|Cathedral of Saint Mary of Burgos|
Catedral de Santa María de Burgos
Gothic Burgos Cathedral
|Heritage designation||1885, 1984|
|Official name: Burgos Cathedral|
|Criteria||ii, iv, vi|
|Designated||1984 (8th |
|State Party|| |
|Official name: Catedral de Santa María|
|Designated||April 8, 1885|
The Cathedral of Saint Mary of Burgos (
In the cathedral are preserved works of extraordinary artists, such as architects and sculptors of the Colonia family (
The design of the main facade is related to the purest French Gothic style of the great cathedrals of
There are numerous architectural, sculptural and pictorial treasures inside. Highlights include:
The cathedral was declared a
The monarch promoted the construction of a cathedral dedicated to the Virgin Mary that its traces are not known, but it is supposed
In 1096 the works of this temple were finished, but soon became too small for the needs of a city that was the symbolic capital of the kingdom, a powerful bishopric (the cathedral chapter had more than thirty members already before 1200) and an increasingly dynamic business center. The decision to build a new cathedral was begun finally took the 13th century. As was common at the time, the Romanesque building was destroyed (of which only some sculptural remains) and its site, expanded with the demolition of a neighboring houses donated by the Bishop Marino, it rose the new Gothic cathedral.
The first stone of the new cathedral was placed on June 20 of 1221 in the presence of the promoters of the temple: the king
The construction of the cathedral, located just at the point where begins to rear it the hillside chaired by the
Between the second half of the 13th century and early 14th century the chapels of the aisles were completed and a new cloister was built. Master Enrique died in 1277 and was succeeded by Master Johan Pérez. Stonemasons were later Aparicio Pérez, active in 1327, Pedro Sánchez de Molina and Martín Fernández, who died in 1396 and 1418 respectively.
In the 15th century the Colonia family incorporated the spiers of the main facade, the dome over the transept and the Chapel of the Constables. In the 16th century, besides the modifications to several chapels, highlights the construction of a new dome by Juan de Vallejo, who replaced the Juan de Colonia (sunk after a hurricane). In the 18th century were made the Chapel of Saint Thecla, the Chapel of the Relics and the Sacristy.
Among the most famous of the bishops of Burgos was the 15th-century scholar and historian
Burgos Cathedral owes its many works of art of the 13th to 18th centuries, especially the fact that during the 19th and 20th centuries
Outside the scope of the new cloister only was essential way reformed, after 1800, the chapel of the Santo Cristo or of Our Lady of the Remedies, located in the west of the old cloister. The renovation began with the transfer of the highly revered crucifix of the Holy Christ from the Convento de San Agustín to the chapel, thereafter, was called chapel of the Santo Cristo de Burgos. In the 1890s Vicente Lampérez y Romea, master architect of the cathedral from 1887, undertook an extensive restoration of this chapel, removing the plaster added of the walls and vaults and completely renovated the cover that gives the nave. also date from this restoration the neo-Gothic tracery windows, the blind arcades of the walls and most of the remaining architectural elements.
Between 1899 and 1911 Lampérez also restored the called New cloister, getting essentially recover its original shape. In the cloister it had overbuilt a third level with small Baroque windows that this architect did eliminate, and, incidentally, he opened the original windows of the cloister that had been almost closed. The installation of ornamental windows following models and old techniques, represented the end of the restoration. While the upper body of the cloister hardly experienced any change, the lower cloister was remarkably restored. The forms of its rib, apparently late Gothic, are due to Lampérez. Before the restoration, the lower cloister was divided into several compartments and generally in poor state of conservation. It is likely that during the restoration of the cloister was removed the stairwell that had subsequently been added, situated in the inner southwest corner of the same cloister. Subsequently, the connection between the two levels of the cloister only is established through a wooden staircase beneath the chapel of Saint Jerome.
The most recent restoration of the cathedral, by architect Marcos Rico Santamaría, has replaced the roof by a light steel framing. Regarding the rib star freely suspended in the center tower of the transept, it has laid a glass surface that achieves the complete enlightenment of the fabric of the rib. Regardless of such measures, there have been few the recent attempts to modify the architectural and sculptural substance of the cathedral. On August 12, 1994, a statue of Saint Lawrence came off from the final stretch of the north tower of the main facade, which made public the immediate need to resume the protection and conservation measures of the monument.
Finally, are noteworthy other contemporary interventions, without seeking any modification of the monument, have significantly contributed to the enhancement of the cathedral, as has been the elimination in the early 20th century of some buildings that had been attached to the temple, as the Archbishop's Palace.