View allAll Photos Tagged Scriptoriums
El monestir de Santa Maria de Poblet és fundat el 1150, i en acabar el segle XII, tenim construïts l’església, el refetor dels monjos, una part del claustre, i la infermeria amb el claustre i la capella de Sant Esteve. Durant el segle XIII s’acaba, en la seva pràctica totalitat, el conjunt monumental, amb totes les estances que els monjos necessiten per a la seva vida regular: la sala capitular, el dormitori, el claustre, la cuina, l’scriptorium i el refetor dels conversos; l’hospital per als pobres i pelegrins, amb la capella de Santa Caterina. Durant els segles posteriors s’hi afegiran altres elements, que ja no podem considerar indispensables per a la vida dels monjos: el cimbori i les muralles, amb el panteó i les altres construccions reials, la capella de Sant Jordi, al llarg dels segles XIV i XV; el campanar i el retaule, del segle XVI; la sagristia nova i les cases noves, del segle XVIII, entre altres construccions, funcionals o decoratives, que expliquen la vitalitat del cenobi i responen a diverses vicissituds històriques, i també a les circumstàncies econòmiques de cada època.
La façana de l'Església Major fou construïda entre 1669 i 1717, sufragada per Lluís Ramon Folc de Cardona, per substituir l'antiga portada romànica. El conjunt barroc consta d'una gran portalada de dos pisos, flanquejada per dos òculs profusament ornamentats. La porta és rectangular i està presidida per l'Assumpció de la Verge. A banda i banda hi ha sengles imatges de sant Bernat de Claravall i sant Benet de Núrsia. Les imatges van ser esculpides per Domènec Rovira el Jove. Les columnes salomòniques que emmarquen les finestres són del 1720-24.
L'església actual, que no és la primera, va ser bastida al darrer terç del segle XII dins un estil encara plenament romànic. Té planta basilical de tres naus amb creuer i un absis semicircular voltat de deambulatori i capelles radials. la volta és de canó, lleugerament apuntada, reforçada amb arcs torals que arrenquen d'unes semi-columnes adossades als pilars cruciformes que separen les naus. En canvi, les naus laterals estan cobertes amb volta de creueria gòtica. La del costat de l'Epístola va ser refeta entre 1316 i 1348, quan es va iniciar també el cimbori vuitavat.
Per saber-ne més, visiteu el lloc web del monestir de Poblet.
The abbey at Saint-Benoît-sur-Loire was founded on the banks of the Loire river mid 7th century. It is one of the oldest abbeys of the Benedictine rule in France.
The story starts in 672, when some of its monks traveled to Montecassino (Italy), dug up the remains of St. Benedict of Nursia (+ 547) and his sister St. Scholastica and brought them home. After the relics had reached at Fleury Abbey it which was renamed Saint-Benoît-sur-Loire - and due to the relics became a major place of pilgrimage.
A famous school and a scriptorium existed here in the late 10th century.
The erection of the church started around 1071. When the church was consecrated in 1108, the long nave was not completed.
The abbey thrived, but times got rougher. In 1562, the abbey was pillaged by Huguenots. The buildings were restored, but looted and destroyed again during the French Revolution. Saint-Benoît's monks left the abbey and so the history of the convent ended after more than 1100 years.
The abbey church had escaped destruction and got restored in the 19th century. In 1944, the convent was refounded the abbey buildings were rebuilt by Benedictine monks after World War II. So the history of the convent was just interrupted for about 150 years.
Daniel in the lions' den. To the right Habakkuk and an angel
Bobbio Abbey
L'abbazia di San Colombano è un monastero che venne fondato da san Colombano nel 614 a Bobbio, in provincia di Piacenza, ed un tempo sottoposto alla sua regola monastica e all'Ordine di San Colombano.
Sorge nel centro del tessuto urbano della cittadina, che si formò poco per volta attorno alla vasta area occupata dal monastero.
Essa fu per tutto il Medioevo uno dei più importanti centri monastici d'Europa, facendone fra il VII ed il XII secolo una Montecassino dell'Italia settentrionale; infatti è resa famosa dallo scriptorium, il cui catalogo, nel 982, comprendeva oltre 700 codici e che dopo la dispersione in altre biblioteche conservò 25 dei 150 manoscritti più antichi della letteratura latina esistenti al mondo.
Bobbio Abbey (Italian: Abbazia di San Colombano) is a monastery founded by Irish Saint Columbanus in 614, around which later grew up the town of Bobbio, in the province of Piacenza, Emilia-Romagna, Italy. It is dedicated to Saint Columbanus. It was famous as a centre of resistance to Arianism and as one of the greatest libraries in the Middle Ages, and was the original on which the monastery in Umberto Eco's novel The Name of the Rose was based, together with Sacra di San Michele. The abbey was dissolved under the French administration in 1803, although many of the buildings remain in other uses.
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
en.wikipedia.org/wiki/Monasteries_of_San_Millán_de_la_Co...
El monasterio de San Millán de Suso o monasterio de Suso ("suso" significa "arriba" en castellano, aunque ya está en desuso) se halla ubicado cerca de la villa de San Millán de la Cogolla, en la comunidad autónoma de La Rioja (España), en la margen izquierda del río Cárdenas. Forma parte del conjunto monumental de dos monasterios, junto con otro construido posteriormente y que se sitúa más abajo, llamado Monasterio de San Millán de Yuso, ambos declarados Patrimonio de la Humanidad.
Iniciada su construcción a finales del siglo VI, tiene su origen en un cenobio visigodo establecido alrededor del sepulcro del eremita Aemilianus (Millán) o Emiliano, fallecido en el año 574. A lo largo de los siglos siguientes y hasta el siglo XII sufre distintas ampliaciones como consecuencia del cambio de vida eremítica a la cenobítica y posterior monástica, distinguiéndose en ellas el estilo mozárabe y el románico. Su importancia no es sólo artística y religiosa, sino también lingüística y literaria. Aquí un monje escribió las Glosas Emilianenses, que eran anotaciones aclaratorias en los márgenes de las páginas escritas en latín. Dichas anotaciones estaban escritas en romance. En este monasterio aparecen a su vez las primeras anotaciones escritas en euskera, por lo que se ha considerado la cuna de dichos romances hispanos y del euskera. Aquí habitó asimismo el monje y primer poeta de nombre conocido en castellano, Gonzalo de Berceo.
También la tradición atribuye que en el "portaliello" de este monasterio están los que pasan por ser los sarcófagos de los siete infantes de Lara de la leyenda.
En los primeros tiempos de la llegada de los visigodos a la Península, se retiró a este lugar apartado y recóndito el anacoreta Aemilianus (Millán), hijo de un pastor y natural de Vergegium, actual Berceo. Aquí vivió como ermitaño, cobijado en una pequeña celda, muriendo a la edad de 101 años y siendo enterrado en una tumba excavada en la roca. Se sabe mucho de su vida porque fue escrita en latín hacia el año 635 por el obispo de Zaragoza llamado Braulio, siendo Gonzalo de Berceo, que se educó en este monasterio, quien tradujo esta biografía del latín a versos en lengua vulgar o romance.
El pequeño monasterio se construyó alrededor de la celda rupestre del ermitaño. En una primera etapa (siglo V y principios del VI) se excavan cuevas aprovechando oquedades del terreno, las cuales se distribuyen en dos niveles destinadas a habitaciones, y otras dos a oratorio, donde actualmente se sitúan el cenotafio de San Millán y el osario.
Entre los siglos VI y VII, el cambio de vida eremítica a cenobítica exige la construcción de un edificio para reunirse, siendo esta la primera construcción propiamente dicha, correspondiéndose con los dos compartimentos abovedados que se sitúan más a la derecha según se entra al monasterio existente, de la que se conservan actualmente los muros y varios de los arcos visigodos.
En la primera mitad del siglo x y partiendo del cenobio visigodo se construye el monasterio mozárabe, consagrándose en 954 por García Sánchez I de Navarra, primer monarca instalado en Nájera, del que se conserva gran parte de la estructura. A esta etapa corresponde la galería de entrada y la nave principal de la iglesia, construida con bóvedas de estilo califal y arcos de herradura.
En el año 1002, Almanzor incendió este monasterio, desapareciendo con ello la decoración pictórica y estucos mozárabes.
En 1030, Sancho III el Mayor de Navarra con motivo de la santificación de San Millán, restaura y amplía el monasterio por el oeste añadiéndose dos arcos más de medio punto a los existentes de herradura y se cambia la situación del altar, que se orienta al este. Por último, en los siglos XI y XII se realizan otras ampliaciones con muros y arcos de medio punto ante las primitivas cuevas del eremitorio.
La situación geográfica de este pequeño monasterio tuvo gran importancia para las relaciones con otros centros de cultura. Tenía influencias castellanas y francas además de que sus vecinos eran los monjes de Silos y Albelda; estaba bastante cerca del Camino de Santiago y poseía además un rico sustrato mozárabe y visigodo. Sumando todo esto, en San Millán pudo conseguirse una nueva y muy importante cultura monástica.
El 7 de diciembre de 1997 fue declarado Patrimonio de la Humanidad en Europa.
es.wikipedia.org/wiki/Monasterio_de_San_Millán_de_Suso
Suso – Monasterio de San Millán (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
Aussi appelé le "Monastère de la lance" car il a possédé pendant 5 siècles la relique de la lance qui a blessé le Christ sur la croix.
Le monastère a été fondé au IV ème siècle par St Grégoire l'Illuminateur mais l'ensemble du temple a été achevé au XIII ème siècle. Il a été un centre culturel important avec une école, un scriptorium...Il est en partie troglodytique.
Depuis 2000 le monastère est sur la Liste du Patrimoine de l'UNESCO.
Khachkars (croix de pierre) taillés dans la falaise au dessus du monastère.
Listen ALELUYA DE 'EXSULTATE, JUBILATE - Mozart
El monasterio benedictino de Ripoll fue fundado por el conde Guifré el Pilós en el año 879. El 20 de abril del año 888 el monasterio de Ripoll fue solemnemente consagrado y dedicado a Santa María.
La creciente importancia del monasterio de Ripoll como centro cultural, con biblioteca,scriptorium y escuela monástica medieval, motivó sucesivas ampliaciones del edificio, siendo la efectuada por el abad Oliba (1008-1046) la que conformaría sus formas definitivas : 60 por 40 metros en un edificio petreo de formas austeras y macizas, de cinco naves, con un cuerpo de edificio delantero encima del cual se levantaron dos torres de campanarios y en la parte posterior un grandioso transepto coronado por un ábside central y tres absidiolos a cada lado.
El templo ha sufrido diversas restauraciones. En especial la realizada tras el terremoto de 1428 y la de 1830 que redujo a tres las cinco naves originales.Las dimensiones de la nave principal son las originales : 60 m. de largo por 9 de ancho. En el crucero y en los muros de la nave central se hallan las tumbas de muchos delos condes de Besalú y Barcelona como Guifré el Pelós, Ramon Berenguer III y IV.
La obra principal del monasterio y de la escultura románica de Catalunya, es la portada del siglo XII. Se divide en siete franjas horizontales donde se representan escenas bíblicas, históricas y alegóricas. La rica iconografía combina los grupos temáticos entre motivos florales de gran exuberancia y ornamentaciones de líneas geométricas, sin ningún lugar en que el cincel no se haya dejado sentir.A ambos lados del portal están las imágenes mutiladas de San Pedro y San Pablo.
El claustro del templo consta de dos pisos. Fué iniciado en siglo XII, quedando paralizada la construcción hasta fines del siglo XIV. La galería superior quedó completada en el siglo XVI. Tiene forma trapezoidal y consta de 112 arcos semicirculares y 252 columnas de capiteles esculpidos con motivos religiosos, mitológicos y populares.
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
en.wikipedia.org/wiki/Monasteries_of_San_Millán_de_la_Co...
El monasterio de San Millán de Suso o monasterio de Suso ("suso" significa "arriba" en castellano, aunque ya está en desuso) se halla ubicado cerca de la villa de San Millán de la Cogolla, en la comunidad autónoma de La Rioja (España), en la margen izquierda del río Cárdenas. Forma parte del conjunto monumental de dos monasterios, junto con otro construido posteriormente y que se sitúa más abajo, llamado Monasterio de San Millán de Yuso, ambos declarados Patrimonio de la Humanidad.
Iniciada su construcción a finales del siglo VI, tiene su origen en un cenobio visigodo establecido alrededor del sepulcro del eremita Aemilianus (Millán) o Emiliano, fallecido en el año 574. A lo largo de los siglos siguientes y hasta el siglo XII sufre distintas ampliaciones como consecuencia del cambio de vida eremítica a la cenobítica y posterior monástica, distinguiéndose en ellas el estilo mozárabe y el románico. Su importancia no es sólo artística y religiosa, sino también lingüística y literaria. Aquí un monje escribió las Glosas Emilianenses, que eran anotaciones aclaratorias en los márgenes de las páginas escritas en latín. Dichas anotaciones estaban escritas en romance. En este monasterio aparecen a su vez las primeras anotaciones escritas en euskera, por lo que se ha considerado la cuna de dichos romances hispanos y del euskera. Aquí habitó asimismo el monje y primer poeta de nombre conocido en castellano, Gonzalo de Berceo.
También la tradición atribuye que en el "portaliello" de este monasterio están los que pasan por ser los sarcófagos de los siete infantes de Lara de la leyenda.
En los primeros tiempos de la llegada de los visigodos a la Península, se retiró a este lugar apartado y recóndito el anacoreta Aemilianus (Millán), hijo de un pastor y natural de Vergegium, actual Berceo. Aquí vivió como ermitaño, cobijado en una pequeña celda, muriendo a la edad de 101 años y siendo enterrado en una tumba excavada en la roca. Se sabe mucho de su vida porque fue escrita en latín hacia el año 635 por el obispo de Zaragoza llamado Braulio, siendo Gonzalo de Berceo, que se educó en este monasterio, quien tradujo esta biografía del latín a versos en lengua vulgar o romance.
El pequeño monasterio se construyó alrededor de la celda rupestre del ermitaño. En una primera etapa (siglo V y principios del VI) se excavan cuevas aprovechando oquedades del terreno, las cuales se distribuyen en dos niveles destinadas a habitaciones, y otras dos a oratorio, donde actualmente se sitúan el cenotafio de San Millán y el osario.
Entre los siglos VI y VII, el cambio de vida eremítica a cenobítica exige la construcción de un edificio para reunirse, siendo esta la primera construcción propiamente dicha, correspondiéndose con los dos compartimentos abovedados que se sitúan más a la derecha según se entra al monasterio existente, de la que se conservan actualmente los muros y varios de los arcos visigodos.
En la primera mitad del siglo x y partiendo del cenobio visigodo se construye el monasterio mozárabe, consagrándose en 954 por García Sánchez I de Navarra, primer monarca instalado en Nájera, del que se conserva gran parte de la estructura. A esta etapa corresponde la galería de entrada y la nave principal de la iglesia, construida con bóvedas de estilo califal y arcos de herradura.
En el año 1002, Almanzor incendió este monasterio, desapareciendo con ello la decoración pictórica y estucos mozárabes.
En 1030, Sancho III el Mayor de Navarra con motivo de la santificación de San Millán, restaura y amplía el monasterio por el oeste añadiéndose dos arcos más de medio punto a los existentes de herradura y se cambia la situación del altar, que se orienta al este. Por último, en los siglos XI y XII se realizan otras ampliaciones con muros y arcos de medio punto ante las primitivas cuevas del eremitorio.
La situación geográfica de este pequeño monasterio tuvo gran importancia para las relaciones con otros centros de cultura. Tenía influencias castellanas y francas además de que sus vecinos eran los monjes de Silos y Albelda; estaba bastante cerca del Camino de Santiago y poseía además un rico sustrato mozárabe y visigodo. Sumando todo esto, en San Millán pudo conseguirse una nueva y muy importante cultura monástica.
El 7 de diciembre de 1997 fue declarado Patrimonio de la Humanidad en Europa.
es.wikipedia.org/wiki/Monasterio_de_San_Millán_de_Suso
Suso – Monasterio de San Millán (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
Evangelist St. Mark with his attribute, a lion at his side. The desperate monk in the scriptorium had neither a good pattern book for depicting a lion, nor had he ever seen a lion himself in his life..
****************************************************************
Horae ad usum Romanum, dites Grandes Heures d'Anne de Bretagne
Jean Bourdichon (1457? - 1521) Enlumineur
Source: BNF Latin 9474 - gallica.bnf.fr
The scriptorium is part of the cloisters of Battle Abbey where the monks would sit and work on manuscripts because of the good light.
When I am at awesome locations like this I really wish I had much better photographic and processing skills.
I would love to see what my contacts Michael and Andrew could do in here!
If you have time please look at all three and say which one works best for you! Of course I have about a dozen more.....LOL!....at least!!!
