LA GUÍA DIGITAL DEL ARTE ROMÁNICO
Webmaster: A. García Omedes - Huesca (España)
| Presentacións | Novedades | Mapa del Sitio | Mapas Activos | Opinión | Castillos XI-XIII | Rutas Románicas | Monográficos | Otras Regiones
Enlaces | Bibliografía | Diccionario | Distinciones | Premio Romanico Aragonés | Fondos de Escritorio | Inicio |
-JACA. CATHEDRAL OF SAN PEDRO –"LONJA CHICA"(Cont.)-
IR A VERSIÓN EN ESPAÑOL
(LA JACETANIA)
See Interactive map of the area
DROP DOWN MENU.....................................(Select cathedral destination) EXTERIOR-SOUTH APSE CORBELS DEL TEMPLO DETAILS OF SOUTH APSE "LONJA CHICA-SOUTH DOOR "LONJA MAYOR-WEST DOOR TYMPANUM-TRINITARIAN CHRISMON INTERIOR OF THE CATHEDRAL CAPITALS IN THE INTERIOR OF THE CATHEDRAL DIOCESAN MUSEUM
The capital crowning the east column of the external access to the south porch is also exceptional [1 to 8]. This capital depicts scenes from the life of St Sixtus II, a Greek pope born in Athens. His papacy, which began in the year 257, coincided with the persecutions of Emperor Valerian. The chubby-cheeked figures, the folds in the clothing, the sculpting of the hair… all clearly point to this capital being the work of the sculptor known as the Master of Doña Sancha. The name of the Pope in question can be seen in photo 4, carved on the left volute. There is a technical detail present on this capital which is also to be found on the tympanum over the entrance into the cloister of San Pedro el Viejo (Huesca). On the capital of St Sixtus, under the index and middle fingers of the saint, the artist has left a small ‘chunk’ of stone; this was done to prevent breaking of the fingers while carving. In San Pedro el Viejo the same is to be seen with the right hand of the Child Jesus.
The capital crowning the east column of the external access to the south porch is also exceptional [1 to 8].
This capital depicts scenes from the life of St Sixtus II, a Greek pope born in Athens. His papacy, which began in the year 257, coincided with the persecutions of Emperor Valerian. The chubby-cheeked figures, the folds in the clothing, the sculpting of the hair… all clearly point to this capital being the work of the sculptor known as the Master of Doña Sancha. The name of the Pope in question can be seen in photo 4, carved on the left volute.
There is a technical detail present on this capital which is also to be found on the tympanum over the entrance into the cloister of San Pedro el Viejo (Huesca). On the capital of St Sixtus, under the index and middle fingers of the saint, the artist has left a small ‘chunk’ of stone; this was done to prevent breaking of the fingers while carving. In San Pedro el Viejo the same is to be seen with the right hand of the Child Jesus.
234
5
678
The same craftsmanship is to be seen in the fall of the folds of the cloak with which St Sixtus holds the sacred book [3] and in that of the Magi making the offering to the Child Jesus on the tympanum of the cloister of San Pedro el Viejo in Huesca. It is significant that this singular and personalized capital dedicated to St Sixtus is carved in Jaca. Three days after the death and martyrdom of the saint, the same fate befell his deacon, St Lawrence. It was St Lawrence who is said to have sent the Holy Grail to Huesca and this outstanding capital reinforces the idea that the Holy Grail was kept here in Jaca between 1044 and 1076. The capital shows St Lawrence speaking to the Pope, who is entrusting him with the task of distributing the possessions of the Church among the needy. He obeys the Pope in almost everything. The Holy Grail, which is something special, could well be the wrapped object which St Sixtus is handing over to his followers so that they can take it to Huesca [5]. This possibility is reinforced by the blessing he appears to be giving with his right hand to the object he is handing over with his left. The followers receiving the object demonstrate the same reverence and make the same sign of the cross. St Sixtus is shown on two other faces of the capital being taken later before the Emperor Valerian and being flogged [7 and 8].
The same craftsmanship is to be seen in the fall of the folds of the cloak with which St Sixtus holds the sacred book [3] and in that of the Magi making the offering to the Child Jesus on the tympanum of the cloister of San Pedro el Viejo in Huesca.
