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L'élégant clocher ajouré de 50m est décoré de colonettes, d'ogives et de médaillons présentant les signes du zodiaque ou des guerriers armés.
ENGLISH :
The decor of the church, associated with the theme of the Last Judgment, shows a funerary vocation. This is what the four angels herald by the tower. Sounding the horn, they recall the terrible words "Deads, get up and come to hear your judgment."
The elegant openwork tower of 50 m is decorated with columns, ribs and medallions with zodiac signs or armed warriors.
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
Unfortunately, the remaining 14 icons that have filled the niches of the kiotas were not preserved. These icons, donated to the cathedral during the construction, were not mosaic. Their salaries were made of silver, decorated with enamel, gilding and pearls. Icons were seized in the 1920s. and their fate today, unfortunately, is not known. While these niches are empty.
Kyots are examples of the beautiful work of Russian stone-cutters in the Ekaterinburg Lapidary and Kolyvan grinding factories. The choice of stones from which the cuots were created is not accidental. The same stones - green revnevsky jasper and pink rhodonite - were used to create tombstones over the tombs of Emperor Alexander II and his wife Maria Alexandrovna in the Peter and Paul Cathedral.
To decorate the kiotas, jasper and other varieties were used - the pale Aushkulskaya - for the cross and openwork ornament at the top, bright variegated Orsk jasper - for patterned columns and plates in the center of the kyot. Completed with the highest skill patterns the kiots are connected with the mosaic ornaments of the temple.
An exceptionally large and elaborate Gothic cathedral on the main square of Milan, the Duomo di Milano is one of the most famous buildings in Europe. It is the largest Gothic cathedral and the second largest Catholic cathedral in the world.
Milan Cathedral (Italian: Duomo di Milano; Lombard: Domm de Milan) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fifth largest cathedral in the world, and the largest in the Italian state territory.
The roof is open to tourists, which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
Interior da Catedral de Milão.
A text, in english, from Wikipedia, the free encyclopedia.
Milan Cathedral
Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.
History:
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.
Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...
In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.
In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.
Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].
This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.
Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.
In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).
At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.
The ultimate facade with its striking rosy marble revetment
In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.
On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.
In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.
he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.
The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
The interior of the cathedral includes a huge number of monuments and artworks. These include:
* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).
* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.
* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.
* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.
* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.
* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.
* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.
* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.
* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.
* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.
DUOMO - A Catedral de Milão
O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.
Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.
Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.
Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.
Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.
Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.
igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.
Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.
A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.
Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.
O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.
O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.
Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.
Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.
No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.
Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!
O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.
Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...
the metro station Elektrozavodskaya of the Moscow metro is a pylon three-vaulted deep-laid. Elektrozavodskaya metro station was opened on May 15 , 1944 . The station's decoration is dedicated to the theme "Front and rear in the Great Patriotic War".
The vaulted ceiling of the station hall has 318 original round light windows with lamps mounted in 6 rows, and rests on rectangular massive pylons covered with a smooth cornice.
The pylons are lined with white Prokhor-Balandinsky marble and richly decorated with architectural details. A marble belt with an outrigger plate visually divides the pylon horizontally. Carved triglyphs with triangular grooves, lattice niches, marble cornice and bas-reliefs characterize the compositional unity.
The track walls are lined with red marble "salieti", the base is olive-black "davalu".
The checkerboard pattern of the floor and the ribbon of the meander are formed by slabs of yellow-gray Yantsev granite and labradorite. The floor between the pylons and the track platforms is finished with dark gray Zhezhel granite. On the side of the central hall, comfortable benches are installed at each pylon.
On the pylons of the central hall there are high reliefs made of Prokhor-Baladinsky marble (sculptor G. I. Motovilov) on the theme of everyday work of workers in industry, transport and agriculture during the harsh war years. Openwork bronze grilles on the pylons hide the ventilation holes.
The ground lobby is a squat hexagonal structure with a massive flattened dome on a low drum. In the vaulted niche of the pavilion (on the side of Bolshaya Semenovskaya Street) there is a sculptural group "Metrostroevtsy in the face" (sculptor M. G. Manizer): 3 figures of tunnellers with tools.
Inside, the lobby is lined with red marble "salieti" and decorated with medallions with bas-relief portraits of the founders of electrical engineering by G. I. Motovilov.
All scientists are depicted with the attributes of their discoveries: William Gilbert (introduced the term "electricity" into science) — with a ball of amber, Benjamin Franklin — with a lightning rod, Michael Faraday — with a prototype of an electric machine, Alexander Stepanovich Popov — with a lightning detector, Pavel Nikolaevich Yablochkov — with a Yablochkov candle, Mikhail Vasilyevich Lomonosov — with a pen and paper.
from the metro station Elektrozavodskaya you can go to the railway station Elektrozavodskaya on Elektrozavodskaya Street on Bolshaya Semyonovskaya street . also, from the Elektrozavodskaya metro station, you can transfer to the Elektrozavodskaya metro station of the Bolshaya koltsevaya metro line (line 11) so far, it temporarily serves the Nkrasovskaya line of the Moscow metro (line 15) as for the transfer , it is still ground - based for this , passengers need to climb a deep escalator to the ground pavillon and then get out of the subway and walk a little . what about the underground landing from the Elektrozavodskaya Arbatsko-Pokrovskaya line (line 3) to the metro station Elektrozavodskaya , Bolshaya koltsevaya line( line 11) , then it may open at the end of 2022 at the beginning of 2023
The “Duomo di Milano” is a mastepiece of gothic italian art. This cathedral took five centuries to complete and is the fourth-largest church in the world. The roof is open to visitors, and it is renowned for the forest of openwork pinnacles and spires (about 134), with about 2400 statues, set upon delicate flying buttresses.
HDR from 3 shots, processed with Photomatix 3.2.5 for Mac OS X
Tour of Europe 04 2016
Day 12
After a nice meal, night fell we stroll onto the market where all the s are showing off the beauty of all the buildings.
The belfry of Bruges is a medieval bell tower in the historical centre of Bruges, Belgium
It served as an observation post for spotting fires and other danger.
