ESTE ES EL TEXTO EN INGLÉS, SI QUIERE LEERLO EN ESPAÑOL, PULSE EL SIGUIENTE LINK:
https://delcipangoalspango.blogspot.com/2019/03/la-iberia-de-angel-y-chiho-capitulo.html
https://delcipangoalspango.blogspot.com/2019/03/la-iberia-de-angel-y-chiho-capitulo.html
ON THE SIDE AND BELOW: Two
photographs of our wedding, taken more than thirty years ago by the
businessman and photographer: Roy Uéhara.
Almost
three decades ago, I got married Chiho; and from the first years we
had to travel throughout Spain and Portugal. We traveled for work
reasons and interested in the study of our culture; making hundreds
of thousands of kilometers and visiting every place we reached. Our
goal was to promote products, to know Spain in Japan or to study
every corner of the Peninsula (for understand our civilization). But
when we had summarized a large file, with which we could publish
works; a sad situation occurred when a flood in our office destroyed
the photos and documentation that we had accumulated until then. That
terrible flood also took my studies and everything I had written
until those days (including recordings and compositions). Because of
that, from those first trips of ours, there were hardly any photos
left. In spite of everything, we had the fortune to have invited at
times in our "photographic safaris" to the businessman and
photographer of Osaka, Roy Uéhara. Who sent us a large part of his
images, after the facts referred to; some photos of Uéhara that we
will be publishing, to make comparisons with the current state of the
places. Finally, a few years after the disaster that devastated our
archive, the digital system appeared; and with this, we returned to
start our routes through Iberia, thus remaking this work of study and
compilation that we are now disseminating.
TO
THE SIDE: A
very curious photograph of the pile to be washed in the sacristy of
the church of San Miguel, in Piña de Campos, Palencia (which we
thank for allowing us to give out our images). As we can see, a basin
of holy water from the 17th or 18th century has been fitted with a
tap, so that the priests can wash their hands easily. Probably, the
ingenuity works by pouring hot and cold water over the "tureen",
then opening the tap, so that warm water falls on the hands of the
officiants. And to understand it you have to think about how cold it
should be in Piña de Campos during winters. In spite of everything,
the detail of the towel rack and the soap dish, added to the Gothic
walls of the sacristy; they manifest the presence of a new Spain and
a new Catholicism, in which the useful replaces the beautiful.
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VOTIVES
AND EXVOTES:
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The
Iberia of Angel and Chiho is a tribute to our culture and
civilization. Its title refers to the first great book written on
these lands of the Mediterranean West, and that was the IBERIA of
Strabo (included as Volume III in the magnanimous work of that Greek
geographer of the fourth century BC). Similarly we will talk about
Iberia, to remember our ancestors and the Hellenes who kept their
historical memory at least from the sixth century BC ... Calling our
Peninsula, already conceiving it as a culturally united territory, as
we can read in Heródoto.
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This
first chapter, entitled "Votives and exvotes", will be
dedicated to the strange religious mysticism that exists in our
lands, from time immemorial and referred to in classic texts. A way
of conceiving the eschatological world always linked to the visual
impact, the luminous and the feeling of the doll moved by superior
forces. Facts that for many come from fetishism, although they really
come from conceiving people as puppets of God. Being the person a
divine doll, whose end in its religious manifestation, is to please
the deity achieving that theatrical world close to that of the
puppet; in an Iberian reality for which the Creator is the one who
speaks and feels, through us. We give way to the sample of this
Iberian mystic feeling, through the images that we present below.
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ABOVE,
TO THE SIDE, AND BELOW: Three photographs of
the Convent Hospital of Tavera, in Toledo (to which we are grateful
we can disclose our images). We start with this wonderful building,
whose foundation keeps stories, wonders and the legacy of the
Medinaceli family. Containing some of the most precious jewels
exhibited in Toledo (in his library, pharmacy or among some of his
paintings and sculptures). Above, photograph of the desk and the
botanical archive cabinet in the Tavera pharmacy (photo Chiho
Onozuka). Next, Portuguese table with several files and books of the
Medinaceli family, in the Tavera library. Below, another image of the
old pharmacy of this convent, where you can see the pharmacy jars and
a cabinet to store and mix medicines. In the central area we see a
grate used to send recipes to visitors who came to this pharmacy;
then converted into a cupboard to store the most precious ointments.
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A)
Sacristies and church archives:
The
ecclesiastical sacristies of Spain and Portugal are the places that
hide the most stories, about our History. At times, its dusty, poor
and gnawed appearance is of unparalleled beauty. In others, its
sumptuousness and luxury, overwhelms the visitor; leaving to think
what strange characters would dress among those rich walls. Also, the
archives, pharmacies and libraries of convents and temples; they keep
much of the mysteries and secrets of our nation. Everything that is
transmitted in its decadent appearance and its precious furnishings.
