head and shoulders and the clasped hands.

Capilla de la Virgen de Candelaria

The altar of the Virgen de Candelaria was previously dedicated to the Virgen de Merced. It was gilded in 1781. The figure of the saint that used to give it its name is now in the baptistery. The sculpture of the Virgen de Candelaria is a reproduction of the patron saint of the Canary Islands. It was created by Faustino Álvarez Hernández. The sculpture Nuestro Padre Jesús Nazareno is a figure equipped with textiles and probably dates from around 1900. It is attributed to the workshop of Basilio in Valencia. The sculpture was saved almost undamaged in the fire in the Church of San Agustín in 1964. The restorer Agustín de Molina restored them and put on new hands created by Ezequiel de León. A new altar is to be erected for the sculpture at its current location in the Capilla de la Virgen de Candelaria.

Capilla de San José

The sculpture of San José , which is clad in textiles , was probably created by Lázaro González de Ocampo at the end of the 17th century. The figure of the child comes from a later period. The sculpture of Santa Ana , like the sculpture of San Joaquín, is a work of art of the Canarian School of the 18th century.

Baptistery

Most of the baptistery takes up a baptismal font , which was created in 1969 based on a design by Fernando García-Ramos y Fernández del Castillo, born in Santa Cruz de Tenerife in 1931. The sculpture of Thomas Aquinas was donated to the church by Bishop Fray Albino. The sculptor José Rodríguez de la Oliva only carved the head and hands of the saint figure of the Virgen de la Merced . A frame is hidden under the clothing. The figure used to stand in its own altar, which is now dedicated to the Virgen de Candelaria. The figure of San Lorenzo , clad in textiles , probably dates from the second half of the 17th century.

window

Window in the center of the ambulatory

The program of the representations of the windows of the cathedral was developed in the new building 1905–1913 by the later dean of the cathedral chapter Luis Palahí. The La Venecia company in Zaragossa manufactured the windows. No person is known as the author. Even if they are not given great artistic value, the windows reflect the style of their time. There are seven windows with pictures in the altar surround, four round windows in the transition from the altar surround to the crossing, one window with pictures in the left transept, two identical pointed arch windows with geometric ornaments in the right transept, ten identical round arched windows, five on each side in the light curtain and six windows with Images in the side chapels. The windows of the main facade are not visible inside the church.

Altar ambulatory: In the middle of the altar ambulatory there is a window that shows a picture in three columns: In the center there is a representation of the figure of the Sacred Heart of Jesus, portrayed by Bishop Rey Redondo, who is recognizable, and an unidentifiable cleric as Representative of the cathedral chapter is worshiped. The depicted persons can also be identified by means of the depicted coat of arms. The numbers 1905 and 1913 give an indication of the time the church was rebuilt. The window to the left of the center shows Nuestra Señora de los Remedios in the middle column, Saint Ferdinand in the left and Saint Elizabeth of Portugal in the right . This is a reference to King Ferdinand VII , who had suggested the establishment of the diocese based in La Laguna with Pope Pius VII . Maria Isabella of Portugal was the second wife of King Ferdinand. The next window on the left shows Saint Joachim and Saint Anna with Maria as a child. At the top of the window is the coat of arms of the Diputación Provincial, the current coat of arms of the Canary Islands. On the next window to the left you can see Joseph of Nazareth and Anthony of Padua . The picture in the first window to the right of the center of the ambulatory shows Christophorus (San Cristóbal), the patron saint of the city, surrounded by the Archangel Michael (San Miguel Arcángel) and James the Elder (Santiago el Mayor). The saints Simon Peter and Paul of Tarsus are depicted in the second window to the right of the center . Saints Eustachius (San Plácido) and Rochus de Montpellier (San Roque) can be seen in the third window to the right of the center. The ambulatory ends on both sides with two rose windows.

Dome: The sixteen windows in the tambour above the crossing have been filled with different single-colored glass surfaces since the renovation in 2014.

Left transept: Instead of a left transept, a large painting of the souls in purgatory hangs in the cathedral. The window above shows the evangelists Mark and Matthew

Right transept: In the right transept, the chapel of the Señora de los Remedios, there are two pointed arch windows showing simple ornaments.

Lichtgaden: In the upper storey there are five arched windows on each side, each with the same geometric pattern.

Side chapels: The four side chapels on the right and two on the left have double arched windows, each depicting two saints. In the Capilla de Nuestra Señora de la Inmaculada Concepción these are Saint Didakus (San Diego de Alcala) and Blessed Ignatius of Azevedo (Inácio de Azevedo), in the Capilla de Santa Teresa de Ávila Our Lady of Guadalupe (Nuestra Señora de Guadalupe ) and John the Baptist (San Juan Bautista), in the Capilla de la Virgen del Carmen Teresa of Ávila (Santa Teresa de Jesús) and New Year's Eve I (San Silvestre Papa) and in the Capilla de Santa Barbara Our Lady on the Mountain Carmel (Nuestra Señora del Carmen) and Bernhard von Clairvaux (San Bernardo). In the Joseph Chapel on the left, the windows show Our Lady on the pillar and the Archangel Raphael . The window of the baptistery shows the hll. Sebastian and Francis of Assisi .

floor

The floor of the newly built cathedral was replaced from 1912 under the direction of two tilers from Seville. Sometimes designed with the old, but also with the new black and white marble slabs. While they form rectangular patterns in the crossing, in the other parts they are laid in such a way that they emphasize the diagonal.

literature

  • Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 308 (Spanish).
  • Juan Alejandro Lorenzo Lima (ed.): Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 191 (Spanish).
  • Alejandro Cioranescu: La Laguna - Guía Histórica y Monumental . Ayuntamiento de La Laguna, La Laguna 1965, p. 261 (Spanish).

