Toledo sobori - Toledo Cathedral
| Toledo sobori | |
|---|---|
| Toledo avliyo Maryam ibodatxonasi | |
| Toledo sobori | |
Ispaniya: Catedral Primada Santa María de Toledo | |
 | |
  Toledo sobori | |
| 39 ° 51′25,5 ″ N. 4 ° 01′26 ″ V / 39.857083 ° shimoliy 4.02389 ° VKoordinatalar: 39 ° 51′25,5 ″ N. 4 ° 01′26 ″ V / 39.857083 ° shimoliy 4.02389 ° V | |
| Manzil | Toledo |
| Mamlakat | Ispaniya |
| Denominatsiya | Rim-katolik cherkovi |
| Veb-sayt | www |
| Tarix | |
| Holat | ibodathona |
| Muqaddas | 587 |
| Arxitektura | |
| Funktsional holat | Faol |
| Me'mor (lar) | Usta Martin Petrus Petri |
| Arxitektura turi | cherkov |
| Uslub | Yuqori gotik |
| Poydevor qo'yish | 1227[1] |
| Bajarildi | 1493 |
| Texnik xususiyatlari | |
| Uzunlik | 120 metr (390 fut) |
| Kengligi | 59 metr (194 fut) |
| Nave kengligi | 18 metr (59 fut) |
| Balandligi | 44,5 metr (146 fut) |
| Ma'muriyat | |
| Arxiyepiskopiya | Toledo |
| Ruhoniylar | |
| Arxiepiskop | Braulio Rodriges Plazmasi |
| Dekan | D. Xuan Sanches Rodriges (Dekan ning Bob[2]) |
| Laity | |
| Organist (lar) | Feliks Gonsales-Mohíno Bartolomé |
The Toledo avliyo Maryam ibodatxonasi (Ispaniya: Catedral Primada Santa María de Toledo), aks holda Toledo sobori, a Rim katolik cherkov yilda Toledo, Ispaniya. Bu Metropolitanning o'rni Toledo arxiyepiskopiyasi.
Toledo sobori uchta XIII asrlardan biridir Yuqori gotik Ispaniyadagi soborlar va ba'zi rasmiylarning fikriga ko'ra, magnum opus deb hisoblanadi[1][3] Ispaniyada gotika uslubi. Hukmronligi ostida 1226 yilda boshlangan Ferdinand III va oxirgi gotika hissalari XV asrda 1493 yilda markaziy nefning tonozlari tugagan davrda qilingan. Katolik monarxlari. Bu keyin yaratilgan Bourges sobori garchi uning beshta yangi rejasi quruvchilarning avvalgi shaharning barcha muqaddas makonini qamrab olish niyatining natijasidir. masjid sobori bilan va sobiq sahn bilan monastir. Shuningdek, u ba'zi xususiyatlarini birlashtiradi Mudjar uslubida, asosan kloistrda, ko'p qavatli kamarlarning mavjudligi bilan triforium. Yorug'likning ajoyib qo'shilishi va uning tarkibiy yutuqlari ambulatoriya tonozlar uning yana bir ajoyib jihatlari. Toledo yaqinidagi Olihuelas karerlaridan oq ohaktosh bilan qurilgan.
U xalq sifatida tanilgan Toletanaga sho'ng'iydi (ma'nosi Boy Toledan lotin tilida).[4]
Tarix
Kelib chiqishi
Ko'p yillar davomida yozilmagan mashhur an'anaga ko'ra, hozirgi sobori bilan bir joyda joylashgan birinchi arxiyepiskop Eugene (Avliyo Toledo) davridagi cherkov mavjud edi. Ushbu cherkov 587 yilda, ba'zi o'zgarishlarga uchraganidan so'ng, ikkinchi marta muqaddas qilingan, bu cherkov nefining orqa qismidagi ustunda saqlanib qolgan XVI asrdagi yozuv bilan tasdiqlangan:
Rabbimiz nomi bilan Sankt-Maryam cherkovi katolik sifatida muqaddas qilingan, aprel oyining birinchi kuni, bizning eng shonli shohimiz Flavius Reccared hukmronligining quvonchli birinchi yilida, eramizning 625 yilida [587 yil 13 aprel] .
Shahar episkoplik markazi bo'lgan Visgotika Ispaniya. Ko'p sonli Toledo kengashlari uning muhim cherkov o'tmishini tasdiqlaydi. Shuningdek, bekor qilish Arianizm tomonidan Qayta ishlangan u erda sodir bo'ldi. The Musulmon bosqinchilik nasroniylarning mavjudligini darhol yo'q qilmadi va episkopiya Alfizen shahridagi Avliyo Maryam cherkovida tashkil topdi.
Visgotika cherkovi vayron qilingan va asosiy masjid uning o'rniga Toledo shahrining qad rostlagan. Ba'zi tergovchilar ta'kidlashlaricha, masjidning ibodat zali hozirgi soborning beshta navbati bilan mos keladi; The sahn hozirgi cherkovning bir qismi va Avliyo Pyotr va cherkov cherkoviga to'g'ri keladi minora qo'ng'iroq minorasi bilan. Ba'zi narsalardan foydalanish arxeologik ma'lumotlarga ko'ra, Sent-Lyusi ibodatxonasi ichiga o'rnatilgan islomiy ustunni aniqlash mumkin; xorning tashqi ko'rinishini bezatuvchi marmar vallar qadimgi musulmonlar qurilishining takomillashuvi bo'lib, bosh cherkov va ambulatoriyaning triforiumidagi xalifalik uslubining o'zaro bog'langan kamarlari musulmonlarning qurilish an'analariga to'g'ri keladi. Kordova.
Alfonso VI sobori
Toledo shahri tomonidan qayta tiklandi Leon va Kastiliya qiroli Alfonso VI, 1085 yilda. Musulmonlar kapitulyatsiyasining shaharni qon to'kilmasdan ko'chirishga imkon bergan nuqtalaridan biri bu qirolning o'zlarining oliy o'quv yurtlarini saqlab qolish va ularga hurmat ko'rsatishga va shuningdek, musulmon aholining urf-odatlari va dinlarini birga yashashga va'da berishidir. kattaroq bilan Mozarabik aholi. Tabiiyki, bu murosaga asosiy masjidning saqlanishi ajralmas edi. Ko'p o'tmay, shoh davlat ishlarida ketishga majbur bo'lib, shaharni xotiniga topshirdi Konstans va monastiri abbatidir Sahagun, Toledoning arxiyepiskopi darajasiga ko'tarilgan Sedirak Bernard (yoki Kluni Bernard). Bu ikkalasi, o'zaro kelishgan holda va qirolning yo'qligidan foydalanib, noxush xatti-harakatni amalga oshirdilar. ruhoniy Mariana uning ichida Ispaniyaning umumiy tarixi, deyarli musulmonlar qo'zg'olonini qo'zg'atdi va natijada yaqinda bosib olingan shaharni vayron qildi.
1087 yil 25 oktyabrda arxiyepiskop malika Konstans bilan hamkorlikda masjidni zo'rlik bilan tortib olish uchun qurolli kontingent yubordi. Ular xristianlarning "Muhammad qonunining iflosligini yo'q qilish" odati bo'yicha vaqtinchalik qurbongoh o'rnatdilar va minoraga qo'ng'iroqni osdilar.[5] Ruhoniy Mariana yozishicha, qirol Alfonso VI bu voqealardan shunchalik g'azablanganki, na arxiyepiskop va na malika unga barcha faol ishtirokchilarni qatl qilishga buyruq berishga to'sqinlik qila olmagan. Afsonada aytilishicha, mahalliy musulmon aholisi tinchlikni tiklashga bosh muzokarachi bilan yordam bergan. faqih Abu Valid shohdan rahm-shafqat so'rab, hamkasblaridan nasroniylarning zo'ravonligini qonuniy deb qabul qilishni iltimos qildi. Ushbu imo-ishora uchun minnatdorchilik sifatida Katedral bob Validga hurmat bajo keltirdi va shu tariqa uning xotirasini abadiylashtirish uchun uning asosiy cherkovidagi ustunlardan biriga ustun qo'yilishini buyurdi.[6] Shunday qilib Toledan masjidining konvertatsiyasi qo'llab-quvvatlandi va u xristian sobori sifatida muqaddas bo'lib qoldi.
Sobiq masjidning qurilish rejalari saqlanib qolmagan va tashqi ko'rinishi ma'lum emas, lekin boshqa Ispaniya shaharlaridagi masjidlarning saqlanib qolgan qoldiqlarini hisobga olgan holda (yilda Sevilya, Xaen, Granada, Malaga va shu jumladan Kordova masjidi ), bu ustunli bino, taqa bilan qilingan deb taxmin qilish mumkin arkadalar ustunlar ustiga avvalgi Rim va Visgotika qurilishlarini qayta ko'rib chiqishda. Ehtimol, u ilgari masjid bo'lgan Toledo Najotkor cherkoviga o'xshab paydo bo'lgan.
Qirol Alfonso VI yangi cherkovga muhim xayr-ehsonlar qildi. 1086 yil 18-dekabrda sobor advokatlik ostiga qo'yildi Mariya Unga villalar, qishloqlar, tegirmonlar va shaharning qolgan barcha cherkovlarining daromadlarining uchdan bir qismi berildi. Birinchi shohlik sharafi - bu ibodatdir Lotin, boshlanishi:
Ego Disponente Deo Adefonsus, Esperie imperator, condeco sedi metropolitane, sicilicet, Sancte Marie urbis Toletane sharafli integratsiyaga munosib pontificalem sedem sekundum queter preteritis fuit muqaddas patribus ...
Inglizchada:
Xudo ko'rsatgan butun Ispaniya imperatori Alfonso, men episkoplar bilan yig'ildim, ya'ni bu o'nlik uchun men Toledo shahrining avliyo Maryamning sharafini saqlab qolaman, deb iltimos qilgan. Muqaddas otalar ...
Papa Urban II bu cherkovni 1088 yilda shohlikning qolgan qismidagi primat sobori sifatida tan oldi. Masjid-sobor 13-asrgacha, ya'ni 1222 yilgacha saqlanib qolgan Papa buqasi tomonidan chiqarilgan Papa 1224 yilda (yoki 1225 yilda) boshlangan yangi sobori qurishga ruxsat berdi. Dafn marosimining rasmiy marosimi poydevor toshi Qirol ishtirokida 1226 yilda (boshqa manbalarda 1227 yilda aytilgan) sodir bo'lgan Avliyo Ferdinand. 13-asr davomida sobori daromad solig'i avvalgi qo'shilish orqali oshirildi Alkala de Henares 1129 yilda uning arxiepiskopal hududlariga.
Arxiyepiskop Ximenes de Radaning sobori
Hozir ko'rilgan soborning tartibi XIII asrda o'rnatilgan edi Rodrigo Ximenes de Rada Toledo arxiyepiskopi va Kastiliya yosh Ferdinand III davrida. Ishning boshlanishi shoh rasmiy marosim toshlarini qo'yishda qatnashguncha kechiktirildi (1227). Ximenes de Rada 1209 yilda Toledo yepiskopi etib saylandi va bundan keyin u ustunlik Papa hokimiyati oldida Toledan qarorgohi. U o'zi boshqargan shaharga munosib ulkan sobor qurishni maqsad qilgan. U ofisga kelganida, masjid-soborda juda ko'p joy bor edi, ammo past tomi bilan ichki shovqinli bo'ldi. Sobor qarigan edi; ba'zi bo'limlar uning salafi tomonidan buzib tashlangan edi va bu tuzilishga o'xshash ahamiyatga ega bo'lgan boshqa diniy binolarning ingichka va balandligi yo'q edi. Ximenes de Rada zamonaviy tarzda quriladigan yangi soborning g'ayratli targ'ibotchisiga aylandi Gotik uslub. U loyihaga shunchalik g'ayratli edi va shu qadar o'zini jalb qildiki, keyinchalik soborning dizayner-me'mori ekanligi haqida yolg'on mish-mishlar tarqaldi. Arxiyepiskop bir necha yil orzusi amalga oshishiga umid qilib eski inshootni saqlash va mustahkamlash bilan shug‘ullangan.
Bino
Binoning tuzilishiga XIII asrdagi frantsuz gotika uslubi katta ta'sir ko'rsatadi, ammo ispan didiga moslashgan. Uzunligi 120 metr (390 fut) uzunlik 59 metr (194 fut) kenglik va 44,5 metr (146 fut) balandlikda. U beshta nefdan iborat transept va ikki kishilik ambulatoriya. Tashqi neflar qolgan ikkitasidan bir oz kengroq bo'lishida g'alati anomaliyani keltirib chiqaradi. Binoning eng qadimgi qismi - me'morchiligida asl nusxasini saqlagan ma'bad triforiya neflar uzunligi bo'ylab cho'zilib ketgan va sobordagi ko'plab o'zgarishlarning birida olib tashlangan. Hali ham Gotik davrda ushbu triforiya katta vitrajlar bilan almashtirildi. Qo'riqxonada omon qolgan triforiya Mudjar ta'sir. Eng pastki qism, bog'langan ustunlar ustiga yotqizilgan va yuqori qismda joylashgan burchakli kamarlardan qilingan oraliq kamarlar Mudéjarga xos. Ushbu Mudjar mavzularining avvalgi masjidda bo'lganligi va eslatma sifatida ko'chirilganligi yoki toshbo'ron qilish ishlarining birida o'ziga xos va mazali narsa sifatida qo'shilganligi ma'lum emas.