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ABOVE,
TO THE SIDE, AND BELOW: Above, Sacristy of the
wonderful monastery of Tibáes (in Braga, Portugal and to which we
are grateful we can divulge our images); in the reflection of his
mirrors we can see my wife. Next, corridors of the beautiful Tibáes
monastery; now empty and whose hollowness lets hear the memory of the
monks who previously inhabited it (photo Chiho Onozuka). Below,
entrance to the sacristy of Turégano, Segovia (which we thank for
allowing us to disclose our image); in this place Antonio Pérez was
imprisoned (photo Chiho Onózuka).
.
ABOVE,
TO THE SIDE, AND BELOW: Above, again the
sacristy of the monastery of Tibáes (in Braga, Portugal and to which
we are grateful we can divulge our images); in the reflection of
their mirrors we can see myself. Next, a mirror of the
Collegiate Church of Talavera de la Reina (which we thank for
allowing us to give out our image), with the reflection of my wife.
Below, another reflection, in this case on a mirror of the Hospital
de Tavera, Toledo (to which we are grateful we can give out our
image); foto Chiho Onózuka.
TO
THE SIDE, AND BELOW: Next, the sacristy of
Villafafila, Valladolid (which we thank for allowing us to disclose
our image); The photo is taken on the day of Corpus Christi. Below,
photo by Chiho Onózuka; the pulpit of the church of La Alberca,
Salamanca (to which we thank we allow us to disclose our image). The
pulpits are part of that world of the sacristy, where much of the
Iberian religious theatricality was carried out.
TO
THE SIDE, AND BELOW: Two images of the Convent
of La Encarnación, in Ávila (which we thank for allowing us to give
out them). In the place that we see below, Saint John of the Cross
confessed to Saint Teresa of Jesus. To the side, a small painting
where the scene of this confession is recreated "and the mystery
of the Holy Trinity that was between both" (as the legend in the
painting dictates).
ABOVE,
TO THE SIDE, AND BELOW: Above, the library of the Cathedral
of Baeza, Jaén (which we thank for allowing us to give out our
image); these areas annexed to the area of worship, belong to the
ecclesiastical privacy, keeping that strange taste of mice that gnaws
books and cassocks. Next, bars and window of the courtyard of the
Collegiate of Écija, from where you can see the interior of its
beautiful library (to which we thank we allow us to give out our
image). This greater church of Écija is one of the most beautiful
that we can visit; not only for its temple, especially for the patio
and interior rooms, loaded with archeology and decorated with the
best taste.
Below,
gates of the cloister to hear mass, on the second floor of the old
convent -day hotel- Casa da Insula Penalva do Castelo (in Portugal
and to which we thank we allow us to give out our image). The
mystical beauty of the grid encloses a concept of protection together
with that of separation; marking the real world and a space of
happiness that women created in their day (where man could not
enter). Showing the desire to remove from his side the brutality and
aggressiveness that the Society had then.
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TO
THE SIDE: Confessionary of Santa Ma. La Mayor de Trujillo,
Cáceres (to which we are grateful we can disclose our image). This
cubicle also belongs to the private world of the priests; used today
as a confessional, possibly enclosed in the past a small organ
-portable- covered with a "trompe l'oeil", imitating
marble.
TO
THE SIDE, AND BELOW: To the side, door of step between the
sacristies and one of the chapels of the apse of the Cathedral of
Segovia (to which we thank allows us to give out our image). In those
zones of canonical privacy, marble and wood are commonly confused,
painted like a trompe loeil - in the photo, my wife, so that we
appreciate scale. Below, another door between chapels in the
Cathedral of Segovia (photo, Chiho Onozuka).
TO
THE SIDE, AND BELOW: Two photographs of the archiepiscopal
office of the Cathedral of Seville (to which we are grateful we can
give out our image). Sita next to his sacristy, has its ceiling with
a trompe l'oeil that resembles that of The Pantheon in Rome; where an
Immaculate of Murillo also hangs. Its floors are also a set of lights
and checkers, carved in marble.
TO
THE SIDE, AND BELOW: Two photographs of the sacristy in the
Cathedral of Seville (to which we are grateful we can give out our
image). We see here the recreation of a Greco-Roman courtyard, in the
center of which is a lavatory pile for the priests (in the form of a
fountain) -in the bottom photo and in the background, my wife, so
that we appreciate scale-.
A
- 1) Three mysteries of sacristy:
To
conclude this section dedicated to the sacristies, we collect three
cases that seem to us outstanding: The first constitutes for us a
mystery of Holy Week; Well, it happened traveling through Castile,
looking for beautiful images during the Holy Come of 2015. That day,
towards four in the afternoon, we arrived at a town in Burgos called
Iglesias; where we find all the empty streets and the closed houses.
On the contrary, the church was open wide, with the furnishings and
steps prepared for the celebration of that sacred date. There, next
to the altar was a Romanesque carving with a great Christ, lowered
from the walls and waiting to be carried on his shoulders. At his
side, candles, hachers and multiple sculptures, equally prepared to
carry them in procession. Although the most unexpected thing was to
find the sacristy open, with the chasubles hanging and with all the
utensils of mass; including the Sacred Forms (in a cookie tin) and
the Mistela wine (in a fine bottle). Two other mysteries of sacristy
I pick up below; one of them is a confessional with the effigy of
Santa Teresa, which is in the convent of San Esteban, Salamanca. The
other is the cell of San Pedro de Alcántara in the castle of
Oropesa; today Parador, but once the palace of the Álvarez de
Toledo. This gloomy place, hidden in a tower, was where the saint
lodged when he visited the Counts of Oropesa.
