LA GUÍA DIGITAL DEL ARTE ROMÁNICO Webmaster: A. García Omedes - Huesca (España) | Presentacións | Novedades | Mapa del Sitio | Mapas Activos | Opinión | Castillos XI-XIII | Rutas Románicas | Monográficos | Otras Regiones Enlaces | Bibliografía | Diccionario | Distinciones | Premio Romanico Aragonés | Fondos de Escritorio | Inicio | -JACA. CATHEDRAL OF SAN PEDRO - INTERIOR (Cont.)- IR A VERSIÓN EN ESPAÑOL (LA JACETANIA) See Interactive map of the area 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
LA GUÍA DIGITAL DEL ARTE ROMÁNICO
Webmaster: A. García Omedes - Huesca (España)
| Presentacións | Novedades | Mapa del Sitio | Mapas Activos | Opinión | Castillos XI-XIII | Rutas Románicas | Monográficos | Otras Regiones
Enlaces | Bibliografía | Diccionario | Distinciones | Premio Romanico Aragonés | Fondos de Escritorio | Inicio |
-JACA. CATHEDRAL OF SAN PEDRO - INTERIOR (Cont.)-
IR A VERSIÓN EN ESPAÑOL
(LA JACETANIA)
See Interactive map of the area
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
An original vaulted cupola rises up over the four arches of the crossing; with squinches allowing the change from square to octagonal in shape. The structure is reinforced by four round arches which come to rest on roll modillions of Mozarab tradition mid way along each side of the octagon [1]. Authors such as Gómez Moreno point out the lack of other structures of this type in the area and that in order to find something similar it would be necessary to look to Byzantine architecture. In any case, it is the oldest Spanish Romanesque vault; its value greatly increased because it was the first of its kind to be constructed. It was used as a model when closing the tower of the parish church in Ainsa.
An original vaulted cupola rises up over the four arches of the crossing; with squinches allowing the change from square to octagonal in shape. The structure is reinforced by four round arches which come to rest on roll modillions of Mozarab tradition mid way along each side of the octagon [1].
Authors such as Gómez Moreno point out the lack of other structures of this type in the area and that in order to find something similar it would be necessary to look to Byzantine architecture.
In any case, it is the oldest Spanish Romanesque vault; its value greatly increased because it was the first of its kind to be constructed. It was used as a model when closing the tower of the parish church in Ainsa.
1
Below the vertices of the squinches are the figures representing the four Evangelists as depicted in St John’s Book of the Apocalypse. For several reasons they go completely unnoticed: to start with, they are very high up; also the darkness of the dome in general; and the location of the dome’s spotlights, which are placed just above them and when turned on leave the images below in complete darkness. The ox of Saint Luke is to be found in the southeast corner. The eagle representing Saint John is in the southwest corner. The lion symbolizing Saint Mark is in the northwest corner and finally, Saint Matthew, the man, is represented by the human head and the hand open outwards in the northeast corner. Click on the photos to obtain an enlarged image.
Below the vertices of the squinches are the figures representing the four Evangelists as depicted in St John’s Book of the Apocalypse. For several reasons they go completely unnoticed: to start with, they are very high up; also the darkness of the dome in general; and the location of the dome’s spotlights, which are placed just above them and when turned on leave the images below in complete darkness. The ox of Saint Luke is to be found in the southeast corner. The eagle representing Saint John is in the southwest corner. The lion symbolizing Saint Mark is in the northwest corner and finally, Saint Matthew, the man, is represented by the human head and the hand open outwards in the northeast corner.
Click on the photos to obtain an enlarged image.
Photos 2 and 3 show the interior of the central apse. The original apse was demolished in 1790 due to alleged problems with leaks and humidity and the apse was completely reconstructed and a choir installed behind the altar. The reform and decoration were carried out by the Carthusian Friar Manuel Bayeu y Subías. The vaulted ceiling and walls were all painted by the Carthusian between May and October 1792, according to the signature found on the dome. The Holy Trinity is depicted on the dome of the apse surrounded y saints and choirs of angels, while lower down, on the walls, there are scenes from the life of the patron of the cathedral, Saint Peter.
Photos 2 and 3 show the interior of the central apse. The original apse was demolished in 1790 due to alleged problems with leaks and humidity and the apse was completely reconstructed and a choir installed behind the altar.
The reform and decoration were carried out by the Carthusian Friar Manuel Bayeu y Subías. The vaulted ceiling and walls were all painted by the Carthusian between May and October 1792, according to the signature found on the dome.