A narrow, steep staircase of 366 steps, accessible by the public leads to the top of the 83 m (272 feet) high building, which leans about a metre (3 ft) to the east.
The belfry was added to the market square around 1240, when Bruges was prospering as an important centre of the Flemish cloth industry.
After a devastating fire in 1280, the tower was largely rebuilt.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741.
The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic style was added to the rooftop in 1822.
The bells in the tower regulated the lives of the city dwellers, announcing the time, fire alarms, work hours, and a variety of social, political, and religious events. Eventually a mechanism ensured the regular sounding of certain bells, for example indicating the hour. Which is still the case!
In the 16th century the tower received a carillon, allowing the bells to be played by means of a hand keyboard. Starting from 1604, the annual accounts record the employment of a carilloneur to play songs during Sundays, holidays and market days.
In 1675 the carillon comprised 35 bells, designed by Melchior de Haze of Antwerp. After the fire of 1741 this was replaced by a set of bells cast by Joris Dumery, 26 of which are still in use.
There were 48 bells at the end of the 19th century, but today the bells number 47, together weighing about 27.5 tonnes. The bells range from weighing two pounds to 11,000 pounds.
(info Wikipedia)
I wish you a day full of beauty and thank you for your visit, Magda, (*_*)
For more of my other work visit here: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
Das heutige Obere Tor wurde als Torturm im Stil der Renaissance erebaut. Über der Durchfahrt erhoben sich zwei Geschosse, ein gemauertes und eins in Fachwerk. Den Abschluss bildete eine Haube in Zwiebelform mit durchbrochener Spitze. Das Ganze war mit Schiefer gedeckt. Im Jahr 1792 wurde diese Turmspitze vom Blitz getroffen. Dadurch brannten der Torturm, das ehemalige 2 Tor und der Geschützturm aus. Die beiden Torgebäude bekamen später ein gemeinsames Dach, der Geschützturm blieb Ruine. Nach dem Brand wurden der Quergraben zwischen Vor- und Hauptburg zugeschüttet und der heutige Weg mit Kopfsteinpflaster angelegt.
Quelle: Informationstafel am Tor
Erbaut wurde die zweiteilige Randhausanlage, mit Vorburg und Hauptburg, zwischen 1236 und 1260 als Hofburg der Markgrafen von Brandenburg. Die Burg Stargard ist das älteste weltliche Bauwerk in Mecklenburg-Vorpommern. Sie ist die einzige erhaltene mittelalterliche Höhenburg in Norddeutschland. Während des ersten längeren Aufenthaltes des Markgrafen Otto III. von Brandenburg, erhielt der Marktort Stargard am 11. Januar 1259 das Stadtrecht. Ab 1292 waren Burg und Land Stargard, als Lehen der Markgrafen von Brandenburg, in mecklenburgischer Hand. Im Jahr 1347 kam Stargard als Reichslehen an Mecklenburg.
Von 1352 bis 1471 war die Burg Residenz der Herzöge von Mecklenburg-Stargard. Um 1500 erfolgten große Umbauten, u.a. für den Einsatz von Pulverwaffen. Im Jahr 1508 wurde der erste Weinberg angelegt.
www.hoehenburg-stargard.de/burgerlebnis/geschichte/
Today's Upper Gate was built as a gate tower in the Renaissance style. Two storeys, one brick and one half-timbered, rose above the passage. The tower was topped by a dome in the shape of an onion with an openwork top. The whole was covered with slate. In 1792, this spire was struck by lightning. This caused the gate tower, the former second gate and the gun turret to burn out. The two gate buildings were later given a common roof, but the gun turret remained in ruins. After the fire, the cross ditch between the outer and main castle was filled in and today's path with cobblestones was laid out.
Source: Information board at the gate
The two-part complex of Stargard Castle with outer bailey and main castle was built between 1236 and 1260 as the court castle of the Margraves of Brandenburg. Stargard Castle is the oldest secular building in Mecklenburg-Western Pomerania. It is the only surviving medieval hilltop castle in northern Germany. During the first extended stay of Margrave Otto III of Brandenburg, the market settlement of Stargard was granted town charter on 11 January 1259. From 1292, Stargard castle and land were in Mecklenburg hands as a fief of the Margraves of Brandenburg. In 1347, Stargard came to Mecklenburg as an imperial fief.
From 1352 to 1471 the castle was the residence of the Dukes of Mecklenburg-Stargard. Around 1500, major alterations were made, among other things for the use of powder weapons. The first vineyard was planted in 1508.
Worcester, MA '22
Worcester Art Museum
Egypt (Third Intermediate Period, Dynasty 21-22), c. 1076-746 BC
[This set contains 5 images] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The House of Benjamin at 602 2nd Street South in Columbus, Mississippi (Lowndes County) is hardly a spectacular residence, but it has some beautiful features. The 1 1/2 story frame home has a formidable roof with many gables with gable returns. A front dormer and side dormer interrupt (and enhance) the massing of the roof--both are barely visible in the photograph of the home. The symmetry of the front facade shows a gable unit on either side of the flat-roofed portico with a 4/1 window in each gable and a triple windows at street-level also on each side of the porch. The row of 3 windows has a decorative design in the upper portion probably of leaded glass in a mix of Cathedral and Diamond patterns: there surely is a proper name for this design. The portico is small with a flat roof supported by ornamental turned columns and an attractive open-work railing at the sides of the steps and extending the short distance to the entry. The entry itself is a single-leaf paneled wooden door with an acorn pediment above. Decorative lamps flank the entrance on each side. The name House of Benjamin is on a sign in front of the home. In the sign photo can be seen the Greek Revival residence of Riverview (1847-1851), a near neighbor to this gable-prominent structure. The House of Benjamin is included in the South Columbus Historic District, which was added to the National Register of Historic Places June 8, 1982 with reference number 82003104. The NRHP nomination form is located at npgallery.nps.gov/NRHP/GetAsset/NRHP/82003104_text
This Mississippi city is a treasure trove of architectural beauties. However, my photos in Columbus are barely adequate as I was under a time constraint, eager to continue my road trip to El Paso and see a new granddaughter.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
This delicately crafted openwork basket, part of the Casa do Infante Museum’s collection in Porto, is a striking example of 19th-century faience artistry. Though it mimics the woven appearance of wicker, it is made entirely of ceramic—specifically tin-glazed earthenware known as faience. Such pieces blur the line between utility and ornament, demanding remarkable technical skill and aesthetic refinement.
