Toledo Cathedral

The main facade of the cathedral and the palace of the archbishops adjacent to it

According to tradition, a Christian church existed on the site of the modern Toledo church, dating back to the first bishop of Toledo, Eugene, about which no historical information has been preserved. It is reliably known that this church already existed in 587 , when it was re-consecrated after the conversion of the Visigoth King Reccared I from Arianism to Nicene Christianity . The 16th century inscription, preserved in the cloister of the cathedral, is dedicated to this event.

From that moment, Toledo became the center of the episcopal department and the religious center of the Visigoth kingdom . Services in the Cathedral of Toledo were held in the Mozarabic rite , the main liturgical rite of Visigothic Spain ^[4] . 18 church cathedrals held here, which went down in history as Toledo cathedrals , confirmed the religious significance of the city.

After the Muslim conquest of the city ​​in 711, Toledo Cathedral was turned into a mosque , but the Arab invasion did not immediately destroy the Christian hierarchy, the department of the Toledo bishop was moved to the church of Santa Maria de Alfizen (not preserved) ^[5] .

Toledo was recaptured from the Moors by Alfonso VI , king of Leon and Castile , in 1085 . One of the conditions for surrender was the king’s promise not to persecute the Muslims of the city and preserve their religious buildings. Naturally, this promise extended to the former St. Mary's Cathedral, the largest mosque in the city. After the conquest of Toledo by the Christians in the city, the episcopal department was restored, Bernard de Cedirac became the first bishop of Toledo. Pope Urban II recognized the status of the chair of the Primate of Spain for the restored department. In 1087, the promise to preserve the building of the former cathedral for Muslims was broken, the mosque was re-consecrated as a Christian church, with minimal changes in architecture ^[6] . Until the 13th century, the building of the cathedral, a former mosque, remained untouched.

After the victory of Christians in the battle of Las Navas de Tolosa , which was of key importance in the Reconquista , King Alfonso VIII decided to build a new grandiose cathedral building in Toledo ^[3] . However, only after his death, under King Fernando III and the Toledo Archbishop Jimenez de Rada, the old building was destroyed, in 1226 the construction of the modern building of the cathedral began, which lasted until 1493 .

The cathedral was built in the Gothic style with obvious French influence ^[7] . Its first architect was Martin, of French descent. The cathedral has 5 naves formed by 88 columns and 72 arches ^[7] . In the 14th century, under the archbishop Pedro Tenorio architect Rodrigo Alfonso added to the northern wall of the cathedral the cloister and chapel of St. Blasius (San Blas), where the archbishop of Tenorio was buried. In the 15th century, Alvar Martinez completed work on the western facade and tower.

The construction of the cathedral was completed in 1493 under the Archbishop Pedro González de Mendoza , nicknamed the “Grand Cardinal”. Further changes in the cathedral concerned only the interior - in the 16th century the cathedral was decorated with a number of outstanding works of art ^[7] . Under Cardinal Francisco Jimenez de Cisneros , who was a supporter of the revival of the Mozarabic rite of worship, the Mozarabic chapel was created. Cardinal Jimenez de Cisneros also initiated the creation of a magnificent retablo of the main chapel. In addition, in the XVI century, under the successors of Jimenez de Cisneros, the chapel of the New Kings, the upper part of the choirs and their openwork lattices, a treasury and a sacristy were created as archbishop.

The cathedral was built in the Gothic style , however, in its architecture there are a number of features of Moorish architecture . In particular, the Moorish influence affected the use of horseshoe-shaped and multi-lobed arches . The cathedral resembles a Moorish mosque with its breadth and proximity to the hall type ^[8] .

The length of the cathedral is 120 m , width - 60 m, height - 44 m ^[3] . The north tower of the cathedral has a height of 90 m; it has the Campania Gorda bell , made in 1753 and weighing 17 tons. It was planned to build a symmetrical southern tower, but in the 16th century a Mosarab chapel with a dome was built in its place.

Over time, the surrounding buildings hid the true dimensions of the cathedral, in addition, the exceptionally uneven relief of historical Toledo also makes it difficult to appreciate the grandiose dimensions of the building. Only the main (western) facade that overlooks the central square of the city, which, in addition to the main facade of the cathedral, also includes the archbishop's palace and the main building of the city hall ^{[9], is} open for review.

Portals and facades

The main facade of the cathedral is located on its western side and overlooks the central square of the city, which has an irregular shape. In addition to the main facade of the cathedral, the buildings of the archbishop's palace and the city hall of Toledo overlook it. To the left of the main facade is a bell tower, consisting of two parts - the lower, square in plan, was designed by Alvar Martinez; the upper, octagonal, was created by Hannekin from Brussels.