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TO
THE SIDE, AND BELOW: Two photos of the parish of Iglesias,
Burgos (which we thank for allowing us to give out our images). At
the entrance to the sacristy and below, the sacristy prepared for
Good Friday; let's look at the hanging chasubles and the Forms next
to the wine, conserved in a cookie tin and a bottle -together with
the virgin-.
TO
THE SIDE, AND BELOW: Two photos of the parish of Iglesias,
Burgos (which we thank for allowing us to give out our images). Next,
entrance hall to the sacristy (with the censer hanging). Below,
cupboards and drawers of the sacristy, decorated like marble; above
them, a chasuble also prepared.
TO
THE SIDE, AND BELOW: Two photos of the parish of Iglesias,
Burgos (which we thank for allowing us to give out our images).
Below, drawers and cabinets of the sacristy with the marble
trompe-l'oeil very worn; several benches and an altar in the
background. Next door, beautiful door of the sacristy, next to a seat
(Castilian seat). All these furniture, walls and the aged state of
their environment, confer to this sacristy such a mystery; that
should be left as it is today, forever and ever …
TO
THE SIDE, AND BELOW: Two photos of the parish of Iglesias,
Burgos (which we thank for allowing us to give out our images). Next,
the sacred forms, wine and water; all prepared for the Mass of Good
Friday on the monks furniture - next to a Virgencia and an old
Castilian popular table-. Below, the chasuble on a coat rack "of Akhenaton times", next to an old Christian calendar.
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ABOVE,
TO THE SIDE, AND BELOW: Three photos of the parish of
Iglesias, Burgos (which we thank for allowing us to give out our
images). Up the other side of the sacristy. Along these lines, detail
of the entrance hall to it, with the censer and candles, over a
niche. Below, general image of the sacristy, where we see its
beautiful walls and Gothic arches. As we say, this small room in the
parish of Iglesias has so much magic and beauty that it should be
kept that way forever.
TO
THE SIDE, AND BELOW: Two photos taken at the convent of San
Esteban, Salamanca (to which we thank we allow us to disclose our
images). To the side, interior and chair of the Dominican confessor,
located in the cloister of the building. Below, general view of that
cabin opened like a stone wardrobe, in the cloister of San Esteban;
there it is known that Santa Teresa de Jesús was going to confess
while she lived in Salamanca.
TO
THE SIDE, AND BELOW: Two photos taken at the convent of San
Esteban, Salamanca (to which we thank we allow us to give out our
images). To the side, face that appears in the door when closing it,
simulating that the other side is the saint. Below, my wife sitting
in the chair of the confessor, who formerly used to occupy one of the
Dominicans of San Esteban.
TO
THE SIDE, AND BELOW: Two photos taken at the Parador de
Oropesa, Toledo (which we thank for allowing us to give out our
images). In them we see the small room occupied by San Pedro de
Alcántara when he was visiting the Count of Oropesa in this
castle-today Parador. It is located in a low room in a tower, where
you can see the wood on which the saint slept, the stone he used as a
pillow and the mat he used to cover himself. Next to it, a reclinator
where the faithful prayed to San Pedro de Alcántara, until the room
was closed.
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B) Chapels
and altars:
We
went to collect images of some chapels and altars, which by their
light or disposition convey a special type of devotion.
B-1)
Chapels
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ABOVE, TO THE SIDE, AND
BELOW: Above, one of the chapels of the San Esteban Convent,
in Salamanca (to which we are grateful we can disclose our image,
Foto Chiho Onózuka). Next to the spectacular "Gothic Calvary"
arranged on the walls with frescoes, there is a small easel with a
small picture of Santa Teresa. Next to it, chapels of the main church
of Pampliega (Burgos) -to which we thank, allow us to divulge our
image-. Below, inside the main church of Castromonte, in Valladolid
(which we thank for allowing us to give out our image).
ABOVE, TO THE SIDE, AND
BELOW: Above, a wonderful carving by Gregorio Fernández
exhibited in one of the chapels of the Cathedral of Segovia (which we
thank for allowing us to give out our images). The recumbent Christ
is displayed inside a methacrylate box; Next to her, my wife takes
pictures of the ceiling. Next, again, another of the chapels of the
Cathedral of Segovia, in this case seen from the outside rejería.
Down another chapel of the same cathedral (photo Chiho Onozuka).
ON THE SIDE, AND
BELOW: Photograph of the baptismal chapel in the
church of Pastrana, Guadalajara (to which we
are grateful we can give up our image). Let's look at the exterior
wood grating and the interior loaded with reliquaries, on the
baptismal font.