While its reticulated or “pierced” design imitates basketry, the piece is too shallow to have served as a functional basket for bread or fruit. Instead, it likely functioned as a decorative centerpiece or table ornament—perhaps to display wrapped sweets or simply to showcase the potter’s virtuosity.
The piece's distinctive openwork or “reticulated” design was painstakingly constructed from fine clay cords—more accurately called extruded or hand-rolled clay strands or coils. Each strand was individually shaped by hand and gently bent into smooth arcs while the clay remained pliable yet firm enough to retain its form. The strands were then meticulously interwoven and joined at precise points to form the basket’s lattice. Once the framework was complete and leather-hard, the maker carefully attached a solid central base and foot ring, integrating the piece into a coherent whole.
This level of craftsmanship required not only dexterity but also significant experience—especially in handling shrinkage and fragility during drying and firing. The artisan needed a refined sense of timing, moisture content, and pressure to avoid collapse, cracking, or warping at any stage. Such work was typically carried out in specialized workshops with a long tradition of faience production, likely catering to urban or aristocratic markets.
After forming, the basket would have been bisque fired and then dipped in a white, opaque tin glaze. The pale yellowish tone in this piece may come from a warm-toned lead-tin glaze or an intentional color wash over the glaze. The final glaze firing fused the components together and produced the subtle sheen still visible today.
Though delicate, this object was not purely decorative. It may have served as a fruit or bread basket, its open sides allowing airflow. Its refined appearance, however, suggests it was made for a well-off household—perhaps even as a wedding gift or decorative centerpiece.
Now preserved in the Casa do Infante—a museum housed in Porto’s historic customs house—this object connects Porto’s artisanal heritage with its trading past. The building, associated with Prince Henry the Navigator, once oversaw goods flowing into the city from across the empire. Ceramics like this one remind us that luxury and domestic craft traveled alongside spices, textiles, and wine.
Let me know if you'd like a brie
Saint Joseph's Church of Le Havre
A fabulous detail that many may miss... the magical light that penetrates through the thousands of small colorful stained-glass windows draws the perfect silhouette of a cross on the floor of the magnificent temple, giving it a greater sense of elevation.
Un détail fabuleux que beaucoup pourraient manquer… la lumière magique qui traverse les milliers de petits vitraux colorés dessine la silhouette parfaite d’une croix sur le sol du magnifique temple, lui conférant une impression de grandeur accrue.
An indisputable symbol of the renaissance of Le Havre, Saint Joseph’s Church is an extraordinary building.
Its impressive dimensions and trans-Atlantic allure disturb the religious landmarks which nevertheless make it one of the most remarkable achievements of the 20th century in France.
New-York in Le Havre
Every major city has its landmark that history has given it. In Le Havre, Saint Joseph’s Church quickly achieved this coveted status, despite its young age, since this year marks the fiftieth anniversary of the first religious celebration. It is true that the ambition that prevailed in its construction, in the fever of post-war reconstruction, gave it serious assets to deserve this role as a flagship monument.
From afar, whether on land or at sea , its skyscraper-like appearance, so familiar to fans of New York, obviously owes nothing to chance. A true votive work in memory of the victims of the annihilation of Le Havre, Saint Joseph celebrates from the top of its 107 m height, the rebirth of a city that has established itself as the maritime gateway to France, thus endowing the religious building with another, more secular vocation.
Concrete and light
As we draw closer to this bitter hope, as if irresistibly attracted by its vertical thrust, we gradually grasp the incredible architectural dimension that led to the new emblem of the rebuilt Le Havre being classified as a historical monument less than ten years after its completion. Brought here to its climax, the magnificent expression that Auguste Perret managed to give to concrete brings out all the nuances of a hitherto unsuspected palette for this reconstituted stone.
However, the realisation is not complete until you cross the threshold into St Joseph’s, when the complicity between the concrete poet and master glassmaker Marguerite Huré explodes before your eyes: made entirely of openwork on its eight sides, the lantern tower perfects the liturgical principles thanks to the 12,768 multicoloured hand-blown stained-glass windows which, in a cleverly reinvented religious mysticism, touch the soul of the stunned visitor.
Source: www.lehavre-etretat-tourisme.com/en/discover/the-essentia...
St Mary's is over 500 years old, having been built on the site of a previous Norman Church. As the following description from Arthur Mee's Yorkshire North Riding indicates it is worth a visit:
Thirsk has nothing to compare with its splendid church of St Mary, which has probably no equal for its time in the North Riding. Set on the green bank of one of the willow-bordered streams, it is a magnificent tribute to those who built it in the first half of the 15th century. Nobly yet simply planned, it has a lofty clerestoried nave with aisles, a lower chancel built over a crypt, a west tower, and a two-storeyed porch. A lovely feature of the exterior is the openwork parapet of traceried battlements edging all the walls, as well as the tower and the porch, as with delicate embroidery. There are slender and leafy pinnacles, weird gargoyles, and a glorious array of windows which make the interior a veritable lantern of light.
The tower has unusual buttresses, stepped and sloping, and a niche with a battered sculpture, probably a Madonna. The porch has an oak roof with bosses, but we still see the springers which were meant to support a vault. The richly moulded inner doorway has its worn 15th century door, still magnificent with its studs, tracery, and wicket. It is an introduction to much beautiful old woodwork within. The finest of the 500-year-old roofs is that of the nave, a barrel of open timbering with rich beams and bosses, and spandrels with tracery. In the carving of the one or two bench-ends that remain we see the asses of Askwith and the lion of Mowbray. There are 15th century screens in the aisles, a medieval door in the chancel, an old chest, and an exceptionally fine altar table said to have come from Byland Abbey; it has a border enriched with heads of men and women, and is supported by seated lions. Some old wood is worked into the pinnacled cover of the font.