The Museum of Book, Žďár nad Sázavou
Museum of the Book - The history of letters, the book, letter print and book culture of the Czech lands in the European context.
"The development of the book culture of the Czech lands is demonstrated by the book exhibits – from medieval manuscripts through to old prints to contemporary graphic and book illustration, including samples of underground and exile literature borrowed from the library resources of Libri prohibiti. The exhibition includes the Baroque library of the Capuchin Monastery in Roudnice nad Labem, the library of Mladá Vožice Chateau and the classicist interior and personal library of the Czech historian, Gelasius Dobner, in the original bookcases. The exhibition concludes with the collection of Cubist furniture designed according to Josef Gočár’s plans and the carved furniture of the remarkable artist, Josef Váchal, together with a small exhibition of his graphic works. The reconstructions of the medieval Scriptorium, a printing room of the 16th century and samples of printing machines complete the overall picture."
Thank you all my dears Flickr friends for your sweet comments! I do appreciate them very, very much
Listen Agnus Dei Gabriel Fauré
My Books:
My book "Discover GUIMERÀ" (preview)
My book "Discover SANTA PAU" (preview)
My book "Discover BESALÚ" (preview)
El monasterio benedictino de Ripoll fue fundado por el conde Guifré el Pilós en el año 879. El 20 de abril del año 888 el monasterio de Ripoll fue solemnemente consagrado y dedicado a Santa María.
La creciente importancia del monasterio de Ripoll como centro cultural, con biblioteca,scriptorium y escuela monástica medieval, motivó sucesivas ampliaciones del edificio, siendo la efectuada por el abad Oliba (1008-1046) la que conformaría sus formas definitivas : 60 por 40 metros en un edificio petreo de formas austeras y macizas, de cinco naves, con un cuerpo de edificio delantero encima del cual se levantaron dos torres de campanarios y en la parte posterior un grandioso transepto coronado por un ábside central y tres absidiolos a cada lado.
El templo ha sufrido diversas restauraciones. En especial la realizada tras el terremoto de 1428 y la de 1830 que redujo a tres las cinco naves originales.Las dimensiones de la nave principal son las originales : 60 m. de largo por 9 de ancho. En el crucero y en los muros de la nave central se hallan las tumbas de muchos delos condes de Besalú y Barcelona como Guifré el Pelós, Ramon Berenguer III y IV.
La obra principal del monasterio y de la escultura románica de Catalunya, es la portada del siglo XII. Se divide en siete franjas horizontales donde se representan escenas bíblicas, históricas y alegóricas. La rica iconografía combina los grupos temáticos entre motivos florales de gran exuberancia y ornamentaciones de líneas geométricas, sin ningún lugar en que el cincel no se haya dejado sentir.A ambos lados del portal están las imágenes mutiladas de San Pedro y San Pablo.
El claustro del templo consta de dos pisos. Fué iniciado en siglo XII, quedando paralizada la construcción hasta fines del siglo XIV. La galería superior quedó completada en el siglo XVI. Tiene forma trapezoidal y consta de 112 arcos semicirculares y 252 columnas de capiteles esculpidos con motivos religiosos, mitológicos y populares.
English
The Benedictine monastery of Ripoll was founded by the Count Guifré Pilos in the year 879. On April 20 the year 888 the monastery of Ripoll was solemnly consecrated and dedicated to Santa Maria.
The growing importance of the monastery of Ripoll and cultural center, library, medieval monastic scriptorium, and school, motivated successive enlargements of the building being completed by Abbot Oliba (1008-1046) to settle its final form: 60 by 40 meters in building stone of an austere and solid forms of five ships, with a body above the front building was erected two towers and steeples on the back a great transept topped by a central apse apsidioles and three on each side.
The temple has undergone several restorations. Especially the one made after the earthquake of 1428 and 1830 it dropped to five ships originales.Las the three dimensions of the nave are the original: 60 m. long by 9 wide. In the cruise and on the walls of the nave are the tombs of many counts of Besalú models and the Pelós Guifré Barcelona, Ramon Berenguer III and IV.
The main work of the monastery and the Romanesque sculpture of Catalunya, is the cover of the twelfth century. It is divided into seven horizontal bands which represent biblical scenes, allegorical and historical. The rich iconography combines clusters between floral ornaments of great exuberance and geometric lines, with no place where the chisel has not stopped both sides of the portal sentir.A are images of mutilated San Pedro and San Pablo.
The cloister of the temple consists of two floors. It was begun in the twelfth century, was paralyzed construction until the end of the fourteenth century. The upper gallery was completed in the sixteenth century. Have trapezoidal shape and consists of 112 semicircular arches and 252 columns capitals carved with religious, mythological and popular.
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.
"You can draw a horse from the front, right?"
"Sure, easy-peasy!"
L'estoire de Merlin, 1316
... and if you like it, take a look at this upcoming game! They don't pay me for the advertisement, it's just deserved.
store.steampowered.com/app/3119540/Scriptorium_Master_of_...
Explications sur ces reflets :
D'abord, il y a des colonnes extérieures (celles du haut, les plus visibles) refletées dans la porte en verre du scriptorium ...
Puis il y a les colonnes intérieures, celles du scriptorium (celles du bas) et qui ne sont pas la continuité ni le reflet de celles du haut ...
Finalement, c'est simple quand on connait les lieux ... ;-))
Bobbio Abbey - courtyard
L'abbazia di San Colombano è un monastero che venne fondato da san Colombano nel 614 a Bobbio, in provincia di Piacenza, ed un tempo sottoposto alla sua regola monastica e all'Ordine di San Colombano.
Sorge nel centro del tessuto urbano della cittadina, che si formò poco per volta attorno alla vasta area occupata dal monastero.
Essa fu per tutto il Medioevo uno dei più importanti centri monastici d'Europa, facendone fra il VII ed il XII secolo una Montecassino dell'Italia settentrionale; infatti è resa famosa dallo scriptorium, il cui catalogo, nel 982, comprendeva oltre 700 codici e che dopo la dispersione in altre biblioteche conservò 25 dei 150 manoscritti più antichi della letteratura latina esistenti al mondo.
Bobbio Abbey (Italian: Abbazia di San Colombano) is a monastery founded by Irish Saint Columbanus in 614, around which later grew up the town of Bobbio, in the province of Piacenza, Emilia-Romagna, Italy. It is dedicated to Saint Columbanus. It was famous as a centre of resistance to Arianism and as one of the greatest libraries in the Middle Ages, and was the original on which the monastery in Umberto Eco's novel The Name of the Rose was based, together with Sacra di San Michele. The abbey was dissolved under the French administration in 1803, although many of the buildings remain in other uses.
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
When he founded the library, Thierry de Vitry, the second abbot of Orval from 1145 - 1152, organized exchanges of precious manuscripts with other monasteries so that they could be copied by the monks in their scriptorium (copying room). Prior to the invention of the printing press, that was the only way of disseminating the written word, as shown in the historical research done for the Principality of Liege by the monk Gilles d'Orval, who died in 1251.
That explains the range of artistic influences observed in the preserved manuscripts. In spite of pillages and fires at the abbey in 1252, 1637 and 1793, many manuscripts have been preserved to this day.
With the reform of the 17th century the growth in the community required the building of a new wing beyond the cloister. On the ground floor, a new refectory was fitted out and the former refectory was partially transformed into a reading room. The upper floor was occupied by the library and the latrines, located right above the river channelled to the basement of the monastic enclosure. A tower cutting the southeast gable housed the archives. The novices' quarters were located at the end of the wing.
Bobbio Abbey
L'abbazia di San Colombano è un monastero che venne fondato da san Colombano nel 614 a Bobbio, in provincia di Piacenza, ed un tempo sottoposto alla sua regola monastica e all'Ordine di San Colombano.
Sorge nel centro del tessuto urbano della cittadina, che si formò poco per volta attorno alla vasta area occupata dal monastero.
Essa fu per tutto il Medioevo uno dei più importanti centri monastici d'Europa, facendone fra il VII ed il XII secolo una Montecassino dell'Italia settentrionale; infatti è resa famosa dallo scriptorium, il cui catalogo, nel 982, comprendeva oltre 700 codici e che dopo la dispersione in altre biblioteche conservò 25 dei 150 manoscritti più antichi della letteratura latina esistenti al mondo.
Bobbio Abbey (Italian: Abbazia di San Colombano) is a monastery founded by Irish Saint Columbanus in 614, around which later grew up the town of Bobbio, in the province of Piacenza, Emilia-Romagna, Italy. It is dedicated to Saint Columbanus. It was famous as a centre of resistance to Arianism and as one of the greatest libraries in the Middle Ages, and was the original on which the monastery in Umberto Eco's novel The Name of the Rose was based, together with Sacra di San Michele. The abbey was dissolved under the French administration in 1803, although many of the buildings remain in other uses.
These two kids were sitting by themselves, against an old wall near the entrance to Castel Sant'Angelo in Rome. From what I could tell, they were sharing iPod ear-buds, so they both listen to the same song...
*************************************
Note: this photo was published in a Jan 27, 2009 blog titled "Científicos europeos alertan sobre el uso de reproductores de MP3." It was also published in an Oct 25, 2009 QuoteSnack blog titled "Private action, however radical and satisfying, only becomes political when it is made known."
It was also published in a Mar 10, 2010 blog titled "The Link Wheel Exposed"( I have absolutely no idea what that means...) And a cropped version of the photo was published in what appears to be an undated (Apr 2010) home page of a Swedish website titled dnskola.se/uppdrag/forandra-med-fakta. More recently, the photo was published in a May 12, 2010 blog titled "SEO Sharing Session." And it was published in a May 17, 2010 blog titled "WHY THE MUSIC INDUSTRY WILL LOSE IN ITS FIGHT AGAINST CONTENT SHARING." It was also published in a May 31, 2010 German blog titled "studiVZ plant Musik-Tauschbörse." And it was published in a Jun 23, 2010 blog titled "Sharing modes." It was also published in a Jul 10, 2010 blog titled "Can An Ordinary Joe Make Money On CB?" And it was published in an Aug 14, 2010 Learn 2 Earn Online blog, with the same title as the caption that I used on this Flickr page. It was also published in the Aug 23, Aug 27, Sep 5, Sep 7, and Sep 8, 2010 issues of Profit Quickies 4 Newbies blog, with the same title as the caption that I used on this Flickr page. It was also published in a Sep 15, 2010 Spanish blog titled "TODO LO QUE COMPARTES, AUNQUE TE QUEDE A LA MITAD, TE SABE EL DOBLE DE BUENO. :-)" And it was published in an Oct 7, 2010 blog titled "Why are You not Being Able to Earn Money Online." It was also published in a Nov 26, 2010 blog titled "http://www.marsdd.com/blog/2010/11/26/pushlife-rocks-it-launch-of-listen-in/." And it was published in a Dec 28, 2010 blog titled "Nutzen staff besitzen."
Moving into 2011, the photo was published in a Jan 3, 2011 blog titled "Day 3 — 31 Days of Social Media {Share}." And it was published in a Jan 5, 2011 blog titled "Nice Music 2010 photos." It was also published in a Jan 17, 2011 blog titled "How Can I make Money Online and Build a Business?", as well as a Jan 17, 2011 blog titled "Where to Hear Hungarian Music for Free." And it was published in a Jan 19, 2011 blog titled "À lire et à faire lire : Biens Communs - La Prospérité par le Partage." It was also published in a Jan 23, 2011 blog titled "Read Up On The Latest Wireless Technologies as well as a Jan 24, 2011 blog titled "How Important Are Search Engines To Your Website?"It was also published in a Jan 26, 2011 blog titled "How Online Kids Clothes Can Be Quick And Easy." And, as of early Feb 2011, it appears on the home page of a consulting firm called Artefact. It was also published in a Feb 24, 201 Cool Music Images blog, with the same caption and detailed notes that I had written on this Flickr page. And it was published in a Mar 13, 2011 blog titlted "Nobodies are the New Somebodies," as well as a Mar 15, 2011 blog titled "Nice Music Photos," and a Mar 16, 2011 blog titled "How to Kill the Music Industry." It was also published in a Mar 20, 2011 blog titled "Musical playlists, It’s not what you like… It’s who you are," as well as a Mar 21, 2011 Cool Learning German Free Online images blog, with the same caption and detailed notes that I had written on this Flickr page. And it was published in an undated (late Mar 2011) blog titled " 7 Ways to Twitter Heaven." It was also published in a Mar 31, 2011 blog titled "Social Tools: Helping People Share What They Know ." And it was published in an undated (early Apr 2011) Nice Music Marketing Photos blog, with the same caption and detailed notes that I had written on this Flickr page. It was also published in an Apr 26, 2010 vi.sualize.us blog , as well as an Apr 27, 2011 blog titled "The Music of Many Lands."
After a month or so of peace and quiet, the photo was published again in a Jun 8, 2011 blog titled "Make Money Online Using Any One Of These 3 Methods." It was also published in a Jun 29, 2011 MacBook Lover blog posting titled "Cool iPod Images." And it was published in an Aug 4, 2011 Video Blogging for Profits blog, with the same caption and detailed notes that I had written on this Flickr page. It was also published in an Aug 29, 2011 blog titled "Muzyka." And it was published in a Sep 10, 2011 Kid's World blog, with the same caption and detailed notes that I had written here on this Flickr page. It was also published in a Nov 11, 2011 blog titled "Nice I Make Funds on the Web Photos," with the same caption and detailed notes that I had written on this Flickr page.
Moving into 2012, the photo was published in a Jan 18, 2012 blog titled "Anyone make any money in Big Bear Mining?" And it was published in a Feb 3, 2012 blog titled "Q&A: How to Earn Money Online for Free." It was also published in an undated(mid-Feb 2012) blog titled "Share Your Smoothies." And it was published in a Mar 5, 2012 Mobile Master Pro blog, with the same caption and detailed notes that I had written in this Flickr page. It was also published in a Mar 27, 2012 blog titled "Feds to carriers: Let’s share the airwaves." And it was published in an undated (early Apr 2012) blog titled "Poursuivi parce qu’un de ses contacts a partagé une photo sur son mur Facebook." It was also published in an Apr 14, 2012 bog titled "Best Of Motivational Quotes And Inspirational Quotes." And it was published in a May 9, 2012 blog titled "DIY U: Interview with Anya Kamenetz." It was also published in a Jun 30, 2012 Share this Quote blog, which superimposed a Victor Hugo quote on the photo. And it was published in a Jul 20, 2012 blog titled "Cinco características que debe tener el servicio de música a la carta definitive." It was also published in a Sep 21, 2012 blog titled "Arte Radio : dix ans d’intimité radiophonique." And it was published in a Sep 24, 2012 blog titled "Sound Stories." It was also published in a Sep 29, 2012 SEO-dot-de blog, with the same caption and detailed notes that I had written on this Flickr page. And it was published in a Nov 29, 2012 blog titled "iInformal and online: Peer to peer University (P2PU)." It was also published in a Dec 30, 2012 blog titled "Share Your Experiences and Frugal Tips."
Moving into 2013, the photo was published in a Jan 8, 2013 blog titled "Muzieksmaak kan voorspellen of jongere het criminele pad opgaat ." And it was published in a Feb 12, 2013 blog titled "Friends with benefits: New tool uses Facebook to speed up sharing." It was also published in a Mar 13, 2013 blog titled "Content Marketing: Diese Blogposts teilt man gerne." And it was published in an undated (mid-March 2013) blog titled "Four Unconventional Ways Technology is Improving Music," as well as a Mar 19, 2013 blog titled "恬靜." It was also published in an undated (early Jul 2013) blog titled "Fun Ways to Learn Spanish for Beginners Online." And it was published in an undated (early Aug 2013) blog titled "kDigital Forgetting and Understanding," as well as an Aug 4, 2013 blog titled "Di cose che fanno bene (e male) al cuore." It was also published in a Sep 26, 2013 blog titled "The Greater Crime of Extreme Control of Music." I also found it in a Jul 16, 2013 Swiss blog titled "Sieben Ideen für Ihr Content Marketing."
Moving into 2014, the photo was published in a May 21, 2014 blog titled "Facebook lanza en España su Centro para la Prevención del Acoso." And it was published in an undated (early Nov 2014) Taiwan blog titled "想要人見人愛，到哪都吃得開？2種練習，學習當個體貼的傾聽者！"
Moving into 2015, the photo was published in a Mar 30, 2015 blog titled "Jan Scherman debuterar som satiriker."
********************
These photos were all taken on Saturday, Dec 6th, after finishing a computer conference in Rome. I spent the morning wandering around the Coliseum and surrounding neighborhood, and then the late afternoon over by the Castel Sant'Angelo, and St. Peters. The swarm of starlings appeared over the river, just before dark, on the way back past the Ponte Sant'Angelo...