Qo'riqxonada bir kishi ikkita ambulatoriyani uchratadi, bu esa beshta nefning er rejasiga mos keladigan ikki baravar. Ushbu ikki qavatli ambulatoriya mutanosib bo'lib, me'moriy elementlar va o'ziga xos tonoz bilan boyitilgan. Kepellarning yangi bo'limlari to'rtburchaklar va uchburchaklarning muqobil rejalari bilan hal qilindi, bu har bir ibodatxonaning o'lchamlari boshqacha bo'lishiga imkon berdi, to'rtburchaklar rejalari kattaroq va uchburchaklar rejalari kichikroq edi. Ushbu ma'badni taqsimlash uslubini Frantsiya sobori cherkovlarida ko'rish mumkin Parij, Burjlar va Le-Man, oxirgi sobor tashqi ko'rinishiga eng o'xshash, garchi uchalasi Ispaniya soboriga qaraganda ingichka. Vaqt o'tishi bilan amalga oshirilgan turli islohotlar ba'zi cherkovlarning tartibini o'zgartirdi; Masalan, bitta holatda bitta uchta cherkov avvalgi uchta makonda rekonstruksiya qilingan.
The tonozlar neflar to'rt tomonlama kuchaytirilgan transept va kanseldan tashqari tierkerons.
Usta quruvchilar va ularning homiylari
Asrlar davomida Toledo soborining birinchi usta me'mori ekanligiga to'liq ishongan Petrus Petri (Ispaniya: Pedro Peres). Bunday aniqlik mualliflik haqidagi mavjud bo'lgan yagona guvohlikka, qabr toshida hanuzgacha ko'rinib turgan lotin tilida yozilgan afsonaga asoslangan edi:
Ingliz tiliga tarjimasi: Petrus Petri, 1291 yilda vafot etgan, Toledo shahridagi Avliyo Maryam cherkovining ustasi, uning shuhratini uning yaxshi namunalari va urf-odatlari targ'ib qilgan, bu ma'badni qurgan va shu erda dam olgan, u qanday hayratlanarli bino qurganligi uchun u qilolmaydi Xudoning g'azabini his eting.
20-asrning o'rtalariga kelib, episkop Syudad Real ushbu da'voni sinchkovlik bilan o'rganib chiqdi va Petrus Petridan oldin, Martin Gomesga uylangan va Ximenes de Rada tomonidan chaqirilgan, frantsuz millatiga mansub usta Martin deb nomlangan birinchi usta borligini ko'rsatadigan bir qator hujjatlarni keltirdi. Hujjatlardan biri 1227 yilga tegishli va "Toledo avliyo Maryam asarining ustasi Martin" deb nomlangan. Boshqa bir hujjatda sobor tomonidan 1234 yilda yig'ilgan daromadlar ro'yxati keltirilgan va "asar ustasi Martin" ning ismi yana qayd etilgan bo'lib, unda u sobor bilan bog'liq bo'lgan uyning ijarachisi bo'lganligi ham yozilgan. Keyingi yozuvlarda Martin ismlari paydo bo'ldi (tosh ustasi ) va Xuan Martin (tosh ustalari), ular bir-birlarining qarindoshlari deb ishonishadi. Hech qanday yangi hujjatlar paydo bo'lmadi, shuning uchun hozirgi kunda ushbu usta Martin birinchi me'mor sifatida akkreditatsiyadan o'tgan. Ushbu dalilga qo'shimcha qilish kerakki, qurilish boshlangan sana Petrus Petrining yoshi bilan bog'liq emas, u o'sha yillarda me'mor bo'lish uchun juda yosh bo'lgan bo'lishi kerak.[7]
Ushbu kashfiyotdan so'ng o'tkazilgan tadqiqotlar shuni ko'rsatadiki, usta Martin ambulatoriya cherkovlari dizayneri bo'lib, u o'limidan yoki yo'qligi bilan ketgandan keyin usta Petrus ambulatoriyalarni tugatgan va Toledondagi triforiyani qurgan usta Petrus tomonidan nazorat qilingan. uslubi. 20-asrning oxirlarida, janubiy tomonning ma'badi va ikkita qismi qurib bitkazildi.
XIV asrning oxirlarida usta Rodrigo Alfonso mavjud bo'lganligi ko'rinib turibdi; u ruhoniyning birinchi toshini 1389 yilda, o'n yildan keyin vafot etgan arxiyepiskop Pedro Tenorio homiyligida qo'ydi. Arxiepiskop o'zini cherkov ibodatxonasi singari ko'pgina asarlar bilan band qildi Sent-Blez maktabidan freskalarining badiiy boyligi bilan mashhur bo'lgan kloisterda Siena.
Ma'lumotlar mavjud bo'lgan keyingi usta Olvar del Rey chegarasidagi Olihuelas ohaktosh karerlarining miqdori bo'yicha tadqiqotchisi bo'lgan Alvar Martines (ba'zi manbalarda Gonsales) edi. U 1418 yilda qurilishi boshlangan g'arbiy fasadning dizayneridir. 1787 yilda qilingan o'zgarishlar bu fasadning asl ko'rinishini yashiradi. U, shuningdek, birinchi bo'limda joylashgan frizda gerbda ko'rinadigan arxiepiskop Xuan Martines de Contrerasning idorasi davrida qurilgan soborning yagona minorasining dizayneridir. Minora tojini yana bir buyuk usta haykaltarosh, Fleming Xankuin de Bruselas amalga oshirdi, u keyingi arxiyepiskop Xuan de Cerezuelaning gerbini shakllantirdi. Xanequin bilan bir qator taniqli ustalar keldi: Egas Kueman (de Bruselasning ukasi)[iqtibos kerak ], Enrike Egas va Xuan Guas; ular fasadlarda, cherkovlarda va dabdabali ishlarda ishladilar, gotik ibodatida qilingan ishlarni o'zlarining mehnati bilan yakunladilar. 1493 yilda Xuan Guas va Enrike Egas rahbarligi ostida markaziy nef etagidagi xazinalar homiylik va nazorat ostida yopilgan. Kardinal Mendoza.
XVI asrning buyuk homiylari: asarlar va rassomlar
XVI, XVII va XVIII asrlar davomida soborga yangi uslublar bo'yicha turli xil o'zgartirishlar kiritildi: me'morchilik ishlari, shu jumladan muhtasham portallar va cherkovlar, haykaltaroshlik va naqqoshlikning ajoyib ishlari. XVI asr Toledoning oltin davri bo'lib, keyinchalik "asr" deb nomlandi Imperial Siti. Ushbu asr davomida eng yaxshi ma'lumotli va eng faol homiylar yashagan. Bu podshohlar yo'qligida shaharga tashrif buyurgan va uning ulug'vorligini yanada oshirgan arxiyepiskop-gubernatorlar edi. 1493 yilda, 15-asr oxirida, Kardinal Mendoza soborning so'nggi qabrining yopilishini nazorat qildi va o'z xohish-irodasi bilan prezervitariyada ko'milishini xohladi. XVI asrning birinchi o'n yilligida, senotaf qurilgan Uyg'onish davri uslubi. Ushbu ish Domeniko Fancelli boshchiligida ishlaydigan jamoaga tegishli,[8] garchi ba'zi rasmiylar buni Andrea Sansovino bilan bog'lashadi.[9][10]
Kardinal Sisneros yigirma ikki yil davomida kardinalat idorasini egallab oldi; uning ta'siri va homiyligi ostida Xuan Frensisning mohir ustalari tomonidan amalga oshirilgan muhim ishlar (ehtimol, eng muhimi Mozarabiya cherkovi bo'lgan) (reja, yoki temirning ekrani Mozarabik cherkov), Enrike Egas, Xuan de Borgoya (Mozarabiya cherkovining rasmlari) va uning grossmeyster Pedro de Gumiel. Cisneros shuningdek, ajoyib magistralga buyurtma berdi qurbongoh qurilishi kerak (Diego Kopin de Xolandaning asari) va kanonik jamoat uchun yuqori kloster, shuningdek kutubxona. Uning orqasidan ergashdi Gilyermo de Kroy, Ispaniya xazinasi boshlig'i (kontador meri), hech qachon Toledoda yashamagan. Alfonso de Fonseca y Acevedo (arxiyepiskop bo'lgan Santyago de Kompostela ) me'mor Alonso de Kovarrubias tomonidan rejalashtirilgan Yangi Kings cherkovining targ'ibotchisi edi. Tomonidan rasmlar Mariano Salvador Maella 18-asrda qo'shilgan.
Episkop Xuan Taveraning ko'tarilishi bilan Toledan Uyg'onish davri o'zining ulug'vorligiga erishdi. Uning boshqaruvi ostida xor Alonso Berruguete va Felipe Vigarny, transeptning ichki jabhalari, Seynt Jon yoki Xazina cherkovi va boshqa jabhalar va bezaklar qurilgan. Arxiyepiskop Xuan Martines Siliseo lavozimida ishlagan davrda sobor asosiy cherkovning ekrani - Frantsisko de Villalpandoning asari bilan bezatilgan.
Kardinal Gaspar de Quiroga Chodir cherkovi, Reliquary va xazinachining hovlisi va uyining me'moriy majmuasi uchun mas'ul bo'lgan. Renderlar va rejalar grossmeyster tomonidan chizilgan Nicolás de Vergara el Mozo. Ushbu majmuani qurish uchun Qirol kasalxonasi buzilib, avvalgi joyida qayta qurilgan; bu ishlar 17-asrda kardinal Bernardo de Sandoval y Rojas va me'mor Nikolas de Vergara nazorati ostida amalga oshirildi.
Tashqi
Asosiy fasad va ajoyib portallar
The asosiy fasad shahar zali va arxiyepiskop saroyini o'z ichiga olgan tartibsiz maydonga qaragan. Chap tomonda qo'ng'iroq minorasi va o'ng tomonda proektsiya mavjud Mozarabik ikkinchi minora qurilishi kerak bo'lgan joyni egallagan cherkov.
Asosiy fasadning chap tomonida soborning yagona minorasi ko'tarilgan. The gumbaz o'ng tomonda ko'ringan Kardinal Sisneros tomonidan buyurtma qilingan Mozarabiya cherkoviga tegishli. Minora ikki qismdan iborat: pastki qismi to'rtburchaklar kesimli, Alvar Martines tomonidan ishlangan; yuqori, sakkiz qirrali qismi Xanequin de Bruselas tomonidan ishlab chiqilgan. Ustiga shpil qo'yilgan.
Asosiy jabhada uchta portal mavjud, ular mos ravishda Puerta del Perdon (Kechirim portali, markazda), Puerta del Juicio finali (Oxirgi hukm portali, o'ng tomonda) va Puerta del Infierno (Portali Jahannam, Chapga). The Kechirim portali XV asrga tegishli - 1418 yilda Alvar Matinez boshchiligida boshlangan. Bu shunday deb atalgan, chunki u orqali kirib kelgan tavba qilganlarga indulgentsiyalar berilgan. Bugungi kunda u har doim yopiq va faqat maxsus holatlarda va primatlar sobori yangi arxiyepiskoplari sarmoyalashda foydalaniladi. Oltita gotikali bitta ajoyib kamarga ega arxivolts. Bezatish odatdagi Gotik ikonografiyadan iborat bo'lib, unda Najotkorning qiyofasi ko'rsatilgan mullion va an havoriylar ichida murabbo. In timpanum, Bokira beradi chasuble ga Avliyo Ildephonsus, cherkovlar va rasmlarda interyerda takrorlanadigan sobor uchun alohida mavzu. Eshiklarning barglari balandligi besh metrdan oshiqroq bo'lib, ular XIV asrga tegishli bo'lgan naqshinkor bronza plitalar bilan qoplangan. The Portali Oxirgi hukm uchtasining eng qadimiyidir va nomidan ko'rinib turibdiki, Oxirgi hukmni anglatadi.
The Jahannam portali, aksincha, majoziy naqshlarni o'z ichiga olmaydi, faqat gullar bilan bezatilgan. Shuningdek, u Minora portali yoki ilgari kaftlarning yurishi uchun kirish joyi sifatida saqlangan Palmalar Palm Sunday.
Fasad 1787 yilda me'mor Eugene Durango tomonidan Kardinal Lorenzananing buyrug'i bilan o'zgartirilgan. Haykaltarosh Mariano Salvatierra edi. Ish toshning yomonlashishi sababli kerak edi, bu sifatli emas edi. Ehtimol, portallarni hozirgi holati o'rniga tayanchlar orasidan oldinga siljitish kerak edi, ammo bu aniq ma'lum emas.