The main facade was created in the 15th century and slightly rebuilt in the 18th. It has three portals - the main portal, located in the center, is called the Puerta del Perdon (Gate of Forgiveness). The name is associated with the once-existing belief that every penitent passing through this gate receives the remission of sins ^[9] . The other two portals are called Doomsday Gate (south) and Hell's Gate (north).

The gate of forgiveness was created simultaneously with the main facade in the 15th century according to the project of Alvar Martinez. The entrance to the cathedral is decorated in the form of a Gothic arch with six archivolts . The tympanum of the gate depicts the scene of the Theotokos presenting her robe to Saint Ildefons . Currently, these gates are almost always closed and open only for especially important occasions, such as the ceremonial entrance to the cathedral of the new archbishop. The Doomsday Gate depicts the Doomsday scene, which gave the gate a name, while the Gates of Hell do not have plot scenes, only a floral ornament. The second name of the Gate of Hell is the Gate of the Palms, since earlier a procession with palm leaves passed through them on the feast of the Entry of the Lord into Jerusalem ^[10] .

Puerta del Reloj (Gate of the Clock) is located in the north wall of the cathedral. The name was given to them by the clockwork above the entrance arch. The second name of the gate is fair, because they are located at the end of the street, where in the old days fairs were organized. The gate of the clock is the oldest portal of the cathedral, they were created at the beginning of the XV century. The tympanum of the portal is richly painted with carvings; it is divided into four parts, which depict scenes from the earthly life of Christ. Now, through this gate, visitors can enter the cathedral for free, where from a small platform you can see the general view of the interior.

"Puerta de los Leones" (Lviv Gate) - the southern entrance to the cathedral. The gates of Lviv are the newest of the large portals of the cathedral, they were created in 1460-1466. Named after lions crowning the columns in front of the entrance. At present, this is the main entrance to the cathedral, through them tourists enter by ticket and believers during divine services enter the cathedral.

In addition to the main portals, the cathedral has three more small ones. Puerta Liana (Flat Gate) is named so because it is the only portal whose entrance is located at ground level and has no steps. Two more portals - Santa Catalina and Introductions lead not to the cathedral, but to the cloister adjacent to the cathedral from the north.

Main Chapel

Its modern appearance, the main chapel (Capilla Mayor) of the cathedral, located in its central part closer to the altar , is due to Cardinal Jimenez de Cisneros . Until the XVI century, this place consisted of two parts with separate arches , a multifaceted arch was located above the chapel of the Old Kings (capilla de los Reyes Viejos). Because of this chapel, the cathedral’s presbytery was narrow enough that it looked unnatural for a cathedral of this size. Cardinal Cisneros defended his plan for the demolition of the chapel of the Old Kings and the expansion of the main chapel and presbytery. For the rebuilt Main Chapel, Cisneros ordered a Gothic retablo , which became one of the pearls of the cathedral.

The Late Gothic chapel retablo is made of gilded wood and has become one of the latest examples of this style in Castile . It took six years to create it, from 1498 to 1504 ^[11] . A number of masters worked on the creation of the retablo: the general management was carried out by Enrique Egas and Pedro de Gumiel . Among the other masters who worked on the creation of the retablo are Felipe Bigarni , Juan de Borgogne , Kopin Holland , Sebastian de Almonacid and others. The retable is divided into seven vertical parts, the wide central one is located above the gift-guard , 4 parts to the left and right contain sculptures on the Gospel subjects, in two more narrower statues of saints on the sides of the retable. The gift guard, as well as the retablo itself, is made of gilded wood.

The side walls of the Main Chapel to the right and left of the retablo are richly decorated with carvings. According to some authors, the carvings of the main chapel belong to the main attractions of the cathedral ^[12] . Another important object from the point of view of art in the Main Chapel is the tomb of Cardinal Pedro Mendoza , located on the left side of the chapel and consisting of a sarcophagus and carvings around it. Its author is unknown ^[13] , but the tomb is considered one of the earliest examples of the Spanish Renaissance ^[11] . In addition to Cardinal Mendoza, Kings Alfonso VII Emperor , Sancho III and Sancho IV are buried in the Main Chapel.

Under the main altar of the chapel is a small crypt with a chapel. The entrance to the Main Chapel is closed by the openwork lattice of the work of Francisco de Villalpando.