Below; one altar of the church of Santiago in Guimarais (to which we are grateful we can give up our image)
TO THE SIDE, AND BELOW: To the side, ironwork, arches and lamps of the cathedral of Sigüenza (to which we are grateful we can give out our images). Below, altars of the entrance hermitage to Molina de Aragón (which we thank for allowing us to disclose our images).
ABOVE, TO THE SIDE, AND BELOW: Three photographs of the baptismal chapel in the church of Santa Ma. La Mayor, of Gumiel de Izán, Burgos (to which we are grateful we can divulge our image). Let's look at the exterior wood grating and the interior loaded with reliquaries, on the baptismal font.
BELOW: Chapel of
the Church of Santiago el Real in Medina del Campo, Valladolid (which
we thank for allowing us to give out our image). Beside it, the
magnificent statues of Don Pedro Cuadrado and Doña Francisca Manjón,
in a prayerful position (common in the sculptures of the
Renaissance). After the head of my wife, a beautiful bas-relief that
represents "Prudence" attributed to Alonso de Berruguete.
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ABOVE, TO THE SIDE, AND
BELOW: Three photographs with chapels of the Cathedral of
Salamanca (to which we are grateful we can give out our image). Above
and next to the chapel of Diego Neyla, also called "golden"
-on the side, detail of the same chapel-. Below, Chapel of Sorrows.
TO THE SIDE, AND BELOW:
To the side, the main altar of the Santa Ma. De la Encina church, of
Ponferrada (to which we are grateful we can divulge our image).
Below, chapels of the Tibáes Monastery church, in Braga, Portugal
(to which we are grateful we can disclose our image).
TO THE SIDE, AND BELOW:
To the side, altar of the monastery of Santa Clara de Salamanca (to
which we are grateful we can disclose our image); let's observe the
delicacy of this reliquary - Chiho Onozuka photo). Below, chapel of
the parish of Pampliega, Burgos (to which we are grateful we can give
out our image); in it we can see the passage of Holy Week on Palm
Sunday with Jesus on the colt.
BELOW: Altar de
San Roque, in the main church of the monastery of Santo Estevo,
Orense (now Parador de Turismo, to which we are grateful we can
divulge our image).
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TO THE SIDE, AND BELOW:
Two photographs of the pre-Romanesque hermitage called del Ciprés,
next to the monastery of Samos, Lugo (to which we are grateful we can
disclose our image). It is a small Mozarabic temple dating from the
ninth century, which preserves paintings from this era.
TO THE SIDE, AND BELOW:
Two photographs of the chapel of Our Lady of the Fertile
valley, in the New Cathedral of Salamanca (to which we thank we allow
us to give out our image). Observe the contrast of the Gothic
sculpture, on the tiles and paintings of the seventeenth century.
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B-2) Altars
and small altars:
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TO THE SIDE, AND BELOW:
Altar of Corpus Christi Day, in the streets of Mota del Marqués,
Valladolid. Normally, during this date, many Castilian faithful place
an altar in the door of their house.
TO THE SIDE, AND BELOW:
Altars of the Day of the Corpus, in the streets of Villafáfila
(Zamora) - out of respect for the faithful and the minor, we have
covered his face-.
TO THE SIDE, AND BELOW:
Altar mayor of the parish of Villafáfila (Zamora) -to which we are
grateful, allows us to divulge our image-. Next, one of the virgins
on the side of the altarpiece. Below, the Virgen de los Dolores, in
the center of the altarpiece.
TO THE SIDE, AND BELOW:
Two altars of Los Jerónimos de Lisboa, a temple to which we are
grateful, allows us to give out our images.
TO THE SIDE, AND BELOW:
Next to it, the altar of Santa Eulalia, in the cathedral of Oviedo -
to which we are grateful we can give out our image-. Below, chapel of
Cristo de las Batallas, in the cathedral of Salamanca -which we thank
for allowing us to divulge our image-. In the photograph we can see
in the middle part one of the Christs of the Battles, in
reproduction; in the lower area, the original figure carved in ivory
during the Romanesque period. It seems that this ancient Christ has
articulated arms, which means that he could use it during Holy Week,
taking it down from the Cross, to expose it lying down after Good
Friday. Simulating later the Ascension on Pentecost; returning it
finally to the cross, in later date to the Corpus.
TO THE SIDE, AND BELOW:
Two sculptures of the altarpiece of the Virgen del Carmen, carved by
M.Pérez dá Vila and belonging to the Cathedral of Tuy, Pontevedra
(which we thank for allowing us to disclose our image). In these two
Ethiopian saints, Santa Efigenia and San Eslebaan are represented;
both of royal family and who managed to make the Christian faith for
Ethiopia. Undoubtedly these two statues are related to the famous
legend of Preste Juan; myth of the black king of the Christians that
gained great fame during the centuries XII and XIII in Portugal
(country very next to Tuy).