Soat portali
The Soat portali 14-asrda boshlangan va shimoliy tomonning jabhasida joylashgan portallarning eng qadimiyidir. Bundan tashqari, u quyidagicha tanilgan:
- Yarmarka portali, chunki u yarmarka nishonlanadigan ko'chaga ochildi.
- Chapinería portali (poyabzal ishlab chiqaradigan do'kon), chunki u shu nom bilan ataladigan ko'chaning old tomoni, qaerdaligi tiqilib qoladi qilingan va sotilgan.
- Ollas portali, chunki uning bezaklarida ba'zi ollas ko'rish mumkin.
- Monarxlar portaliga ishora qilib ikonografiya uning haykali.
- Adashgan bola portali, shuningdek, ikonografiya tufayli.
The timpanum to'rtta gorizontal panelga bo'lingan bo'lib, unda Masihning hayotidagi sahnalar mavjud: Xabarnoma, Tug'ilish, Magilarga sig'inish, Aybsizlarning qirg'ini, Misrga parvoz, Isoning sunnati, Ma'badda topish, Ma'badda Isoning taqdimoti, Suvga cho'mish va Kanada nikoh. Timpanumning yuqori qismida Bokira qizning o'limi tasvirlangan. Ustun-mullion Bokira va Bola tasviri bilan bezatilgan. Jambalarda shohlar va avliyolarning tasvirlari mavjud bo'lib, ularning barchasi sherlar portalida ishlagan haykaltarosh Xuan Alemanning ishidir.
Ushbu portalning tepasida Gregorio Lopes Durangoning keyingi haykaltaroshligi joylashgan bo'lib, uning ishi asosiy fasadda ham ko'rinadi. Bu toshning holati yomonlashganligi sababli konsolidatsiya ishlari. Portal ustidagi markaziy interkolumnatsiyani soat nomlari egallab, unga o'z nomini beradi. Portal va uning atrofidagi toshlar Gothic ekrani bilan yopilgan kirish joyi bilan jozibali joyni tashkil qiladi; Bu Xuan Frensisning ishi, juda oddiy krosspichlar, markazda ajratilgan kichkina, o'yilgan friz va sodda va uyg'un dizayni.
Ichki ishlar
Ichkarida turli xil medallar bor; eng yaxshisi - Nikolas de Vergara el Mozo tomonidan e'lon qilingan bokira qiz va Xuan Bautista Vaskesning bosh farishtasi Avliyo Gabriel. Shuningdek, u rasm va gerblar bilan bezatilgan. Yuqorida soborning eng qadimgi vitraylari joylashgan 13-asrning atirgul oynasi joylashgan.
Sherlar portali
The Sherlar portali 15 va 16 asrlarda qurilgan. Bu buyuk portallarning eng zamonaviyidir. Kichkina kirish joyini o'rab turgan darvoza ustunlaridan ustun turgan sherlar tufayli shunday nomlangan. Bundan tashqari, uning yana ikkita nomi bor:
- Yangi portal, oxirgi qurilgani uchun.
- Quvonch portali, nishonlanishiga ishora bilan Bokira qizni taxmin qilish u arxiv devorlari yuzida, arxivoltsda tasvirlangan.
Arxiyepiskop Alfonso Karrillo de Acunya vakolatiga binoan 1460 va 1466 yillar oralig'ida qurilgan. Bryusseldan Xanequin Anequín de Egas Cueman nomi bilan ham tanilgan,[11] va Enrike de Egas Kueman, uning o'g'li,[12] Flaman haykaltaroshlari Pedro va Xuan Guas va Xuan Aleman bilan hamkorlikda, Apostolat dizayneri. Ushbu rassomlar nufuzli tosh ustalari va o'ymakorlarini o'z ichiga olgan katta ustaxonani boshqarganlar.
Ushbu portalning haykalchasi XV asrning eng yaxshi Hispano-Flamand yig'ilishlaridan biri, avvalambor ustunli mullion Bokira va jamblar haykallari. The karublar va Maryamning osmonga ko'tarilishini kuzatib boruvchi musiqiy farishtalar - bu juda noziklik bilan ijro etilgan san'at asarlari. Fasad Durango va Salvatierra tomonidan, boshqa portallardagi kabi, bino ko'rinishini yaxshilash uchun o'zgartirilgan. Eshiklarning bronza barglari - bu 35 ta panel yoki plastinada ustalik bilan ijod qilgan Fransisko de Villalpandoning ishi. Ular ko'zdan yashiringan, yog'och panellar bilan himoyalangan. Yuqorida ajoyib Atirgul oynasi polixromatik vitraylar.
Portalning ichki qismi uning janubiy tomonidagi transeptning ajoyib jabhasiga to'g'ri keladi, uning tepasida imperatorning a'zosi joylashgan tribunaga mos keladigan balustradli kichik balkon joylashgan. Aloqa oynasi balandroq, uning ramkasi bilan o'ralgan iloji bor rozet bilan bezatilgan.
Katta fasadning pastki qismida portal ustun bilan bo'lingan -mullion. Eshiklar ustida Bokira bobomizning nasabnomasi mavzulari bilan ishlangan timpanum joylashgan bo'lib, uning dizaynerlari ushbu portalning tashqi qismida ishlagan. Timpanumning tepasida plateresk markazda Bokira tojining buyuk medalyoni, Gregorio Pardoning (Felipe Vigarnining to'ng'ich o'g'li) ishi. Ikkala tomonda ham haykallar joylashgan Dovud va Sulaymon, Esteban Jametega tegishli.
Ushbu old tomondan o'ng va chap tomonda ikkita qabr bor. O'ng tarafdagi kishi bo'sh (u birodarning qoldiqlarini olishga tayyor bo'lgan deb ishoniladi) Bartolome Karranza ); chap tomonda ibodat qiladigan haykalda tasvirlangan Canon Alfonso de Rojas qoldiqlari mavjud.
Bronza reja (metallga ishlov berish ekrani) asosiy cherkov va xorning buyuk ekranlaridan bir asr o'tgach, avvalgi asrning bezaklari ta'midan ko'ra mustahkamlik va foydaliligini qadrlaydigan bulardan butunlay boshqacha uslubda qilingan. Uning dizaynerlari Xuan Alvares de Molina bo'lgan Úbeda (Xaen 1647 yilda Toledo shahrida ekran yaratgan. Bu borada saqlanib qolgan hujjatlarda usta metal ustasi ilgari unga berilgan 27000 realdan tashqari 8504 ta real va 12 ta maravitni olganligi aytilgan. Hujjatda ishlagan metalning narxi, bu ish uchun olgan umumiy to'lovidan deyarli ko'p bo'lganligi ko'rsatilgan.
Soborning boshqa portallari va jabhalari
Darajali portal
The Darajali portal ning Neo-klassik uslubi, 1800 yilda qurilgan. Bu soborga zinapoyalarga teng, zinapoyasiz yagona kirish joyi, shuning uchun unga o'z nomini bering. Ushbu portal orqali kortejlardan chiqish odat tusiga kirgan.
Aziz Ketrinning jabhasi
The Aziz Ketrinning jabhasi so'nggi gotika uslubida. Uning arxivolts barglar va barglarning vegetativ naqshlari bilan o'yilgan. Mullionni yasaydigan ustun yon tomonlarida ajoyib tarzda, qal'alar va sherlar bilan o'yilgan. Uning ichki qismida u ikkita bo'limdan iborat. Yuqori qism kichik dosalli bir qator haykallar bilan bezatilgan.
Taqdimot portali
The Taqdimot portali Kardinal Tavera davridan; u juda sifatli, juda oq toshli miniatyuralar tasviri bilan juda o'yilgan.
Minora
Dastlab, g'arbiy fasadning har ikki tomonida ikkita nosimmetrik minoralar qurilishi kerak edi, ammo shimoliy burchakdagi minora ko'tarilganda, janubiy minora uchun rejalashtirilgan maydon ostidagi er osti suv oqimi tufayli beqaror ekanligi aniqlandi . Shunga qaramay, keyinchalik Mozarabiya ibodatxonasi qurilgan.
Minora asosan Alvar Martines tomonidan ishlab chiqilgan va qurilgan; Gothic, ba'zi dekorativ Mudjar ta'sirida va balandligi 92 m (301 fut) ga etadi. G'aznachilik cherkovi joylashgan to'rtburchak baland poydevorda to'rt daraja va kichik balandlikning beshdan bir qismi ko'tariladi. Birinchi va ikkinchi darajalar orasida oq marmar bilan ishlangan arxiepiskop Xuan Martines de Kontrerasning gerbi (uning vakolati 1422 yildan 1438 yilgacha bo'lgan) gorizontal ravishda ochiladi. Usta Martines 1422 yilda ishning ushbu qismini tugatgan, ammo cho'qqini va uning shpalini qurish uchun hech qanday rejalar yoki chizmalar qoldirmagan. Sakkiz qirrali korpusli minoraning ushbu yuqori darajasi me'mor Xanekin de Bruselas tomonidan ishlab chiqilgan bo'lib, u o'zining qurilishini bir qator mohir ustalar: Egas Kueman, Enrike Egas va Xuan Guas bilan bir qatorda tugatishga chaqirilgan. Uning cho'qqisi kaltaklangan arklar beshinchi darajadagi sakkiz qirrali bochkada yotadi va ustiga taqlid qilgan uchta tojni qo'llab-quvvatlaydigan shpil qo'yilgan. papa Tiara.
Ichki ishlar
Asosiy cherkov
Katedralning asosiy cherkovi o'zining me'morchiligidan boshlab juda ko'p san'at asarlarini birlashtiradi. Dastlabki holatida, korpus ikkita mustaqil tonoz bilan ikki qismga bo'lingan. Ko'p qirrali tonoz qadimgi monarxlar cherkoviga tegishli bo'lib, ular bir-biridan ajratilgan edi. Ushbu o'zboshimchalik bilan bo'linish bilan presbyteriya bunday katta sobor uchun juda tor edi. Kardinal Sisneros soborning bu qismi qayta tiklanishini xohlaganini ta'kidladi va Chapel bobining ba'zi qarshiliklariga qaramay, nihoyat eski cherkovni buzish va kengroq prezervativ bilan va buyuk gotika uchun etarli joy bilan qurish uchun rozilik oldi. qayta tiklanadigan u o'zi buyurgan.
Bundan tashqari, ibodatxonaning asl holatida, ulkan eshiklar singari toshning ikkita ajoyib pardasi yon tomonga o'ralgan edi. The Kafedra yoki Kardinal Mendoza qabristoniga joy ochish uchun cherkovning ekrani bilan Xushxabar tomoni buzilgan. Maktub yoki Maktub tomoni xuddi shunday bo'lib qolmoqda va shu bilan u katta ishning bir qismi bo'lgan degan xulosaga kelish mumkin. Ba'zi san'atshunoslar[13] bizni ishontirib aytamizki, bu tosh ekran - bu soborning eng chiroyli qismi. Ehtimol, uning qurilishi arxiepiskop Pedro de Luna davrida tugatilgan bo'lishi mumkin, bu erda Kastiliya va Leonning polixromatik qalqoni va gerbi namoyish etilgan. U mo'l-ko'l haykal bilan bezatilgan, shu jumladan, uchib ketayotganga o'xshab ko'rinadigan farishtalar haykali. Kepelning ichki qismiga o'tishni tashkil etuvchi ikkita ustun, bu toshli tosh bilan mos kelish uchun qurilgan. Chap ustunda (afsonalarga ko'ra) Kastiliya qiroli Alfonso VIIIni Despeñaperros dovoni orqali olib borgan taniqli cho'pon Martin Alxajaning haykali joylashgan. Las Navas de Tolosa jangi; boshqa ustun deyiladi Faqih ustuni shoh Alfonso VIga bag'rikenglik xabarini bergan Abu Valid haykalidan keyin (qarang ushbu bo'lim ).
Butun qo'riqxona har xil o'lchamdagi o'yma va kesilgan mifologik figuralar bilan qoplangan. Minbar tomonida chiroyli bezatilgan maqbaralar joylashgan Alfonso VII va Dona Berenguela yonboshdagi haykallari bilan, Lektern tomonida esa qabrlar joylashgan Sancho III Kastiliya (Istalgan) va Sancho IV (Jasur). Monarxlarning tasvirlari Kopin de Xolanda tomonidan yog'ochda o'yilgan va ko'p qirrali Fransisko de Amberes.
Qabr qabristoni
Asosiy qurbongoh ostida krep shaklida qabr ibodatxonasi joylashgan. U ekranga va Portalga, zinapoyadan pastga qarab, oldindan qabul qiluvchi tizimdan kiritiladi. Bu uchta qurbongohni o'z ichiga olgan tonozli cherkov. Markaziy qurbongoh Muqaddas qabrga bag'ishlangan va Kopin de Xolanda tomonidan o'yilgan haykallar guruhiga ega. O'ng tarafdagi qurbongohda Luis Medina va Frantsisko Rikchilarning muhim rasmlari bor. Chap tarafdagi qurbongoh Avliyo Julianga bag'ishlangan bo'lib, arxiepiskopning o'ymakorligi va Avliyo Pyotr va Avliyo Pol mavzusidagi ikkita italyan paneli.