Choirs

The choirs of the cathedral are located in the central part of the cathedral next to the Main Chapel. They consist of two tiers - the upper and lower. Wooden seats in both tiers are decorated with Renaissance -style carvings. The lower tier seats are decorated with 54 bas-reliefs by Rodrigo Aleman (1495), which depict episodes of the capture of Granada ^[10] . The upper tier, completed in 1543, is decorated with images of biblical scenes by Alonso Berruguet and the carvings of Felipe Bigarni. On the altar there is a sculpture of the Virgin Mary (XIV century) of French origin, known as the “White Virgin” (Virgen Blanca) ^[14] . Also in the choirs are two ancient organs . The choirs are fenced in a plateresque style lattice (1548).

Sacristy

The sacristy (sacristy) of the cathedral is located to the left of the presbytery . The sacristy was built at the end of the 16th century and consists of several rooms, which are currently used as an art gallery. The exhibition presents paintings by El Greco , Caravaggio , Titian , Van Dyck , Goya and other famous artists. In addition to paintings, the collection includes medieval liturgical robes. The arch of the central hall of the sacristy is decorated with the fresco of Luke Giordano "The Taking of the Blessed Virgin Mary to Heavenly Glory" ^[15] .

Holy Communion Chapel

Located next to the sacristy to the left of the entrance of Puerta del Reloch. The second name of the chapel is Nuestra Senora de la Antigua (Virgin Mary the Old). The chapel’s altar is crowned with a wooden carved statue of the Virgin Mary, created in the 12th century. The statue stands on a gilded throne (XVII century). The image is widely revered in Toledo.

Chapel of the New Kings

The Chapel of the New Kings, so named for the difference from the Chapel of the Old Kings, which was located on the site of the modern Main Chapel, was built between 1531 and 1534 as the tomb of the kings of the Trastamar dynasty. In the chapel on the right side is the sarcophagus of Enrique II and his wife, on the left is Enrique III , and next to the presbytery is the sarcophagus of Juan I and his wife Eleanor of Aragon ^[16] . The main altar of the chapel is decorated with a painting by Maella ^[17] . There are also two bodies in the chapel, built in 1654 and 1721.

Santiago Chapel

The Santiago Chapel (St. James) is located in the northeastern part of the Trans-Altar area between the Chapels of the New Kings and San Ildefonso. The chapel was built between 1435 and 1440 at the expense of the powerful connabel Alvaro de Luna , who plans to make this chapel a family tomb ^[18] . The chapel is made in the Gothic style, blocked by a star-shaped arch. Alvaro de Luna and his wife are richly carved marble sarcophagi in the center of the chapel, and there are several burials on the sides of the chapel, mostly relatives of Alvaro de Luna. The retable of the chapel is made of gilded wood, consists of picturesque images of saints and a wooden statue of Christ in the central part.

Chapel of San Ildefonso

The chapel is located in the east of Zatar’s space on the main axis of the cathedral. Saint Ildefons is especially revered in Toledo and the chapel dedicated to him has been on this site since the foundation of the cathedral in the 13th century. Its current octagonal shape was formed after the elimination of two small side chapels. It is covered by a ribbed Gothic vault. The chapel was built at the end of the XIV century by order of the Archbishop and Cardinal Gil Alvarez de Albornoz , as a resting place for him and his family ^[19] . In the central part of the chapel there is a carved marble sarcophagus of the founder, and on the sides of the chapel there are several more burials. The marble retable of the chapel was created in the 18th century and depicts a popular plot for Toledo presenting the Mother of God with her robe to Saint Ildefons.

Hall of the Chapters

The Hall of Chapters is located at the southeastern end of the cathedral, south of the chapel of San Ildefonso. It was built on the initiative of Cardinal Jimenez de Cisneros instead of the old one, on the site of which the Cardinal organized the Mosarab chapel. It consists of 4 rooms, in addition to the main hall includes two side rooms and an entrance room. The entrance room is decorated in a style combining Gothic and Mudejar . Luxuriously decorated doors lead to the main hall (1510) ^[20] .

The interior of the main chapel hall is made of polychrome and gilded wood. All the walls of the rectangular room are filled with paintings, among which stands out a series of portraits of all the Toledo archbishops.

Capella Transparent

The chapel is located on the back side of the main chapel on the main axis of the cathedral. The chapel is considered a masterpiece of Spanish Baroque ^[21] . It was created in 1729-1732 by the famous Spanish baroque master Narsiso Tome . The chapel’s altar is surrounded by marble sculptures and bronze ornaments. In the center is a sculpture of the Virgin Mary with the Baby.

A unique feature of the chapel is the way it is illuminated, because of which it got its name, Transparent (transparent). Opposite the chapel, a round window is punched in the arch, and its location is chosen so that a ray of light from the window falls in the center of the chapel on its bodyguard . The space around the window itself is also richly decorated with statues and frescoes on biblical themes.