Beautiful arcades soar to the great clerestory, where, between the windows, are traces of 17th century paintings of saints. The chancel has a trefoiled niche at each side of the east window, and three handsome sedilia. An oil painting of Doubting Thomas is thought to be 16th century, and one of the bells is believed to have been ringing at Fountains Abbey 500 years ago. In the 15th century glass filling the east window of the south aisle with a rich medley of red, blue, and silver light are many little heads and many complete figures, among them Anna, Cleopas, St Leonard, St Giles kneeling, and angels with shields. On two of the shields are three asses and the lion to match those carved in wood. St Catherine and angels are recognisable in glass fragments in the other aisle. The window above Sir Robert Lister Bower's bronze portrait plaque has rich glass in his memory. He had a thrilling adventure in his army days, for as a young man he was in the regiment which went up the Nile to try to relieve Gordon at Khartoum; in his window are nurses, an African native, and a knight riding a horse in splendid trappings, hounds following.”
In November 2016, the church was covered with handmade poppies as part of the Remembrance Day celebrations in Thirsk. The Thirsk Yarnbombers created a more than 40,000 knitted or crocheted poppies to decorate the town, with the main display consisting of a "river" of poppies flowing from the top of St Mary's Church, down the side and then across the wall of the church's cemetery.
... IMAGINE TO BE HERE
ENJOING THIS MAGIC MOMENT LOOKING AT THE MAGIC OF GOTHIC ARCHITECTURE....
Milan Cathedral
is the cathedral church of Milan, Italy. Dedicated to St Mary of the Nativity (Santa Maria Nascente), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola. The Gothic cathedral took nearly six centuries to complete. It is the largest church in Italy (the larger St. Peter's Basilica is in the State of Vatican City) and the fifth largest in the world.
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies what was the most central site in Roman Mediolanum, that of the public basilica facing the forum. The first cathedral, the "new basilica" (basilica nova) dedicated to St Thecla, was completed by 355. It seems to share, on a slightly smaller scale, the plan of the contemporaneous church recently rediscovered beneath Tower Hill in London. An adjoining basilica was erected in 836. The old octagonal baptistery, the Battistero Paleocristiano, dates to 335 and still can be visited under the Milan Cathedral. When a fire damaged the cathedral and basilica in 1075, they were rebuilt as the Duomo.
Construction begins
In 1386, Archbishop Antonio da Saluzzo began construction of the cathedral. Start of the construction coincided with the ascension to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes, who had suffered under his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of St. Stephen at the Spring, while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Orsenigo initially planned to build the cathedral from brick in Lombard Gothic style.
Visconti had ambitions to follow the newest trends in European architecture. In 1389, a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its Rayonnant Gothic, a French style not typical for Italy. He decided that the brick structure should be panelled with marble. Galeazzo gave the Fabbrica del Duomo exclusive use of the marble from the Candoglia quarry and exempted it from taxes. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, for lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
Giovanni Antonio Amadeo on the "Amadeo's Little Spire".
In 1500 to 1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of 15 statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562, Marco d' Agrate's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
FORE MORE INFORMATIONS:
en.wikipedia.org/wiki/Milan_Cathedral
FOR THE PLACE:
wikimapia.org/#lang=it&lat=45.464119&lon=9.191753...
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Amar, Paul, (1919-2017), Algeria
A French Sephardic Jew and Roman Catholic, Paul Amar was born in Algiers, Algeria. At the age of 17 he went to Paris to learn the trade of hairdressing. In 1945, at the end of the Second World War during which he served as a soldier, he got married, became the father of two children and returned to Algiers to work as a taxi driver. But during the Algerian war, in 1962, he was repatriated to the French capital, where he again worked as a taxi driver. Twelve years later, aged 55, he discovered objects made from shells by chance in a souvenir shop.
Since then, he has embarked on the creation of an initial series of three-dimensional pictures using shells. He eats shellfish in all its forms in order to have sufficient stocks available. In a small room in his apartment used as a studio – he lives in a council flat in Paris – he grinds down and carves mussels, winkles and coral and decorates them with openwork. He subsequently assembles them with glue, then covers them with acrylic paint or nail varnish. Finally, he attaches them to lengths of wire arranged side by side in box-type frames. The pictures are presented in the form of high and low reliefs and are illuminated from within by light bulbs that the artist conceals in sea urchin shells. Ornamentation with vivid, pearly colours saturates the scenes and makes them verge on the sacred.
The art of the pectorals is particularly highly developed in the treasure of Psusennes I.
The centre of the jewel is dominated by an image of a scarab carved from lapis lazuli. Its extended wings are inlaid with polychrome semiprecious stones that have been incised in imitation of rows of beads. The beetle is dragging behind it a gold cartouche containing the birth name of the pharaoh, 'Pasebakhaenniut Meryamun', composed of inlaid hieroglyphs. A second cartouche attached in the same way and containing the sovereign's coronation name 'Aakheperre, elected by Amun', is being pushed by the scarab and is flanked by two gold cobras hanging from a winged solar disc above.
The feathered wings of the disc expended as if to protect the entire composition, have tips that appear to be folded forwards to leave room for the apotropaic figures of two royal cobras with sinuous bodies and crowned with solar discs which are fitted into the corners of the composition.
The goddesses Isis and Nephthys, identifiable by the symbols depicted above their heads, are represented kneeling either side of the winged scarab. Both goddesses are holding out their arms and touching the wings of the scarab in a gesture that guarantees protection and eternal life for the pharaoh, who is identified with Osiris. Above the raised arms of the goddesses are two brief inscriptions containing their short prayers in favour of Psusennes I.
The entire elaborate composition, full of symbolism, is set in a frame reproducing the stylized outline of a temple pylon. The rectangular border is decorated with a frieze of alternating squares and strips. At the bottom, fixed to the base by means of a mobile hinge, is a frieze consisting of a series of seventeen djed and tyt symbols, the emblems of Osiris and Isis, inlaid in coloured semiprecious stones and each surmounted by a solar disc.