Qayta tiklanadigan
Toledo soborining qayta tiklanadigan joyi - bu juda gulli gotik qurbongoh; bu Ispaniyada Uyg'onish davri boshlanganda yo'qolib borayotgan ushbu badiiy uslubning so'nggi namunalaridan biridir. Tomonidan topshirilgan Kardinal Sisneros, ish 1497 yilda boshlangan va 1504 yilda tugagan. Ushbu jamoaviy ishlarda hamkorlik qilgan me'morlar, rassomlar va haykaltaroshlar orasida: Enrike Egas va Pedro Gumiel (dizayn), Fransisko de Amberes va Xuan de Borgoya (estofado: zarhal va zarb qilingan naqshlar bilan yog'och haykalini tugatish texnikasi va polikromiya ), Rodrigo Aleman, Felipe Vigarni, Diego Kopin de Xolanda y Sebastian de Almonacid (diniy tasvirlar) va Joan Peti (o'yma va telba ).[14]
Qaytib olinadigan joy qurbongoh ustida katta balandlikka ko'tariladi; u muhim haykalchani va Joan Peti tomonidan amalga oshirilgan balusters, shpillar, kichik dossals va chambranlesning ajoyib, nozik filigrasini o'z ichiga oladi. U beshta doimiy paneldan iborat bo'lib, markaz paneli eng keng; u balandligi besh qavatdir va ajralish chiziqlari zinapoyadan iborat. Markaziy panelning pastki qismidan yuqorisigacha bo'lgan mavzular: o'tirgan Bokira va Bolaning figurasi kumush bilan qoplangan predella, yuqorida chodir va yog'ochda o'yilgan gotik monastrani, keyin Tug'ilgan kun tasviri va undan yuqorisi, yuksalish. The whole culminates in a monumental scene of Christ's crucifixion at Calvary. Further themes of the life and passion of Jesus are represented on the other panels.
Sepulchre of Cardinal Mendoza
The sepulchre of Cardinal Mendoza was located in the Cathedral as he himself had decreed in 1493; the Chapel Chapter had been opposed from the beginning to its being situated in the Presbytery, this space was reserved as the privileged prerogative of the monarchs. Nevertheless, in the end the structure of the choir had to be altered and the royal tombs moved to accommodate the sepulchre. In its final decision the Chapter deferred to the personal intervention in favor of the Cardinal by the Catholic Monarchs, who cited the invaluable services performed by those whom Isabel the Catholic called 'the three beautiful sins of the cardinal' (his children). When he died, on 11 January 1495 in Gvadalaxara, it was said those present had seen a sparkling white cross, perhaps in an effort to invest his posthumous reputation with an aura of sanctity.
The sepulchre of Cardinal Mendoza was the first Castilian Renaissance sepulchre. The structure consists of an open central arch and two smaller arches, carved on two façades and through which the tomb can be seen from inside and outside, following the model of a Roman triumphal arch, which was shocking to those who assisted in its construction, as much for its spectacular form as for abandoning the Gothic style, which until that moment was the established convention. The authorship of the work is not clear, though it is attributed to the Florentine Jacopo d'Antonio Sansovino who later worked in the Portuguese court with a similar style.
The impact on other later works was enormous: the sepulchres of Fadrique of Portugal, Pedro López de Ayala or Fernando de Arce,[15] among others, were partial imitations of this new model.
The interior chapels: overview
The main and minor cherkovlar, conceived in the project of Rodrigo Ximénez de Rada, in their original state surrounded the sanctuary of the cathedral. Some were removed and others were widened or re-ordered. Of the minor chapels only the chapels of Saint Ann and Saint Giles remain. Of the main chapels those of Saint John the Baptist and Saint Leocadia remain with elements from the first era. The chapels of the Old Monarchs and of Saint Lucy remain with alterations only to their ornamentation.
The rest were drastically modified or removed, even though in some the entrance can still be recognized: six small chapels of the ambulatory gave way in the 14th and 15th centuries to the burial chapels of Saint Ildephonsus and Saint James; that of the Christ of the Column (also called of Saint Bartholomew) was transformed at the beginning of the 17th century to give way to that of the Christ of the Students; those of Saint Barbara, of Saint Nicholas, of Saint Elizabeth and of the Holy Trinity were integrated into other structures although some details permit their earlier appearance to be discerned.
After the various modifications, there now can be found the aforementioned Chapels of the Old Monarchs, Saint John the Baptist, Saint Leocadia and Saint Lucy, including that of Saint Eugene, of Saint Blaise (incorporated into the cloister), of Saint Peter and of the New Monarchs.
In the subsequent remodeling and construction, the architects almost always followed the criterion of advancing from the sanctuary of the cathedral towards the wall, which explains the sometimes chaotic current layout, with respect to the early designs. The first name of the chapel of the Old Monarchs is unknown. The current name had its origin in 1498 when Cardinal Cisneros wanted to transfer the royal tombs from the main chapel, which in the end was never done. In the 13th century, this served as a sepulchre to house the remains of Archbishop González Díaz Palomeque. The chapel of Saint Lucy is one of the few places in the cathedral where some remains of the old mosque can still be seen—in particular, a column and its capital.
The chapel of Saint Eugene (also called of Saint Peter the Old or of the Corpus Christi), is located on the south side, and retains the architectural style of the 13th century in contrast to the rest of the cathedral. The chapel of Saint Peter is the largest of all and serves as a parochial chapel. The cathedral has a heptogonal sanctuary, with two rows, and tierceron vaults; it was built at the beginning of the 15th century to serve as a burial chamber for Archbishop Sancho de Rojas.
Mozarabic chapel
The Mozarabic chapel is located at the southeast corner, and incorporates the foundations of an unbuilt second tower. The chapel was named originally the Chapel of the Corpus Christi in 1500 by Cardinal Cisneros. Its purpose was to provide a worship place for followers of the Hispano-Mozarabic rites. Centuries earlier, on 20 March 1101, King Alfonso VI had given certain privileges to the Mozarabes of Toledo in exchange for tribute. In 1371, King Genri II confirmed these privileges. Having founded this chapel, Cisneros encouraged the restoration and republishing of the codices, breviaries and missals of their rites; he seems to have aimed to conciliate that subset of the faithful. This supposition is reinforced by notice of the large sum he had to pay the Cathedral Chapter in order to do the work of joining the old chapter house and the minor chapels. The huge sum of 3800 gold florins was raised, suggesting there were sufficient local patrons in town to support the effort. Services in the Mozarabic Rite are still performed in this chapel.
The chapel design encompasses a square floor plan under an octagonal dome. A tavanli shift of Mozarabic style has been lost (perhaps in the fire in 1620, or by later remodeling). The current dome was designed in the 17th century by the son of El Greco, Xorxe Manuel Teotokopuli; it displays eight sections and a large uyingizda chiroq cupola. In the interior, Cardinal Cisneros commissioned Juan de Borgoña to depict highlights of the conquest of Oran.
The Gothic ironwork screen was fashioned by Xuan Franses (1524), and incorporates among its ornamental elements the coat of arms of Cardinal Cisneros. The mosaic crucifix dates to the 18th century. It is said that it was brought from Rome and that the ship was shipwrecked in transit, leaving the image for a time at the bottom of the sea until it was recovered. The crucifix proper is made of a single piece, carved in Mexican fennel root. Another Gothic ekran ekrani, the work of the Toledan Xulio Paskal, separates the choir from the rest of the chapel.
Yangi monarxlar cherkovi
Ism Yangi monarxlar cherkovi is in reference to the new lineage of the Trastamara. The current chapel is located on the north side of the chapels of Saint James and of Leocadia, in the sanctuary, on the north side. It has an odd and difficult entrance designed by the architect Alonso de Kovarrubias. Before being moved to this space, it was called the Royal Chapel and was located at the foot of the cathedral, on the side nave of the north side (the Gospel Pulpit side), encompassing the last section, which cut off and impeded passage to the end of the nave. The Chapel Chapter wanted to change the location of this chapel to clear the nave, and Archbishop Alonso de Fonseca y Acevedo asked for permission to change its position in his correspondence with the King. The difficulty was finding a suitable site, which was finally resolved through the efforts of its architect, Alonso de Covarrubias.
More than a chapel, it can be considered as a small church, of one nave with two sections and a polygonal apse, including a sacristy and an entrance vestibule, the original design of Covarrubias. It was built between 1531 and 1534. It is the first great work done by Covarrubias in Toledo.
The two sections of the nave have Gothic Cross vaults but all of the ornamentation and carving of the sepulchres is in Renaissance style. They are separated by a screen, the work of Domingo de Céspedes. The first section forms the body of the small church with some altars and in the second section is where the relocated royal sepulchres were placed in Renaissance vaulted tombs, the work of Covarrubias. On one side are Henry II and his wife Juana Manuel; in front of them, lying in sarcophagi, are Henry III the Infirm and Lankasterlik Ketrin.
Through the arch that gives access to the presbytery are two small altars in neoclassical style. The main altar is by Mateo Medina. It has a painting by Maella with the theme of the Descension, framed by two Corinthian columns. On both sides of this altar are tombs with the respective praying statues of Kastiliyalik Jon I va uning rafiqasi Aragon Eleonorasi.
As a historical memorial, the armor of the second lieutenant Duarte de Almeida, who fought in the Battle de Toro (where he lost both arms, and was taken prisoner by the troops of the Catholic Monarchs in 1476), is kept in this chapel.
Chapels of the south wall
- Epiphany cherkovi: is a continuation of the Mozarabic chapel. The painting of the altarpiece, attributed to Juan de Borgoña (died c. 1438), on the theme of the Adoration of the Magi, inspired the name of this chapel. It was endowed in 1397 by Pedro Fernández de Burgos and his wife Maria Fernandez, who are buried on the Epistle side of the wall. It was later restored by Luis Daza (died 1504) who was chaplain to Henry IV. It has a well-executed ekran enclosing it, in the style of the rejero (screen-maker) Juan Francés. A portrait of the chaplain is seen in the figure of the donor in the predella of the altarpiece. On one side of this chapel is his sepulchre, in a Gothic arcosolium. The frescos in the Chapter Room, also by Juan de Borgona, representing the life of the Virgin, Christ's Passion, and the Last Judgment set within a trompe l'oeil gallery of columns, have long been understood to be the first introduction of a Renaissance painting style to Castile.[16]
- Chapel of the Conception: is accessed through a screen of much artistic value which incorporates the coat of arms of the Salcedo family, as construction of the chapel was financed in 1502 by Juan de Salcedo, apostolic protonotar and Toledan canon. On its altarpiece are paintings by Francisco de Amberes and to the left side is the sepulchre of its patron.
- Chapel of Saint Martin: is also enclosed by a large screen, signed by Juan Francés with the following signature: "Juan Francés, grandmaster reja-maker".
- The chapel has a well-regarded altarpiece, believed to have been worked on by the masters Juan de Borgoña and Francisco de Amberes. It is divided into three panels and five vertical sections. The central panel represents the namesake of the chapel, Saint Martin Turlar; it is believed to be the work of Andrés Florentino. On the sides of the altar are arcosolia containing the sepulchres of the canons Tomás González de Villanueva and Juan López de León; their sarcophagi are covered by their recumbent statues.
- Chapel of Saint Eugene: is unique in retaining the original architecture from the 13th century. Previously called the Chapel of Saint Peter, its name was changed during the time of the Archbishop Sancho de Rojas . It is enclosed by a screen very similar to the others signed by Juan Francés. On the altarpiece is the image of its namesake saint, the archbishop of Toledo, by Copín de Holanda. This chapel contains a work distinguished by its early date and its art, i.e., the sepulchre of the Bailiff of Toledo called Fernán Gudiel, who died in 1278. It is in Mudéjar style, with neither architecture nor sculpture, decorated simply with plasterwork in which geometric themes predominate. The arcosolium is delimited by two double columns that protrude from the upper frieze or cornice, which is adorned with decorative gilamchalar deb nomlangan muqarnas. Lining this cornice is a repetitive inscription in the Arabic language which says: "The Mother of God. To the Virgin Mary".
- The other tomb is the burial place of the canon and bishop Ferdinand of Castillo, who died in 1521, the work wholly done by Alonso de Covarrubias. On the wall of the aisle between the chapel and the Portal of the Lions is the monumental painting of Avliyo Kristofer (San Cristobalón) carrying the Christ child, painted in an earlier period and restored in 1638 by the painter Gabriel de Rueda.[17]
Chapels of the ambulatory
The original chapels were small and were designed to alternate in size, according to how the vaults were aligned. With time, reforms were made that completely changed the placement and size of some of these.
The original chapels
- Avliyo Lyusi cherkovi (Patron saint of the blind): also called Chapel of Saint Joseph. Its original architecture from the 13th century is preserved; it contains some paintings and epitaphs.
