Many techniques, Saint Roman, Plaza de la Iglesia, Lloret de Mar, Girona, Catalunya, Spain
Trencadís is the technique to make mosaics with irregular forms, generally with glazed ceramics, which you can decorate and cover flat and curved surfaces with, containing different dimensions.
The Church of San Román (officially, Iglesia de San Román y Capilla del Santísimo; in Catalan: Església de Sant Romà i capella del Santíssim), known as Sant Romà de Lloret, is a church in Lloret de Mar, Catalonia (Spain ), declared an Architectural Heritage Site of Catalonia. Due to its vivid colors, it is one of the most recognizable elements of the old town and tourist center of the city.
The parish of San Román, to which the church belongs, is attached to the bishopric of Girona and managed by the San Román Foundation (Fundació Sant Romà).
The design of this corner building with a rectangular floor plan, located in the Plaza de la Iglesia and facing Calle de la Villa, corresponds to the Catalan Gothic style at its point of transition to the Renaissance, having been built at the beginning of the 16th century. It presents three elements of architectural interest, namely the church itself, the chapel of the Santísimo and the bell tower.
The church consists of a main space, several side chapels and two larger chapels at the head. The façade is made up of two rectangular portals with phytaria (plant decoration) ornamentation on the imposts and a central portal with a pointed tympanum, in which the reliefs of the imposts of the archivolts stand out. The variety of elements includes engravings of characters with boats and scenes from Genesis (with Adam and Eve), among others. On the lintel of the façade there is an inscription referring to the cost of the works on the church and its date of construction, and on the outside there are several buttresses.
The perimeter of the church is decorated with panels of unplastered stone, alternating with bands of varnished brick pieces of various colors (although black is predominant) and highlighted by reddish-tone bricks set on edge. It is a later decoration, from the beginning of the 20th century, inspired by Islamic architecture. It is also at this time (1916) when the large mosaics of the twelve apostles, located at the top of the north and south façades of the complex, the work of the Bru workshops in Barcelona, are made and incorporated.
On both sides of the presbytery there are two side chapels with a polygonal dome in the modernist style. They have five octagonal pinnacles, decorated with trencadis and other forms of mosaics and ceramics.
The bell tower, with a square plan, culminates in a crenellated cornice and a pyramidal hipped roof. Each of the four facades has two round arched windows, located directly below the cornice formed by twelve stepped battlements (three per facade, four corner). The façade facing the street has a small loophole. Depending on the observer's position, the shape of the bell tower, together with the side buttresses and the drawbridge-shaped gate at the western entrance, give the complex the appearance of a fortress.
The interior of the church is plastered and painted white, except for the arches of the vaults and interiors of the chapels, also plastered, in light blue and pink, respectively. Inside the chapel on the north side, the pictorial part of the altarpiece of the main altar is partially preserved —that of San Román, patron saint of the town—, joint work of Pere Serafí ("the Greek"; not to be confused with El Greco ) and Jaume Fontanet. Payment of the cost of the work, of 1,300 pounds, was made in October 1559.
This altarpiece was identified thanks to the pieces found in the attic of the chapel, thus having been saved from the burning of the building in 1936 (during the Civil War). Due to this event, only nine altarpieces remain from the entire original structure. As can be deduced from the information obtained from these altarpieces and the different altars, the expansion and improvement of the church after its construction continued during the rest of the 16th century and most of the 17th century.
Wikipedia
en.wikipedia.org/wiki/Lloret_de_Mar
Many techniques, Saint Roman, Plaza de la Iglesia, Lloret de Mar, Girona, Catalunya, Spain
Trencadís is the technique to make mosaics with irregular forms, generally with glazed ceramics, which you can decorate and cover flat and curved surfaces with, containing different dimensions.
The Church of San Román (officially, Iglesia de San Román y Capilla del Santísimo; in Catalan: Església de Sant Romà i capella del Santíssim), known as Sant Romà de Lloret, is a church in Lloret de Mar, Catalonia (Spain ), declared an Architectural Heritage Site of Catalonia. Due to its vivid colors, it is one of the most recognizable elements of the old town and tourist center of the city.
The parish of San Román, to which the church belongs, is attached to the bishopric of Girona and managed by the San Román Foundation (Fundació Sant Romà).
The design of this corner building with a rectangular floor plan, located in the Plaza de la Iglesia and facing Calle de la Villa, corresponds to the Catalan Gothic style at its point of transition to the Renaissance, having been built at the beginning of the 16th century. It presents three elements of architectural interest, namely the church itself, the chapel of the Santísimo and the bell tower.
The church consists of a main space, several side chapels and two larger chapels at the head. The façade is made up of two rectangular portals with phytaria (plant decoration) ornamentation on the imposts and a central portal with a pointed tympanum, in which the reliefs of the imposts of the archivolts stand out. The variety of elements includes engravings of characters with boats and scenes from Genesis (with Adam and Eve), among others. On the lintel of the façade there is an inscription referring to the cost of the works on the church and its date of construction, and on the outside there are several buttresses.
The perimeter of the church is decorated with panels of unplastered stone, alternating with bands of varnished brick pieces of various colors (although black is predominant) and highlighted by reddish-tone bricks set on edge. It is a later decoration, from the beginning of the 20th century, inspired by Islamic architecture. It is also at this time (1916) when the large mosaics of the twelve apostles, located at the top of the north and south façades of the complex, the work of the Bru workshops in Barcelona, are made and incorporated.
On both sides of the presbytery there are two side chapels with a polygonal dome in the modernist style. They have five octagonal pinnacles, decorated with trencadis and other forms of mosaics and ceramics.
The bell tower, with a square plan, culminates in a crenellated cornice and a pyramidal hipped roof. Each of the four facades has two round arched windows, located directly below the cornice formed by twelve stepped battlements (three per facade, four corner). The façade facing the street has a small loophole. Depending on the observer's position, the shape of the bell tower, together with the side buttresses and the drawbridge-shaped gate at the western entrance, give the complex the appearance of a fortress.
The interior of the church is plastered and painted white, except for the arches of the vaults and interiors of the chapels, also plastered, in light blue and pink, respectively. Inside the chapel on the north side, the pictorial part of the altarpiece of the main altar is partially preserved —that of San Román, patron saint of the town—, joint work of Pere Serafí ("the Greek"; not to be confused with El Greco ) and Jaume Fontanet. Payment of the cost of the work, of 1,300 pounds, was made in October 1559.
This altarpiece was identified thanks to the pieces found in the attic of the chapel, thus having been saved from the burning of the building in 1936 (during the Civil War). Due to this event, only nine altarpieces remain from the entire original structure. As can be deduced from the information obtained from these altarpieces and the different altars, the expansion and improvement of the church after its construction continued during the rest of the 16th century and most of the 17th century.
Wikipedia
en.wikipedia.org/wiki/Lloret_de_Mar