Above the frame of the pectoral is an overhanging cavetto corniche, again decorated with vertical polychrome inlays. Three rings are soldered on the top of this cornice at each end. Two further rings are interlinked with these and are attached to either end of the double chain from which the pectoral was suspended. The chain was restored by the excavators who pieced together two strings of nineteen oval gold, red jasper, feldspar and lapis lazuli beads found scattered at the bottom of the coffin.
The reverse side of the pectoral is made of gold finely engraved to reproduce the decoration of the front.
Tanis, tomb of Psusennes I, burial chamber of Psusennes I
21 dynasty
JE 85796
Egyptian Museum of Cairo
View on top of the Milan's Chathedral
Milan Cathedral (Italian: Duomo di Milano) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world[ and the largest in the Italian state territory.
Architecture and art
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
Milan’s cathedral has recently developed a new lighting system, based on LED lights.
Gold openwork arm ring with battle between fantastic animals (lions and griffins?) in animal style. Gothic. Germanic, 5th Century AD - 6th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
Eastgate and Eastgate Clock in Chester, Cheshire, England, stand on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955. en.wikipedia.org/wiki/Eastgate_and_Eastgate_Clock
Both bracelets are part of a larger Late Roman Hoard. On the top, an openwork band framed by turned-in, solid borders, this bracelet bedecked with colored stones and glass suited the Late Roman taste for heavy gold bracelets. The bracelet was made in two pieces, which were then hinged and secured with a screw pin. The openwork on this bracelet is particularly fine and delicate. Large emeralds, blue glass, and now-missing pearls contrast with the gold background of the bracelet, foreshadowing the Early Byzantine interest in polychromy. The gems are held by settings more elaborate than often seen in this period, including some raised settings that allow the light to show through the stone.
Composition: gold, emeralds, sapphires, and glass.
On the bottom is a heavy gold band elaborated by colored stones and glass forms this massive gold bracelet. The bracelet was made in two pieces, which were then hinged and secured with a pin decorated with green glass. The edges of the gold band are folded outwards at a perpendicular angle, forming a ledge that served to protect the stones. Blue, green, and red glass; emeralds; and now-missing pearls were placed in pairs in simple gold settings around the bracelet. The contrasting colors anticipated the Early Byzantine interest in polychromy. The bracelet was unusually heavy and probably was not very comfortable to wear.
The shape of the bracelet is Roman, yet there is something distinctly non-Roman about it. It resembles jewelry made on the edges of the Roman Empire, which merged Roman and native tastes.
The assortment of personal jewelry in the hoard is believed to have been discovered together, and now part of the Getty collection. It must have belonged to a wealthy woman with ties to the imperial court, as suggested by a pendant displaying the bust of an empress and an ornate belt set with coins showing the heads of emperors. The latest coin in the belt, minted during the reign of Theodosius I (379-395 CE), provides an approximate date for the jewelry.
Composition: gold, glass, and emeralds.
Roman, about 379-395 CE.
Getty Villa Museum (top, 83.AM.227.2; bottom, 83.AM.227.1)
... IMAGINE TO BE HERE
ENJOING THIS MAGIC MOMENT LOOKING AT THE MAGIC OF GOTHIC ARCHITECTURE....
Milan Cathedral
is the cathedral church of Milan, Italy. Dedicated to St Mary of the Nativity (Santa Maria Nascente), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola. The Gothic cathedral took nearly six centuries to complete. It is the largest church in Italy (the larger St. Peter's Basilica is in the State of Vatican City) and the fifth largest in the world.
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies what was the most central site in Roman Mediolanum, that of the public basilica facing the forum. The first cathedral, the "new basilica" (basilica nova) dedicated to St Thecla, was completed by 355. It seems to share, on a slightly smaller scale, the plan of the contemporaneous church recently rediscovered beneath Tower Hill in London. An adjoining basilica was erected in 836. The old octagonal baptistery, the Battistero Paleocristiano, dates to 335 and still can be visited under the Milan Cathedral. When a fire damaged the cathedral and basilica in 1075, they were rebuilt as the Duomo.
Construction begins
In 1386, Archbishop Antonio da Saluzzo began construction of the cathedral. Start of the construction coincided with the ascension to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes, who had suffered under his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of St. Stephen at the Spring, while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Orsenigo initially planned to build the cathedral from brick in Lombard Gothic style.
Visconti had ambitions to follow the newest trends in European architecture. In 1389, a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its Rayonnant Gothic, a French style not typical for Italy. He decided that the brick structure should be panelled with marble. Galeazzo gave the Fabbrica del Duomo exclusive use of the marble from the Candoglia quarry and exempted it from taxes. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, for lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
Giovanni Antonio Amadeo on the "Amadeo's Little Spire".
In 1500 to 1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of 15 statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562, Marco d' Agrate's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
FORE MORE INFORMATIONS:
en.wikipedia.org/wiki/Milan_Cathedral
FOR THE PLACE:
wikimapia.org/#lang=it&lat=45.464119&lon=9.191753...
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Among the first Europeans to use the site now bounded by Bowen Bridge Road, O'Connell Terrace, Brookes Street and Gregory Terrace, was by the Acclimatisation Society of Queensland in 1863. The Society used the site to grow and propagate the plants and seeds sent from other parts of the colony and around the world. They built an office and boardroom, bush-house and glasshouse, and had an orchard and gardens for decorative plants. Various introduced animals were kept and grazed on the site. It seems the plantings were extensive and quickly developed - by 1871 the Society's garden was seen as a place of public institution and recreation. In 1887 the creek in the lower area, where the railway now runs, was damned to form a series of decorative ponds. The Society played an important role in the beginnings of commercial agriculture in Queensland, and introduced or trialed many crops including mango trees, ginger plants, sugar cane, olive trees and choco vines.
As Brisbane developed, the Society's grounds came under some pressure from other prospective users. In 1875, 23 acres of land was leased as an exhibition ground to the Queensland National Agricultural and Industrial Association. Brisbane's first Exhibition Building was opened at the junction of Gregory Terrace and Bowen Bridge Road on 22 August 1876. When the timber building was destroyed by fire in June 1888, a competition was immediately organised to design a more permanent Exhibition Building on the same site. The competition was held and prizes were awarded, however a new building did not immediately proceed. Financial difficulties and the possibility of importing a prefabricated building from England delayed the project until 1890. The passing of the National Association and Acclimatisation Society Act in 1890 legally allowed the National Association to become owners of the land they occupied and also empowered them to borrow money from the Government to erect its new building.