- Chapel of the Old Monarchs: the previous chapel with this name, founded by Sancho IV, was located in the high part of the presbytery, where the sepulchres of the monarchs are paid respect. Cardinal Cisneros had it dismantled and ordered it relocated to the place it now occupies. It is enclosed with a well-worked screen by Domingo de Céspedes. The chapel contains three interesting retables: the center retable has eleven good Hispano-Flemish panels and a relic of the Isoning muqaddas yuzi, a present from Pope Innocent X, which King Philip IV commanded to be placed here.
- Chapel of Saint Ann: has a fine Plateresque screen and contains the tomb of its sponsor, Juan de Mariana. It is one of the smallest chapels.
- Chapel of Saint John the Baptist: is enclosed with a Gothic screen. Its sponsor was the archdeacon of Niebla and canon of Toledo, Fernando Díaz de Toledo, whose tomb suffered damage in 1790, sparing only the recumbent figure which was placed on one side of the chapel. A relic with a valuable ivory statue of Christ is also preserved in a shrine within this space. The chapel has a sacristy, corresponding to what had been the chapel of Saint Britus or Saint Bricius.
- Chapel of Saint Giles: is considered a jewel amongst the chapels, although it is very small. Its sponsor was Miguel Díaz, canon and apostolic notary, a man of refined artistic taste who commissioned the entire interior to be painted with decoration in Pompeiian style, a style which at the time was fashionable in the Escorial. The screenwork was also executed in good taste. The chapel has a small altar of various marblework.
Bosh sahifa (Sala Capitular)
Beyond the chapels of the ambulatory stands the Chapterhouse. First one passes through a fine portal by Diego Copin (1510) to the Antesala, an old chapel of small size which serves as a kind of vestibule through which the Chapterhouse is entered; it has a marble floor, an artesonado (a xazina wooden ceiling with lacery of interlaced laths), by Francisco de Lara (1517), and a plateresque frieze by Juan de Borgoña. The Antesala is furnished with wardrobes or cabinets; the finer work on the left with Hellenistic decoration is by Gregorio Pardo (1551), and that on the right is by Gregorio López Durango (1780). The square portal leading from here to the Chapterhouse proper was executed in the so-called Cisneros style by Master Pablo and Bernardino Bonifacio de Tovar, combining Mudéjar features with Plateresque decoration, in 1510.
The Chapterhouse was commissioned by Cardinal Cisneros to be built abutting the apse on its south side, in 1504. The drawing of the plans was assigned to the architect Enrique Egas. It is a rectangular unvaulted room, with a beautiful artesonado coffered ceiling done by Diego López de Arenas and Francisco de Lara between 1508 and 1510 in the Cisneros style. It is painted red, blue and gold; the frieze (alicer) has a very rich plateresque ornamentation. The painting and frieze were the work of Luis de Medina and Alfonso Sanchez (1510). The entire room is traversed by a wood pew which functions as the seat of honuor for the prelates, save the archbishopric chair at the end of the room, centre of the wall, carved by Copín de Holanda and finished in 1514. Above the seats of honor, in two rows and lining the walls are the portraits of all the archbishops from Saint Eugene to the last. Juan de Borgoña painted the series of portraits from Saint Eugene to Cardinal Cisneros. Those of Sandoval and Rojas were done by Tristán; of Moscoso, by Ricci; of Iguanzo, by Vicente López.
Between the gallery of portraits and the frieze of the coffering, the walls are adorned with a celebrated series of frescoes by Juan de Borgoña. This constitutes one of the great collections of Spanish wall paintings. Trompe l'oeil columns divide the panels where scenes of the life of the Virgin and of the Passion of Christ are depicted.
Chapel of Saint Ildephonsus: is situated in the centre of the ambulatory and faces El Transparente, a Baroque altarpiece created in 1729-1732 by Narsiso Tome and his four sons. The chapel is consecrated under the protection of Saint Ildephonsus; its construction dates from the end of the 14th century by the expressed desire of Cardinal Gil Carrillo of Albornoz as a burial chapel for himself and his family,[18] which he did not see completed. Kardinal Albornoz[19] died in Viterbo, Italy, in 1367; his remains were later transferred to Toledo where Henry of Castile had them entombed with almost royal honours.
The chapel occupies the space of three earlier chapels: one large central chapel[20] and two smaller side chapels. It is of octagonal plan, being one of the first chapels in which the model of an octagon was used for a burial chapel.
On the keystone of the central arch of the entranceway is a portrait painting of Esteban Illán, who proclaimed Alfonso VIII as king of Castile, doing so from the height of the tower of Saint Roman.[21] The chapel is built in three styles of different periods: Gothic in the arches, vaults and a sepulchre; Plateresque in the sepulchre of the Avila episkopi; and Neo-Classical in the central altar. This 18th-century altar was made of marble, jasper and bronze, and was designed by Ventura Rodríguez; the large relief in its centre, with its theme of the gift of the chasuble to Saint Ildephonsus, is the work of Manuel Francisco Álvarez (1783), completed during the time of Cardinal Lorenzana.
- The Sepulchres of the Chapel of Saint Ildephonsus
- The sepulchre of Cardinal Gil Carrillo de Albornoz is in the center of the chapel, with Gothic decoration of small arches and lamenting figures on its four faces. To the right of the altar is the sepulchre of the bishop of Ávila, Alonso Carrillo of Albornoz, who died in 1514. This, the work of Vasco de la Zarza, Castilian Renaissance sculptor, is considered the best work of the chapel. The remaining sepulchres are other tombs of the Albornoz family.
Chapel of Saint James
Also called the Chapel of Alvaro de Luna for the historical figure who commissioned the chapel as a burial place for himself and his family. This is one of the largest of the ambulatory, occupying the space of three of the old chapels: one large chapel and two small chapels; its floor plan is laid out in octagonal shape. The Chapel of Saint James is of a very pure and select Flamboyant style, one of the best examples that exist in Spain.[22] This most elaborate Gothic style is reflected in the entrance arches with their openwork traceries and in the skylight of the blind arches of the interior, in the gables, the ornaments (openwork and hanging festoon), and the structural ribs rising from the floor that cross the vault forming a star. Nevertheless, the exterior features are austere, and completely Hispanic. Granite was used for the cladding, in contrast with the pleasing whiteness of the stone of the interior; the dome is crested in the manner of a battlemented castle with turrets.
- Tarix
- In 1435, High Kastiliya shtati Alvaro de Luna[23] had reached the height of his political power. He wanted his own chapel in the primate cathedral as a sepulchre for himself and his family, so he bought the earlier chapel of Saint Thomas of Canterbury which had been commissioned in the 12th century by Queen Eleanor Plantagenet, this being the first chapel dedicated to the saint outside England. It is known that Álvaro commissioned the sepulchre while he was still alive; a three-dimensional figure of his person was made that consisted in a somewhat strange device—the bronze figure raised up and knelt down by means of a special mechanism activated at the moment the mass started. When he was executed under orders of Shoh Ioann II, the chapel was still under construction so its completion was placed in care of his wife, Juana de Pimentel, and later of his daughter, María de Luna, who commissioned the sculpting of her parents' sarcophagi in 1498. This was the probable year of the chapel's completion by the great company of masters who were the associates of Hanequin de Bruselas.
- Qayta tiklanadigan
- The retable is a Gothic altarpiece, the work of Pedro de Gumiel with fourteen panels painted by Sancho de Zamora. He was contracted by María de Luna in 1488. In the center is an equestrian figure of Saint James, the work of Juan de Segovia. In the center of the predella is represented the scene of the Weeping Before a Dead Christ, and on its sides the Count Álvaro and his wife are portrayed as patrons accompanied by Saint Francis and Saint Anthony.
- Dafn marosimlari
- The two sepulchres in the center of the chapel belong to Álvaro and his wife Juana de Pimentel. The reclining figures are Hispano-Flemish sculptures by Pablo Ortiz. The praying figures in the corners are of high quality: a Knight of Santiago kneels at each corner of Álvaro's tomb, in the corners of his wife's tomb are four Franciscan friars.
- In recesses in the left wall are the tombs of Juan de Luna (the son of Álvaro), Álvaro de Luna (father), the archbishop Juan of Cerezuela (brother) and Archbishop Pedro de Luna (uncle). The Dukes Infante have their own burial crypt beneath the chapel.
Chapel of Saint Leocadia: has a lattice of stone worked in Flamboyant style. It served as a burial chapel for the canon Juan Ruiz Ribera who commissioned its restoration in 1536; his ashes are in an urn located inside a niche. His uncle Juan Ruiz the Elder is buried in the front wall . In the retable may be found the namesake image of Saint Leocadia, a painting of the 18th century by Ramón Seyro (student of Mariano Salvador Maella), framed in white and black marblework.
Chapel of the Christ of the Column: is a very small space. The most significant feature is the altar attributed to Diego Copín de Holanda, with well-done carvings of Christ on the column between Saint Peter and Saint John, in an attitude of prayer.
Chapels of the north wall
- Chapel of Saint Peter: is situated between the Portal of the Clock and the Chapel of Saint Catherine (which leads to the cloister). Its patron was Sancho de Rojas who is buried here; more than a chapel, it sometimes serves as a parish church. The entrance, delimited by an iron screen, is through a Gothic portal decorated by arxivolts with vegetal and heraldic themes in which are replicated the five-star motif found on the coat of arms of the Rojas. The interior wall has fresco paintings attributed to Pedro Berruguete yoki ga Íñigo Comontes. A bust image of the archbishop decorates the vertex of the last archivolt, and to the right and left are small busts of the fourteen ranking bishops of the Chapter. In the centre and over the statuette of the archbishop is another Gothic image of Saint Peter on his throne.
- Mehribonlik cherkovi: founded by the canon treasurer Alfonso Martínez for his burial. The altar is dedicated to Saint Teresa whose image is attributed to Pedro de Mena or to his studio.
- Chapel of the Baptismal Font: The most notable feature is the ironwork screen by Domingo of Céspedes. The bronze baptismal font is highly decorated with Gothic-Renaissance elements.
- Chapel of Our Lady of La Antigua: has a decorated ironwork screen. Bu muqaddas qilingan Virgen de la Antigua, an icon which tradition claims predates the Muslim conquest of Toledo.
- Chapel of Doña Teresa de Haro: also known as of the Christ of the Spoons in reference to the ladles on the coat of arms of the López de Padilla family. It was founded by Teresa de Haro, widow of Marshal Diego López de Padilla.
Composite unity of the Herrerian spaces
This section pertains to the comprehensive architectural composition of the spaces of the Sacristy (including the vestuary and other rooms), the courtyard and house of the Treasurer, the Chapel of the Tabernacle and Chapel of the Eighths or of the Reliquary, situated at the north side of the cathedral.[24]
Sacristy
The sacristy exhibits treasures from the cathedral's collection, including many major works of art. It is a large space that includes the apartments of the ante-sacristy and the vestuary with its collection of garments. The ante-sacristy is a rectangular room decorated with paintings by the Italian artists Vincenzo Carducci va Evgenio Kaks, as well as Francisco Ricci and the Neapolitan Luka Jiordano.
The sacristy was designed by Francisco Vergara the Greater and Juan Bautista Monegro, in Herrerian uslubi. The barrel vault, inset with lunettes accommodating the windows, is lavishly decorated with fresklar Luca Giordano tomonidan. The principal theme is the Clothing of Saint Ildephonsus with the Chasuble, a theme that is repeated throughout the cathedral in paintings and sculpture. The walls display a variety of elaborately framed paintings, forming a gallery of works by several great masters. The most renowned are the fifteen by El Greco, shu jumladan, uning El Expolio (Masihni inkor etish) on the high altar, framed by marblework and a pair of Corinthian columns. This painting underwent cleaning and conservation at the Prado in Madrid, returning in 2014. There are also works by Luis de Morales, Pedro de Orrente, Xuan Pantoja de la Kruz, Juan de Borgoña, Luis Tristán, Entoni van Deyk, Fransisko Goyya (Masihning hibsga olinishi), Bassano the Younger va boshqalar. In addition to the paintings, there is a collection of valuable objects, most especially the Rich Bible of Saint Louis, which belonged to the king of France and dates from 1250; it has 750 miniatures on the cover and 5,000 more distributed in the manuscript pages of its three volumes. This was an acquisition of Kastiliyaning Alfonso X.
In the next room is the vestuary with the ceiling groins painted by Klaudio Koello and José Donoso. In this space are found several paintings: Titian 's portrait Papa Pol III, Velazkes "s Cardinal Gaspar de Borja, Karavaggio "s Suvga cho'mdiruvchi Yuhanno va Jovanni Bellini "s Masihning dafn qilinishi.
One of the apartments contains a collection of garments that includes many valuable pieces. There are a total of 70 suits here; these include vestments of the 16th and 17th centuries, some embroidered by the father of Alonso de Covarrubias, who held the office of the vestuary. The engish arxiyepiskop Aragonning Sancho, o'g'li Aragonlik Jeyms I, is noteworthy; it is embroidered with heraldic emblems. Another good example is the cope of Cardinal Gil de Albornoz, with Gothic embroidery of scenes from the Bible and lives of the Saints, principally English. The collection also contains the zucchetto and an embroidered lappet of the great Tiara bu Ispaniyalik Karl I wore at his coronation in Axen.