The Holy Trinity is depicted on the dome of the apse surrounded y saints and choirs of angels, while lower down, on the walls, there are scenes from the life of the patron of the cathedral, Saint Peter.
2345
Photos 4 and 5 show views of the nave and aisles taken from the altar looking down the cathedral towards the west door. The composite piers and single columns which can be seen are those which were erected to hold up a vaulted stone ceiling which never came to be. The existing ribbed ceiling from the 16th century is perfectly integrated into the overall construction. When the present ceiling was constructed, six windows were opened in the walls on each side of the nave, thus allowing more light to enter the cathedral. Light being something very scarce usually in Romanesque churches as building limitations at the time dictated the need for large, solid, vertical walls with no openings in order to better support the enormous weight of the stone vaulted ceilings. In time, methods became more daring. With the pointed arch serving as a model and by implementing the use of groin vaults and buttresses, constructors succeeded in channelling the thrust of the vaults down precise sections of the walls. This allowed openings to be made in the parts of the walls which were not load-bearing and large windows and beautiful stained glass windows began to make their appearance. We are, of course, talking about Gothic architecture as an expression of freedom and innovation in construction. 678 Here I would like to take the opportunity to highly recommend the book The Pillars of the Earth by Ken Follett. This passionate novel is set in the middle ages during those convulsive times of change and tension. The reader is given a vision and understanding of events through the eyes of the cathedral builders themselves. Be assured that after reading it, you will look at churches and cathedrals through new eyes. Photo 5 shows an unusual capital, which can be better appreciated in the enlarged image in photo 6. The capital is decorated with the so-called ‘Jaca balls’. The curious thing being that these ball decorations seem to change into little heads as the eye moves down the capital.
Photos 4 and 5 show views of the nave and aisles taken from the altar looking down the cathedral towards the west door. The composite piers and single columns which can be seen are those which were erected to hold up a vaulted stone ceiling which never came to be.
The existing ribbed ceiling from the 16th century is perfectly integrated into the overall construction.
When the present ceiling was constructed, six windows were opened in the walls on each side of the nave, thus allowing more light to enter the cathedral. Light being something very scarce usually in Romanesque churches as building limitations at the time dictated the need for large, solid, vertical walls with no openings in order to better support the enormous weight of the stone vaulted ceilings.
In time, methods became more daring. With the pointed arch serving as a model and by implementing the use of groin vaults and buttresses, constructors succeeded in channelling the thrust of the vaults down precise sections of the walls. This allowed openings to be made in the parts of the walls which were not load-bearing and large windows and beautiful stained glass windows began to make their appearance.
We are, of course, talking about Gothic architecture as an expression of freedom and innovation in construction.
678
Here I would like to take the opportunity to highly recommend the book The Pillars of the Earth by Ken Follett.
This passionate novel is set in the middle ages during those convulsive times of change and tension. The reader is given a vision and understanding of events through the eyes of the cathedral builders themselves. Be assured that after reading it, you will look at churches and cathedrals through new eyes.
Photo 5 shows an unusual capital, which can be better appreciated in the enlarged image in photo 6. The capital is decorated with the so-called ‘Jaca balls’. The curious thing being that these ball decorations seem to change into little heads as the eye moves down the capital.
910
Inserted between the side arches and both the composite pillars and the single columns are large classical-style capitals [7 and 10]. Some of the capitals [8 and 9] were placed in their current position still unfinished. This reflects the disruptions in the building process and the tensions which were present in the kingdom of Sancho Ramírez, as well as the family intrigues involving the king, the countess and the bishop. Photo 8 shows a capital decorated with daisy-like flowers just under the volutes, the same as those adorning the Chrismon on the ‘Porta Magna’. The beautiful classically carved capital in photo 10 is the only free-standing capital I have seen that is round at the top.
Inserted between the side arches and both the composite pillars and the single columns are large classical-style capitals [7 and 10].
Some of the capitals [8 and 9] were placed in their current position still unfinished. This reflects the disruptions in the building process and the tensions which were present in the kingdom of Sancho Ramírez, as well as the family intrigues involving the king, the countess and the bishop.
Photo 8 shows a capital decorated with daisy-like flowers just under the volutes, the same as those adorning the Chrismon on the ‘Porta Magna’.
The beautiful classically carved capital in photo 10 is the only free-standing capital I have seen that is round at the top.
Asociada de "Amigos del Románico"
PREVIOUS PAGE
NEXT PAGE
See statistics