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-JACA. CATHEDRAL OF SAN PEDRO - INTERIOR-
IR A VERSIÓN EN ESPAÑOL
(LA JACETANIA)
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DROP DOWN MENU.....................................(Select cathedral destination) EXTERIOR-SOUTH APSE CORBELS DEL TEMPLO DETAILS OF SOUTH APSE "LONJA CHICA-SOUTH DOOR "LONJA MAYOR-WEST DOOR TYMPANUM-TRINITARIAN CHRISMON INTERIOR OF THE CATHEDRAL CAPITALS IN THE INTERIOR OF THE CATHEDRAL DIOCESAN MUSEUM
Having contemplated the two exterior porches of the cathedral, go inside and enjoy the space and rhythm of its interior and the decorative carvings of the capitals to be found there. Let’s begin here by examining the photo of a ‘relocated’ capital. It is to be found inside the south apse and serves as a pedestal for the statue of the Virgen del Pilar [1 and 7]. This capital is the essence of the work of the Master of Frómista-Jaca. Many of his capitals to be found here and in other churches in the area (Sásabe for example) have the same horn-like decorative carvings, pitones jaqueses, in the corners. This capital is different because it is not figurative, but instead gives prominence to the four big horns on the corners of the capital, which is otherwise decorated with palmettes and crowned with volutes and plant decoration. This capital was brought to Jaca from the, now disappeared, Romanesque church of Santa María de Nájera - the missing link which connects Frómista and Jaca, the master sculptor having come to Jaca from Frómista, (Prado-Vilar, Francisco. "Saevum Facinus." Goya, 324, 2008). It is indeed a magnificent and vital piece. It is no accident that the dynamic, association ‘Sancho Ramírez’ in Jaca has adopted it as its emblem.
Having contemplated the two exterior porches of the cathedral, go inside and enjoy the space and rhythm of its interior and the decorative carvings of the capitals to be found there.
Let’s begin here by examining the photo of a ‘relocated’ capital. It is to be found inside the south apse and serves as a pedestal for the statue of the Virgen del Pilar [1 and 7]. This capital is the essence of the work of the Master of Frómista-Jaca. Many of his capitals to be found here and in other churches in the area (Sásabe for example) have the same horn-like decorative carvings, pitones jaqueses, in the corners.
This capital is different because it is not figurative, but instead gives prominence to the four big horns on the corners of the capital, which is otherwise decorated with palmettes and crowned with volutes and plant decoration. This capital was brought to Jaca from the, now disappeared, Romanesque church of Santa María de Nájera - the missing link which connects Frómista and Jaca, the master sculptor having come to Jaca from Frómista, (Prado-Vilar, Francisco. "Saevum Facinus." Goya, 324, 2008).
It is indeed a magnificent and vital piece.
It is no accident that the dynamic, association ‘Sancho Ramírez’ in Jaca has adopted it as its emblem.
3 The interior of the cathedral has a rectangular basilica plan. It is composed of a central nave flanked by two side-aisles, all three terminating in apses, and a transept, which does not project beyond the walls of the aisles. The transept is covered by a magnificent vaulted dome which crowns the cathedral (See plan). 2 The nave is separated from the north and south aisles by arcades [2 and 3]; each arcade is composed of the same number of alternating single columns and cruciform piers, which sustain the side arches. These cruciform or compound piers continue on up to the top of the wall of the nave as they were designed to support the transverse arches which in turn were to hold up the barrel vault ceiling that was never built [3]. Only the first transverse arches of the nave and the side aisles exist. The only original vaulting is that of the transept and also that to be found at the point of intersection of the nave and side-aisles with the transept. The arms of the transept are covered with barrel vaulting, perpendicular to the main axis. The nave and side-aisles are covered by ribbed vault ceilings which date from the sixteenth century. However, the original ceiling was probably made of timber and may have been erected in haste at the time; an idea which is fortified by the fact that some of the large capitals were set in position unfinished.
3
The interior of the cathedral has a rectangular basilica plan. It is composed of a central nave flanked by two side-aisles, all three terminating in apses, and a transept, which does not project beyond the walls of the aisles. The transept is covered by a magnificent vaulted dome which crowns the cathedral (See plan).
2
The nave is separated from the north and south aisles by arcades [2 and 3]; each arcade is composed of the same number of alternating single columns and cruciform piers, which sustain the side arches.
These cruciform or compound piers continue on up to the top of the wall of the nave as they were designed to support the transverse arches which in turn were to hold up the barrel vault ceiling that was never built [3].
Only the first transverse arches of the nave and the side aisles exist. The only original vaulting is that of the transept and also that to be found at the point of intersection of the nave and side-aisles with the transept. The arms of the transept are covered with barrel vaulting, perpendicular to the main axis.
