A Journey Through Gothic Cathedrals: Burgos, Notre Dame, and Las Palmas
Home Sarmental Burgos Cathedral
The Sarmental Door, located on the south facade of the Burgos Cathedral’s transept, dates back to the 13th century (1228-1250). This magnificent entrance showcases intricate sculptural groups across its mullion, jambs, lintel, eardrum, and archivolts.
The Mullion
Bishop Maurice, a driving force behind the cathedral’s construction alongside King Ferdinand III, stands prominently on a pedestal. Crowned by a canopy featuring a lamb, the bishop’s figure holds all the traditional episcopal attributes.
The Jambs
Beneath blind arches, six figures stand at the same height as Bishop Maurice. These figures, identifiable by their attributes, represent St. Peter, St. Paul, Moses, Aaron, and Santiago.
The Lintel
Twelve figures, believed to be the Apostles, are depicted in lively conversation, each holding an open book. A canopy above separates them from the eardrum.
The Eardrum
Christ in Majesty, crowned and seated, offers a blessing with his right hand while holding the Book of Life in his left. The Tetramorph (eagle, lion, ox, and angel) surrounds him, along with the Evangelists, who are depicted writing at desks. Christ’s seated posture symbolizes his divine rule, while the Evangelists are portrayed as 13th-century men engaged in the act of writing.
The Archivolts
The triple archivolt features 45 figures, including angels closest to Christ and seated figures in the outer arches. Some figures are crowned or depicted as elders with musical instruments.
Decorative Elements
The entire ensemble is framed by decorative elements, including plant-like motifs, geometric patterns, and canopy columns.
Notre Dame Cathedral
This Latin cross-plan cathedral features five naves separated by arches on cylindrical pillars.
The Nave
The central nave, taller and wider than the side naves, retains the gallery and clerestory reminiscent of Romanesque pilgrimage churches. A gallery of windows opens onto the rostrum and clerestory.
The Transept
Located near the center of the nave, the transept facades feature large rose windows depicting scenes from the Old and New Testaments. A slender spire crowns the crossing, emphasizing the building’s verticality.
The Apse
The apse includes an ambulatory and radiating chapels, showcasing innovative construction techniques like flying buttresses, arches, and pinnacles.
The Roof and Facade
A gable roof covers the cathedral. The facade, a prime example of H-shaped arrangements, is divided into three horizontal and three vertical sections, with two terraced towers. A large rose window dominates the central body, flanked by two large windows and a gallery of arches. Three doors below feature sculptural decoration depicting the Life of the Virgin.
Construction History
Although construction began in the 12th century (1163, consecrated in 1182), Notre Dame’s features classify it as classic Gothic (13th century).
Cathedral of Las Palmas
Construction began around 1500 at the foot of the temple, preserving the old church of Santa Ana until the end of construction in the late 18th century.
Architects
Andalusian architects involved in the project included Diego Alonso, Pedro de Llerena, and Juan Palacios.
Interior
Inspired by Seville Cathedral, Las Palmas Cathedral features a hall-church plan with three naves of equal height, separated by cylindrical pillars supporting a starry vault. Chapels are situated between the buttresses.
Exterior
Flying buttresses and spurs counteract the outward thrust.
Later Additions
Nicolás Eduardo and Diego Luján Pérez completed the cathedral in the 18th century, adding two sections to the naves, organizing the transept, and designing the header in the Gothic style.
Facade
The neoclassical facade, designed by Luján Pérez, was added in the 19th century.
Portico de la Gloria
is a Romanesque sculpture along with so exceptional that it has been called “the most accomplished monument iconography of medieval sculpture,” “glory of Christian art” and “Wonder universal art. “As escaracterístico Romanesque, is a passage from the Bible carved in stone, created by Master Mateo, Fernando II, who received the commission to do it to commemorate his pilgrimage to Santiago de Compostela. The exact date of start of construction is unknown, while retaining the document evidencing the annuity granted to it by King in 1168, so you can devote to it, on the contrary, appears in the inscription on the arch central in 1188 the lintels of the main portal of the church of the Blessed Santiago were placed by Maestro Mateo, who led the work from its foundations. “There remains the work as conceived by Matthew, as the baroque facade replaced the large outer arc, as the early Romanesque façade, structure similar to that of The Silversmiths, was replaced by the same Gate. This is the narthex or atrium of the Basilica, whose scheme matches that of their ships: hieratic stiffness in the eardrum, where it is visible hierarchical perspective, highlighted by the very arrangement of the procession apocalyptic, reinforcing the centrality of the eardrum and emphasizing the figure of Christ the Redeemer, who shows his wounds open arms. The column statues are relaxed and, despite the rigidity of attitudes, traits loom expression in the faces and gestures are humanized. Smile and individualized. Example of this is the figure of Daniel. Accumulation of images that prevent a clear view of the whole and of each of the images. The sculptures increase in volume, move, relate to each other, they talk. The feet were seeking to adopt more natural positions, trying to adapt the frame. Perfection and classical serenity. Polychrome in all figures. The central arch represents Christ glorified, as the apocalyptic vision of San Juan, the Jewish people and scenes from the Old Testament on the left, and the Gentiles or heathen people in the right. In the tympanum, the figure of the risen Christ showing wounds in hands, feet and side, made much larger than the others, for the purpose of highlight your Majesty surrounding the four evangelists, who are supported to write: San Juan, on an eagle, San Lucas, on a bull, San Mateo, on his knees, and San Marcos, on a lion, eight angels carry symbols of the Passion, the other 40 figures on either side of Christ, representing elected. The archivolt, placed radially, are the 24 elders of Revelation, seated figures arranged in pairs and playing musical instruments or tolling keying to form the Concert in Heaven. The mullion is another extraordinary piece outfit that culminate in the two traditions, a statue of St. James, full of expression and beauty in your face, holding in his hand a scroll with the inscription: “The Lord sent me ‘, which is inserted into the balanced set of folds of the robe, resting on a marble column, carved, which recounts the genealogy of Christ or The Tree of Jesse, down to the Virgin Mary, whose capital is the Holy Trinity.