TO THE SIDE, AND BELOW:
Photographs taken to the north and south of Spain, but that preserve
an equal religiosity. Above, reliquaries and the main altar of the
convent of Samos, in Lugo (to which we are grateful we can disclose
our image) -photo Chiho Onozuka-. Next, reliquary of a chapel of the
Cathedral of Plasencia (to which we thank we allow us to disclose our
image) -photo Chiho Onozuka-. Below, altar in the Cartuja de Granada
(to which we are grateful we can give out our image) -photo Chiho
Onozuka-.
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ABOVE, TO THE SIDE, AND
BELOW: Photographs of various altarpieces. Above, virgin of
the main church of Pinilla de Toro, in Zamora (to which we are
grateful we can spread our image). To the side, altar with a San
Miguel of the church of San Justo Pastor, of Toledo (to which we
thank allows us to give out our image). Below, a tomb turned into an
altar; in the church of Gumiel de Izán (which we thank for allowing
us to give out our image).
ABOVE, TO THE SIDE, AND
BELOW: Above, a niche where the Romanesque Virgin of the
Church of San Martín, in Trujillo (to which we are grateful we are
allowed to disclose our image), is exhibited. Next door, a closed
chapel in the main church of Pastrana (which we thank for allowing us
to disclose our image). Below, a small popular image of the Virgin that
presides over the Visigothic Church of San Pedro de la Nave (to which
we are grateful we can give out our image).
TO THE SIDE, AND BELOW:
To finish this epigraph, two photographs of details on the altars.
Above, tabernacle of the church of Santiago el Real, in Medina del
Campo (to which we thank we allow us to disclose our image). Below, a
reliquary ossuary with the bones of Blessed Martín de Braga (Martin
Dumensis), in the Cathedral of Segovia (to which we are grateful we
can give out our image). Father Flórez speaks of this reliquary in
his ESPAÑA SAGRADA, mentioning that he was transported from Galicia to
Segovia -in memory of that archbishop of Braga who promoted the
conversion of the Suevos-.
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B-3)
The nude on the altars:
It is assumed that artistic nudity was
prohibited in Spain, at least until the inquisition disappeared in
1935. Despite this, if we look closely at altarpieces and chapels, we
will find churches where the exhibition of the complete human body
was tolerated. We do not refer to the figure of Christ, who - as
crucified, whipped or lying - is always represented without clothes;
sometimes totally naked, as happened during the Italian Renaissance.
Nor do I allude to the infinity of “Virgins of the milk”, who
populated the altarpieces and tables since the end of the Gothic,
presenting Mary with the infant and whose breasts are perfectly
observed - showing a beauty as feminine as it is infinite-. But we
are talking about sculptures and paintings, where the nude of women
and men, are shown in full even before the altars. In spite of
everything, it is supposed that the first human bodies without
clothes shown in the churches, were some of those that Doménico
Theotocópuli painted and sculpted. We talked about the works that El
Greco did for Tavera or the ones that his son (Jorge Manuel) was
supposed to have painted for Titulcia - the famous Ascensión de La
Magdalena-. But next we will see how there were so many naked
figures, that appear everywhere in the Hispanic altars and from which
we will collect some samples.
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ABOVE AND BELOW:
Above, carving with three figures representing the Santo Entierro,
owned by the Collegiate Church Santa Ma. La Mayor de Talavera de la
Reina (to which we are grateful we may give out our image). In the
scene, we see in the foreground Christ lying down, as he is
represented after his death: Always almost naked. Beside her, the
Virgin as Dolorosa, next to San Juanito; behind Maria Magdalena, with
exaggerated clothes and showing her hair dyed with a strong blond
color (common among women of "happy life" during the Middle
Ages).
Below, a picture of El Greco displayed in the
sacristy of the Convent of Tavera, Toledo (to which we are grateful
we can disclose our image) -foto Chiho Onzuka-. It is a Holy Family
and a Virgin of the Milk; typically orthodox theme that was imported
as Catholic iconography mainly during the fifteenth century. In the
canvas it appears as María, Da. Jerónima de las Cuevas; the
painter's lover, breastfeeding Jorge Manuel (the son he had with El
Greco). It can be inferred that the San José would probably be a
self-portrait of Doménico Theotocópuli. While Santa Isabel, who touch the Child on her head; perhaps it is the mother or sister of
Jerónima de las Cuevas - about El Greco's wife and her
representations in her husband's paintings, Felix del Valle Díaz has
a good study.
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TO THE SIDE, AND BELOW:
Two photographs of the canvas that is considered the first nude of
Spanish painting; as it is currently exhibited in the parish church
of Titulcia, Madrid (which we thank for allowing us to give out our
image). The representation of The Ascension of Mary Magdalene in
principle crowned an altarpiece consisting of six more paintings,
which are known to have been made by Jorge Manuel Theotocopuli
(between 1607 and 1609). All of them disappeared from the church a
hundred years ago, after the altarpiece was destroyed; leaving only
this central work, which is attributed to the father of Jorge Manuel
(Doménico Theotocópuli). This naked Magdalena was also stolen from
Titulcia in 1985; Finally, the painting appeared in some works in the
city of Zamora. The canvas - in my opinion and undoubtedly -
represents El Greco's mistress (Jerónima de las Cuevas); of which
much has been said and written, because he never married the painter,
although they begot Jorge Manuel together. I personally believe that
her representation as a Magdalene ascended to heaven may mean that
Jerónima died in those years (between 1607 and 1609) -perhaps due to
the depressions or mental illness that many think she suffered; after
giving birth to his son and not being able to marry his father.