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
The Scriptorium is the large room (above), the Dead Sea Scrolls could have been written here. In this room plastered mud brick benches and tables were discovered along with three ceramic and metal inkwells indicating that the scribes who copied the scrolls sat here when the Roman army approached Qumran in 68 A.D. The scribes placed the scrolls in clay jars and hid them in the caves of the cliffs in the area.
Qumran is an archaeological site extending over an area of 100 x 80 meters (320 x 263 ft), in the West Bank and is a National Park. It is located on a dry plateau about 1.5 kilometers (1 mi) from the northwestern shore of the Dead Sea. The Hellenistic period settlement was constructed around 134-104 B.C., and was occupied most of the time until it was destroyed by the Romans in 68 A.D. approximately. It is best known as the settlement nearest to the Qumran Caves where the Dead Sea Scrolls were hidden, in the sheer cliff caves. The principal excavations at Qumran were conducted by Roland de Vaux in 951-56, though several later excavations at the site have since been carried out.
Reial Monestir de Santa Maria de Santes Creus
Monastery of Santa Maria de Santes Creus is a Cistercian monastery in the municipality of Aiguamúrcia, Catalonia, Spain.
The monastery's origins date to 1158, when the Lords of Montagut y de Albá donated the village of Santes Creus to the monks of Valdaura. The papal decree that was required to establish a monastery was made by Pope Alexander II, and construction of the monastery began in 1174. The complex was completed in 1225.
King Peter III of Aragon chose to be buried in the Monastery of Santes Creus, as did his son James II (1276–1285) and his wife, Blanche of Anjou. James II had a section of the abbey turned royal rooms, the original Romanesque cloister rebuilt in the Gothic style of the 13th century, and a dome added to the church's crossing. The walls were built under King Peter IV. From the time of Peter IV, the royal favour was transferred to the Monastery of Poblet.
The monastic complex continued to expand during the 17th and 18th century, until, following the Ecclesiastical Confiscations of Mendizábal in 1835, the Cistercians left and building activities ceased. The monastery was declared a national monument in 1921.
The complex, built in accordance with Cistercian principles, included a church, a cloister, chapter house and dormitory. There were also a refectory, parlor, and scriptorium (writing hall). The complex is built in honey coloured stone, and the main buildings, including the church, have rooflines finished with crenellations.
The church, started in 1174, was finished around 1225. It was consecrated in 1211. It has a Latin cross plan, with a nave and lower aisles of six bays. The arms of the transept, which are the same width as the nave, each end in an apsidal chapel which is barely visible from the exterior. The chancel is rectangular, ending in the presbytery. The crossing is surmounted by a dome raised on a tall octagonal drum in Gothic style, and topped by a Baroque lantern.
The main façade has a Romanesque portal from the 12th century, surmounted by a large Gothic stained glass window. The apse is characterized by a rose window and, below, three small ogival windows, which are now hidden behind the high altar in the interior.
Each bay of the interior has a quadripartite vault, between broad, slightly pointed arches rising from square piers.
As in many other Cistercian churches, the interior has no decoration, aside from the tombs and the altarpiece by Josep Tremulles, dating to 1640.
The sepulchre of King Peter III was executed from 1291 to 1307 by Bartomeu de Gerona, and looks richer than those of his son (and commissioner of the work), James II, and of the latter's wife, Blanche of Naples. It consists of an urn surrounded by the images of saints, placed over a red porphyry Roman bath brought here by admiral Roger de Lauria.
The mausoleum of James II and his wife Blanche was created by Bertrán Riquer in 1313-1315. The tombs are in marble, with portraits of the two monarchs, wearing Cistercian attires, lying on the two slopes of the sepulchre's top.
The original cloister was a Romanesque structure, dating to the late 12th-early 13th century. All that remains of the first cloister is a hexagonal central shrine, containing the laundry
By request of King James II, the original cloister was largely demolished and replaced by a Gothic cloister designed by the English master Reynard of Fonoll, whose work was continued by his disciple Guillem de Seguer. The style of tracery which fills the upper parts of each ogival opening in the cloister arcade varies from English Geometric to Catalan in design. The clustered columns have highly ornamented capitals with foliate, animal and human figures, as well as biblical scenes. Recesses in the walls house tombs of several Catalan noblemen, and show remains of paintings, one representing the Annunciation.
The cloister can be accessed from the monastery's external square through the Porta de l'Assumpta or Porta Reial ("Royal Gate"), a Romanesque portal.
The chapter house follows the typical design of the Cistercian monasteries, being located in the center of the cloister's eastern wing and separated from the sacristy by the end of the church's transept. The orientation of the room admits the morning light through three windows opening in the eastern wall. The entrance from the cloister is through a Romanesque portal framed on either side by a large mullioned window of equal height, the three openings forming a triple arcade. The hall has a square plan, divided into nine cross vaulted sections by four central columns.
The dormitory is a large (c. 46 x 11 m), undecorated hall without any partitions for the monks, who, initially slept on straw mattresses lying on the floor. The wooden rafters are supported on a series of ogival stone arches that spring from corbels in the side walls.
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.
Wells Cathedral in Somerset is dedicated to St Andrew the Apostle, and is the seat of the Bishop of Bath and Wells. The present building dates from 1175 to 1490, an earlier church having been built on the site in 705. It is moderately sized among the medieval cathedrals of England, falling between those of massive proportions, such as Lincoln and York, and the much smaller cathedrals of Oxford and Carlisle.
The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508. They have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.
Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.
Reichenau Island is an island in Lake Constance. It lies west of the city of Konstanz. Since 1838 the island is connected to the mainland by a causeway.
The island was declared a UNESCO World Heritage Site in 2000 because of the important Abbey of Reichenau founded in 724 by Saint Pirmin, with patronage that included Charles Martel, Count Berthold of the Ahalolfinger and the Alemannian Duke Santfrid (aka Hnabi). It gained influence in the Carolingian dynasty, by educating the clerks who staffed Imperial and ducal chanceries. An important book collection was built up here.
The abbey housed a school, and a scriptorium and artists' workshop, that has a claim to have been the largest and artistically most influential centre for producing illuminated manuscripts in Europe during the late 10th and early 11th centuries, often known as the Reichenau School.
The Abbey reached its apex under Abbot Berno of Reichenau (1008–48). During his time, important scholars lived and worked in Reichenau. In the second half of the 11th century, the importance started to wane owing to rivalry with the nearby St. Gall. In 1540, the Bishop of Constance, an old rival of the Reichenau abbots, became lord of Reichenau, and, under the control of the succeeding bishops, the abbey's significance dwindled.
The former abbey church "St. Maria and Markus" is the probably oldest existing church on the island. St. Primin erected a wooden church here in 724. Abbot Haito replaced this with a Carolingian basilica that was consecrated in 816. Parts of this church, are still preserved today in the crossing and in the east transept. After in 830 the abbey had received relics of the evangelist Mark from Venice, the abbey church got enlarged.
When a Byzantine cross with a holy blood relic came to Reichenau in 925, a rotunda based on the model of the Holy Sepulcher was built.
This Holy Blood Chapel was demolished together with the church´s Romanesque choir, when mid of the 15th century, a late Gothic choir was added to the basilica.
Charlemagne´s great-grandson Emperor Karl III. (aka "Charles the Fat") was buried here at his own request. His grave slab contains the inscription "CAROLVS III IMPERATOR † 888".
The disciples are gathered around Jesus. St. Jacques wears the shell on his hat.
Reial Monestir de Santa Maria de Santes Creus
Monastery of Santa Maria de Santes Creus is a Cistercian monastery in the municipality of Aiguamúrcia, Catalonia, Spain.
The monastery's origins date to 1158, when the Lords of Montagut y de Albá donated the village of Santes Creus to the monks of Valdaura. The papal decree that was required to establish a monastery was made by Pope Alexander II, and construction of the monastery began in 1174. The complex was completed in 1225.
King Peter III of Aragon chose to be buried in the Monastery of Santes Creus, as did his son James II (1276–1285) and his wife, Blanche of Anjou. James II had a section of the abbey turned royal rooms, the original Romanesque cloister rebuilt in the Gothic style of the 13th century, and a dome added to the church's crossing. The walls were built under King Peter IV. From the time of Peter IV, the royal favour was transferred to the Monastery of Poblet.
The monastic complex continued to expand during the 17th and 18th century, until, following the Ecclesiastical Confiscations of Mendizábal in 1835, the Cistercians left and building activities ceased. The monastery was declared a national monument in 1921.
The complex, built in accordance with Cistercian principles, included a church, a cloister, chapter house and dormitory. There were also a refectory, parlor, and scriptorium (writing hall). The complex is built in honey coloured stone, and the main buildings, including the church, have rooflines finished with crenellations.
The church, started in 1174, was finished around 1225. It was consecrated in 1211. It has a Latin cross plan, with a nave and lower aisles of six bays. The arms of the transept, which are the same width as the nave, each end in an apsidal chapel which is barely visible from the exterior. The chancel is rectangular, ending in the presbytery. The crossing is surmounted by a dome raised on a tall octagonal drum in Gothic style, and topped by a Baroque lantern.
The main façade has a Romanesque portal from the 12th century, surmounted by a large Gothic stained glass window. The apse is characterized by a rose window and, below, three small ogival windows, which are now hidden behind the high altar in the interior.
Each bay of the interior has a quadripartite vault, between broad, slightly pointed arches rising from square piers.
As in many other Cistercian churches, the interior has no decoration, aside from the tombs and the altarpiece by Josep Tremulles, dating to 1640.
The sepulchre of King Peter III was executed from 1291 to 1307 by Bartomeu de Gerona, and looks richer than those of his son (and commissioner of the work), James II, and of the latter's wife, Blanche of Naples. It consists of an urn surrounded by the images of saints, placed over a red porphyry Roman bath brought here by admiral Roger de Lauria.
The mausoleum of James II and his wife Blanche was created by Bertrán Riquer in 1313-1315. The tombs are in marble, with portraits of the two monarchs, wearing Cistercian attires, lying on the two slopes of the sepulchre's top.
The original cloister was a Romanesque structure, dating to the late 12th-early 13th century. All that remains of the first cloister is a hexagonal central shrine, containing the laundry
By request of King James II, the original cloister was largely demolished and replaced by a Gothic cloister designed by the English master Reynard of Fonoll, whose work was continued by his disciple Guillem de Seguer. The style of tracery which fills the upper parts of each ogival opening in the cloister arcade varies from English Geometric to Catalan in design. The clustered columns have highly ornamented capitals with foliate, animal and human figures, as well as biblical scenes. Recesses in the walls house tombs of several Catalan noblemen, and show remains of paintings, one representing the Annunciation.
The cloister can be accessed from the monastery's external square through the Porta de l'Assumpta or Porta Reial ("Royal Gate"), a Romanesque portal.
The chapter house follows the typical design of the Cistercian monasteries, being located in the center of the cloister's eastern wing and separated from the sacristy by the end of the church's transept. The orientation of the room admits the morning light through three windows opening in the eastern wall. The entrance from the cloister is through a Romanesque portal framed on either side by a large mullioned window of equal height, the three openings forming a triple arcade. The hall has a square plan, divided into nine cross vaulted sections by four central columns.
The dormitory is a large (c. 46 x 11 m), undecorated hall without any partitions for the monks, who, initially slept on straw mattresses lying on the floor. The wooden rafters are supported on a series of ogival stone arches that spring from corbels in the side walls.
Jaume Castañé
El monestir de Santa Maria de Poblet és fundat el 1150, i en acabar el segle XII, tenim construïts l'església, el refetor dels monjos, una part del claustre, i la infermeria amb el claustre i la capella de Sant Esteve. Durant el segle XIII s'acaba, en la seva pràctica totalitat, el conjunt monumental, amb totes les estances que els monjos necessiten per a la seva vida regular: la sala capitular, el dormitori, el claustre, la cuina, l'scriptorium i el refetor dels conversos; l'hospital per als pobres i pelegrins, amb la capella de Santa Caterina. Durant els segles posteriors s'hi afegiran altres elements, que ja no podem considerar indispensables per a la vida dels monjos: el cimbori i les muralles, amb el panteó i les altres construccions reials, la capella de Sant Jordi, al llarg dels segles XIV i XV; el campanar i el retaule, del segle XVI; la sagristia nova i les cases noves, del segle XVIII, entre altres construccions, funcionals o decoratives, que expliquen la vitalitat del cenobi i responen a diverses vicissituds històriques, i també a les circumstàncies econòmiques de cada època.
La capella de Santa Caterina, d'estil romànic, és situada a la plaça del Monestir i va ser construïda entre 1244 i 1250. Formava part de l'hostatgeria o hospital de peregrins i feia funcions parroquials per als qui vivien al voltant del monestir. És un edifici senzill, d'estil romànic tardà. Té planta rectangular i està coberta amb una volta de canó lleugerament apuntada. La porta és de punt rodó, adovellada, amb arquivolta semicircular que descansa sobre dues columnes amb capitells decorats amb fullatge.
Pàgina a la UNESCO World Heritage List.
Aquesta foto ha jugat a A place from Flickr.
El Scriptorium de Tábara
600 monjes de ambos sexos componían este monasterio de San Salvador haya por el siglo X
En uno de esos manuscritos salidos de nuestro cenobio, que lleva incluso su nombre: Beato de Tábara, se representó la propia torre del monasterio y su scriptorium anejo, la más antigua y precisa imagen que se conserva de un scriptorium de la Alta Edad Media europea. Allí dos monjes se afanan en la fatigosa tarea de la escritura, precisamente los autores que concluyeron el códice: el escriba Senior y el miniaturista Emeterius que en su inexpresiva y convencional figura consagra el primer autorretrato del arte hispánico; el pintor en plena actividad creadora.
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
Monasteries of San Millán de la Cogolla - Wikipedia
Edición electrónica del Becerro Galicano de San Millán de la Cogolla (ehu.eus)
El Real Monasterio de San Millán de Yuso (yuso significaba 'abajo' en castellano antiguo) está situado en la villa de San Millán de la Cogolla, Comunidad Autónoma de La Rioja (España), en la margen izquierda del río Cárdenas, en pleno valle de San Millán. Forma parte del conjunto monumental de dos monasterios, junto con el más antiguo Monasterio de San Millán de Suso («de arriba»).
Este monasterio fue mandado construir en el año 1053 por el rey García Sánchez III de Navarra «el de Nájera». La historia de su fundación va unida a una leyenda basada en un milagro de san Millán (o Emiliano), un joven pastor que se hace ermitaño. Cuando en 574 muere Millán, a la edad de 101 años, sus discípulos lo entierran en su cueva, y alrededor de ella se va formando el primer monasterio, el de San Millán de Suso. San Braulio, cincuenta años después de muerto san Millán, escribe la vida de este.
El rey navarro García III era muy devoto de San Millán. Como acababa de fundar el gran monasterio de Santa María la Real de Nájera en esta ciudad que era corte del reino, quiso llevarse allí los restos mortales del santo, que estaban enterrados en el monasterio de San Millán de Suso. El 29 de mayo de 1053 colocaron los restos del Santo en una carreta tirada por bueyes y así emprendieron el viaje, con gran descontento de los monjes que allí quedaban desolados por la pérdida de su patrono. Cuando llegaron al llano, cerca del río, los bueyes se detuvieron y ya no quisieron volver a andar; no hubo forma de obligarlos. El rey y toda la comitiva comprendieron que aquello era un milagro, que San Millán estaba imponiendo su voluntad de no pasar de allí y ser enterrado de nuevo en aquellos lugares. Fue entonces cuando el rey mandó construir el reciente monasterio, al que se llamó Yuso (abajo), en contraposición con el de arriba (Suso).
Hasta al menos el año 1100, coexistieron los dos monasterios, el de arriba, Suso, y el de abajo, Yuso. El primero permanece fiel a la tradición: regla mozárabe y carácter dúplice de doble comunidad masculina y femenina. El segundo, reformado con la regla benedictina. A partir del siglo XII solo hay una comunidad de monjes, la benedictina, con una casa principal, la de Yuso (abajo). Los siglos X y XI son los de mayor esplendor en lo espiritual, religioso, artístico y cultural.
En 1809 los benedictinos son expulsados por primera vez cumpliendo el decreto de José Bonaparte. Vuelven en 1813. Son expulsados de nuevo durante el periodo constitucional del reinado de Fernando VII, entre diciembre de 1820 y julio de 1823. La hacienda real vendió entonces la botica en subasta pública. La tercera y última expulsión de la comunidad benedictina será debida a la desamortización eclesiástica de Mendizábal. Yuso permanece abandonado durante treinta y un años, desde noviembre de 1835. Entre 1866 y 1868 se establece una casa de misioneros franciscanos de Bermeo y, tras diez años de abandono, en 1878 fue ocupado por los frailes de la Orden de Agustinos Recoletos como casa destinada a la formación de los misioneros destinados a Filipinas. Las primeras obras de rehabilitación que se efectuaron por parte de los agustinos recoletos las realiza Fray Toribio Minguella.