There is an Arab standard on display here as well, won in the Rio-Salado jangi, and a collection of tapestry with more than seventy exemplary pieces. There are sketches by Rubens, the gift of Archbishop Fernández Portocorracero, which he commissioned expressly for the cathedral. Some of these are hung on the walls of the cathedral during the feast days of Corpus Christi.
Chapel of the Virgin of the Tabernacle
Along with the adjacent chapel called the Chapel of the Eighths, this chapel is the best example of the Herrerian building style in the cathedral. The grandeur of its new structure and ornamentation in the stark Herrerian style of the latter 16th century is owed to Cardinal Bernardo de Rojas y Sandoval. These works were begun by Nicolás de Vergara el Mozo and finished around 1616. Juan Bautista Monegro and Jorge Manuel Theotocópuli (son of the painter El Greco) participated in the project as well.
The chapel is under the protection of the Virgin of the Tabernacle, a Roman-style carving which was plated in silver in the 13th century and later dressed with a mantle studded in pearls. This image has always been called by the name 'Saint Mary'. Tradition holds that it belonged to the Apostles and was brought to Toledo by Saint Eugene. Also entering into the legend is the fact that it was hidden during the period of Muslim rule and restored later by King Alfonso VI.
The walls are clad in marblework and the great dome is supported by pendentives. On the north wall is the altar with an image of the Virgin and in one of the side walls, the sepulchre of Cardinal Sandoval y Rojas.
Sakkizinchi cherkov
This chapel is so named because of its octagonal plan, though it is sometimes called the Chapel of the Reliquary for the many relics kept there. The entrance to this chapel is by two doors flanking the altar of the chapel of the Tabernacle. The walls are decorated with marblework. The chapel is crowned by a dome with a uyingizda chiroq kubok, ishi Xorxe Manuel Teotokopuli, while the interior of the dome itself was decorated by the painters Frantsisko Ritschi va Xuan Karrenyo. In the altars semi-detached to the walls are historically and artistically interesting reliquaries.[25] The relics include a piece of the veil of Saint Leocadia (the Hispano-Roman Toledan virgin) which, according to the legend, was cut by Saint Ildephonsus off the saint's person when she appeared in the year 666. It is said that Recceswinth lent his knife to the saint to perform this act; the knife is also kept as a relic.
Vitray oynalari
The stained glass windows together constitute a very beautiful and important collection of artworks. The Cathedral of Saint Mary of Toledo is one of the Castilian buildings that preserves the most medieval stained glass windows. They were produced from the 14th to the 17th centuries; restorations were done in the 18th century, according to changes in style that had evolved with the passing of the years.
The oldest, and also the most appreciated for the beauty of their stained glass, are those of the Atirgul oynasi of the transept (over the Portal of the Clock) and some of those of the ambulatory, even though these have a softer color. Then there are those of the main chapel and those of the north aisle of the transept on the east side that display enormous figures of saints and apostles.
The makers of many of the 15th-century windows are documented. It is known that those of the main chapel and some of the transept were created by the glass-maker Jacobo Dolfin and his servant Luis, and those of the southern transept and some large windows of the main nave on the Epistle side, by the masters Pedro Bonifacio, Cristóbal, and the German monk Pedro. Later, works by the Toledan master Enrique appear.
The stained glass windows of the 16th century are adorned with figures done in Renaissance style. On these worked such renowned masters as Vasco de Troya (in 1502), Juan de Cuesta (1506) and Alejo Ximénez (1509–1513), who worked on those of the side naves and of the west façade. The stained glass windows of the Atirgul oynasi va Portal of the Lions are by Nicolás de Vergara el Mozo.
At the beginning of the 18th century, new stained glass was made to replace that which had been damaged. The artist Francisco Sánchez Martínez (one of the last glass-makers of the cathedral) was one of the better restorers, even though no new designs were produced and the old motifs were repeated. During the Spanish Civil War the glass deteriorated badly, but in the latter years of the 20th century a great restoration effort was undertaken and some of the brilliance of former periods was revived.
El Transparente
One of the most outstanding features of the Cathedral is the Barok altarpiece called El Transparente. Its name refers to the unique illumination provided by a large skylight cut very high up into the thick wall across the ambulatory behind the high altar, and another hole cut into the back of the altarpiece itself to allow shafts of sunlight to strike the chodir. This lower hole also allows persons in the ambulatory to see through the altarpiece to the tabernacle, so that they are seeing through its transparency, so to speak. The work was commissioned by Diego de Astorga y Céspedes, Archbishop of Toledo, who wished to mark the presence of the Holy Sacrament with a glorious monument. El Transparente is several storeys high and is extraordinarily well-executed with fantastic figures done in gips, rasm, bronze castings, and multiple colors of marmar; it is a masterpiece of Barok mixed media by Narsiso Tome and his four sons (two architects, one painter and one sculptor). The illumination is enhanced when the Mass is being said in the mornings and the sun shines from the east, shafts of sunlight from the appropriately oriented skylight striking the tabernacle through the hole in the back of the retable, giving the impression that the whole altar is rising to jannat. The fully Baroque display contrasts strongly with the predominant Gothic style of the cathedral. The cathedral is also illuminated through more than 750 stained glass windows from the 14th, 15th and 16th centuries, the work of some of the greatest masters of the times.
The Renaissance Rejería in the cathedral
XVI asrda xursand, or decorative ironwork screens placed in front of the choir, the chapels, and sometimes even the altars, were made in Renaissance style. Their bars, columns, and crests were made with great delicacy and often included fine gold work. The bar is the principal element articulating or dividing the sections, sometimes serving as a support for kandelabra va tenebrarios (triangular candelabra). In their manufacture they were worked first in the forge by hammer and anvil and then by lathe. The Renaissance screens are divided into two or three horizontal levels by transverse bars which in turn are vertically divided by columns which were intercalated between the thinner upright bars. Almost all are adorned with mythological figures, medallions, candelabra and crestings. They were forged of iron and later plated in gold or silver. The master rejeros (reja-makers) who worked in the cathedral were: Domingo de Céspedes, Francisco de Villalpando, Juan Francés and Julio Pascual.
Main Treasure of the cathedral
The Chapel of the Treasure is located in the old chapel of Saint John, occupying the site of the former tower chapel, called the Quo Vadis. It stands before the Mozárabe chapel, on the north side, directly below the cathedral tower. Aslida, bu hech qachon haqiqiy cherkov emas edi, aksincha u yangi monarxlar cherkoviga ko'chirilishidan oldin muqaddaslik vazifasini bajargan.[26] U 1537 yilda Alonso de Covarrubias tomonidan Uyg'onish uslubida ishlab chiqilgan va qurilgan. 1870 yildan boshlab bu ning ombori bo'lgan Katedral xazinasi, deb nomlangan Las-Alxajasyoki "The Jewels".
Bino Covarrubias tomonidan yaratilgan g'ayrioddiy fasadga ega. Chunki u dastlab Kardinalning dafn ibodatxonasi bo'lishi kerak edi Xuan Pardo de Tavera, uning haykallari uning o'limi kabi hayotini ham anglatadi. Ushbu fasad ikkita juda bezakli ustunlar bilan o'ralgan yopiq, dumaloq kamardan iborat; lentali eshik ochiq. Covarrubias madalyon ichida timpanumga (kamar va lintel orasidagi bo'shliq) avliyo Yahyo cho'mdiruvchini büstini o'yib yozgan. tondo[27] tomonidan qo'llab-quvvatlanadi ijarachilaryoki inson qiyofasidagi farishtalar sifatida haykaltaroshlik bilan tikilgan figuralar, har ikki tomonda bittadan; Yahyo cho'mdiruvchi Kardinal Taveraning homiysi edi. Yuqorida voqealar tasvirlangan haykaltaroshlik guruhi joylashgan joy mavjud Quo Vadis snaryadlar qavatida afsona, o'limga ishora bilan; bu haykaltarosh Olarte ishi. Guruh boy naqshlarning balustraded ustunlari bilan o'ralgan. Martning ikkala tomonida Kardinal Taveraning gerbi (timpanumda kichikroq hajmda takrorlangan) va ularning ostida - soborning buyuk homiysi bo'lgan Diego Lopes de Ayala kanonining gerbi.
Xazina kapelida oltin va qora ranglarga bo'yalgan, o'yma gullar va figuralar bilan ishlangan artesonado shift mavjud. Uning ichki qismida sobori xazinasini saqlaydigan bir nechta shisha vitrinalar mavjud bo'lib, ular liturgiya buyumlari, yodgorliklar, krosiyerlar, kiyim-kechak va hk. Virgen del Sagrario Felipe Corral tomonidan tikilgan va ehtimol Ispaniyada mavjud bo'lgan eng ajoyib kashtachilik namunasi. U butunlay oltin, marvarid, yaqut, safir va zumraddan ishlangan kumush matodan o'n ikki yarddan iborat. Ikkita yaxshi o'ymakorlik bor: biri Xuan Martines Montañes, ikkinchisi Pedro de Mena, yog'ochdan yasalgan haykal. Assisi shahridagi avliyo Frensis. Xazinadagi eng qimmat va muhim qism - bu ajoyib narsa Kastodiya, tomonidan monumental monastrance Enrike de Arfe.[28]
Arfening buyuk monastrani
Xazina kapelida saqlanadigan eng muhim ob'ekt bu buyukdir Arfe Monstrance, shuningdek, nomi bilan tanilgan La Gran Ostensoria de Toledo. Eng yaxshi kumush va oltindan ishlangan va marvarid bilan bezatilgan, bo'yi o'n metrdan oshiqroq. The dahshat yillik bayramida ishlatilishi bilan mashhur Korpus Kristi ning Toledo.
Buyuk Monstraning yaratuvchisi metallga ishlov beruvchi edi Enrike de Arfe, Geynrix fon Xarff tug'ilgan, asli Julich yoki Xarff yaqinida Kyoln, Germaniya.[29] Arfe 1517–1524 yillarda, Kardinal Sisnerosga topshiriq asosida ishlagan. Bu kech Gothic dizaynidan. Kumushchi hunarmandchiligining ushbu g'alabasi Gothic ibodatxonasi shaklida bo'lib, ustunlar, kamar va tonozlar kabi barcha me'moriy detallarga ega bo'lib, barchasi nozik lacraftga o'xshaydi. Najotkorning hayotidagi sahnalar yengillikda tasvirlangan. Uning har xil o'lchamdagi ikki yuz oltmish haykalchasi bor, ularning barchasi mahoratda bir xil mahoratni namoyish etadi.[30] Buyuk Monstrance olti burchakli asosga ega bo'lib, marvaridlar va avliyolarning turli xil haykalchalari va burgutlari, kichkina qo'ng'iroqlari va qarsaklari bilan bezatilgan kichik ustunlarda ko'tariladi. Asar XVII asr xochi bilan eng yuqori qismida toj kiygan. U o'tirgan poydevor 18-asrning barokko uslubida. Dastlab kumushdan yasalgan arxiepiskop Quiroga o'zining zarhalini qurbongoh monastrani oltin bilan qoplangan yog'ochga moslashtirish uchun buyurdi; u 1595 yilda Valdivieso va Morino tomonidan zarhal qilingan. Bugungi kunda u o'q o'tkazmaydigan shisha ostiga qo'yilgan va sobor hududida avtomatik xavfsizlik tizimi tomonidan qo'riqlangan.
O'rta asrlarda Kardinal Sisneros, buyuk monstrance uchun raqobatlashishni xohlagan Katolik Izabella va buni o'sha paytda Kastiliya Qirolligida eng muhim bayram bo'lgan Toledo korpusi Kristi yurishida namoyish etish. Monstrani yaratish uchun etti yil vaqt sarflandi va uning qiymati 15 milliondan oshdi marvedís, shundan Arfe belgilangan 2.700ni olgan reallar. U o'zining ishining ulug'vorligidan taassurot qoldirib, 1523 yilgi Rojdestvo kunida soborning bobi unga taqdim etgan 2500 maravit bonusi bilan taqdirlandi.
1595 yildan beri monastrani Korpus Kristi yurishida, shu maqsadda yasalgan suzgichda mexanik ravishda faollashtirilgan sozlanishi tekislash bilan olib borish odat tusiga kirgan. Kortejda siyosiy va cherkov arboblari monastraning oldidan, uning orqasida esa piyoda akademiyasi kursantlari harakat qilishdi. Monstrance tarkibiga 12500 ta murvat bilan bog'langan va 260 ta haykalchalar bilan bezatilgan 5600 ta turli xil qismlar kiradi. Uni tayyorlashda o'n sakkiz kilogramm 18 karat oltin va 183 kilogramm toza kumush ishlatilgan; unda Kolumb tomonidan Yangi Dunyodan olib kelingan birinchi oltin borligi aytiladi.