The original design competition had been won by the architect GHM Addison, who proposed a building estimated to cost around £20 000. Amendments to the original brief meant that in 1890 the new Exhibition Building was redesigned by Addison and a T-shaped building, accommodating an exhibition hall, concert hall and basement dining room was built.
The foundation stone was laid on 25 April 1891 and the entire building was expeditiously completed by August of the same year. The building was built of brick with a corrugated iron roof. The glazed bricks were locally manufactured by James Campbell, who also produced the terracotta elements. The roof framing and iron were imported from England. The Concert Hall occupied the shaft section of the T shaped building with the Exhibition Hall located at the top. On the northern side of the Exhibition Hall was a colonnaded verandah, with access to the hall through french doors. Half the area beneath the Exhibition Hall was a large open dining room with an adjacent kitchen. The basement was built of dark glazed bricks with the upper walls being red and cream bricks. Both the Exhibition Hall and the Concert Hall had projecting porte cocheres - the Concert Hall one decorated with terracotta tiles. An openwork terracotta parapet ran along the tops of the brick walls, punctuated by the caps of abutments that ran up the walls. The principal facades of the Exhibition and Concert Halls were each marked by a pair of towers.
Addison's original drawings show a brick boundary wall topped by metal railing, with densely planted shrubberies behind the wall. However this treatment of the grounds did not immediately proceed and the surroundings remained in a fairly undeveloped state until plans for the grounds were prepared in 1897 by Leslie G. Corrie, architect for the Queensland International Exhibition. These plans showed a formal layout of carriage drive, pathways, shrubbery, flower beds and a fountain. Bush houses abutting and extending from the northern side of the Exhibition Building framed and terminated the avenue approach from the exhibition grounds. The main entrance remained from Bowen Bridge Road with the carriage drive running in front of the Concert Hall porte cochere, around into the porte cochere of the Exhibition Hall then curving out to the gate on Gregory Terrace. Shrubberies existed along Bowen Bridge Road and Gregory Terrace between the fence and drives. A formal arrangement of grass-edged flower beds, with a fountain as the centrepiece of one, were laid out within the curve of the carriage drive.
Records indicate that the National Association continued to experience financial problems following the erection of the new building. In 1897 the responsibility of repaying the government loan, combined with the depressed economic conditions of the 1890s, caused the Association to go into liquidation and the government to take over ownership of the building.
In 1900 the Brisbane City Council, following the purchase of the Concert Hall's purpose built organ, leased the hall from the Government and organised a program of regular concerts and civic functions. At the same time, the Queensland Museum decided to move to and adapt the Exhibition Hall for a museum, after twenty years in a comparatively smaller purpose built building in William Street. Tenders for altering the Exhibition Hall into a museum were called in March 1899 and involved the construction of a gallery within the main hall, addition of a line of windows in the main northern wall to light the new gallery and modifications to the basement dining room to provide offices, preparation and storage spaces. The boundary wall and fence along Bowen Bridge Road and Gregory Terrace were completed soon after and the grounds around the building were developed as an ornamental strolling garden. From 1897 to 1929 John Jordan, Curator of the Museum Gardens, is thought to have played an important role in the design and development of the grounds. Photographs from the period show the gardens as well established, with a layout and planting character recognisable as very similar to that existing today.
In 1930, following the opening of its City Hall auditorium, the Brisbane City Council vacated the Concert Hall and the space was converted to an art gallery. Further alterations involving the enclosure of the Museum's porte cochere were also carried at this time. The space was occupied until 1974 when the collection was moved to a temporary location in the city while a purpose built gallery was completed on the South Bank precinct. The Queensland Museum then expanded into the space and remained in the building until 1987 when they also moved to the South Bank precinct.
Several outbuildings have been constructed in the Old Museum grounds, particularly during the 1960's. The main ones are:
- A bomb shelter, built of brick during World War 2
- A large steel shed, built 1968
- The conservation buildings, built of stud construction in the 1960s and 70s
- The spirit store, built of brick in the 1970s
- The education building, built of brick in the 1970s
- The demountable building, put up in the 1970s
Since the Queensland Museum moved out of the building, it has been the temporary home of the Queensland Youth Orchestra, the Restaurant and Caterers Association and various other short term activities. Only minor changes have been made to the building to accommodate these uses.
Source: Queensland Heritage Register.
Eastgate and Eastgate Clock in Chester, Cheshire, England, stand on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955
Una de las piezas más importantes del conjunto catedralicio es el sepulcro de Carlos III el Noble y Leonor de Trastámara. Este monumento funerario, está considerado como una obra maestra de la escultura funeraria de principios del siglo XV.
Situado en el centro del segundo tramo de la nave central, presenta forma de lecho sepulcral exento con unas dimensiones de 2,73 metros de largo, 2,12 de ancho y 1,08 de alto. Sobre él, se encuentran las figuras yacentes de los reyes bajo grandes doseles de fina tracería calada, todo ello en alabastro. Los frentes de la cama sepulcral, están cubiertos con 28 figuras de plorantes, cada uno bajo pequeños doseles y separados por columnillas y rematados por pináculos, que a su vez se encuentran sobre un pequeño zócalo. La cama está realizada en mármol oscuro y las figuras tanto de plorantes como de los reyes, así como las arquitecturas, en alabastro.
Los reyes están recostados sobre grandes cojines que aún mantienen parte de la policromía y dorados originales. Muestran una actitud serena, con los ojos abiertos, sus rasgos les representan en la plenitud de su vida, pero sin perder un ápice de realismo. El rey está representado como un hombre maduro, de gran nariz, pequeños labios, con un rostro bondadoso en el que no faltan las arrugas, y en el que vemos también los músculos como los del cuello. Las manos juntas sobre el pecho en posición orante, robustas y a la vez delicadas, en las que observamos un asombroso trabajo de las arrugas y las venas que las recorren, confiriéndoles un realismo nada común.
es.wikipedia.org/wiki/Catedral_de_Pamplona_(Espa%C3%B1a)
One of the most important pieces in the cathedral complex is the tomb of Charles III the Noble and Eleanor of Trastámara. This funerary monument is considered a masterpiece of funerary sculpture from the early 15th century.