El monasterio fue construido en estilo románico, como correspondía a la época. Es demolido en su totalidad y reconstruido en el siglo XVI, en estilo herreriano, de los siglos XVII y XVIII.
Tiene el monasterio también una importante biblioteca de Cantorales del siglo XVII. Unos 30 libros gigantes, pesan entre 40 y 60 kg, hechos a mano durante cuatro años de trabajo y para los que se utilizó lel pergamino proveniente de fragmentos de la piel de unas 2000 vacas.
Contienen la colección completa de todos los cantos que la comunidad monástica reza durante todo el año. Es una de las cuatro colecciones completas que se conservan en España.
Junto a los cantorales hay una excelente colección de facsímiles. El códice 46, fechado en el 964, que en palabras de los hermanos Turza «se trata de un diccionario enciclopédico de 20.000 artículos como los diccionarios actuales», y que recogen todo el saber de la época. El códice 60, el de las Glosas Emilianenses, primeras frases en castellano y palabras en vascuence. Una de las obras del primer poeta de nombre conocido en castellano, Gonzalo de Berceo, que fue educado en el monasterio de Suso y termina como clérigo notario de Yuso. Los excelentes calígrafos del monasterios están representados por una obra de fray Martín de Palencia, monje de San Millán.
Monasterio de San Millán de Yuso - Wikipedia, la enciclopedia libre
Yuso – Monasterio de San Millán (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
Edición electrónica del Becerro Galicano de San Millán de la Cogolla (ehu.eus)
St Albans Cathedral, also known as the Cathedral and Abbey Church of St Alban, is a Church of England cathedral church within St Albans, England. At 84 metres (276 ft), its nave is the longest of any cathedral in England. With much of its present architecture dating from Norman times, it was formerly known as St Albans Abbey before it became a cathedral in 1877. It is the second longest cathedral in the United Kingdom (after Winchester). Local residents often call it "the abbey", although the present cathedral represents only the church of the old Benedictine abbey.
The abbey church, although legally a cathedral church, differs in certain particulars from most of the other cathedrals in England: it is also used as a parish church, of which the dean is rector. He has the same powers, responsibilities and duties as the rector of any other parish.
Alban was a pagan living in the Roman city of Verulamium, now Verulamium Park, in St Albans, in Hertfordshire, England, about 22 miles (35 km) north of London along Watling Street. Before Christianity became the official religion of the Roman Empire, local Christians were being persecuted by the Romans. Alban sheltered their priest, Saint Amphibalus, in his home and was converted to the Christian faith by him. When the soldiers came to Alban's house looking for the priest, Alban exchanged cloaks with the priest and let himself be arrested in his place. Alban was taken before the magistrate, where he avowed his new Christian faith and was condemned for it. He was beheaded, according to legend, on the spot where the cathedral named after him now stands. The site is on a steep hill and legend has it that his head rolled down the hill after being cut off and that a well sprang up at the point where it stopped.
A well certainly exists today and the road up to the cathedral is named Holywell Hill. However the current well structure is no older than the late 19th century and it is thought that the name of the street derives from the "Halywell" river and "Halywell Bridge", not from the well.
The date of Alban's execution is a matter of some debate and is generally given as "circa 250"—scholars generally suggest dates of 209, 254 or 304.
History of the abbey and cathedral
A memoria over the execution point and holding the remains of Alban existed at the site from the mid-4th century (possibly earlier); Bedementions a church and Gildas a shrine. Bishop Germanus of Auxerre visited in 429 and took a portion of the apparently still bloody earth away. The style of this structure is unknown; the 13th century chronicler Matthew Paris (see below) claimed that the Saxons destroyed the building in 586.
Saxon buildings
Offa II of Mercia, who ruled in the 8th century, is said to have founded the Benedictine abbey and monastery at St Albans. All later religious structures are dated from the foundation of Offa's abbey in 793. The abbey was built on Holmhurst Hill—now Holywell Hill—across the River Ver from the ruins of Verulamium. Again there is no information to the form of the first abbey. The abbey was probably sacked by the Danes around 890 and, despite Paris's claims, the office of abbot remained empty from around 920 until the 970s when the efforts of Dunstanreached the town.
There was an intention to rebuild the abbey in 1005 when Abbot Ealdred was licensed to remove building material from Verulamium. With the town resting on clay and chalk the only tough stone is flint. This was used with a lime mortar and then either plastered over or left bare. With the great quantities of brick, tile and other stone in Verulamium the Roman site became a prime source of building material for the abbeys, and other projects in the area, up to the 18th century. Sections demanding worked stone used Lincolnshire limestone (Barnack stone) from Verulamium, later worked stones include Totternhoe freestone from Bedfordshire, Purbeck marble, and different limestones (Ancaster, Chilmark, Clipsham, etc.).
Renewed Viking raids from 1016 stalled the Saxon efforts and very little from the Saxon abbey was incorporated in the later forms.
The nave. The north wall (left) features a mix of Norman arches dating back to 1077 and arches in the Early English style of 1200.
Norman abbey
Much of the current layout and proportions of the structure date from the first Norman abbot, Paul of Caen (1077–1093). The 14th abbot, he was appointed by the new Archbishop of Canterbury, Lanfranc.
Building work started in the year of Abbot Paul's arrival. The design and construction was overseen by the Norman Robert the Mason. The plan has very limited Anglo-Saxon elements and is clearly influenced by the French work at Cluny, Bernay, and Caen and shares a similar floor plan to Saint-Étienne and Lanfranc's Canterbury—although the poorer quality building material was a new challenge for Robert and he clearly borrowed some Roman techniques, learned while gathering material in Verulamium. To take maximum use of the hilltop the abbey was oriented to the south-east. The cruciform abbey was the largest built in England at that time, it had a chancel of four bays, a transept containing seven apses, and a nave of ten bays—fifteen bays long overall. Robert gave particular attention to solid foundations, running a continuous wall of layered bricks, flints and mortar below and pushing the foundations down to twelve feet to hit bedrock. Below the crossing tower special large stones were used.
The tower was a particular triumph—it is the only 11th century great crossing tower still standing in England. Robert began with special thick supporting walls and four massive brick piers. The four-level tower tapers at each stage with clasping buttresses on the three lower levels and circular buttresses on the fourth stage. The entire structure masses 5,000 tons and is 144 feet high. The tower was probably topped with a Norman pyramidal roof; the current roof is flat. The original ringing chamber had five bells—two paid for by the Abbot, two by a wealthy townsman, and one donated by the rector of Hoddesdon. None of these bells has survived.
There was a widespread belief that the abbey had two additional, smaller towers at the west end. No remains have been found.
The monastic abbey was completed in 1089 but not consecrated until Holy Innocents' Day, 1115, (28 Dec) by the Archbishop of Rouen. King Henry I attended as did many bishops and nobles.
A nunnery (Sopwell Priory) was founded nearby in 1140.
Internally the abbey was bare of sculpture, almost stark. The plaster walls were coloured and patterned in parts, with extensive tapestries adding colour. Sculptural decoration was added, mainly ornaments, as it became more fashionable in the 12th century—especially after the Gothic style arrived in England around 1170.
In the current structure the original Norman arches survive principally under the central tower and on the north side of the nave. The arches in the rest of the building are Gothic, following medieval rebuilding and extensions, and Victorian era restoration.
The abbey was extended in the 1190s by Abbot John de Cella (also known as John of Wallingford) (1195–1214); as the number of monks grew from fifty to over a hundred, the abbey was extended westwards with three bays added to the nave. The severe Norman west front was also rebuilt by Hugh de Goldclif—although how is uncertain, it was very costly but its 'rapid' weathering and later alterations have erased all but fragments. A more prominent shrine and altar to Saint Amphibalus were also added. The work was very slow under de Cella and was not completed until the time of Abbot William de Trumpington (1214–35). The low Norman tower roof was demolished and a new, much higher, broached spire was raised, sheathed in lead.
The St Albans Psalter (ca. 1130–45) is the best known of a number of important Romanesque illuminated manuscripts produced in the Abbey scriptorium. Later, Matthew Paris, a monk at St Albans from 1217 until his death in 1259, was important both as a chronicler and an artist. Eighteen of his manuscripts survive and are a rich source of contemporary information for historians.
Nicholas Breakspear was born near St Albans and applied to be admitted to the abbey as a novice, but he was turned down. He eventually managed to be accepted into an abbey in France. In 1154 he was elected Pope Adrian IV, the only English Pope there has ever been. The head of the abbey was confirmed as the premier abbot in England also in 1154.
13th to 15th centuries
An earthquake shook the abbey in 1250 and damaged the eastern end of the church. In 1257 the dangerously cracked sections were knocked down—three apses and two bays. The thick Presbytery wall supporting the tower was left. The rebuilding and updating was completed during the rule of Abbot Roger de Norton (1263–90).
On 10 October 1323 two piers on the south side of the nave collapsed dragging down much of the roof and wrecking five bays. Mason Henry Wy undertook the rebuilding, matching the Early English style of the rest of the bays but adding distinctly 14th century detailing and ornaments. The shrine to St Amphibalus had also been damaged and was remade.
Abbey Gateway, now part of St. Albans School.
Richard of Wallingford, abbot from 1297 to 1336 and a mathematician and astronomer, designed a celebrated clock, which was completed by William of Walsham after his death, but apparently destroyed during the reformation.
A new gateway, now called the Abbey Gateway, was built to the abbey grounds in 1365, which was the only part of the monastery buildings (besides the church) to survive the dissolution, later being used as a prison and now part of St Albans School. The other monastic buildings were located to the south of the gateway and church.
In the 15th century a large west window of nine main lights and a deep traced head was commissioned by John of Wheathampstead. The spire was reduced to a 'Hertfordshire spike', the roof pitch greatly reduced and battlements liberally added. Further new windows, at £50 each, were put in the transept by Abbot Wallingford (also known as William of Wallingford), who also had a new high altar screen made.
Dissolution and after
After the death of Abbot Ramryge in 1521 the abbey fell into debt and slow decay under three weak abbots. At the time of the Dissolution of the Monasteries and its surrender on 5 December 1539 the income was £2,100 annually. The abbot and remaining forty monks were pensioned off and then the buildings were looted. All gold, silver and gilt objects were carted away with all other valuables; stonework was broken and defaced and graves opened to burn the contents.
The abbey became part of the diocese of Lincoln in 1542 and was moved to the diocese of London in 1550. The buildings suffered—neglect, second-rate repairs, even active damage. Richard Lee purchased all the buildings, except the church and chapel and some other Crown premises, in 1550. Lee then began the systematic demolition for building material to improve Lee Hall at Sopwell. In 1551, with the stone removed, Lee returned the land to the abbot. The area was named Abbey Ruins for the next 200 years or so.
In 1553 the Lady chapel became a school, the Great Gatehouse a town jail, some other buildings passed to the Crown, and the Abbey Church was sold to the town for £400 in 1553 by King Edward VI to be the church of the parish.
The cost of upkeep fell upon the town, although in 1596 and at irregular intervals later the Archdeacon was allowed to collect money for repairs by Brief in the diocese. After James I visited in 1612 he authorised another Brief, which collected around £2,000—most of which went on roof repairs. The English Civil War slashed the monies spent on repairs, while the abbey was used to hold prisoners of war and suffered from their vandalism, as well as that of their guards. Most of the metal objects that had survived the Dissolution were also removed and other ornamental parts were damaged in Puritan sternness. Another round of fund-raising in 1681–84 was again spent on the roof, repairing the Presbytery vault. A royal grant from William and Mary in 1689 went on general maintenance, 'repairs' to conceal some of the unfashionable Gothic features, and on new internal fittings. There was a second royal grant from William in 1698.
By the end of the 17th century the dilapidation was sufficient for a number of writers to comment upon it.
In 1703, from 26 November to 1 December, the Great Storm raged across southern England; the abbey lost the south transept window which was replaced in wood at a cost of £40. The window was clear glass with five lights and three transoms in an early Gothic Revival style by John Hawgood. Other windows, although not damaged in the storm, were a constant drain on the abbey budget in the 18th century.
A brief in 1723–24, seeking £5,775, notes a great crack in the south wall, that the north wall was eighteen inches from vertical, and that the roof timbers were decayed to the point of danger. The money raised was spent on the nave roof over ten bays.
Another brief was not issued until 1764. Again the roof was rotting, as was the south transept window, walls were cracked or shattered in part and the south wall had subsided and now leant outwards. Despite a target of £2,500 a mere £600 was raised.
In the 1770s the abbey came close to demolition; the expense of repairs meant a scheme to destroy the abbey and erect a smaller church almost succeeded.
A storm in 1797 caused some subsidence, cracking open graves, scattering pavement tiles, flooding the church interior and leaving a few more arches off-vertical.
19th century
The Wallingford Screen of c. 1480—the statues are Victorian replacements (1884–89) of the originals, destroyed in the Dissolution of the Monasteries, when the screen itself was also damaged. Statues of St Alban and St Amphibalus stand on either side of the altar.
This century was marked with a number of repair schemes. The abbey received some money from the 1818 "Million Act", and in 1820 £450 was raised to buy an organ—a second-hand example made in 1670.
The major efforts to revive the abbey church came under four men—L. N. Cottingham, Rector H. J. B. Nicholson, and, especially, George Gilbert Scott and Edmund Beckett, first Baron Grimthorpe.
In February 1832 a portion of the clerestory wall fell through the roof of the south aisle, leaving a hole almost thirty feet long. With the need for serious repair work evident the architect Lewis Nockalls Cottingham was called in to survey the building. His Survey was presented in 1832 and was worrying reading: everywhere mortar was in a wretched condition and wooden beams were rotting and twisting. Cottingham recommended new beams throughout the roof and a new steeper pitch, removal of the spire and new timbers in the tower, new paving, ironwork to hold the west transept wall up, a new stone south transept window, new buttresses, a new drainage system for the roof, new ironwork on almost all the windows, and on and on. He estimated a cost of £14,000. A public subscription of £4,000 was raised, of which £1,700 vanished in expenses. With the limited funds the clerestory wall was rebuilt, the nave roof re-leaded, the tower spike removed, some forty blocked windows reopened and glazed, and the south window remade in stone.
Henry Nicholson, rector from 1835 to 1866, was also active in repairing the abbey church—as far as he could, and in uncovering lost or neglected Gothic features.
In 1856 repair efforts began again; £4,000 was raised and slow moves started to gain the abbey the status of cathedral. George Gilbert Scottwas appointed the project architect and oversaw a number of works from 1860 until his death in 1878.
Scott began by having the medieval floor restored, necessitating the removal of tons of earth, and fixing the north aisle roof. From 1872–77 the restored floors were re-tiled in matching stone and copies of old tile designs. A further 2,000 tons of earth were shifted in 1863 during work on the foundation and a new drainage system. In 1870 the tower piers were found to be badly weakened with many cracks and cavities. Huge timbers were inserted and the arches filled with brick as an emergency measure. Repair work took until May 1871 and cost over £2,000. The south wall of the nave was now far from straight; Scott reinforced the north wall and put in scaffolding to take the weight of the roof off the wall, then had it jacked straight in under three hours. The wall was then buttressed with five huge new masses and set right. Scott was lauded as "saviour of the Abbey." From 1870–75 around £20,000 was spent on the abbey.
In 1845 St Albans was transferred from the Diocese of Lincoln to the Diocese of Rochester. Then, in 1875, the Bishopric of St Albans Act was passed and on 30 April 1877 the See of St Albans was created, which comprises about 300 churches in the counties of Hertfordshire and Bedfordshire. The then Bishop of Rochester, the Right Revd Dr Thomas Legh Claughton, elected to take the northern division of his old diocese and on 12 June 1877 was enthroned first Bishop of St Albans, a position he held until 1890. He is buried in the churchyard on the north side of the nave.
George Gilbert Scott was working on the nave roof, vaulting and west bay when he died on 27 March 1878. His plans were partially completed by his son, John Oldrid Scott, but the remaining work fell into the hands of Lord Grimthorpe, whose efforts have attracted much controversy—Nikolaus Pevsner calling him a "pompous, righteous bully." However, he donated much of the immense sum of £130,000 the work cost.
Whereas Scott's work had clearly been in sympathy with the existing building, Grimthorpe's plans reflected the Victorian ideal. Indeed, he spent considerable time dismissing and criticising the work of Scott and the efforts of his son.
Grimthorpe first reinstated the original pitch of the roof, although the battlements added for the lower roof were retained. Completed in 1879, the roof was leaded, following on Scott's desires.
1805 engraving of the west front of the abbey showing the lost Wheathampstead window.
His second major project was the most controversial. The west front, with the great Wheathampstead window, was cracked and leaning, and Grimthorpe, never more than an amateur architect, designed the new front himself—attacked as dense, misproportioned and unsympathetic: "His impoverishment as a designer ... [is] evident"; "this man, so practical and ingenious, was utterly devoid of taste ... his great qualities were marred by arrogance ... and a lack of historic sense". Counter proposals were deliberately substituted by Grimthorpe for poorly drawn versions and Grimthorpe's design was accepted?. During building it was considerably reworked in order to fit the actual frontage and is not improved by the poor quality sculpture. Work began in 1880 and was completed in April 1883, having cost £20,000.