Arfe monstranesidagi yozuv quyidagicha o'qiydi:
Toledo kardinal arxiyepiskopi, Ispaniya gubernatori va Afrikani zabt etgan Don Fransisko Ximenes Kardinal Kisneros, Diego Lopes de Ayalaning ishi bo'lgan, bo'sh ko'rishda tugatilgan Masihning eng muqaddas tanasini yaratishni buyurdi. Rabbimiz yili 1524 yil.
Yoqilgan Butunjahon yoshlar kuni 2011 yilda Arfe Monstranesi Toledo sobori tashqarisiga chiqarildi Cuatro Vientos aeroporti, u uchun ishlatilgan joyda Eucharistic sajda qilish raislik qiladi Papa Benedikt XVI.
Soborda ko'milgan monarxlar
Ispaniya tarixi davomida bir nechta monarxlar Toledo ibodatxonasi soboriga dafn qilinishni istashgan. Shuning uchun soborning turli qismlarida joylashganlar:
- Leon monarxlari
- Sancha II, 1230 yil, Leon qirolichasi
- Kastiliya monarxlari
- Istalgan Sancho III, 1157–1158, Bosh cherkovda
- Kastiliya va Leon monarxlari
- Alfonso VII imperator, 1126–1157, Bosh cherkov
- Jasur Sancho IV, 1284–1295, Bosh cherkov
- Genri II, 1369-1379 va uning rafiqasi Juana Manuel, Yangi Monarxlar cherkovi
- Jon I, 1379-1390, Yangi Monarxlar cherkovi
- Genri III kasal, 1390-1406 va uning rafiqasi, Lankasterlik Ketrin (1373–1418), Yangi Monarxlar cherkovi
- Ioann II, 1406-1454, Yangi monarxlar cherkovi: senotaf; uning jasadi Miraflores anjumanida dafn etilgan, Burgos
- Portugaliya monarxlari
- Sancho II taqvodorlar, 1223–1248, taxtdan mahrum etilgan, surgunda Toledoga qochgan, 1248 yil 4-yanvarda vafot etgan va shahar sobori (tarixiy taxminlarga binoan) da dafn etilgan.
Cloister
Eski saytida al-cana yoki alkana (Yahudiy tijorat okrugi), sobori shimoliy tomonida, arxiyepiskop Pedro Tenorio ruhoniy va uning qabri sifatida xizmat qiladigan ibodatxonani rejalashtirgan.
Binosi Cloister 1389 yil 14-avgustda boshlangan va 1425 yilda tugagan. Me'mor Rodrigo Alfonso va usta quruvchi Alvar Martines to'rt tomonlama tonozli to'rtta koridor qurilishiga rahbarlik qilishgan. Binoning tarixi fitnalardan xoli bo'lmagan. Arxiyepiskop Pedro Tenorio o'zining monastirini qurishni rejalashtirgan joyda mahalliy bozor yarmarkasi bo'lib o'tganligi sababli, u erdagi stendlar va do'konlar egalari boshidanoq istamas edilar. Tarixchi Evgenio Narbona arxiyepiskopning "mollar sotiladigan joy" bo'lgan joylarni imkon qadar tezroq egallab olish istagi haqida aytib berdi. Arxiyepiskop va egalari o'rtasida sotib olish va narx bo'yicha muzokaralar paytida katta yong'in butun bozorni yo'q qildi. Tenorio ushbu befarq voqeadan o'z maqsadlari uchun foydalangan va shu erda afsonaga kirishgan - u kerakli uchastkalarni egallashini osonlashtirgan falokatga sabab bo'lganlikda ayblangan.
Joylashuvining relyefini hisobga olgan holda, cherkov poydevori uchun zamin balandligi soborning zamin rejasi darajasidan deyarli besh metr yuqoriga ko'tarildi va kelajakda bu ikki balandlikning og'irligini ko'tarishi mumkin edi. Kardinal Sisnerosning sarmoyasini amalga oshirdi. Arxiyepiskop Tenorio ruhoniyning ulug'vorligi va ulug'vorligi gotika soboriga loyiq bo'lishini ta'minlash uchun kuchini ayamadi. Birinchi qavatdagi galereyalarda avliyolar Eugenio, Casilda va Eladio hayotlari manzaralarini aks ettiruvchi bir qator freskalar mavjud. Ulardan o'n biri Bayeu, ikkitasi de Maella.
Shuni ta'kidlash kerakki, soborda monastir tartibi mavjud emas edi, uning perimetri bo'ylab barpo etilgan monastir va boshqa uchastkalar turli vaqtlarda juda xilma-xil funktsiyalarga ega edi: omborxonadan sinfgacha va savdo-sotiq operatsiyalari markazi sifatida (eskisini qayta tiklash) alkana) yoki ibodat (uning xonalaridan biri Mozarabiya cherkovi bo'lgan). Kloister keyinchalik shahar hokimligi vazifasini bajargan.
Sankt-Blez ibodatxonasi
The Sankt-Blez ibodatxonasi arxiepiskop Tenorio tomonidan buyurtma qilingan. Sobor maydonining pastki sathida qurilgan va Kloisterning o'zida joylashgan bo'lib, cherkovning dafn xonasi bo'lganligini eslatib, sakkiz tomonlama qabr bilan yopilgan. 1389 yildan 1398 yilgacha bo'lgan davr odatda qabul qilingan bo'lsa-da, uning qurilishining boshlanish sanasi muhokama qilinadi. 1399 yil 10-mayda arxiepiskop Tenorio vafotidan bir oz oldin bino qurib bitkazilganligi aniq. Archbishop Saint Blaise-ga o'limidan keyin qo'lyozmani qoldirib, yozma ravishda muqaddaslik tayyorladi; uning irodasi ibodatxonani saqlash uchun olinadigan ijara haqlarini nazarda tutgan va sobor bobini boshqarishni o'z zimmasiga olishni talab qilgan.
Chapel ko'cha sathidan yigirma uch metr pastda joylashgan bo'lib, arxiepiskop binoning tashqarisidagi erga to'ldirilgan holda buyurtma bergan, bu esa uzoq vaqt davomida namlik bilan bog'liq ko'plab muammolarni keltirib chiqardi va bu pastki qismning san'at asarlariga dahshatli ta'sir ko'rsatdi. ichki devorlar. Ushbu qaror qurilish ko'zga tashlanadigan tartibsiz taassurot tufayli qurilish yaxshi rivojlanganidan keyin qabul qilindi.
Cherkov ikki xil qismda bezatilgan. Birinchidan, kornişdan shiftgacha, Havoriylar aqidasi soat terish usuli bo'yicha o'n to'rtta sahnada aks ettirilgan. Kornişning pastki qismida Yakuniy hukm va Avliyolar hayotining sahnalari tasvirlangan. Asarlarning muallifligi aniq emas, garchi u shubhasiz florentsiyalik rassomlarga tegishli bo'lib qolsa ham, ular orasida ehtimol rassomlar nomi keltirilgan: Gerardo Starnina va Nikolas de Antonio. Haddan tashqari namlik va yomon tiklangan restavratsiya natijasida yuzaga kelgan buzilish, polga eng yaqin rasmlarga zarar etkazdi, ba'zi hollarda tuzatib bo'lmaydigan darajada.
21-asrning boshlarida, fresklarni barqarorlashtirish va asl ranglarining ulug'vorligini tiklash uchun avliyo Blez cherkovining rasmlarini chuqur konservatsiya-restavratsiya qilish marosimi bo'lib o'tdi, faqat eng past qismlaridagi buzilmaydigan bo'laklar bundan mustasno. devorlar. Ikkinchi ish deyarli tugadi - ko'chadan devorlar orqali oqib o'tadigan suvni yo'q qilish Hombre de Palo, bu yana kollektsiyaga zarar etkazishi mumkin.
Soborning musiqasi
Sifatida Uyg'onish davri butun Evropa bo'ylab rivojlangan va u bilan diniy musiqa monastirlar, bag'ishlangan musiqa uning asosiy qismiga aylandi Eucharistik liturgiya. Soborning ajoyib ulug'vorligini yanada oshirish uchun musiqa arxitektura asarlarini qabul qilish va ulug'vorligini kuchaytirish vazifasini o'z ichiga olgan ingl. Xudo. 1440 yildan beri, polifonik vokal qismlari tez tarqaldi Kastiliya va Aragon. Instrumental musiqa tomonidan ishlab chiqarilgan organ, tez orada soborlarda va cherkovlarda joy topdi Arxiy ruhoniylar.
Toledo soborida eng muhim organ - bu sobor transeptidagi "Imperator organi" deb nomlangan. Keyingi o'rinda xorda joylashgan "General" deb nomlangan Fray Jozef de Echevarriya va Xose Verdalonga (1796–1797) tomonidan ishlab chiqarilgan organ joylashgan. Kardinal Sisneros, Korpus Kristi cherkovining islohotlari bilan Mozarabik marosim bor edi o'z musiqasi, ibodatxonada yana bir organni tanishtirdi. Boshqalari, shuningdek, qolgan muhim ibodatxonalarda topilgan: Yangi monarxlar (ikkitasi bor), Alkazar, Sacristiya Bokira va Avliyo Pyotr.
Organ nafaqat muhim musiqiy asbob edi. Yillar o'tishi bilan puflama asboblar (fageolets, fleyta va sumkalar ), arfa va boshqalar torli asboblar, vokal musiqasi qo'shig'ini bo'lib xizmat qilgan viyola singari, joriy etildi. XVI-XVII asrlarda Musiqa cherkovi yaratilishi bilan oboy va kontrabas Fageolet va xaltadan oldin, Mass bayramiga kiritilgan edi.
Soborning "olti parcha" yoki bolalar xori vokal guruhi sifatida Kardinal Siliseo tomonidan tashkil etilgan bo'lib, u 1557 yil 22-iyulda o'z a'zolari uchun Infantes Lady of kollejini tashkil etgan bo'lsa ham, moços Liturgiya xizmatida qo'shiq kuylagan (o'g'il bolalar) XII asrda allaqachon eslab o'tilgan. Ular sobori va musiqa cherkovining xori bo'lgan va ulardir. XVI asr konstitutsiyasida uning qizil kiyimi allaqachon tashkil etilgan bo'lib, uni talabalar hanuzgacha oq bilan kiyishadi ortiqcha. Kollejda, odatda, yashagan Maestro de Kapilla va boshqa professor-o'qituvchilar; bir muncha vaqt Toledo Qirollik Universitetiga qo'shilishni o'z ichiga olgan ularning rivojlanishini nazorat qilgan. 1557 yil 9-mayda Siliseo tomonidan ishlab chiqilgan kollejning konstitutsiyaviy xartiyasida uning oltinchi bandida alohida ko'rsatma berilgan:
... yana bir usta topilib, aytilgan qurbongoh yigitlariga bir xil ma'lumot topilgan yigirma bir yoshga to'lgan, ruhoniy va xayrixohlik va ashula aytishni buyurishini buyuramiz. Musiqa fakultetida obro'li va ismli va yaxshi o'rganilgan, ular qurbongohga barcha bayram kunlari va yakshanba kunlari ovqat eyishdan bir soat oldin, ikkinchisi ovqatlangandan keyin, ikkinchisi kun oxirida qanday qo'shiq aytishni o'rgatadilar. va boshqa maktab kunlarida, har kuni ovqatlanib bo'lgandan keyin dars.
Orasida maestros de capilla, Cristobal de Morales, kim yozgan Meliusdagi Emendemus va Menga Quotidie-ni aytib bering, ustun edi; u ishlagan Sistin cherkovi Rimdan va yigirma bir massadan iborat bo'lib, etmishdan ortiq motets. Boshqalar maestros de capilla Matias Durango de los Arcos edi, Alonso Lobo, Xuan Bonet de Paredes, Andres de Torrentes, Gines de Boluda va Fransisko Yunka va Kerol.
Toledo sobori musiqasining ta'siri Ispaniyaning diniy musiqasida hal qiluvchi rol o'ynadi - nafaqat Mozarabiya ashulasida, balki keyinchalik Sevilya yoki Xayn kabi boshqa yeparxiyalarga ko'chib o'tgan maestralarni tayyorlashda va xorlarni tashkil etgan olti qismli xoristlarda. boshqa soborlarda, hatto o'zgarishlarni ham kiritadi Gregorian hayqirig'i sifatida tanilgan narsa shaklida Kantus Evgeniyan, Cantus Melodicus yoki Vulgo Melodiya, sobor qo'shiq ustalarining sa'y-harakatlari bilan (18 tagacha ustalar yozilgan), g'oyib bo'lgan raqamlar 1851 yilgi Konkordat va ularning aksariyat asarlari sobor kutubxonasida saqlanadi.