Located in the centre of the second section of the central nave, it is in the form of a free-standing sepulchral bed measuring 2.73 metres long, 2.12 metres wide and 1.08 metres high. Above it are the recumbent figures of the kings under large canopies of fine openwork tracery, all in alabaster. The fronts of the sepulchral bed are covered with 28 figures of plorants, each one under small canopies and separated by small columns and topped by pinnacles, which in turn are on a small plinth. The bed is made of dark marble and the figures of both plorants and kings, as well as the architecture, are in alabaster.
The kings are reclining on large cushions that still retain some of the original polychromy and gilding. They show a serene attitude, their eyes open, their features depicting them in the prime of their lives, but without losing an ounce of realism. The king is depicted as a mature man, with a large nose, small lips, a kindly face with wrinkles and muscles such as those of the neck. His hands are clasped together on his chest in a prayerful position, robust yet delicate, and the wrinkles and veins that run through them give them an uncommon realism.
Translated with www.DeepL.com/Translator (free version)
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
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El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
La Ceja, Antioquia, Colombia.
Esta es la casa de unos amigos en La Ceja. La construyeron en el estilo colonial que vino de España, especialmente de Andalucía. Tiene todos los elementos característicos, como el patio interno de piedra, las chambranas en madera que rodean la casa; los calados en puertas y ventanas, el techo en teja de barro y un jardín precioso lleno de flores.
______________________________________
This is the house of some friends in La Ceja. They built it in the colonial style that came from Spain, especially Andalusia. It has all the characteristic elements, such as the internal stone patio, the wooden frames that surround the house; the openwork on doors and windows, the clay tile roof and a beautiful garden full of flowers.
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
... IMAGINE TO BE HERE
ENJOING THIS MAGIC MOMENT LOOKING AT THE MAGIC OF GOTHIC ARCHITECTURE....
Milan Cathedral
is the cathedral church of Milan, Italy. Dedicated to St Mary of the Nativity (Santa Maria Nascente), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola. The Gothic cathedral took nearly six centuries to complete. It is the largest church in Italy (the larger St. Peter's Basilica is in the State of Vatican City) and the fifth largest in the world.
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies what was the most central site in Roman Mediolanum, that of the public basilica facing the forum. The first cathedral, the "new basilica" (basilica nova) dedicated to St Thecla, was completed by 355. It seems to share, on a slightly smaller scale, the plan of the contemporaneous church recently rediscovered beneath Tower Hill in London. An adjoining basilica was erected in 836. The old octagonal baptistery, the Battistero Paleocristiano, dates to 335 and still can be visited under the Milan Cathedral. When a fire damaged the cathedral and basilica in 1075, they were rebuilt as the Duomo.
Construction begins
In 1386, Archbishop Antonio da Saluzzo began construction of the cathedral. Start of the construction coincided with the ascension to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes, who had suffered under his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of St. Stephen at the Spring, while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Orsenigo initially planned to build the cathedral from brick in Lombard Gothic style.
Visconti had ambitions to follow the newest trends in European architecture. In 1389, a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its Rayonnant Gothic, a French style not typical for Italy. He decided that the brick structure should be panelled with marble. Galeazzo gave the Fabbrica del Duomo exclusive use of the marble from the Candoglia quarry and exempted it from taxes. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, for lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
Giovanni Antonio Amadeo on the "Amadeo's Little Spire".
In 1500 to 1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of 15 statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562, Marco d' Agrate's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
FORE MORE INFORMATIONS:
en.wikipedia.org/wiki/Milan_Cathedral
FOR THE PLACE:
wikimapia.org/#lang=it&lat=45.464119&lon=9.191753...
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L'église Saint-Milliau à Ploumilliau.
Construite au 15ème siècle, cet important édifice de style Gothique est admirablement conservé.
Son clocher en granit à campanile ajouré est typique des clochers bretons.
Côtes d'Armor, Bretagne, france.
The Saint-Milliau church in Ploumilliau.
Built in the 15th century, this important Gothic building is admirably preserved.
Its granite bell tower with an openwork bell tower is typical of Breton steeples.
Official list entry
Heritage Category:Listed Building
Grade:I
List Entry Number:1269316
Date first listed:18-Jan-1949
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
Location
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
District: Wiltshire (Unitary Authority)
Parish:Malmesbury
National Grid Reference:ST 93280 87320
Details
Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding
beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,
the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see
Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).
© Historic England 2022
Duomo di Milano, Piazza del Duomo, Milano.
| Getty Images |
Milan Cathedral is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente, it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world and the largest in the Italian state territory.
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
Milan’s cathedral has recently developed a new lighting system, based on LED lights.
Nave C11. Tower late C12 in origin. Chancel rebuilt in the C14. S aisle and S chapel early C16. Probably C16 N vestry. W porch of 1637. Church restored and the S arcade rebuilt in 1863 to designs by G E Street. Further restoration in the C20.
MATERIALS Flint and stone rubble. Some brick in the tower, which is rendered. Timber W porch. Tiled roofs and shingled spire.
PLAN Nave with S aisle. W tower with W porch. Chancel with N vestry and S chapel.
EXTERIOR A small, low church with a massive, squat W tower. The tower, which is rendered, is unbuttressed and undivided externally, and has an embattled parapet and a low broach spire. There are tiny, narrow lights in the lower part of the tower. The W porch is dated 1637 and has a pair of panelled outer doors. The porch walls have close set, heavy framing with an open colonnade of chunky, turned baluster shafts above, and there is an openwork pendant in the gable. The N and W walls of the nave are C11, possibly pre-Conquest, and retain early quoins; the buttresses are of 1863. The two N windows are C14, and are of two lights in two different patterns. The chancel is also C14, and has an excellent, and very large, E window of five lights, renewed c.1854, with Decorated tracery and a blocked N window similar to one in the nave. C16 NE vestry at right angles to the chancel with Tudor arched widows and an inserted N door. The S aisle and S chapel have C16 windows with cusped lights under depressed heads with hood moulds, and there is a C16 S door in the aisle, also with a depressed head and hood mould.