The Lady Chapel at the east end of the cathedral.
Grimthorpe was noted for his aversion to the Perpendicular—to the extent that he would have sections he disliked demolished as "too rotten" rather than remade. In his reconstruction, especially of windows, he commonly mixed architectural styles carelessly (see the south aisle, the south choir screen and vaulting). He spent £50,000 remaking the nave. Elsewhere he completely rebuilt the south wall cloisters, with new heavy buttresses, and removed the arcading of the east cloisters during rebuilding the south transept walls. In the south transept he completely remade the south face, completed in 1885, including the huge lancet window group—his proudest achievement—and the flanking turrets; a weighty new tiled roof was also made. In the north transept Grimthorpe had the Perpendicular window demolished and his design inserted—a rose window of circles, cusped circles and lozenges arrayed in five rings around the central light, sixty-four lights in total, each circle with a different glazing pattern.
Grimthorpe continued through the Presbytery in his own style, adapting the antechapel for Consistory Courts, and into the Lady Chapel. After a pointed lawsuit with Henry Hucks Gibbs, first Baron Aldenham over who should direct the restoration, Grimthorpe had the vault remade and reproportioned in stone, made the floor in black and white marble (1893), and had new Victorian arcading and sculpture put below the canopy work. Externally the buttresses were expanded to support the new roof, and the walls were refaced.
As early as 1897, Grimthorpe was having to return to previously renovated sections to make repairs. His use of over-strong cement led to cracking, while his fondness for ironwork in windows led to corrosion and damage to the surrounding stone.
Grimthorpe died in 1905 and was interred in the churchyard. He left a bequest for continuing work on the buildings.
During this century the name St Albans Abbey was given to one of the town's railway stations.
20th century
John Oldrid Scott (died 1913) (George Gilbert Scott's son), despite frequent clashes with Grimthorpe, had continued working within the cathedral. Scott was a steadfast supporter of the Gothic revival and designed the tomb of the first bishop; he had a new bishop's throne built (1903), together with commemorative stalls for Bishop Festing and two Archdeacons, and new choir stalls. He also repositioned and rebuilt the organ (1907). Further work was interrupted by the war.
A number of memorials to the war were added to the cathedral, notably the painting The Passing of Eleanor by Frank Salisbury (stolen 1973) and the reglazing of the main west window, dedicated in 1925.
Following the Enabling Act of 1919 control of the buildings passed to a Parochial Church Council (replaced by the Cathedral Council in 1968), who appointed the woodwork specialist John Rogers as Architect and Surveyor of the Fabric. He uncovered extensive death watch beetledamage in the presbytery vault and oversaw the repair (1930–31). He had four tons of rubbish removed from the crossing tower and the main timbers reinforced (1931–32), and invested in the extensive use of insecticide throughout the wood structures. In 1934, the eight bells were overhauled and four new bells added to be used in the celebration of George V's jubilee.
Cecil Brown was architect and surveyor from 1939 to 1962. At first he merely oversaw the lowering of the bells for the war and established a fire watch, with the pump in the slype. After the war, in the 1950s, the organ was removed, rebuilt and reinstalled and new pews added. His major work was on the crossing tower. Grimthorpe's cement was found to be damaging the Roman bricks: every brick in the tower was replaced as needed and reset in proper mortar by one man, Walter Barrett. The tower ceiling was renovated as were the nave murals. Brown established the Muniments Room to gather and hold all the church documents.
In 1972, to encourage a closer link between celebrant and congregation, the massive nine-ton pulpit along with the choir stalls and permanent pews was dismantled and removed. The altar space was enlarged and improved. New 'lighter' wood (limed oak) choir stalls were put in, and chairs replaced the pews. A new wooden pulpit was acquired from a Norfolk church and installed in 1974. External floodlighting was added in 1975.
A major survey in 1974 revealed new leaks, decay and other deterioration, and a ten-year restoration plan was agreed. Again the roofing required much work. The nave and clerestory roofs were repaired in four stages with new leading. The nave project was completed in 1984 at a total cost of £1.75 million. The clerestory windows were repaired with the corroded iron replaced with delta bronze and other Grimthorpe work on the clerestory was replaced. Seventy-two new heads for the corbel table were made. Grimthorpe's west front was cracking, again due to the use originally of too strong a mortar, and was repaired.
A new visitors' centre was proposed in 1970. Planning permission was sought in 1973; there was a public inquiry and approval was granted in 1977. Constructed to the south side of the cathedral close to the site of the original chapter house of the abbey, the new 'Chapter House' cost around £1 million and was officially opened on 8 June 1982 by Queen Elizabeth. The main building material was 500,000 replica Roman bricks.
Other late 20th-century works include the restoration of Alban's shrine, with a new embroidered canopy, and the stained glass designed by Alan Younger for Grimthorpe's north transept rose window, unveiled in 1989 by Diana, Princess of Wales.
Modern times
The Bishop is the Right Reverend Alan Smith, installed in September 2009. The Venerable Jonathan Smith is Archdeacon of St Albans, installed in October 2008. On 2 July 2004, the Very Reverend Canon Dr Jeffrey John became the ninth Dean of the Cathedral.
Robert Runcie, later Archbishop of Canterbury, was bishop of St Albans from 1970 to 1980 and returned to live in the city after his retirement; he is commemorated by a gargoyle on the Cathedral as well as being buried in the graveyard. Colin Slee, former Dean of Southwark Cathedral, was sub-dean at St Albans under Runcie and then Dean, Peter Moore. The bishop's house is in Abbey Mill Lane, St Albans, as is the house of the Bishop of Hertford. The Reverend Canon Eric James, Chaplain Extraordinary to HM the Queen, was Canon at St Albans for many years.
es.wikipedia.org/wiki/Rodrigo_Díaz_de_Vivar
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.
Occupations or labours of the months
Cosmological scheme
Berlin Staatsbibliothek, Fuldaer Sakramentar [10th cent.]
Ms. theol. lat. fol. 192, Fragment
The figure of the god “Annus” (the year) dominates the centre and everything else is grouped around him: as an old, blind man he is enthroned inside a wheel which symbolises the eternal flight of time. Within the rim of the wheel is the inscription Bissena mensuum verticine volvitur annus ebdom (in a cycle of twelve months the year turns round in 52 weeks). In his right hand Annus holds the circle of the year and in his left hand a vine which connects the wheel to the seasons and personifications of the twelve months. Spring (ver) and summer (aestas), autumn (autumnus) and winter (hiemps), all with Phrygian caps, stand at the four corners around Annus. Spring and summer hold the breastplate of the day (dies) in their hands and autumn and winter are bound with a cloth while over and around her shines the starry sky. Spring is marked as floridus (with flowers), summer as frugifer (bringing fuits), autumn as fertilitis (fruitful), and winter as horribilis (horrible). The text over the centre reads Tercentenis bisque triceni quinque diebus (the year has 365 days).
This leaf, painted on one side, was, together with a second leaf, glued into the cover of a manuscript of the letters of St. Paul. The two single leaves must have originally belonged to a sacramentary which was written in the scriptorium of Fulda during the Ottonian period.
Text-Source:
bibliothecaregius.com/en/portfolio-item/calendar-page-ill...
Photo-Source:
digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN656...
es.wikipedia.org/wiki/Rodrigo_Díaz_de_Vivar
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.
Misty light in the crypt (or is it the Scriptorium?) of Mont St. Michel. Photographed at dusk.
Techinical info:
D700 and 16-35vr at 16mm
f8
1/15th
iso4000
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.
es.wikipedia.org/wiki/Rodrigo_Díaz_de_Vivar
El monasterio de San Pedro de Cardeña es una abadía trapense situada en el término municipal de Castrillo del Val, a 10 km del centro de Burgos (España). Actualmente, está considerado como BIC (Bien de Interés Cultural). Fue declarado Monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931. En 2015, en la aprobación por la Unesco de la ampliación del Camino de Santiago en España a «Caminos de Santiago de Compostela: Camino francés y Caminos del Norte de España», España envió como documentación un «Inventario Retrospectivo - Elementos Asociados» (Retrospective Inventory - Associated Components) en el que en el n.º 979 figura el monasterio de San Pedro de Cardeña.
El monasterio se habrá fundado antes de 902 cuando el conde de Lantarón y de Cerezo, Gonzalo Téllez y su esposa Flámula realizaron la primera donación documentada al cenobio el 24 de septiembre de ese año de una serna en Pedernales y unas eras de sal.
En los siglos IX o X sus monjes fueron martirizados por los musulmanes, canonizados en 1603 y conocidos como los «Mártires de Cardeña». El monasterio gozaba de gran popularidad con gran afluencia de devotos, entre los que se encontraban el rey Felipe III de España y su esposa la reina Doña Margarita de Austria. Una de sus preciadas reliquias, la cabeza de su abad San Esteban, fue trasladada al Monasterio de Celanova; también se encuentran dos urnas en el Monasterio de la Huelgas y otra en la Catedral de Burgos.
Cada año, el 6 de agosto, aniversario del martirio, la tierra del claustro donde fueron sepultados los mártires, se teñía de un color rojizo que parecía sangre. El milagroso prodigio, ampliamente testificado, se repite hasta finales del siglo XIV. El año 1674 ya una vez levantado el nuevo claustro de estilo herreriano se reprodujo el hecho, personándose el arzobispo Enrique de Peralta, que vivamente impresionado encargó un estudio, interviniendo médicos y teólogos. Recogió el líquido, coaguló al ser puesto en agua hirviendo.
El 1 de febrero de 1967 un violento incendio destruyó las tres cuartas partes del monasterio, habitado desde 1942 por la abadía trapense de Nuestra Señora de los Mártires.
La prosperidad del monasterio en la época altomedieval se refleja en la calidad de su scriptorium, en el que el monje Endura realizó obras extraordinarias.
El Beato de San Pedro de Cardeña fue realizado entre los años 1175 y 1180, cuenta con 290 páginas y 51 miniaturas. 127 folios se encuentran en el Museo Arqueológico Nacional de Madrid, dos en la Biblioteca Francisco de Zabálburu, también en Madrid (donde también se halla el Cartulario de San Pedro de Cardeña), uno en el Museo Diocesano de Gerona y otros quince en el Museo Metropolitano de Arte de Nueva York.
Desde la sala capitular, que data del siglo XIII, se divisa a través de grandes cristaleras el claustro románico, que data del siglo XII. Compuesto por arquería de medio punto sobre columnas únicas que descansan sobre fustes robustos y coronadas de capiteles que imitan el estilo corintio. Los arcos recuerdan en su decoración a los de la mezquita de Córdoba por su policromía, alternando los colores blanco y rojo. En la pared izquierda se encuentran unas antiquísimas piedras cuya inscripción recuerda el trágico suceso.
Para construir esta iglesia de tres naves se destruyó la románica, aunque afortunadamente se salvó la torre, legítimo recuerdo cidiano. Reedificada en el siglo XVI, consta de tres naves, con una capilla aneja, denominada capilla de El Cid, ya que allí fue enterrado, y permaneció antes de su traslado a la catedral de Burgos. La fachada de la iglesia es de estilo barroco.
En el lateral derecho de la iglesia gótica, se abre una capilla barroca que data de 1753 a la que fueron trasladados los restos del Cid Campeador y su esposa Jimena. En las paredes de esta estancia llamada «Capilla de los Héroes», hay 29 nichos con inscripciones de nombres de reyes y familiares del Cid.
Según el Cantar de mio Cid y las tradiciones posteriores, antes de marchar al destierro, Rodrigo Díaz de Vivar dejó en San Pedro de Cardeña, al amparo del abad Sancho (que la crítica ha identificado con Sisebuto de Cardeña atribuyendo una confusión al autor del Cantar), a su esposa Doña Jimena y a sus hijas, aunque este hecho no está atestiguado por pruebas históricas. En el primer destierro de 1081, las propiedades de Rodrigo Díaz no le fueron enajenadas, y la familia del Cid pudo seguir residiendo en sus casas. En el segundo, de 1089, la familia fue presa por mandato de Alfonso VI en un castillo, quizá Gormaz, para reunirse con el Campeador poco después.
El enterramiento del Cid en San Pedro de Cardeña no fue debido a la voluntad personal de Rodrigo Díaz. A su muerte en 1099 fue inhumado en la catedral de Valencia, por lo que solo en 1102, tras tener que abandonar Jimena Díaz la plaza levantina, fueron trasladados sus restos al cenobio cardeniense. Allí permaneció durante algunos años su cuerpo embalsamado y sentado en un escaño del presbiterio. Desde ese momento se generaron allí una serie de narraciones de carácter hagiográfico que hacia 1280 constituyeron un corpus conocido como Leyenda de Cardeña cuyo propósito fue vincular al Cid con el monasterio de Cardeña, con el que en vida había tenido escasa relación. Estos materiales legendarios se incorporaron a la Versión sanchina de la Estoria de España o Crónica de veinte reyes, que puede datarse entre 1282 y 1284. En el siglo XIV el monasterio caradignense estimuló el culto a las reliquias cidianas, en cuyo contexto se redactó el Epitafio épico del Cid y, posiblemente, se encargara o elaborara, a partir de un ejemplar tomado en préstamo, el códice con la copia de 1325–1330 en el que se conserva el Cantar de mio Cid. En el claustro nuevo una lápida recuerda el lugar que ocupaba su sepulcro.
En la explanada situada frente a la fachada principal, en la que aparece una imagen ecuestre del Cid Campeador, hay una estatua del Sagrado Corazón, y a la izquierda un monolito con leyenda alusiva al caballo Babieca. Coincide con el lugar donde una creencia tradicional considera que fue sepultado el animal.
En el monasterio se conserva la bodega románica más antigua de España en uso comercial, donde se elabora el tinto Valdevegón con uva de La Rioja. Y también un licor llamado Tizona del Cid, hecho con unas 30 hierbas que maceran en barricas de roble. En 2016 se convierte en el primer monasterio español en producir cerveza trapense, la cerveza Cardeña.
es.wikipedia.org/wiki/Monasterio_de_San_Pedro_de_Cardeña
monasteriosanpedrodecardena.blogspot.com
es.wikipedia.org/wiki/Leyenda_de_Cardeña
en.caminodelcid.org/places/monastery-of-san-pedro-de-card...
Cerveza Cardeña - Monasterio de San Pedro de Cardeña (valdevegon.com)
The monastery of San Pedro de Cardeña is a Trappist abbey located in the municipality of Castrillo del Val, 10 km from the center of Burgos (Spain). Currently, it is considered as BIC (Asset of Cultural Interest). It was declared a Historic-Artistic Monument belonging to the National Artistic Treasure by decree of June 3, 1931. In 2015, in the approval by Unesco of the extension of the Camino de Santiago in Spain to «Roads of Santiago de Compostela: French Way and Roads Northern Spain ", Spain sent as documentation a" Retrospective Inventory - Associated Components "in which the monastery of San Pedro de Cardeña is listed in No. 979.
The monastery will have been founded before 902 when the count of Lantarón and Cerezo, Gonzalo Téllez and his wife, Flámula, made the first documented donation to the monastery on September 24 of that year of a serna in Pedernales and some salt eras.
In the 9th or 10th centuries its monks were martyred by the Muslims, canonized in 1603 and known as the "Martyrs of Cardeña." The monastery enjoyed great popularity with a large influx of devotees, among whom were King Felipe III of Spain and his wife, Queen Doña Margarita of Austria. One of his precious relics, the head of his abbot San Esteban, was transferred to the Monastery of Celanova; There are also two urns in the Monastery of La Huelgas and another in the Cathedral of Burgos.
Every year, on August 6, the anniversary of the martyrdom, the ground of the cloister where the martyrs were buried was stained a reddish color that looked like blood. The miraculous prodigy, widely witnessed, is repeated until the end of the fourteenth century. In 1674, once the new Herrerian-style cloister was erected, the event was reproduced, with the appearance of Archbishop Enrique de Peralta, who, greatly impressed, commissioned a study, involving doctors and theologians. He collected the liquid, it coagulated when put in boiling water.
On February 1, 1967, a violent fire destroyed three-quarters of the monastery, inhabited since 1942 by the Trappist Abbey of Our Lady of the Martyrs.
The prosperity of the monastery in the high medieval era is reflected in the quality of its scriptorium, in which the monk Endura carried out extraordinary works.
The Beatus of San Pedro de Cardeña was made between the years 1175 and 1180, it has 290 pages and 51 miniatures. 127 pages are in the National Archaeological Museum of Madrid, two in the Francisco de Zabálburu Library, also in Madrid (where the Cartulary of San Pedro de Cardeña is also found), one in the Diocesan Museum of Gerona and another fifteen in the Museum Metropolitan of Art of New York.