Katedralning diniy me'morchilikdagi modeli va ta'siri
Episkop Rodrigo Ximenes de Rada va unga ergashganlar frantsuz tilida ishlagan yoki loyihalashtirish tajribasiga ega bo'lgan usta quruvchilardan foydalanganlar Gotik uslubi. Parijdagi soborlar yoki Le-Man ularning tayanch punktlari bo'lgan. Frantsuz gotika quruvchilarining konstruktiv echimlari yaxshi qabul qilindi, masalan, qarama-qarshiliklar, tayanchlar va uchli kamarlar; shunga qaramay, ispaniyalik quruvchilar xor va qurbongoh hayratlanarli ma'badda joylashgan frantsuz soborlari maketini olib kirishga qarshilik ko'rsatdilar, kichiklarini tanladilar va xorni markaziy nefda joylashtirdilar. Bu Santyago-de-Kompostela sobori birinchi bo'lib kelgan sintetik echim edi; bularning hammasi Ispaniyada ham Mozarabiya marosimining ta'siri, shuningdek, Visigot an'analari va Kastiliya marosimida rivojlandi.
Ushbu tarixiy evolyutsiya, Primate sobori maqomi bilan birlashganda, Toledan modelini Ispaniyaning boshqa soborlari tomonidan qabul qilinishini rag'batlantirdi, bundan tashqari Burgos va bu Leon frantsuz modelini yanada sodiqlik bilan kuzatib bordi. Joylarning o'xshash tartibini Kadis, Sevilya, Palma de Mallorca va boshqa soborlarda ham ko'rish mumkin. Va taxmin qilinganidek, Ispaniya imperiyasi bu modelni olib yurdi Toletanaga sho'ng'iydi tashqarida, Amerika va Filippinda qurilganlarga ta'sir qiladi.
Iqtiboslar
Toledo sobori qadimdan san'atshunoslar va tarixchilar tomonidan hayratga solingan va ba'zilar uni g'ayrioddiy maqtashgan. Bu erda san'at va me'morchilikni o'rganishda rasmiylarning iqtiboslari keltirilgan:
- Frantsuz tarixchisi va arxeologi Elie Lambert (1888-1961) umuman gotika san'ati va xususan Toledo sobori haqida chuqur tadqiqotlar olib bordi. U yozgan:
"Toledo sobori o'z-o'zidan dunyo bo'lib, asrlar davomida uni bir-biridan juda xilma-xil bo'lgan juda katta san'at asarlari to'plami bilan ta'minlab berdi, uning boyliklarining ajoyibligi va xilma-xilligining jozibadorligi ishonib bo'lmaydigan darajada hosil qiladi. hayratdan taassurot. "
- Ispaniya universiteti o'qituvchisi va o'qituvchisi Manuel Bartolomé Cossío (1857-1935) quyidagi tanqidni qildi:
"Toledo sobori barcha gotika me'morchiligining eng aniq ispan namunasidir va bu erda klassik uslubga o'tishni misol qiladi; u Ispaniyada birinchi va go'zallik va mukammallik bo'yicha dunyodagi eng yakkaxonlardan biri hisoblanadi. , to'rtburchaklar va uchburchaklar yordamida ambulatoriya muammosi. "
- Me'mor, Leopoldo Torres Balbas Madridda tug'ilgan (1888–1960), deydi (Ars Hispaniae, VII):
"Uning ichki qismiga [Toledo sobori] kirganimizda, 120 metrdan ziyod uzunlikdagi va 60 kenglikdagi ulkan zalda osoyishtalik va hamjihatlikning mohir asari bo'lib, biz o'zimizni frantsuz soborlaridan farq qiladigan dunyoda topamiz. , ularning shakllarining o'xshashligini o'ylab ko'rish. Bularning ajoyib ko'tarilgan ritmi o'rnida Toledan, uning beshta pog'onasi, balandlikning katta farqisiz, hech qanday teatralliksiz, mutanosib mutanosiblikka ega. Agar biz uni qaysi frantsuz sobori bilan taqqoslasak, yassilangan. Arxitekturada kosmik tuyg'u kabi juda muhim narsada Kastiliya ibodatxonasi u kelib chiqqan frantsuz modellaridan tubdan farq qiladi. "
- Qirol Alfonso X Dono uning qurilishining sababini quyidagicha izohlaydi:
"Va podshoh arxiyepiskop Don Rodrigo bilan Toledo cherkovi yonida yurib, undan lazzatlanib, bu haqda suhbatlashib, uni allaqachon eskirgan deb qabul qildi va unga sharobini tutib, Xudoning ruhi va muqaddasligi ichiga kirib, o'zini tutdi. Xudo uni yangilab, nasroniylikni yo'qotib qo'ygan mamlakatlarda mavrlarni ko'p marotaba mag'lub etishi uchun qirol Don Ferdinandga topshirdi, toki bu yutuqlar tufayli Toledoning Avliyo Maryam cherkovi yangilansin va shu sabab juda yaxshi va juda to'g'ri, va shoh Don Ferdinand va arxiyepiskop Don Rodrigo uni ishga joylashtirdilar, keyin ular shoh va arxiyepiskop bo'lgan Toledo avliyo Maryam cherkovining birinchi toshini qo'yishdi, ikkalasi ham bittasini qo'yishdi ... Va asar ajoyib tarzda o'sdi kundan kunga."
Shuningdek qarang
Izohlar
- ^ a b "http://traveltips.usatoday.com/history-toledo-cathedral-53922.html ". USA Today. Tashqi havola
sarlavha =(Yordam bering) - ^ "Miembros del Cabildo (Primate's Chapter)" (ispan tilida). catedralprimada.es.
- ^ Rosario Díez del Corral Garnica (1987). Arquitectura y mecenazgo: la imagen de Toledo en el Renacimiento. Alianza. ISBN 978-84-206-7066-9.
- ^ XV asrda ushbu apellyatsiya eng buyuk hisoblangan to'rtta Ispaniya soborlarini yuksaltiradigan lotincha maqol orqali ommalashgan: Sancta Ovetensis, pulchra Leonina, sho'ng'iydi Toledana, Fortis Salmantina.
- ^ Hikoya bilan bog'liq bo'lganidek Birinchi umumiy xronika.
- ^ Angus Macnab, "Toledo sobori shahridagi Musulmon avliyosi", bu erda: Qiyosiy din bo'yicha tadqiqotlar, jild. 2, № 2. (Bahor, 1968) [1]
- ^ Sobor qurilishi boshlanishida Petrus Petrining yoshi haqidagi savolga qarang Toledo sobori, Zamonaviy Ispaniya, 1903, tomonidan Xose Amador de los Rios.
- ^ Sara Shrot (2010). Ispaniyadagi san'at va ispan dunyosi: Jonatan Braun sharafiga insholar. Pol Xolberton nashriyoti. p. 215. ISBN 978-1-907372-00-1.
- ^ Arxiepiskop Fransisko Ximenes de Sisneros va Toledo sobori tarkibidagi bob xonasi va Mozarabiya cherkovining bezatilishi.. 2008. p. 130. ISBN 978-0-549-74530-3.
- ^ Piero Boccardo; Xose Luis Kolomer; Klario Di Fabio (2004). Ispaniya va Jenova: obraslar, rassomlar va kolektionistlar. CEEH. p. 58. ISBN 978-84-933403-4-6.
- ^ Veti, Garold E. (1865), "Anequín de Egas Cueman, Ispaniyadagi Fleming", San'at byulleteni, 19 (3): 381–401, JSTOR 3045689
- ^ Ko'chasi, Jorj Edmund (1937), Ispaniyada gotika me'morchiligi haqida ba'zi ma'lumotlar, p. 475
- ^ Chueca Gaitia, Fernando va Navascues, Pedro.
- ^ Architoledo.org saytida qayta tiklanadigan narsa.
- ^ Ushbu qabr Siguenza sobori, Seynt Jon va Avliyo Ketrin ibodatxonasida joylashgan.
- ^ Delfin, Erika (2008). Arxiepiskop Fransisko Ximenes de Sisneros va Toledo sobori tarkibidagi bob xonasi va Mozarabiya cherkovining bezatilishi.. Nyu-York, Nyu-York: Nyu-York universiteti. p. 95.
- ^ Sancho, Xose Luis (1997). Toledo sobori uchun qo'llanma. Aldeasa. p. 22. ISBN 9788480030847. OCLC 432032847.
- ^ 1338 yildan beri Toledo arxiyepiskopi, ammo u bu ko'rgazmada tez-tez uchrab turardi.
- ^ Bolonya shahridagi Ispaniya qirollik kollejining asoschisi.
- ^ Ispaniyalik san'atshunos va me'mor Fernando Chueca Gaitia, qadimgi markaziy ibodatxonaning qadimgi avliyo Ildeponsusga bag'ishlanganligi va ambulatoriya markazida joylashganligiga ishonadi.
- ^ Visgotika kengashlari va madaniyati muzeyiga aylantirildi.
- ^ Flamboyant uslubi Evropaning shimoliy qismidan Ispaniyaga kech keldi va tezda o'rnini bosdi Izabellin gotikasi Ispaniyada va tomonidan Manuelin Portugaliyada.
- ^ Shoir Xorxe Manrike o'z ijodida unga bir necha baytlarni bag'ishlagan Otasining vafoti haqidagi kupletlar: Xo'sh, o'sha buyuk Oliy Konstable, biz juda yaxshi bilgan usta, U haqida gapirish o'rinli emas, aksincha uni vayron qilganini ko'rganmiz.
- ^ Elías Tormo (1869-1957, ispaniyalik san'atshunos va tarixchi) sobor ichidagi ushbu me'moriy majmua Mudjar shahrining Toledo shahriga ko'chirilgan kichik El Eskaliga o'xshaydi, deb aytardi.
- ^ Ta'riflangan yodgorliklar cherkov an'analarining bir qismidir. Vikipediya ushbu afsonalarning haqiqati yoki yolg'onchiligiga hech qanday munosabat bildirmaydi.
- ^ Ushbu ibodatxonaning ko'chirilishi uning nomini olgan bo'limda allaqachon tushuntirilgan.
- ^ Ushbu davrda ishlatilgan so'z. Bu italyancha, "dumaloq" degan ma'noni anglatadi.
- ^ Bu alohida tavsifga ega.
- ^ Kempbell, Gordon (2006). "Enrike de Arfe [Geynrix fon Xarff]". Grove dekorativ san'at ensiklopediyasi - 1-jild: Aaltodan Kioto kulolligiga. Nyu-York, NY: Oksford universiteti. Matbuot. 27-28 betlar. ISBN 978-0-19-518948-3. Olingan 8 yanvar 2012.
- ^ Kalvert, Albert Frederik (1908). Toledo: "Avlodlar shahri" ning tarixiy va tavsiflovchi bayoni. Nyu-York, Nyu-York: Jon Leyn kompaniyasi. 121–122 betlar.
Adabiyotlar
- Ispan tilida
- Kamon Aznar, Xose. Historia general del arte, Tomo XVIII, Colección Summa Artis. La escultura y la rejería españolas del siglo XVI. Espasa Calpe S.A. Madrid 1961 yil.
- Kamon Aznar, Xose; Morales va Marin, Xose Luis; Valdivieso, Enrike. Historia general del arte, Tomo XXVII, Colección Summa Artis. Arte español del siglo XVIII. Espasa Calpe S.A. Madrid 1984 yil.
- Chueka Gaitiya, Fernando (1975), La Catedral De Toledo (ispan tilida), Riga: Everest, ISBN 84-241-4719-7
- Enríquez de Salamanca, Kayetano (1992), Curiosidades De Toledo (Ispan tilida), Madrid: El Pais / Aguilar, ISBN 84-03-59167-5
- Marti va Monso, Xose. Valladolid asoslari histórico-artísticos relativos. Basados en la araştırmak deversos arxivlari. Primera 1892-1901 yillar. segunda edición facsímil, Valladolid 1992, Tahririyat Ámbito S.A. ISBN 84-86770-74-2.
- Navascués Palacio, Pedro; Sarthou Karreres, Karlos (1997), Catedrales de Espana (ispan tilida), Madrid: Espasa Kalpe, ISBN 84-239-7645-9
- Nieto Siriya, Xose Manuel. Iglesia y génesis del Estado Moderno en Castilla (1369–1480), Madrid, 1993 y.
- Pijoan, Xose. Historia general del arte, Tomo XI, Colección Summa Artis. El arte gótico de la Europa occidental, siglos XIII, XIV y XV. Espasa Calpe S. Madrid 1953 yil.
- Polo Benito, Xose. El arte en España. Catedral de Toledo. Patronato Nacional de Turismo. Tahririyat H de J. Tomas, Barselona.
- Riera Vidal. Un día en Toledo. ISBN 84-400-5928-0.
- Sanches-Palensiya, Almudena. Fundaciones del Arzobispo Tenorio: La capilla de San Blas en la Catedral de Toledo. Diputación de Toledo, 1985 yil.
- Conferencia Episcopal Española. Celebración eucarística según el rito Hispano-mozárabe. Madrid, 2000 yil. ISBN 84-931476-5-6.
- Zarco Moreno, Zarco (1991), Toledo (ispan tilida), Leon: Everest Pub, ISBN 84-241-4396-5
Tashqi havolalar
- Fotosuratlar va tarix Maravillas ocultas de España shahrida