Likewise, it is possible that one of the characters that help
Magdalena naked to climb to heaven, be Jorge Manuel himself, since
the features of the one who holds her by her feet and the face of the
child in the funeral of the Count of Orgaz. Below, general picture of
the church of Titulcia, as it is currently located; while my wife
observes what remains of that altarpiece.
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ABOVE, TO THE SIDE, AND
BELOW: Three photos of the Risen Christ carved by El Greco,
exhibited in the sacristy of the convent of Tavera, Toledo (to which
we are grateful we can disclose our image) -photos Chiho Onozuka-.
This was the first work that the painter did for Tavera, so he
probably wanted to capture the magic of his mind, together with the
original rites of the place where he was born. Since, as we know, the
figure of the Risen Jesus ascending to the heavens is one of the most
common representations in the Orthodox world. Where it is common to
appear almost naked and climbing to Paradise, similar to what we see.
This magnificent sculpture by El Greco, is a small carving with all
the anatomical details and with the body perfectly defined; presented
inside a tabernacle that imitated the temple of El Escorial. Thus,
located on the tabernacle, this custody contained a mechanism by
which when opening its four keys, the Christ was "invisibly"
elevated through irons (hidden). Simulating a magical Ascension; that
would be represented especially in the spectacular celebrations of
the Corpus of Toledo, where the custodies and tabernacles were
walking in procession through the most important streets.
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TO THE SIDE, AND BELOW:
Two photographs of the altarpiece of the church of Santa Ma. La Mayor
de Trujillo, Cáceres (to which we are grateful we can give out our
image). In these I pick up the low area of the predella and next to
the tie; where there is a table by Fernando Gallegos that represents
the descent to Limbo of Christ. As it is observed, women and men
appear completely naked, following the Messiah. As we have said; the
scenes of Limbo, those of Hell and those of Paradise were a great
excuse to present the beauty of the human body, even in the altres
(from the Gothic and Romanesque times). Below, enlarged detail of the
table of Jesus in Limbo, in this church of Trujillo.
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TO THE SIDE, AND BELOW:
Two photographs of the altarpiece sculpted in the eighteenth century
and principal of the cathedral of Tuy, Pontevedra (to which we thank
we allow us to give out our image). In them it is observed how in the
lateral ones they appear Adam and Eva, half-naked.
BELOW: Photograph
of the upper part of the altarpiece, in the main church of Pampliega,
Burgos (to which we are grateful we can give out our image). As we
can see, the head of this set of notches is crowned by a Calvary,
under which there is a Virgin; beside him an Adam and an Eve, almost
naked. The sculptures, of enormous life-size realism are accompanied
by other figures also without clothes and were sculpted by Domingo de
Amberes between 1552 and 1560. During the reign of Philip II and when
it is assumed that some of the most severe inquisitors guarded every
literary work or artistic (especially at this time, when Fernando
Valdés Salas was advisor to the monarch and Inquisitor General).
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TO THE SIDE, AND BELOW:
Again two more Adam and Eve naked, this time on the sides of the main
altarpiece of the cathedral of Palencia (which we thank for allowing
us to give out our image). Likewise, the windows are decorated with
characters without clothing.
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BELOW: Detail of
the main altarpiece of La Cartuja de Granada (to which we thank for
allowing us to disclose our image) that contains a Ma. Magdalena in
prayer. In this magnificent wooden bas-relief, we see La Magdalena
only covered by her hair, praying and in ecstasy before the
appearance of a golden lion. The image so "striking" is in
a preferred area of the altar, next to which Dominican priests
appear.
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ABOVE, AND BELOW:
Two photographs of the main altar of the church of San Agustín in
Capillas, Palencia (to which we are grateful we can give out our
image) -photos Chiho Onozuka-. In this altarpiece made by the
Bolduque family in the late sixteenth century, we can also see naked
figures representing the descent of Christ to the Limbo and the
Hells. In the high part of the bas-relief, Jesus appears touching
those who live in Limbo; and in the lower area, the figure Satan,
whipping those who live in the Avernus (in detail, the same photo
under these lines). All this located on the door of the Tabernacle
and represented with an enormous realism; so much so that obscenities
are observed among those condemned to hell. The sculptor (Pedro
Bolduque) must have been a man of great religious and mythological
culture; for it places among the characters of the Avernus Minos,
Sarpedon and Radamantis: The three gods of Greek Hades. In this way
we see Minos, to our right and with a serpent that surrounds his
body; Sarpedon in the center, brandishing the sailor's shovel; and
the blond Radamantis, to our left, showing his face already turned
into a skull. Under them, a representation of Belzebú, with
monstrous face and horns; in an attitude in which he seems to abuse a
captive, in his underground kingdom.