From the chapter house, which dates from the 13th century, you can see through large windows the Romanesque cloister, which dates from the 12th century. Composed of semicircular arches on unique columns that rest on robust shafts and crowned with capitals that imitate the Corinthian style. The arches in their decoration are reminiscent of those of the Cordoba mosque due to their polychrome, alternating white and red colors. On the left wall are some ancient stones whose inscription recalls the tragic event.
To build this church with three naves, the Romanesque was destroyed, although fortunately the tower, a legitimate Cidian memory, was saved. Rebuilt in the 16th century, it consists of three naves, with an attached chapel, called the El Cid Chapel, since he was buried there, and remained before his transfer to the Burgos Cathedral. The facade of the church is in the Baroque style.
On the right side of the Gothic church, there is a baroque chapel dating from 1753 to which the remains of the Cid Campeador and his wife Jimena were transferred. On the walls of this room called "Capilla de los Héroes", there are 29 niches with inscriptions of the names of kings and relatives of the Cid.
According to the Cantar de mio Cid and later traditions, before going into exile, Rodrigo Díaz de Vivar left in San Pedro de Cardeña, under the protection of Abbot Sancho (who the critic has identified with Sisebuto de Cardeña attributing a confusion to the author of the Cantar ), his wife Doña Jimena and their daughters, although this fact is not attested by historical evidence. In the first exile in 1081, Rodrigo Díaz's properties were not alienated from him, and the Cid family was able to continue residing in his houses. In the second, in 1089, the family was imprisoned by order of Alfonso VI in a castle, perhaps Gormaz, to meet with the Campeador shortly after.
The burial of the Cid in San Pedro de Cardeña was not due to the personal will of Rodrigo Díaz. Upon his death in 1099 he was buried in the cathedral of Valencia, so that only in 1102, after Jimena Díaz had to leave the Levantine square, were his remains transferred to the Cardenian monastery. His body remained there for some years, embalmed and seated on a bench in the presbytery. From that moment on, a series of hagiographic narratives were generated there, which around 1280 constituted a corpus known as the Leyenda de Cardeña whose purpose was to link the Cid with the Cardeña monastery, with which in life he had had little relationship. These legendary materials were incorporated into the Sanchina Version of the Estoria de España or Chronicle of Twenty Kings, which can be dated between 1282 and 1284. In the 14th century, the Caradignense monastery stimulated the cult of Cidian relics, in which context the Epitaph was written. epic of the Cid and, possibly, the codex with the copy of 1325–1330 in which the Cantar de mio Cid is preserved, was commissioned or elaborated from a borrowed copy. In the new cloister a tombstone recalls the place occupied by his tomb.
On the esplanade in front of the main façade, in which an equestrian image of the Cid Campeador appears, there is a statue of the Sacred Heart, and on the left a monolith with a legend alluding to the Babieca horse. It coincides with the place where a traditional belief considers that the animal was buried.
The monastery houses the oldest Romanesque winery in Spain in commercial use, where the red Valdevegón is made with grapes from La Rioja. And also a liqueur called Tizona del Cid, made with about 30 herbs that are macerated in oak barrels. In 2016 it became the first Spanish monastery to produce Trappist beer, Cardeña beer.
Se accede al interior por una puerta barroca del siglo XVII que lleva columnas corintias y un relieve de San Millán a caballo. Es obra del arquitecto Pablo de Basave y del escultor Diego de Lizarraga.
Monasterio de San Millán de Yuso - Wikipedia, la enciclopedia libre
The interior is accessed through a baroque door from the 17th century that carries Corinthian columns and a relief of Saint Millán on horseback. It is the work of the architect Pablo de Basave and the sculptor Diego de Lizarraga.
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
Monasteries of San Millán de la Cogolla - Wikipedia
El Real Monasterio de San Millán de Yuso (yuso significaba 'abajo' en castellano antiguo) está situado en la villa de San Millán de la Cogolla, Comunidad Autónoma de La Rioja (España), en la margen izquierda del río Cárdenas, en pleno valle de San Millán. Forma parte del conjunto monumental de dos monasterios, junto con el más antiguo Monasterio de San Millán de Suso («de arriba»).
Este monasterio fue mandado construir en el año 1053 por el rey García Sánchez III de Navarra «el de Nájera». La historia de su fundación va unida a una leyenda basada en un milagro de san Millán (o Emiliano), un joven pastor que se hace ermitaño. Cuando en 574 muere Millán, a la edad de 101 años, sus discípulos lo entierran en su cueva, y alrededor de ella se va formando el primer monasterio, el de San Millán de Suso. San Braulio, cincuenta años después de muerto san Millán, escribe la vida de este.
El rey navarro García III era muy devoto de San Millán. Como acababa de fundar el gran monasterio de Santa María la Real de Nájera en esta ciudad que era corte del reino, quiso llevarse allí los restos mortales del santo, que estaban enterrados en el monasterio de San Millán de Suso. El 29 de mayo de 1053 colocaron los restos del Santo en una carreta tirada por bueyes y así emprendieron el viaje, con gran descontento de los monjes que allí quedaban desolados por la pérdida de su patrono. Cuando llegaron al llano, cerca del río, los bueyes se detuvieron y ya no quisieron volver a andar; no hubo forma de obligarlos. El rey y toda la comitiva comprendieron que aquello era un milagro, que San Millán estaba imponiendo su voluntad de no pasar de allí y ser enterrado de nuevo en aquellos lugares. Fue entonces cuando el rey mandó construir el reciente monasterio, al que se llamó Yuso (abajo), en contraposición con el de arriba (Suso).
Hasta al menos el año 1100, coexistieron los dos monasterios, el de arriba, Suso, y el de abajo, Yuso. El primero permanece fiel a la tradición: regla mozárabe y carácter dúplice de doble comunidad masculina y femenina. El segundo, reformado con la regla benedictina. A partir del siglo XII solo hay una comunidad de monjes, la benedictina, con una casa principal, la de Yuso (abajo). Los siglos X y XI son los de mayor esplendor en lo espiritual, religioso, artístico y cultural.
En 1809 los benedictinos son expulsados por primera vez cumpliendo el decreto de José Bonaparte. Vuelven en 1813. Son expulsados de nuevo durante el periodo constitucional del reinado de Fernando VII, entre diciembre de 1820 y julio de 1823. La hacienda real vendió entonces la botica en subasta pública. La tercera y última expulsión de la comunidad benedictina será debida a la desamortización eclesiástica de Mendizábal. Yuso permanece abandonado durante treinta y un años, desde noviembre de 1835. Entre 1866 y 1868 se establece una casa de misioneros franciscanos de Bermeo y, tras diez años de abandono, en 1878 fue ocupado por los frailes de la Orden de Agustinos Recoletos como casa destinada a la formación de los misioneros destinados a Filipinas. Las primeras obras de rehabilitación que se efectuaron por parte de los agustinos recoletos las realiza Fray Toribio Minguella.
El monasterio fue construido en estilo románico, como correspondía a la época. Es demolido en su totalidad y reconstruido en el siglo XVI, en estilo herreriano, de los siglos XVII y XVIII.
Monasterio de San Millán de Yuso - Wikipedia, la enciclopedia libre
Yuso – Monasterio de San Millán (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
Edición electrónica del Becerro Galicano de San Millán de la Cogolla (ehu.eus)
as early as the 11th century, the Tyniec scriptorium functioned as a chancery. At the end of the 14th centurie a workshop was already functioning here, where books were transcribed. They were painted and decorated on the spot. Among others, in 1466 a codex with the Jewish War by Joseph Flavius was written in Tyniec
Contrary to popular belief, making a copy of medieval book, though tedious and monotonous, was done efficiently and took an experienced scribe no more than a few weeks.
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
en.wikipedia.org/wiki/Monasteries_of_San_Millán_de_la_Co...
El monasterio de San Millán de Suso o monasterio de Suso ("suso" significa "arriba" en castellano, aunque ya está en desuso) se halla ubicado cerca de la villa de San Millán de la Cogolla, en la comunidad autónoma de La Rioja (España), en la margen izquierda del río Cárdenas. Forma parte del conjunto monumental de dos monasterios, junto con otro construido posteriormente y que se sitúa más abajo, llamado Monasterio de San Millán de Yuso, ambos declarados Patrimonio de la Humanidad.
Iniciada su construcción a finales del siglo VI, tiene su origen en un cenobio visigodo establecido alrededor del sepulcro del eremita Aemilianus (Millán) o Emiliano, fallecido en el año 574. A lo largo de los siglos siguientes y hasta el siglo XII sufre distintas ampliaciones como consecuencia del cambio de vida eremítica a la cenobítica y posterior monástica, distinguiéndose en ellas el estilo mozárabe y el románico. Su importancia no es sólo artística y religiosa, sino también lingüística y literaria. Aquí un monje escribió las Glosas Emilianenses, que eran anotaciones aclaratorias en los márgenes de las páginas escritas en latín. Dichas anotaciones estaban escritas en romance. En este monasterio aparecen a su vez las primeras anotaciones escritas en euskera, por lo que se ha considerado la cuna de dichos romances hispanos y del euskera. Aquí habitó asimismo el monje y primer poeta de nombre conocido en castellano, Gonzalo de Berceo.
También la tradición atribuye que en el "portaliello" de este monasterio están los que pasan por ser los sarcófagos de los siete infantes de Lara de la leyenda.
En los primeros tiempos de la llegada de los visigodos a la Península, se retiró a este lugar apartado y recóndito el anacoreta Aemilianus (Millán), hijo de un pastor y natural de Vergegium, actual Berceo. Aquí vivió como ermitaño, cobijado en una pequeña celda, muriendo a la edad de 101 años y siendo enterrado en una tumba excavada en la roca. Se sabe mucho de su vida porque fue escrita en latín hacia el año 635 por el obispo de Zaragoza llamado Braulio, siendo Gonzalo de Berceo, que se educó en este monasterio, quien tradujo esta biografía del latín a versos en lengua vulgar o romance.
El pequeño monasterio se construyó alrededor de la celda rupestre del ermitaño. En una primera etapa (siglo V y principios del VI) se excavan cuevas aprovechando oquedades del terreno, las cuales se distribuyen en dos niveles destinadas a habitaciones, y otras dos a oratorio, donde actualmente se sitúan el cenotafio de San Millán y el osario.
Entre los siglos VI y VII, el cambio de vida eremítica a cenobítica exige la construcción de un edificio para reunirse, siendo esta la primera construcción propiamente dicha, correspondiéndose con los dos compartimentos abovedados que se sitúan más a la derecha según se entra al monasterio existente, de la que se conservan actualmente los muros y varios de los arcos visigodos.
En la primera mitad del siglo x y partiendo del cenobio visigodo se construye el monasterio mozárabe, consagrándose en 954 por García Sánchez I de Navarra, primer monarca instalado en Nájera, del que se conserva gran parte de la estructura. A esta etapa corresponde la galería de entrada y la nave principal de la iglesia, construida con bóvedas de estilo califal y arcos de herradura.
En el año 1002, Almanzor incendió este monasterio, desapareciendo con ello la decoración pictórica y estucos mozárabes.
En 1030, Sancho III el Mayor de Navarra con motivo de la santificación de San Millán, restaura y amplía el monasterio por el oeste añadiéndose dos arcos más de medio punto a los existentes de herradura y se cambia la situación del altar, que se orienta al este. Por último, en los siglos XI y XII se realizan otras ampliaciones con muros y arcos de medio punto ante las primitivas cuevas del eremitorio.
La situación geográfica de este pequeño monasterio tuvo gran importancia para las relaciones con otros centros de cultura. Tenía influencias castellanas y francas además de que sus vecinos eran los monjes de Silos y Albelda; estaba bastante cerca del Camino de Santiago y poseía además un rico sustrato mozárabe y visigodo. Sumando todo esto, en San Millán pudo conseguirse una nueva y muy importante cultura monástica.
El 7 de diciembre de 1997 fue declarado Patrimonio de la Humanidad en Europa.
es.wikipedia.org/wiki/Monasterio_de_San_Millán_de_Suso
Suso – Monasterio de San Millán (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
Ich hatte Euch noch nicht erzählt, es geht um etwas, was mir sehr gut tut und mich wunderbar von traurigen oder deprimierenden Gedanken ablenkt: Ich besuche grade einen Kurs in Gotischer Schrift, Frakturschrift eigentlich, dazu muß ich zweimal in der Woche 70 km (70-80 Min. Fahrt) zu diesem Verein zurücklegen (plus Rückfahrt), das ist aber schon die letzte Woche, am Donnerstag findet die Prüfung statt, um zum höheren Kurs zu dürfen - drückt mir die Daumen!! Der "Schreibmeister" und -lehrer ist sehr streng (in den jungen Jahren arbeitete er übrigens ein paar Jahre in Leipzig und Berlin).
Das erfüllt mich unbeschreiblich und bereitet mir große Freude, ich bin vollauf begeistert. Ich bin immer tiefer im Mittelalter versunken. Schließlich kennt Ihr dieses Foto von mir (wieso hab ich überhaupt so lange darauf gewartet? Alleine fällt etwas nicht so leicht).
Diese Fotos sind nicht gut gelungen, in den Ferien werde ich versuchen, ein besseres zu knipsen.
PS. Schaut nicht so genau hin, es gibt ne Menge Fehler im Text!
facendo esercizio
Non vi avevo ancora raccontato, si tratta di qualcosa che mi fa molto bene e mi distrae benissimo da pensieri tristi o deprimenti:sto frequentando un corso di scrittura gotica (littera gotica), devo percorrere 70 km (ci metto 70-80 minuti, più il ritorno) due volte alla settimana per arrivare a questa associazione, ma finisce già questa settimana, giovedì abbiamo l'esame per poter passare al secondo corso, incrociatemi le dita!! Il maestro è molto bravo e severo (tra l'altro in gioventù ha lavorato un paio di anni a Lipsia e Berlino).
Questa cosa mi entusiasma incredibilmente e mi riempie tantissimo, del resto conoscete pur questa mia foto (perché non mi ci sono messa prima? Da soli è difficile mettersi a fare certe cose, spesso si ha bisogno di una spinta). Queste foto non son riuscite granché, durante le vacanze cercherò di farne una meglio.
PS. Non guardate troppo attentamente, il testo è pieno di errori!
El Monasterio de San Millán de la Cogolla es una institución religiosa fundada en el siglo VI d.C. por san Millán, situada en el municipio de San Millán de la Cogolla, en la comunidad autónoma de La Rioja. Está formado por la comunidad de monjes que continúan la tradición iniciada por el eremita Millán. Desde el siglo VI hasta nuestros días se han dado distintos tipos de vida monástica: eremitas, cenobio, monasterio visigodo dúplice con regla hispánica, monasterio mozárabe, monasterio benedictino, y en la actualidad convento de frailes de la Orden de Agustinos Recoletos.
Y al servicio de estos monjes distinguimos dos edificios. El más antiguo, en la parte alta de la montaña, llamado San Millán de Suso (en castellano antiguo, suso quiere decir arriba) y San Millán de Yuso (yuso quiere decir abajo).
Suso, el primero y primitivo que fue habitado por San Millán, se encuentra en medio de una exuberante vegetación, en la ladera de una colina muy desgastada que tiene como telón de fondo la Cogolla, llamada así por el perfil que ostenta parecido a un monje llevando cuculla (capa que usaban varias órdenes religiosas, que cubrían a la vez cuerpo y cabeza). En el fondo de la montaña están los dos niveles de cuevas habitadas por Millán y sus discípulos. A su alrededor se construye el actual edificio, donde encontramos testimonios de la época morázabe, arcos de herradura, o románica: cenotafio de San Millán.
El segundo, Yuso, construido posteriormente, se sitúa más abajo y es de mayores dimensiones. Conocido como el Escorial de la Rioja, ocupa el lugar de un antiguo edificio románico que se derrumba totalmente en 1504 para construir el actual edificio, que se inició como una comunidad benedictina. Destaca en él la iglesia, el claustro, la sacristía barroca y el conjunto de biblioteca y archivo. En la actualidad, además de monasterio de frailes agustinos recoletos, es la sede del Centro internacional de Investigación de la Lengua Castellana.
En la actualidad el edificio de arriba, Suso, es propiedad del Estado y no vive nadie en él desde la Desamortización de Mendizábal. El edificio de abajo, Yuso, está habitado por frailes agustinos recoletos.
Los monasterios son en la actualidad independientes, por lo que es necesario tramitar por separado las visitas.
Monasterio de Suso (arriba) Es necesario hacer una reserva en la Central de Reservas del Monasterio de Suso a través del teléfono o fax 941 373 082. La visita es guiada y dura unos 30 minutos. El acceso al monasterio está restringido y no se puede acceder con vehículo privado.