INTERIOR The three-bay S arcade, which replaces a timber arcade, of 1863 by G E Street, in a C13 style with round piers with moulded capitals and arches of two, chamfered orders. Street also rebuilt the arch to the S chapel and replaced the chancel arch, which is wide and has continuous chamfers. The entrance to the W tower is of door, rather than arch, proportions, and is closed by a door. Probably of the late C12, it is pointed and has two orders towards the nave. The NE vestry has an internal recess that has been identified as a wafer oven for baking communion wafers. The chancel is dominated by the very large monument to Charles Polhill, d.1755, and it also has an excellent C16 Easter Sepulchre tomb in the N wall.
PRINCIPAL FIXTURES The monuments are particularly notable. Excellent early C16 Easter Sepulchre-style tomb in the chancel N wall, with a damaged panelled tomb chest and above it a recess with panelled vaulting and a canopy with a brattished cornice. Also in the chancel a group of monuments to members of the Polhill family, including David Polhill, d.1754, by Cheere, a fine bust on a scrolly pedestal with an obelisk behind. Charles Polhill, d. 1755, very large monument, also by Cheere, with a full length standing figure in a toga leaning on an urn and below him, two reading female figures. Also Charles Polhill, d. 1805, by J Bacon, Jnr, a hanging monument with a portrait profile and a willow tree over an urn. Good collection of hatchments.
Polygonal font with good C17 font cover. Glass: two small C17 panels in the E window, including the arms of Lennard, and two S aisle windows by Hardman c.1868. Mid C19 nave benches, low with shaped ends and doors, probably c.1845.
HISTORY There was Bronze and Iron age settlement in Otford, and Roman remains have also been found. The Archbishops of Canterbury held Otford from as early as the late C9, and the archiepiscopal palace there was rebuilt by Archbishop Warnham in the early C16 in magnificent style, but it is unclear if this was in any way related to the rebuilding of the S aisle and chapel of the church at much the same time. Otford church was a chapel of nearby Shoreham, and the earliest fabric in the church is the C11 N wall. The tower was probably added in the late C12. The chancel was rebuilt in the C14 and the nave provided with new windows. The S aisle and S chapel are early C16, and were referred to as 'the newe ile' in a will of 1532. The Easter Sepulchre tomb in the chancel may be connected to the rebuilding work. The church is said to have been damaged by fire in the mid C17, and the timber arcade replaced by Street was apparently installed after the fire, presumably replacing a medieval arcade. The tower is unusually short, and photographs of it with some of the render removed show that the SW corner, at least, is brick, and it is possible that this is a C17 repair. The low door to the tower may also be a C17 reworking using older materials. There was some refurnishing and repair c.1845, when the E window was renewed; the nave seating is probably also of this date. The church was extensively restored in 1863 to designs by G E Street (1824-81), who was a leader of the Gothic Revival, including the replacement of the nave and chancel arcades and of the chancel arch. There were further repairs in the C20.
This bodice ornament is composed of a enameled gold openwork pendant set with Colombian emeralds and table-cut diamonds, forming a floral composition. The enameled flowers are mounted on springs and vibrate, catching the light.
From the Treasury of the Cathedral of the Virgin of the Pillar, Zaragoza. One of a group of jewels purchased by the Museum in 1870, when the Cathedral authorities sold off treasures presented to the shrine of the Virgin in order to complete their building program.
Made in Spain, ca. 1700-1715.
Height: 10.9cm (4.29 in.)
Width: 15.3cm (6.02 in.)
Depth: 3.3cm (1.3 in.)
V&A Museum, South Kensington, London (325-1870)
Seissingel 06/03/2021 16h37
The Seissingel with Villa De Sprenck as seen from the Seisbolkwerk.
Villa "De Sprenck" was built by order of esquire R.J. Boogaert after a design by the firm C.A. Goethals and Son. It was completed in 1904. The building style is considered part of the transitional architecture, a building style in which common eclectic style characteristics were supplanted by Art Nouveau influences. The openwork main entrance and loggias, the half-timbered infills and the blue-glazed roof tiles are iconic. The villa is named after a stream flowing behind the building. Nowadays this villa is a hotel; Hotel de Sprenck Middelburg.
Middelburg
Middelburg is a city and municipality in the south-western Netherlands serving as the capital of the province of Zeeland. Situated on the central peninsula of the Zeeland province, Midden-Zeeland (consisting of former islands Walcheren, Noord-Beveland and Zuid-Beveland). Middelburg is the starting point of the N57 and is located on the A58 and the Roosendaal - Vlissingen railway line. The city is bisected by the Canal through Walcheren.
In terms of technology, Middelburg played a role in the Scientific Revolution at the early modern period. The town was historically a center of lens crafting in the Golden Age of Dutch science and technology. The invention of the microscope and telescope is often credited to Middelburg spectacle-makers (including Zacharias Janssen and Hans Lippershey) in the late 16th century and early 17th century.
The city of Middelburg dates back possibly to the late 8th century or early 9th century. The first mention of Middelburg was as one of three fortified towns (borgs) erected on Walcheren (then an island) to guard against Viking raids. In 844 a monastery was built on the site, which remained an active Catholic foundation until the Reformation. Foundations for Middelburg's "stately and picturesque" main church were first laid in the 10th century; additional construction continued through the Middle Ages.
Aside from the town of Middelburg, the municipality also includes several population centres, including: Arnemuiden, Kleverskerke, Nieuw- en Sint Joosland and Sint Laurens. The town is close to the coast but the distance of 10-15 km means the winters are somewhat colder with especially lower winter minima and higher summer maxima.
Middelburg has a railway station with intercity train connections to Vlissingen, Goes, Roosendaal, Rotterdam, The Hague, Leiden, Haarlem, and Amsterdam. Two trains leave every hour in both directions.
Population: 42,055 (2021)
Area: 53,05 km²
Density: 1,003/km2