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BELOW: Facade of
the church of the souls, in Santiago de Compostela. This temple was
finished by Ventura Rodríguez, with a low relief in which we see the
souls "cooking" in Purgatory. As we say, one of the reasons
that allowed the representation of nudes in altars and facades, was
this one of the infernos and its condemned (all of them without
clothes and in many cases subjected to obscene postures).
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ON THE SIDE, AND BELOW:
Two huge ebony doors belonging to the Cathedral of León (to which
we are grateful we can disclose our image); currently dismantled and
exposed, hung in its apse. They depict scenes of Adam and Eve, where
we see the characters totally naked. Next, the expulsion from
Paradise; below, the parents of Humanity, eating the forbidden
fruit.
ON THE SIDE, AND BELOW:
Another example of a common nude in the churches is the figure of San
Jerónimo and that of San Sebastián; to those who are represented
just with clothes. Beside a niche with a San Jerónimo, in an
altarpiece of the cathedral is Seville (to which we thank allows us
to give out our image). Down; exhibition with countless sizes of San
Sebastian belonging to the sixteenth to eighteenth centuries; As they
are exhibited in the Museum of Santillana del Mar, Santander (to
which we are grateful we can divulge our image.) These eight
sculptures of the saint in wood (some of great quality), were
collected from different temples now closed and belonging to the area
of Santillana.
BELOW: Facade of
one of the churches of Cambados (Pontevedra); where we can see Adam
and Eve naked again, presiding over the entrance to the temple.
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ON THE SIDE, AND BELOW:
We finish this curious epigraph with two more photos. To the side,
detail of a "momo" with breasts and naked, in an altarpiece
decoration in the Santa Ma. De la Dehesa Brava abbey; Husillos,
Palencia (to which we are grateful to allow us to disclose our image)
-photo Chiho Onozuka-. Below, altar of a church in Chaves (Portugal)
where we see the descent to the Purgatory of a San Miguel, with a
balance that allows to save them. Once again the condemned nudes are
observed and represented with great realism.
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C)
Niches and urns:
When we travel through Spain and Portugal, one
of its great charms is to observe the religious details that hide the
walls of its streets. Many of them, sometimes arranged as shelves and
in others in the form of urns on walls; where the memory of a saint,
a Virgin or a Christ is venerated. Small altars hung on the facades,
which are usually located at the main entrances to the town; although
they also appear in streets and crossings, as well as in small
squares or important passage places. All of them semi-hidden and
waiting to be discovered; for it seems that they are placed with a
criterion of mystery for which those altar-pieces seem to be asking
us if we perceive their existence and their protection. There, there
is a sacred vain, commonly closed by grilles and glass, where a
figure who presides over the good of those houses and cities is
worshiped. In this way, as if they were urban "Lares" gods
and in a rite of Roman origin; those niches guide the walker or the
visitor, without letting him look down at the astonishment and
magnetic power they impose on him. Controlling the attention of the
one who walks, and inciting to think the one who believes as much as
the one who does not have faith; demonstrating to us that by force of
the past it is always greater than the reason of the present.
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ON THE SIDE, AND BELOW:
To the side, niche over the entrance to the church of Santa
María de Villafáfila, Zamora. In it there is a San Blas or a Saint
Nicholas carved in wood, wearing a miter and sitting in his episcopal
chair; that although already very worn out, it does not stop having
an enormous beauty (photo Chiho Onozuka). Below, outside of the
convent of La Concepción in Garrovillas, Cáceres. The advocation
written under the urn with the Virgin, alludes to that patron
represented in the sculpture that protects the door (photo Chiho
Onozuka).
C-1) Saints
of simple bookshelf:
Among the many categories in which we could
classify the altars of exterior and facades; the first and simplest
would be to talk about the only ones exposed in an urn, without
protection or closure. Despite this, we must not think that this
"poor exhibition", leaving the sculptures almost out in the
open, means a lower degree of the Saints. Since it is not like that;
For the patterns of churches and convents will commonly be seen in
this way: In a columbarium and on the main doors of the temple.
Subjected there to the inclemencies of the weather; to the ice, to
the rain, to the winds; and even the outlaws, who could easily get
hold of a statue of this type. In spite of everything, the great
majority of them remain in their urns; immobile, worn and even turned
into something unrecognizable - very damaged or without limbs. Be
that as it may, whole or decapitated; protected or exposed to the
elements, those sacred spaces of the Spanish-speaking walls are some
of the most magical corners of the Peninsula.
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ON THE SIDE, AND BELOW:
Next, entrance to the Monastery of Santo Estevo, in Ribera Sacra,
Orense. In the image we see the urn that presides over the door, with
Santo Esteban, which has been joined by a watchful pigeon
-independence- (perhaps waiting for us to take the photo, and then
shit on the sculpture of poor Esteban) -photo Chiho Onozuka-. Below,
facade of a house in Allariz, Orense; It contains a large San Antonio
on its main wall (next to the terrace).