Monasterio de Yuso (abajo) Información en el teléfono 941 373049 o en Web oficial de Yuso.
Monasterio de San Millán de la Cogolla - Wikipedia, la enciclopedia libre
Monasterio de San Millán – Monasterios de San Milán: Suso y Yuso. Patrimonio de la Humanidad. Cuna de la lengua (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
Monasteries of San Millán de la Cogolla - Wikipedia
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
Monasteries of San Millán de la Cogolla - Wikipedia
Edición electrónica del Becerro Galicano de San Millán de la Cogolla (ehu.eus)
El Real Monasterio de San Millán de Yuso (yuso significaba 'abajo' en castellano antiguo) está situado en la villa de San Millán de la Cogolla, Comunidad Autónoma de La Rioja (España), en la margen izquierda del río Cárdenas, en pleno valle de San Millán. Forma parte del conjunto monumental de dos monasterios, junto con el más antiguo Monasterio de San Millán de Suso («de arriba»).
Este monasterio fue mandado construir en el año 1053 por el rey García Sánchez III de Navarra «el de Nájera». La historia de su fundación va unida a una leyenda basada en un milagro de san Millán (o Emiliano), un joven pastor que se hace ermitaño. Cuando en 574 muere Millán, a la edad de 101 años, sus discípulos lo entierran en su cueva, y alrededor de ella se va formando el primer monasterio, el de San Millán de Suso. San Braulio, cincuenta años después de muerto san Millán, escribe la vida de este.
El rey navarro García III era muy devoto de San Millán. Como acababa de fundar el gran monasterio de Santa María la Real de Nájera en esta ciudad que era corte del reino, quiso llevarse allí los restos mortales del santo, que estaban enterrados en el monasterio de San Millán de Suso. El 29 de mayo de 1053 colocaron los restos del Santo en una carreta tirada por bueyes y así emprendieron el viaje, con gran descontento de los monjes que allí quedaban desolados por la pérdida de su patrono. Cuando llegaron al llano, cerca del río, los bueyes se detuvieron y ya no quisieron volver a andar; no hubo forma de obligarlos. El rey y toda la comitiva comprendieron que aquello era un milagro, que San Millán estaba imponiendo su voluntad de no pasar de allí y ser enterrado de nuevo en aquellos lugares. Fue entonces cuando el rey mandó construir el reciente monasterio, al que se llamó Yuso (abajo), en contraposición con el de arriba (Suso).
Hasta al menos el año 1100, coexistieron los dos monasterios, el de arriba, Suso, y el de abajo, Yuso. El primero permanece fiel a la tradición: regla mozárabe y carácter dúplice de doble comunidad masculina y femenina. El segundo, reformado con la regla benedictina. A partir del siglo XII solo hay una comunidad de monjes, la benedictina, con una casa principal, la de Yuso (abajo). Los siglos X y XI son los de mayor esplendor en lo espiritual, religioso, artístico y cultural.
En 1809 los benedictinos son expulsados por primera vez cumpliendo el decreto de José Bonaparte. Vuelven en 1813. Son expulsados de nuevo durante el periodo constitucional del reinado de Fernando VII, entre diciembre de 1820 y julio de 1823. La hacienda real vendió entonces la botica en subasta pública. La tercera y última expulsión de la comunidad benedictina será debida a la desamortización eclesiástica de Mendizábal. Yuso permanece abandonado durante treinta y un años, desde noviembre de 1835. Entre 1866 y 1868 se establece una casa de misioneros franciscanos de Bermeo y, tras diez años de abandono, en 1878 fue ocupado por los frailes de la Orden de Agustinos Recoletos como casa destinada a la formación de los misioneros destinados a Filipinas. Las primeras obras de rehabilitación que se efectuaron por parte de los agustinos recoletos las realiza Fray Toribio Minguella.
El monasterio fue construido en estilo románico, como correspondía a la época. Es demolido en su totalidad y reconstruido en el siglo XVI, en estilo herreriano, de los siglos XVII y XVIII.
Tiene el monasterio también una importante biblioteca de Cantorales del siglo XVII. Unos 30 libros gigantes, pesan entre 40 y 60 kg, hechos a mano durante cuatro años de trabajo y para los que se utilizó lel pergamino proveniente de fragmentos de la piel de unas 2000 vacas.
Contienen la colección completa de todos los cantos que la comunidad monástica reza durante todo el año. Es una de las cuatro colecciones completas que se conservan en España.
Junto a los cantorales hay una excelente colección de facsímiles. El códice 46, fechado en el 964, que en palabras de los hermanos Turza «se trata de un diccionario enciclopédico de 20.000 artículos como los diccionarios actuales», y que recogen todo el saber de la época. El códice 60, el de las Glosas Emilianenses, primeras frases en castellano y palabras en vascuence. Una de las obras del primer poeta de nombre conocido en castellano, Gonzalo de Berceo, que fue educado en el monasterio de Suso y termina como clérigo notario de Yuso. Los excelentes calígrafos del monasterios están representados por una obra de fray Martín de Palencia, monje de San Millán.
Monasterio de San Millán de Yuso - Wikipedia, la enciclopedia libre
Yuso – Monasterio de San Millán (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
Edición electrónica del Becerro Galicano de San Millán de la Cogolla (ehu.eus)
Aussi appelé le "Monastère de la lance" car il a possédé pendant 5 siècles la relique de la lance qui a blessé le Christ sur la croix.
Le monastère a été fondé au IV ème siècle par St Grégoire l'Illuminateur mais l'ensemble du temple a été achevé au XIII ème siècle. Il a été un centre culturel important avec une école, un scriptorium...Il est en partie troglodytique.
Depuis 2000 le monastère est sur la Liste du Patrimoine de l'UNESCO.
L'Eglise Principale (Kathoghike) date de 1215. Son clocher est en cours de restauration.
Détail du tympan du porche .
The monasteries of San Millán de Suso (6th century) and San Millán de Yuso (11th century) are two monasteries situated in the village of San Millán de la Cogolla, La Rioja, Spain. They have been designated a World Heritage Site by UNESCO since December 1997.
The two monasteries' names Suso and Yuso mean the "upper" and the "lower" in archaic Castilian, respectively. Suso is the older building and is believed to be built on the site of a hermitage where Saint Emilian (Spanish: San Millán) lived. Perhaps Suso's major claim to fame is as the place where phrases in the Spanish and Basque languages were written for the first time. UNESCO acknowledges the property "as the birthplace of the modern written and spoken Spanish language". The phrases in Spanish and Basque are glosses on a Latin text and are known as the Glosas Emilianenses. There is some debate as to whether the Spanish words are written in an early form of Castilian or in a related dialect. In either case, San Millán's importance as a cradle of the Spanish language is reinforced by the proximity of the village of Berceo which is associated with Gonzalo de Berceo, the first Spanish poet known by name.
There is a continuous history of Christianity at San Millán since the time of the saint. The scriptorium produced the second phase of the San Millán Beatus and remained active during the period of Muslim rule; and over the centuries, the religious community has overcome various vicissitudes which affected the monasteries (for example being sacked by the Black Prince). However the type of monastic life evolved: the original monks living at Suso were hermits, but Yuso, the refoundation of the monastery on a lower site, developed as a Benedictine community. As the UNESCO evaluation noted, San Millán shows the transformation from an eremetic to a cenobitic community in material terms.
Suso monastery has been uninhabited since the Ecclesiastical Confiscations of Mendizábal in the nineteenth century. Yuso monastery was also abandoned for some years in the nineteenth century, but was reoccupied. It houses an Augustinian community, but part of the monastery has been converted into a hotel. Today San Millán attracts pilgrims on the Way of St James (even though it lies somewhat off the line of the official route between Nájera and Burgos).
Monasteries of San Millán de la Cogolla - Wikipedia
Edición electrónica del Becerro Galicano de San Millán de la Cogolla (ehu.eus)
El Real Monasterio de San Millán de Yuso (yuso significaba 'abajo' en castellano antiguo) está situado en la villa de San Millán de la Cogolla, Comunidad Autónoma de La Rioja (España), en la margen izquierda del río Cárdenas, en pleno valle de San Millán. Forma parte del conjunto monumental de dos monasterios, junto con el más antiguo Monasterio de San Millán de Suso («de arriba»).
Este monasterio fue mandado construir en el año 1053 por el rey García Sánchez III de Navarra «el de Nájera». La historia de su fundación va unida a una leyenda basada en un milagro de san Millán (o Emiliano), un joven pastor que se hace ermitaño. Cuando en 574 muere Millán, a la edad de 101 años, sus discípulos lo entierran en su cueva, y alrededor de ella se va formando el primer monasterio, el de San Millán de Suso. San Braulio, cincuenta años después de muerto san Millán, escribe la vida de este.
El rey navarro García III era muy devoto de San Millán. Como acababa de fundar el gran monasterio de Santa María la Real de Nájera en esta ciudad que era corte del reino, quiso llevarse allí los restos mortales del santo, que estaban enterrados en el monasterio de San Millán de Suso. El 29 de mayo de 1053 colocaron los restos del Santo en una carreta tirada por bueyes y así emprendieron el viaje, con gran descontento de los monjes que allí quedaban desolados por la pérdida de su patrono. Cuando llegaron al llano, cerca del río, los bueyes se detuvieron y ya no quisieron volver a andar; no hubo forma de obligarlos. El rey y toda la comitiva comprendieron que aquello era un milagro, que San Millán estaba imponiendo su voluntad de no pasar de allí y ser enterrado de nuevo en aquellos lugares. Fue entonces cuando el rey mandó construir el reciente monasterio, al que se llamó Yuso (abajo), en contraposición con el de arriba (Suso).
Hasta al menos el año 1100, coexistieron los dos monasterios, el de arriba, Suso, y el de abajo, Yuso. El primero permanece fiel a la tradición: regla mozárabe y carácter dúplice de doble comunidad masculina y femenina. El segundo, reformado con la regla benedictina. A partir del siglo XII solo hay una comunidad de monjes, la benedictina, con una casa principal, la de Yuso (abajo). Los siglos X y XI son los de mayor esplendor en lo espiritual, religioso, artístico y cultural.
En 1809 los benedictinos son expulsados por primera vez cumpliendo el decreto de José Bonaparte. Vuelven en 1813. Son expulsados de nuevo durante el periodo constitucional del reinado de Fernando VII, entre diciembre de 1820 y julio de 1823. La hacienda real vendió entonces la botica en subasta pública. La tercera y última expulsión de la comunidad benedictina será debida a la desamortización eclesiástica de Mendizábal. Yuso permanece abandonado durante treinta y un años, desde noviembre de 1835. Entre 1866 y 1868 se establece una casa de misioneros franciscanos de Bermeo y, tras diez años de abandono, en 1878 fue ocupado por los frailes de la Orden de Agustinos Recoletos como casa destinada a la formación de los misioneros destinados a Filipinas. Las primeras obras de rehabilitación que se efectuaron por parte de los agustinos recoletos las realiza Fray Toribio Minguella.
El monasterio fue construido en estilo románico, como correspondía a la época. Es demolido en su totalidad y reconstruido en el siglo XVI, en estilo herreriano, de los siglos XVII y XVIII.
Tiene el monasterio también una importante biblioteca de Cantorales del siglo XVII. Unos 30 libros gigantes, pesan entre 40 y 60 kg, hechos a mano durante cuatro años de trabajo y para los que se utilizó lel pergamino proveniente de fragmentos de la piel de unas 2000 vacas.
Contienen la colección completa de todos los cantos que la comunidad monástica reza durante todo el año. Es una de las cuatro colecciones completas que se conservan en España.
Junto a los cantorales hay una excelente colección de facsímiles. El códice 46, fechado en el 964, que en palabras de los hermanos Turza «se trata de un diccionario enciclopédico de 20.000 artículos como los diccionarios actuales», y que recogen todo el saber de la época. El códice 60, el de las Glosas Emilianenses, primeras frases en castellano y palabras en vascuence. Una de las obras del primer poeta de nombre conocido en castellano, Gonzalo de Berceo, que fue educado en el monasterio de Suso y termina como clérigo notario de Yuso. Los excelentes calígrafos del monasterios están representados por una obra de fray Martín de Palencia, monje de San Millán.
Monasterio de San Millán de Yuso - Wikipedia, la enciclopedia libre
Yuso – Monasterio de San Millán (monasteriodesanmillan.com)
San Millán Yuso and Suso Monasteries - UNESCO World Heritage Centre
Edición electrónica del Becerro Galicano de San Millán de la Cogolla (ehu.eus)
St Albans Cathedral, also known as the Cathedral and Abbey Church of St Alban, is a Church of England cathedral church within St Albans, England. At 84 metres (276 ft), its nave is the longest of any cathedral in England. With much of its present architecture dating from Norman times, it was formerly known as St Albans Abbey before it became a cathedral in 1877. It is the second longest cathedral in the United Kingdom (after Winchester). Local residents often call it "the abbey", although the present cathedral represents only the church of the old Benedictine abbey.
The abbey church, although legally a cathedral church, differs in certain particulars from most of the other cathedrals in England: it is also used as a parish church, of which the dean is rector. He has the same powers, responsibilities and duties as the rector of any other parish.
Alban was a pagan living in the Roman city of Verulamium, now Verulamium Park, in St Albans, in Hertfordshire, England, about 22 miles (35 km) north of London along Watling Street. Before Christianity became the official religion of the Roman Empire, local Christians were being persecuted by the Romans. Alban sheltered their priest, Saint Amphibalus, in his home and was converted to the Christian faith by him. When the soldiers came to Alban's house looking for the priest, Alban exchanged cloaks with the priest and let himself be arrested in his place. Alban was taken before the magistrate, where he avowed his new Christian faith and was condemned for it. He was beheaded, according to legend, on the spot where the cathedral named after him now stands. The site is on a steep hill and legend has it that his head rolled down the hill after being cut off and that a well sprang up at the point where it stopped.
A well certainly exists today and the road up to the cathedral is named Holywell Hill. However the current well structure is no older than the late 19th century and it is thought that the name of the street derives from the "Halywell" river and "Halywell Bridge", not from the well.
The date of Alban's execution is a matter of some debate and is generally given as "circa 250"—scholars generally suggest dates of 209, 254 or 304.
History of the abbey and cathedral
A memoria over the execution point and holding the remains of Alban existed at the site from the mid-4th century (possibly earlier); Bedementions a church and Gildas a shrine. Bishop Germanus of Auxerre visited in 429 and took a portion of the apparently still bloody earth away. The style of this structure is unknown; the 13th century chronicler Matthew Paris (see below) claimed that the Saxons destroyed the building in 586.
Saxon buildings
Offa II of Mercia, who ruled in the 8th century, is said to have founded the Benedictine abbey and monastery at St Albans. All later religious structures are dated from the foundation of Offa's abbey in 793. The abbey was built on Holmhurst Hill—now Holywell Hill—across the River Ver from the ruins of Verulamium. Again there is no information to the form of the first abbey. The abbey was probably sacked by the Danes around 890 and, despite Paris's claims, the office of abbot remained empty from around 920 until the 970s when the efforts of Dunstanreached the town.
There was an intention to rebuild the abbey in 1005 when Abbot Ealdred was licensed to remove building material from Verulamium. With the town resting on clay and chalk the only tough stone is flint. This was used with a lime mortar and then either plastered over or left bare. With the great quantities of brick, tile and other stone in Verulamium the Roman site became a prime source of building material for the abbeys, and other projects in the area, up to the 18th century. Sections demanding worked stone used Lincolnshire limestone (Barnack stone) from Verulamium, later worked stones include Totternhoe freestone from Bedfordshire, Purbeck marble, and different limestones (Ancaster, Chilmark, Clipsham, etc.).
Renewed Viking raids from 1016 stalled the Saxon efforts and very little from the Saxon abbey was incorporated in the later forms.
The nave. The north wall (left) features a mix of Norman arches dating back to 1077 and arches in the Early English style of 1200.
Norman abbey
Much of the current layout and proportions of the structure date from the first Norman abbot, Paul of Caen (1077–1093). The 14th abbot, he was appointed by the new Archbishop of Canterbury, Lanfranc.
Building work started in the year of Abbot Paul's arrival. The design and construction was overseen by the Norman Robert the Mason. The plan has very limited Anglo-Saxon elements and is clearly influenced by the French work at Cluny, Bernay, and Caen and shares a similar floor plan to Saint-Étienne and Lanfranc's Canterbury—although the poorer quality building material was a new challenge for Robert and he clearly borrowed some Roman techniques, learned while gathering material in Verulamium. To take maximum use of the hilltop the abbey was oriented to the south-east. The cruciform abbey was the largest built in England at that time, it had a chancel of four bays, a transept containing seven apses, and a nave of ten bays—fifteen bays long overall. Robert gave particular attention to solid foundations, running a continuous wall of layered bricks, flints and mortar below and pushing the foundations down to twelve feet to hit bedrock. Below the crossing tower special large stones were used.