Web links

Commons : La Laguna Cathedral  - collection of images, videos and audio files

Individual evidence

  1. ↑ Alejandro Cioranescu: La Laguna - Guía Histórica y Monumental . A. Romero SA, La Laguna 1965, p. 66 (Spanish).
  2. ↑ Rafael Padrón de Espinosa: El Arzobispo Bencomo. insignia patricio tinerfeño. Facultad de Filosofía y Letras de la Universidad de La Laguna, 1925, accessed February 22, 2014 (Spanish).
  3. ↑ Erección y desembración de la diócesis de San Cristóbal de La Laguna. (No longer available online.) Diócesis Nivariense, archived from the original on December 17, 2009 ; Retrieved February 22, 2014 (Spanish). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.obispadodetenerife.es
  4. ↑ Alejandro Cioranescu: La Laguna - Guía Historica y Monumental . A. Romero SA, La Laguna 1965, p. 70 (Spanish).
  5. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 195 ff . (Spanish).
  6. ↑ Bernado Álvarez Afonso: Acto institucional de finalización de obras en la catedral. Palabras del Obispo. (No longer available online.) January 25, 2014, archived from the original on February 28, 2014 ; Retrieved February 20, 2014 (Spanish). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.obispadodetenerife.es
  7. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 226 ff . (Spanish).
  8. ^ El obispo Bernardo Alvarez abre la Catedral “al disfrute de todos”. (No longer available online.) DALALAGUNA.COM, January 31, 2014, archived from the original on February 22, 2014 ; Retrieved February 4, 2014 (Spanish). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / lalaguna.diariodeavisos.com
  9. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 175 (Spanish).
  10. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 308 (Spanish).
  11. ↑ José Concepción Rodriguez: Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 118 (Spanish).
  12. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 92 (Spanish).
  13. ↑ Alejandro Cioranescu: La Laguna - Guía Histórica y Monumental . A. Romero SA, La Laguna 1965, p. 74 (Spanish).
  14. ^ Fausta Franchini Guelfi: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 77 (Spanish).
  15. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 308 (Spanish).
  16. ↑ Rosario Álvarez Martínez: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 172 (Spanish).
  17. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 274 ff . (Spanish).
  18. ^ Pablo F. Amador Marrero: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 29 ff . (Spanish).
  19. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 80 (Spanish).
  20. ^ Carlos Rodríguez Morales: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 51 ff . (Spanish).
  21. ^ Carlos Javier Castro Brunetto: in Luces y Sombras en el Siglo Ilustrado . Consejera de Educación, Universidades, Cultura y Deportes, Santa Cruz de Tenerife; Las Palmas de Gran Canaria 2009, ISBN 978-84-7947-514-7 , p. 169 (Spanish).
  22. ^ Carlos Rodríguez Morales, Pablo F. Amador Marrero: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 37 (Spanish).
  23. ↑ Ángel Muñiz Munñoz: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 42 (Spanish).
  24. ↑ Juan Alejandro Lorenzo Lima (ed.): Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 35 (Spanish).
  25. ↑ El Señor de la Cañita tendrá un altar de culto en La Catedral de La Laguna. (No longer available online.) La Laguna Ahora.com, Jan 17, 2014, archived from the original on April 7, 2014 ; Retrieved March 3, 2014 (Spanish). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.lalagunaahora.com
  26. ^ Carlos Rodríguez Morales, Pablo F. Amador Marrero: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 40 (Spanish).
  27. ^ Hatuey Campos Hernandez: Santísimo Cristo de Burgos. Pasos e pictures de la Semana Santa de San Cristóbal de La Laguna. La comunidad de Passión en Sevilla, March 20, 2011, accessed March 3, 2014 (Spanish).
  28. ↑ Alberto Darias Príncipe et al .: La Catedral de La Laguna . Ayuntamiento de San Cristóbal de La Laguna, San Cristóbal de La Laguna 1997, ISBN 84-88919-33-6 , p. 252 (Spanish).
  29. ^ Fausta Franchini Guelfi: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 76 (Spanish).
  30. ^ Clementina Calero Ruiz: in Luces y Sombras en el Siglo Ilustrado . Consejera de Educación, Universidades, Cultura y Deportes, Santa Cruz de Tenerife; Las Palmas de Gran Canaria 2009, ISBN 978-84-7947-514-7 , p. 130 ff . (Spanish).
  31. ↑ José Roda Peña: Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 170 (Spanish).
  32. ^ La Cofradía de Nuestro Padre Jesús Nazareno y la Virgen de la Soledad tendrá un altar en La Catedral. (No longer available online.) La Laguna Ahora.com, Jan 17, 2014, archived from the original on April 7, 2014 ; Retrieved March 3, 2014 (Spanish). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.lalagunaahora.com
  33. ^ Pablo F. Amador Marrero y Carlos Rodríguez Morales: in Patrimonio e historia de la antigua Catedral de La Laguna . San Cristóbal de La Laguna 2013, ISBN 978-84-7947-625-0 , p. 191 (Spanish).
  34. ↑ Alberto Darías Principe: Las vidrias de la Catedral de La Laguna. (No longer available online.) Cuadernos de arte e iconografia Tomo II-4, 1989, archived from the original on April 7, 2014 ; Retrieved March 18, 2014 (Spanish). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / fuesp.com
  35. ↑ Alberto Darías Principe: Las vidrias de la Catedral de La Laguna. (No longer available online.) Cuadernos de arte e iconografia Tomo II-4, 1989, archived from the original on April 7, 2014 ; Retrieved March 18, 2014 (Spanish). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / fuesp.com