Architectural Wonders: Burgos, Notre Dame, and Las Palmas Cathedrals
HOME Sarmental BURGOS
The Sarmental Doorway is a Gothic façade on the south side of the Burgos Cathedral, dating back to 1230-1240. It’s adorned with high-relief and in-the-round sculptures, creating a captivating display of imagery. The stone sculptural groups are integrated into the flared front, typical of Gothic cathedrals.
The Program
The iconographic program of the doorway centers around the Maiestas Domini, conveying an apocalyptic message comparable to the Puerta Real de Chartres.
- Tympanum: Christ in Majesty is depicted centrally, blessing with his right hand and holding the Gospels on his left knee. He’s flanked by the four evangelists and their symbols (Tetramorph).
- Archivolts: Angels and seraphim carrying candles are depicted in the first archivolt, worshipping the Creator. The other two archivolts feature the 24 elders of Revelation, biblical kings, and saints.
- Jambs: The jambs consist of a base and two galleries of overlapping arches. The lower gallery is undecorated, while the upper one features sculptures of Moses, Aaron, Saint Peter, Saint Paul, and two unidentified figures.
- Mullion: The mullion features a bishop with a starry miter, popularly believed to be Bishop Maurice, who initiated the cathedral’s construction. The original is in the cloister, replaced by a copy.
- Canopy: Above the canopy that shelters the apostles is the Mystic Lamb, an element from the Apocalypse, aligning with the elders and the exaltation of God.
The figures, while retaining some Romanesque stiffness, display a degree of human interaction and activity. The evangelists, depicted writing, and the apostles are treated more naturalistically. The latter, seated and holding books, engage in conversation or appear lost in thought.
The sculptures are integrated into the architecture through elements like the canopy between the tympanum and lintel, which serves as a base for the apostles. The lattice decoration points to the concept of the Wall of God or celestial Jerusalem.
The Sarmental Doorway, while Gothic, reveals traces of its Romanesque past. Its archaic iconography links it to the Real Porch of Chartres. However, the naturalism of the figures is characteristic of Gothic sculpture, suggesting the influence of the portals of Amiens and Reims. These influences are evident in the proportionality of the bodies, a greater sense of narrative, and a heightened interest in aesthetics and individual expression.
CATHEDRAL NOTRE DAME
Notre Dame Cathedral, a classic Gothic masterpiece made of granite, stands on an island in the Seine River in Paris, France. Construction began in 1163 under Bishop Maurice de Sully and was completed in 1258. Architects Pierre de Montreuil and Jean de Chelles contributed to its design.
Structure and Design
The cathedral’s plan resembles a Greek cross, with a minimally protruding transept. It features five naves and a double ambulatory divided into triangular sections, surrounded by square chapels. The central nave is taller than the side aisles, supported by columns rather than the pillars typical of early Gothic architecture.
The interior is illuminated by stained-glass windows in the arches, clerestory, and rose windows, creating a mystical atmosphere. The exterior exhibits a balance between horizontal and vertical elements, achieved through the flanking towers and the horizontal gallery of Kings.
Facade
The facade is a prototype of the French Gothic style, with a “hache” scheme featuring flanking towers topped by terraces. The main facade is divided into three levels, with three portals reflecting the three naves. The central portal’s tympanum depicts the Limbo of the Righteous, the Chosen, and Christ displaying his wounds, accompanied by angels holding the symbols of the Passion.
Niches on the facade house statues of saints and prophets. The pointed archivolts are filled with figures that follow the curve of the arch, a characteristic Gothic feature. A frieze with statues of kings, possibly French monarchs or kings of Judea, appears above the central portal. This frieze, destroyed during the French Revolution, was later restored by Viollet-le Duc. A rose window sits above the frieze, smaller than those on the north and south facades but equally impressive.
Towers and Sculpture
Two square towers flank the facade, open on all sides and adorned with gargoyles and sculptures. The cathedral’s intricate sculptural program and architectural details showcase the mastery of Gothic craftsmanship.
CATHEDRAL OF LAS PALMAS
The Cathedral of Las Palmas, also known as the Santa Iglesia Catedral Basilica de Canarias, is a Gothic cathedral in Las Palmas de Gran Canaria, Spain. Declared a national historic monument in 1974, it’s the most important architectural monument in the Canary Islands.
Interior
The cathedral’s interior features three longitudinal aisles of equal height, with the central nave being wider than the side aisles. Thirteen independent chapels line the side aisles. The plan is a Latin cross, with a choir and apse at the back of the nave. The altar is dominated by the image of Saint Anne, the patron saint of the city.
The walls are divided into two levels with small openings and windows in the arches of the side chapels. The windows are designed as oculus-like openings rather than large expanses of glass. The verticality of the temple is emphasized by the height of the vaults, symbolizing spiritual elevation.
Light enters through the chapel windows and the rose window on the main facade. The stained-glass windows create a colorful atmosphere against the dark stone. Decorative elements are scarce, with the architectural style itself (capitals, frames, ribs) serving as the primary ornamentation.
Structure and Materials
The pillars feature decorations based on sarteras, collars with balls, and washers. The stained-glass windows alternate between the dark gray of the stone and the white of the walls and vaults. Two types of supports are used: cylindrical columns separating the aisles and cruciform pillars attached to the side walls.
The arches of the side chapels are pointed, while the vaults are ribbed. The vaults in the central and side naves are made of ribbed vaults. The exterior buttresses are less prominent due to the equal height of the aisles and the nave. The ribs of the vaults resemble open palms.
The cathedral is constructed from blue stone from the quarries of San Lorenzo and yellow sandstone from the Guanarteme zone. The quarried areas contrast with the white plaster of the walls.
Gothic Influence
The Cathedral of Las Palmas is a rare example of Gothic architecture in the Canary Islands. The style’s presence in the archipelago is limited due to the scarcity of materials and economic resources. The cathedral’s Gothic elements, such as pointed arches and ribbed vaults, stand out as remnants of a style that struggled to flourish in the region.
Historical Context
The cathedral’s construction coincided with the Spanish conquest and colonization of the Canary Islands in the 15th century. The islands’ socio-economic structure was organized based on Spanish feudal patterns, adapted to an economy where commercial capital played a significant role.
The introduction of an agricultural subsector focused on export products for European markets shaped the islands’ economic landscape. This was complemented by production for domestic consumption, driven by population growth. The domestic market and abundant labor helped maintain the competitiveness of the export-oriented agricultural sector.
The Cathedral of Las Palmas stands as a testament to the architectural and historical influences that shaped the Canary Islands during a period of significant transformation.