The nave and side-aisles are covered by ribbed vault ceilings which date from the sixteenth century. However, the original ceiling was probably made of timber and may have been erected in haste at the time; an idea which is fortified by the fact that some of the large capitals were set in position unfinished.
45
Photo 5 shows the south aisle with the original transverse arch and the apse (as already mentioned, the exterior of this south apse is the only one conserved). This south apse is separated from the transept by a magnificent Romanesque railing [4]; a railing only comparable to that which existed in Iguacel and which can now be seen nearby in the Diocesan Museum. Railings made by blacksmiths, in a forge with hammer and anvil. They are not welded – the technique did not exist at that time – instead the different parts are joined using thick, forged metal staples which were fitted and adjusted while still hot. Blacksmiths, stonemasons and carpenters were the main professions involved in the building of the temple. Undoubtedly, some of today’s surnames have their origins in these very professions (the Spanish surnames of Ferrero, Cantero and Fustero respectively).
Photo 5 shows the south aisle with the original transverse arch and the apse (as already mentioned, the exterior of this south apse is the only one conserved).
This south apse is separated from the transept by a magnificent Romanesque railing [4]; a railing only comparable to that which existed in Iguacel and which can now be seen nearby in the Diocesan Museum.
Railings made by blacksmiths, in a forge with hammer and anvil. They are not welded – the technique did not exist at that time – instead the different parts are joined using thick, forged metal staples which were fitted and adjusted while still hot.
Blacksmiths, stonemasons and carpenters were the main professions involved in the building of the temple. Undoubtedly, some of today’s surnames have their origins in these very professions (the Spanish surnames of Ferrero, Cantero and Fustero respectively).
6
The altar in this south apse rests on two beautiful capitals. They are often difficult to observe because they are usually completely covered by the altar cloths [6, 8 and 9]. One of these capitals depicts a delightful classical male nude, which, probably for this reason, has been ‘put facing the wall as punishment’ [9]. This is the capital of the satyr studied by Prado Vilar. Both the capitals under the altar are at present pending restoration and then relocation in the Diocesan Museum where two supports are already awaiting them.
789
Behind the altar in the south apse a statue of the Virgen del Pilar rests on the capital with the horn decoration. As I have already said, this capital represents the essence of the Master of Jaca for me. Photo 11 shows the interior of the south apse which is the part of the cathedral that has kept its original form most intact. This beautiful Romanesque building is further enhanced by the soft contrast of light and shadow which completes the effect. The vaulted ceiling, window, presbytery and imposts are all stunningly highlighted.
Behind the altar in the south apse a statue of the Virgen del Pilar rests on the capital with the horn decoration. As I have already said, this capital represents the essence of the Master of Jaca for me.
Photo 11 shows the interior of the south apse which is the part of the cathedral that has kept its original form most intact. This beautiful Romanesque building is further enhanced by the soft contrast of light and shadow which completes the effect. The vaulted ceiling, window, presbytery and imposts are all stunningly highlighted.
101112
The centre of the rounded wall of the apse is pierced by a window with an archivolt of baquetón or roll moulding (the same as on the exterior of the window). The archivolt rests on two carved capitals which are difficult to see in the photo due to the backlight. However, with the help of some tricks taking and processing the photos, they can be seen in photos 10 and 12. The capital on the left of the window [10] is decorated with interlaced geometric motifs while the abacus has palmette ornament and its corner is adorned with a little head; the same motif which would later be seen repeated on the capitals in the interior of Iguacel. The capital on the other side of the window [12] has a curious motif: a monkey in a crouching position, an iconographic representation of lust, can be discerned on the corner of the capital (similar to those seen later in Loarre or Fromista). Behind the monkey there is a little lion and on the other side of him a small human figure completes the decoration.
The centre of the rounded wall of the apse is pierced by a window with an archivolt of baquetón or roll moulding (the same as on the exterior of the window). The archivolt rests on two carved capitals which are difficult to see in the photo due to the backlight. However, with the help of some tricks taking and processing the photos, they can be seen in photos 10 and 12.
The capital on the left of the window [10] is decorated with interlaced geometric motifs while the abacus has palmette ornament and its corner is adorned with a little head; the same motif which would later be seen repeated on the capitals in the interior of Iguacel.
The capital on the other side of the window [12] has a curious motif: a monkey in a crouching position, an iconographic representation of lust, can be discerned on the corner of the capital (similar to those seen later in Loarre or Fromista). Behind the monkey there is a little lion and on the other side of him a small human figure completes the decoration.
Asociada de "Amigos del Románico"
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