The tower was a particular triumph—it is the only 11th century great crossing tower still standing in England. Robert began with special thick supporting walls and four massive brick piers. The four-level tower tapers at each stage with clasping buttresses on the three lower levels and circular buttresses on the fourth stage. The entire structure masses 5,000 tons and is 144 feet high. The tower was probably topped with a Norman pyramidal roof; the current roof is flat. The original ringing chamber had five bells—two paid for by the Abbot, two by a wealthy townsman, and one donated by the rector of Hoddesdon. None of these bells has survived.
There was a widespread belief that the abbey had two additional, smaller towers at the west end. No remains have been found.
The monastic abbey was completed in 1089 but not consecrated until Holy Innocents' Day, 1115, (28 Dec) by the Archbishop of Rouen. King Henry I attended as did many bishops and nobles.
A nunnery (Sopwell Priory) was founded nearby in 1140.
Internally the abbey was bare of sculpture, almost stark. The plaster walls were coloured and patterned in parts, with extensive tapestries adding colour. Sculptural decoration was added, mainly ornaments, as it became more fashionable in the 12th century—especially after the Gothic style arrived in England around 1170.
In the current structure the original Norman arches survive principally under the central tower and on the north side of the nave. The arches in the rest of the building are Gothic, following medieval rebuilding and extensions, and Victorian era restoration.
The abbey was extended in the 1190s by Abbot John de Cella (also known as John of Wallingford) (1195–1214); as the number of monks grew from fifty to over a hundred, the abbey was extended westwards with three bays added to the nave. The severe Norman west front was also rebuilt by Hugh de Goldclif—although how is uncertain, it was very costly but its 'rapid' weathering and later alterations have erased all but fragments. A more prominent shrine and altar to Saint Amphibalus were also added. The work was very slow under de Cella and was not completed until the time of Abbot William de Trumpington (1214–35). The low Norman tower roof was demolished and a new, much higher, broached spire was raised, sheathed in lead.
The St Albans Psalter (ca. 1130–45) is the best known of a number of important Romanesque illuminated manuscripts produced in the Abbey scriptorium. Later, Matthew Paris, a monk at St Albans from 1217 until his death in 1259, was important both as a chronicler and an artist. Eighteen of his manuscripts survive and are a rich source of contemporary information for historians.
Nicholas Breakspear was born near St Albans and applied to be admitted to the abbey as a novice, but he was turned down. He eventually managed to be accepted into an abbey in France. In 1154 he was elected Pope Adrian IV, the only English Pope there has ever been. The head of the abbey was confirmed as the premier abbot in England also in 1154.
13th to 15th centuries
An earthquake shook the abbey in 1250 and damaged the eastern end of the church. In 1257 the dangerously cracked sections were knocked down—three apses and two bays. The thick Presbytery wall supporting the tower was left. The rebuilding and updating was completed during the rule of Abbot Roger de Norton (1263–90).
On 10 October 1323 two piers on the south side of the nave collapsed dragging down much of the roof and wrecking five bays. Mason Henry Wy undertook the rebuilding, matching the Early English style of the rest of the bays but adding distinctly 14th century detailing and ornaments. The shrine to St Amphibalus had also been damaged and was remade.
Abbey Gateway, now part of St. Albans School.
Richard of Wallingford, abbot from 1297 to 1336 and a mathematician and astronomer, designed a celebrated clock, which was completed by William of Walsham after his death, but apparently destroyed during the reformation.
A new gateway, now called the Abbey Gateway, was built to the abbey grounds in 1365, which was the only part of the monastery buildings (besides the church) to survive the dissolution, later being used as a prison and now part of St Albans School. The other monastic buildings were located to the south of the gateway and church.
In the 15th century a large west window of nine main lights and a deep traced head was commissioned by John of Wheathampstead. The spire was reduced to a 'Hertfordshire spike', the roof pitch greatly reduced and battlements liberally added. Further new windows, at £50 each, were put in the transept by Abbot Wallingford (also known as William of Wallingford), who also had a new high altar screen made.
Dissolution and after
After the death of Abbot Ramryge in 1521 the abbey fell into debt and slow decay under three weak abbots. At the time of the Dissolution of the Monasteries and its surrender on 5 December 1539 the income was £2,100 annually. The abbot and remaining forty monks were pensioned off and then the buildings were looted. All gold, silver and gilt objects were carted away with all other valuables; stonework was broken and defaced and graves opened to burn the contents.
The abbey became part of the diocese of Lincoln in 1542 and was moved to the diocese of London in 1550. The buildings suffered—neglect, second-rate repairs, even active damage. Richard Lee purchased all the buildings, except the church and chapel and some other Crown premises, in 1550. Lee then began the systematic demolition for building material to improve Lee Hall at Sopwell. In 1551, with the stone removed, Lee returned the land to the abbot. The area was named Abbey Ruins for the next 200 years or so.
In 1553 the Lady chapel became a school, the Great Gatehouse a town jail, some other buildings passed to the Crown, and the Abbey Church was sold to the town for £400 in 1553 by King Edward VI to be the church of the parish.
The cost of upkeep fell upon the town, although in 1596 and at irregular intervals later the Archdeacon was allowed to collect money for repairs by Brief in the diocese. After James I visited in 1612 he authorised another Brief, which collected around £2,000—most of which went on roof repairs. The English Civil War slashed the monies spent on repairs, while the abbey was used to hold prisoners of war and suffered from their vandalism, as well as that of their guards. Most of the metal objects that had survived the Dissolution were also removed and other ornamental parts were damaged in Puritan sternness. Another round of fund-raising in 1681–84 was again spent on the roof, repairing the Presbytery vault. A royal grant from William and Mary in 1689 went on general maintenance, 'repairs' to conceal some of the unfashionable Gothic features, and on new internal fittings. There was a second royal grant from William in 1698.
By the end of the 17th century the dilapidation was sufficient for a number of writers to comment upon it.
In 1703, from 26 November to 1 December, the Great Storm raged across southern England; the abbey lost the south transept window which was replaced in wood at a cost of £40. The window was clear glass with five lights and three transoms in an early Gothic Revival style by John Hawgood. Other windows, although not damaged in the storm, were a constant drain on the abbey budget in the 18th century.
A brief in 1723–24, seeking £5,775, notes a great crack in the south wall, that the north wall was eighteen inches from vertical, and that the roof timbers were decayed to the point of danger. The money raised was spent on the nave roof over ten bays.
Another brief was not issued until 1764. Again the roof was rotting, as was the south transept window, walls were cracked or shattered in part and the south wall had subsided and now leant outwards. Despite a target of £2,500 a mere £600 was raised.
In the 1770s the abbey came close to demolition; the expense of repairs meant a scheme to destroy the abbey and erect a smaller church almost succeeded.
A storm in 1797 caused some subsidence, cracking open graves, scattering pavement tiles, flooding the church interior and leaving a few more arches off-vertical.
19th century
The Wallingford Screen of c. 1480—the statues are Victorian replacements (1884–89) of the originals, destroyed in the Dissolution of the Monasteries, when the screen itself was also damaged. Statues of St Alban and St Amphibalus stand on either side of the altar.
This century was marked with a number of repair schemes. The abbey received some money from the 1818 "Million Act", and in 1820 £450 was raised to buy an organ—a second-hand example made in 1670.
The major efforts to revive the abbey church came under four men—L. N. Cottingham, Rector H. J. B. Nicholson, and, especially, George Gilbert Scott and Edmund Beckett, first Baron Grimthorpe.
In February 1832 a portion of the clerestory wall fell through the roof of the south aisle, leaving a hole almost thirty feet long. With the need for serious repair work evident the architect Lewis Nockalls Cottingham was called in to survey the building. His Survey was presented in 1832 and was worrying reading: everywhere mortar was in a wretched condition and wooden beams were rotting and twisting. Cottingham recommended new beams throughout the roof and a new steeper pitch, removal of the spire and new timbers in the tower, new paving, ironwork to hold the west transept wall up, a new stone south transept window, new buttresses, a new drainage system for the roof, new ironwork on almost all the windows, and on and on. He estimated a cost of £14,000. A public subscription of £4,000 was raised, of which £1,700 vanished in expenses. With the limited funds the clerestory wall was rebuilt, the nave roof re-leaded, the tower spike removed, some forty blocked windows reopened and glazed, and the south window remade in stone.
Henry Nicholson, rector from 1835 to 1866, was also active in repairing the abbey church—as far as he could, and in uncovering lost or neglected Gothic features.
In 1856 repair efforts began again; £4,000 was raised and slow moves started to gain the abbey the status of cathedral. George Gilbert Scottwas appointed the project architect and oversaw a number of works from 1860 until his death in 1878.
Scott began by having the medieval floor restored, necessitating the removal of tons of earth, and fixing the north aisle roof. From 1872–77 the restored floors were re-tiled in matching stone and copies of old tile designs. A further 2,000 tons of earth were shifted in 1863 during work on the foundation and a new drainage system. In 1870 the tower piers were found to be badly weakened with many cracks and cavities. Huge timbers were inserted and the arches filled with brick as an emergency measure. Repair work took until May 1871 and cost over £2,000. The south wall of the nave was now far from straight; Scott reinforced the north wall and put in scaffolding to take the weight of the roof off the wall, then had it jacked straight in under three hours. The wall was then buttressed with five huge new masses and set right. Scott was lauded as "saviour of the Abbey." From 1870–75 around £20,000 was spent on the abbey.
In 1845 St Albans was transferred from the Diocese of Lincoln to the Diocese of Rochester. Then, in 1875, the Bishopric of St Albans Act was passed and on 30 April 1877 the See of St Albans was created, which comprises about 300 churches in the counties of Hertfordshire and Bedfordshire. The then Bishop of Rochester, the Right Revd Dr Thomas Legh Claughton, elected to take the northern division of his old diocese and on 12 June 1877 was enthroned first Bishop of St Albans, a position he held until 1890. He is buried in the churchyard on the north side of the nave.
George Gilbert Scott was working on the nave roof, vaulting and west bay when he died on 27 March 1878. His plans were partially completed by his son, John Oldrid Scott, but the remaining work fell into the hands of Lord Grimthorpe, whose efforts have attracted much controversy—Nikolaus Pevsner calling him a "pompous, righteous bully." However, he donated much of the immense sum of £130,000 the work cost.
Whereas Scott's work had clearly been in sympathy with the existing building, Grimthorpe's plans reflected the Victorian ideal. Indeed, he spent considerable time dismissing and criticising the work of Scott and the efforts of his son.
Grimthorpe first reinstated the original pitch of the roof, although the battlements added for the lower roof were retained. Completed in 1879, the roof was leaded, following on Scott's desires.
1805 engraving of the west front of the abbey showing the lost Wheathampstead window.
His second major project was the most controversial. The west front, with the great Wheathampstead window, was cracked and leaning, and Grimthorpe, never more than an amateur architect, designed the new front himself—attacked as dense, misproportioned and unsympathetic: "His impoverishment as a designer ... [is] evident"; "this man, so practical and ingenious, was utterly devoid of taste ... his great qualities were marred by arrogance ... and a lack of historic sense". Counter proposals were deliberately substituted by Grimthorpe for poorly drawn versions and Grimthorpe's design was accepted?. During building it was considerably reworked in order to fit the actual frontage and is not improved by the poor quality sculpture. Work began in 1880 and was completed in April 1883, having cost £20,000.
The Lady Chapel at the east end of the cathedral.
Grimthorpe was noted for his aversion to the Perpendicular—to the extent that he would have sections he disliked demolished as "too rotten" rather than remade. In his reconstruction, especially of windows, he commonly mixed architectural styles carelessly (see the south aisle, the south choir screen and vaulting). He spent £50,000 remaking the nave. Elsewhere he completely rebuilt the south wall cloisters, with new heavy buttresses, and removed the arcading of the east cloisters during rebuilding the south transept walls. In the south transept he completely remade the south face, completed in 1885, including the huge lancet window group—his proudest achievement—and the flanking turrets; a weighty new tiled roof was also made. In the north transept Grimthorpe had the Perpendicular window demolished and his design inserted—a rose window of circles, cusped circles and lozenges arrayed in five rings around the central light, sixty-four lights in total, each circle with a different glazing pattern.
Grimthorpe continued through the Presbytery in his own style, adapting the antechapel for Consistory Courts, and into the Lady Chapel. After a pointed lawsuit with Henry Hucks Gibbs, first Baron Aldenham over who should direct the restoration, Grimthorpe had the vault remade and reproportioned in stone, made the floor in black and white marble (1893), and had new Victorian arcading and sculpture put below the canopy work. Externally the buttresses were expanded to support the new roof, and the walls were refaced.
As early as 1897, Grimthorpe was having to return to previously renovated sections to make repairs. His use of over-strong cement led to cracking, while his fondness for ironwork in windows led to corrosion and damage to the surrounding stone.
Grimthorpe died in 1905 and was interred in the churchyard. He left a bequest for continuing work on the buildings.
During this century the name St Albans Abbey was given to one of the town's railway stations.
20th century
John Oldrid Scott (died 1913) (George Gilbert Scott's son), despite frequent clashes with Grimthorpe, had continued working within the cathedral. Scott was a steadfast supporter of the Gothic revival and designed the tomb of the first bishop; he had a new bishop's throne built (1903), together with commemorative stalls for Bishop Festing and two Archdeacons, and new choir stalls. He also repositioned and rebuilt the organ (1907). Further work was interrupted by the war.
A number of memorials to the war were added to the cathedral, notably the painting The Passing of Eleanor by Frank Salisbury (stolen 1973) and the reglazing of the main west window, dedicated in 1925.
Following the Enabling Act of 1919 control of the buildings passed to a Parochial Church Council (replaced by the Cathedral Council in 1968), who appointed the woodwork specialist John Rogers as Architect and Surveyor of the Fabric. He uncovered extensive death watch beetledamage in the presbytery vault and oversaw the repair (1930–31). He had four tons of rubbish removed from the crossing tower and the main timbers reinforced (1931–32), and invested in the extensive use of insecticide throughout the wood structures. In 1934, the eight bells were overhauled and four new bells added to be used in the celebration of George V's jubilee.
Cecil Brown was architect and surveyor from 1939 to 1962. At first he merely oversaw the lowering of the bells for the war and established a fire watch, with the pump in the slype. After the war, in the 1950s, the organ was removed, rebuilt and reinstalled and new pews added. His major work was on the crossing tower. Grimthorpe's cement was found to be damaging the Roman bricks: every brick in the tower was replaced as needed and reset in proper mortar by one man, Walter Barrett. The tower ceiling was renovated as were the nave murals. Brown established the Muniments Room to gather and hold all the church documents.
In 1972, to encourage a closer link between celebrant and congregation, the massive nine-ton pulpit along with the choir stalls and permanent pews was dismantled and removed. The altar space was enlarged and improved. New 'lighter' wood (limed oak) choir stalls were put in, and chairs replaced the pews. A new wooden pulpit was acquired from a Norfolk church and installed in 1974. External floodlighting was added in 1975.
A major survey in 1974 revealed new leaks, decay and other deterioration, and a ten-year restoration plan was agreed. Again the roofing required much work. The nave and clerestory roofs were repaired in four stages with new leading. The nave project was completed in 1984 at a total cost of £1.75 million. The clerestory windows were repaired with the corroded iron replaced with delta bronze and other Grimthorpe work on the clerestory was replaced. Seventy-two new heads for the corbel table were made. Grimthorpe's west front was cracking, again due to the use originally of too strong a mortar, and was repaired.
A new visitors' centre was proposed in 1970. Planning permission was sought in 1973; there was a public inquiry and approval was granted in 1977. Constructed to the south side of the cathedral close to the site of the original chapter house of the abbey, the new 'Chapter House' cost around £1 million and was officially opened on 8 June 1982 by Queen Elizabeth. The main building material was 500,000 replica Roman bricks.
Other late 20th-century works include the restoration of Alban's shrine, with a new embroidered canopy, and the stained glass designed by Alan Younger for Grimthorpe's north transept rose window, unveiled in 1989 by Diana, Princess of Wales.
Modern times
The Bishop is the Right Reverend Alan Smith, installed in September 2009. The Venerable Jonathan Smith is Archdeacon of St Albans, installed in October 2008. On 2 July 2004, the Very Reverend Canon Dr Jeffrey John became the ninth Dean of the Cathedral.
Robert Runcie, later Archbishop of Canterbury, was bishop of St Albans from 1970 to 1980 and returned to live in the city after his retirement; he is commemorated by a gargoyle on the Cathedral as well as being buried in the graveyard. Colin Slee, former Dean of Southwark Cathedral, was sub-dean at St Albans under Runcie and then Dean, Peter Moore. The bishop's house is in Abbey Mill Lane, St Albans, as is the house of the Bishop of Hertford. The Reverend Canon Eric James, Chaplain Extraordinary to HM the Queen, was Canon at St Albans for many years.