Immediately after the creation of the chapel, it provoked conflicting responses, while some admired her as a masterpiece, others sharply criticized the author for the inappropriateness and alienness of the baroque, luxuriously decorated chapel, in a strict Gothic setting ^[9] .

Mosarab Chapel

The Chapel of the Body of Christ is located in the southwestern corner of the cathedral. It is widely known as the Mosarab chapel, as it is intended for worship in the Mozarabic (Visigothic, Spanish) rite. This rite was gradually replaced by the standard Roman rite for the Catholic Church in the period after the Reconquista . His revival is associated with the name of Cardinal Jimenez de Cisneros , on behalf of whom the revision of the surviving Mosarab liturgical books was carried out ^[22] . Following this, Jimenez obtained permission from Pope Julius II to use the Mozarabic rite in Toledo ^[22] , and the Mozarabic services are performed from that time to this day in the chapel of the Body of Christ. The Mozarabic chapel of the Toledo Cathedral is the only place in the world where the services of this rite are performed daily ^[23] .

Until the sixteenth century, the old chapel hall was located on the site of the chapel, from which only the arch was left during the restructuring into the Mosarab chapel. The entrance to the chapel is blocked by a grate (1524), crowned with the coat of arms of Cardinal Jimenez de Cisneros. In terms of the chapel, it is a rectangular volume covered with an octagonal dome; the dome painting dates back to the 17th century. The frescoes of the chapel walls (1509-1514) depict scenes of the capture of Oran by Cardinal de Cisneros. The altar of the chapel is made of bronze and marble, in its center is a mosaic image of the Virgin Mary with the Baby (XVIII century) ^[23] .

Treasure

Located in the northwestern part of the cathedral, it is mirrored with respect to the Mosarab chapel and exactly under the main tower of the cathedral. At this point, Cardinal Juan Pardo de Tavera planned to organize a chapel - a family tomb, but later a treasury was organized here ^[24] .

At present, an exhibition of ancient liturgical utensils and art objects is open here. Of course, the main masterpiece of the exposition is the giant donor - woman , created in the 16th century by the jeweler Enrique de Arfe . It is 2.5 meters high, consists of 5,600 individual parts that hold together 12,500 screws, it is decorated with 250 statues of gilded silver and enamel. Crowned with a donor-donor cross with diamonds ^[25] . 18 kg of gold and 183 kg of silver went to the production of the donor-bearer ^[26] . In Toledo, there is a tradition of a solemn procession with this donor in the streets of the city on the feast of the Body and Blood of Christ . A precious item is carried during this procession on a special platform ^[27] .

Cloister

An extensive square cloister in plan was attached to the northern wall of the monastery under Archbishop Pedro Tenorio, work went on in 1389-1425. Given the complex terrain of the area, the cloister was built 1.5 meters higher than the floor of the cathedral. The entrance to it from the cathedral is next to the treasury, the visitor gets from the cathedral to the southwestern corner of the cloister. The cloister galleries are covered with Gothic vaults, their walls are decorated with frescoes depicting scenes from the life of saints. Eleven of these frescoes were created by Francisco Bayeu and two by Mariano Maellay . The cloister of the Toledo Cathedral is unusual in that the cathedral never had a monastery, while the cloister is usually an element of monastery architecture. The cloister of the Cathedral of Toledo was used in different centuries for a variety of purposes: from the warehouse to the place of prayer meetings.

San Blas Chapel

The Chapel of San Blas (St. Blasius) is located in the northeast corner of the cloister, that is, the opposite of the entrance. The chapel was built at the same time as the cloister under Archbishop Pedro Tenorio as his future tomb ^[28] . The entrance to the chapel from the cloister is through the Gothic gate, with columns and archivolts decorated with floral ornaments. In the center of the chapel are two marble sarcophagi - Archbishop Pedro Tenorio, and his nephew, Bishop Balboa.

The main artistic value of the chapel is the frescoes that adorn the walls of this chapel. The cycle of frescoes above the ledge is illustrated by the Creed , below the ledge are frescoes depicting saints and the Last Judgment panel. The authorship of the frescoes is not precisely established and is the subject of controversy ^[29] . At the beginning of the XXI century, the fresco underwent a global restoration of frescoes, which restored their brightness and brilliance, with the exception of those fragments that were damaged so much that they could not be restored ^[29] .

• Cathedral official website
• Official site of the Archdiocese of Toledo
• Toledo Cathedral on allcastle.info