It is significant that this singular and personalized capital dedicated to St Sixtus is carved in Jaca. Three days after the death and martyrdom of the saint, the same fate befell his deacon, St Lawrence. It was St Lawrence who is said to have sent the Holy Grail to Huesca and this outstanding capital reinforces the idea that the Holy Grail was kept here in Jaca between 1044 and 1076.
The capital shows St Lawrence speaking to the Pope, who is entrusting him with the task of distributing the possessions of the Church among the needy. He obeys the Pope in almost everything. The Holy Grail, which is something special, could well be the wrapped object which St Sixtus is handing over to his followers so that they can take it to Huesca [5]. This possibility is reinforced by the blessing he appears to be giving with his right hand to the object he is handing over with his left. The followers receiving the object demonstrate the same reverence and make the same sign of the cross. St Sixtus is shown on two other faces of the capital being taken later before the Emperor Valerian and being flogged [7 and 8].
9
Seven capitals brought from other parts of the cathedral were used for the construction of the south porch of the cathedral. It is not known for certain, but it is thought that most of these came from the, now disappeared, cloister of the cathedral. As regards the capital of King David, my own hypothesis is that it originally formed part of the mullion of the west portal of the cathedral (See Monographic themes). 10 Apart from this extraordinary capital of St Sixtus, there was another, against the south wall of the cathedral in the porch, which depicted King David and the musicians [9 to 12]. The magnificent craftsmanship of the capital is that of the Master of Jaca and it has even been speculated that King David was carved in the likeness of King Sancho Ramírez. Given its unmistakable value, the original has been moved to protect it from being damaged by the weather and is now to be found in the Diocesan Museum; and a very good reproduction has been erected in its place in the porch.
Seven capitals brought from other parts of the cathedral were used for the construction of the south porch of the cathedral. It is not known for certain, but it is thought that most of these came from the, now disappeared, cloister of the cathedral. As regards the capital of King David, my own hypothesis is that it originally formed part of the mullion of the west portal of the cathedral (See Monographic themes).
10
Apart from this extraordinary capital of St Sixtus, there was another, against the south wall of the cathedral in the porch, which depicted King David and the musicians [9 to 12]. The magnificent craftsmanship of the capital is that of the Master of Jaca and it has even been speculated that King David was carved in the likeness of King Sancho Ramírez. Given its unmistakable value, the original has been moved to protect it from being damaged by the weather and is now to be found in the Diocesan Museum; and a very good reproduction has been erected in its place in the porch.
1112
As well as these two magnificent capitals, there are six more capitals to be admired in the south porch of the cathedral [13 to 18]. The decoration of these capitals varies between classical ornamentation and stylized sirens in the form of ‘birdmen’ [17 and 18]. 13
As well as these two magnificent capitals, there are six more capitals to be admired in the south porch of the cathedral [13 to 18]. The decoration of these capitals varies between classical ornamentation and stylized sirens in the form of ‘birdmen’ [17 and 18].
13
The capital in photo 16 shows two birds head-to-head in each of the corners of the capital with a person depicted hanging from the grasp of these birds on each face of the capital. The figure on the east face of the capital stands out because it is that of a cripple with a wooden leg attached to his stump. I have read about a ‘crippled angel’, but here it is clear that the wings are the birds’ wings and the birds are holding the crippled person by the forearms. As is often the case the underlying message in the symbolism is difficult to decipher and, therefore, lends itself to further study.
The capital in photo 16 shows two birds head-to-head in each of the corners of the capital with a person depicted hanging from the grasp of these birds on each face of the capital. The figure on the east face of the capital stands out because it is that of a cripple with a wooden leg attached to his stump.
I have read about a ‘crippled angel’, but here it is clear that the wings are the birds’ wings and the birds are holding the crippled person by the forearms. As is often the case the underlying message in the symbolism is difficult to decipher and, therefore, lends itself to further study.
1415161718
Asociada de "Amigos del Románico"
PREVIOUS PAGE
NEXT PAGE
See statistics