ON THE SIDE, AND BELOW:
Next, and urn with a San Antonio and El Niño, which keeps the
Ferreira de Oporto wineries (this curious sculpture is inside the
Oporto wine factory). It must be an imitation of a Romanesque San
Antonio, reproduced in the eighteenth or nineteenth century;
something that we affirm due to the coarseness and situation of its
size. Below, wonderful sculpture that represents Santa Ana, the
Virgin and the Child; located in an urn on a door of step in the wall
of Cáceres (capital). The whole set (niche and figures) seems to be
original from the 16th century -photo Chiho Onozuka-.
ON THE SIDE, AND BELOW:
Next, small urn with a beautiful sculpture of a saint, in the streets
of Zafra, Badajoz. Its appearance leads one to think that it is a
Renaissance piece; imitating in this case, the Lares gods that placed
the Romans in streets and houses -photo Chiho Onozuka-. Below, back
facade of the church of San Martín in Trujillo, where stands a huge
altar, at great height and that retains a Renaissance capital with a
Virgin above (the urn and capital are of great quality, but the
figure seems a reproduction modern).
ON THE SIDE, AND BELOW:
Two images of the tower of the wall of the Dukes of Feria, in Zafra
(current Parador). In them we can see the entrance "guarded"
by a small statue that appears to be a Santiago on horseback -photos
Chiho Onozuka-. It could also be a sculpture of the Duke of Feria,
mounted -perhaps practicing falconry-; since its wear does not allow
to see the scene well. Be that as it may, that great wear and defects
of the urn where the image fit, give the whole a great beauty (good
taste that is truncated, in large part, with a door so exquisitely
new).
ON THE SIDE, AND BELOW:
Two images of Cuellar. Next, the entrance to the Church of San
Miguel, where we see a wooden statue, wonderful and ancient (probably
of the fifteenth century); that has withstood the inclemencies of
time for centuries. Even today, this size preserves the folds of the
Archangel's mantle and armor; perfectly seeing the features of the
face and even the hair of the San Miguel. Below, cover of the church
of La Magdalena de Cuéllar, founded in 1429 as a hospital of
Charity. In its entrance we can find a sculpture of Ma. Magdalena
coeval to its construction, presided over by the coat of arms of the
first one that raised the building; under this, two shields of the
dukes of Alburquerque (that reformed the building) and a foundation
tombstone written in Hebrew. As we can see, his Gothic style
decorated with balls, tells us about plague times; As I understand
these balls with which the windows and doors are finished at the end
of the Gothic period, they had an apotropic function against the
plague. Trying to chase away the disease, representing the buboes in
the building; as if that temple had already contracted the endemic,
which would make it immune to having overcome it (leaving only those
"huge grains" as marks of the already cured plague).
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ON THE SIDE, AND BELOW:
Two modern images. Next, a San José street in Ponte de Lima
(Portugal). Below, spectacular San Jorge on the portal of the Casa de
los Botines, by Gaudí in León. Observe the "dragon" that
kills the saint, who is a crocodile; everything that speaks of the
way in which at that time, the mystic Barcelona architect, tried to
justify this legend of the patron saint of Catalonia. Although years
later, they would finally make St. George disappear from the Catholic
saints; following the most absurd criterion that a religion can
understand, when trying to annul the legends. Thus they were
considered "false saints" figures of the importance of
Santa Úrsula, San Jorge or San Brandán; Lacking respect for any
legendary tradition and the Christianized barbarian heroes during the
conversion of Celts and Germans.
ON THE SIDE, AND BELOW:
Three images of the main entrance of the church of San Miguel in Piña
de Campos, Palencia.
To the side (above), detail of the sculpture
that crowns the door of access to the temple. Observe the San Miguel,
which looks more like a Saint George, holding in his hand something
that resembles a wolf mixed with a bat.
To the side, dome of entrance to the temple; in its frontal part, the sculpture of the Archangel expelling the demon; figure that having wings should not be confused with San Jorge.
Down, my wife walking out the door of this church in Piña de Campos; in its high part we can see again the same statue.
ON THE SIDE, AND BELOW:
Two other images of the parish of San Miguel, in Piña de Campos. In
photographs, the side door, on which there is another sculpture of a
San Miguel; in this case of wood and in poor condition. Next, a
detail of that size, which looks like seventeenth century and is
quite worn (despite retaining huge features of beauty). Below,
photograph of the complete door, where we can observe the place that
the statue occupies.
ON THE SIDE, AND BELOW:
Two curious photographs obtained in Alcalá de Henares, in the
Oratorio de San Felipe Neri. Institution in which Miguel de Unamuno
lived there between 1888 and 1889; remembering it in some of his
works, when he writes: - "we Basque people must remember that in
Alcalá studied Ignacio de Loyola; that's what the city of the Saints
and the wise men was called "-. With these words is remembered
in San Felipe Neri the thinker who later was rector of the University
of Salamanca. Almost curiously in Alcalá homage is paid in a more
than strange way, because if we look at the face and features of the
statue of San Felipe presiding over the church, we will see that it
is Miguel de Unamuno. Everything that impresses, because perhaps it
involves recognition of his novel "San Manuel bueno, martir";
where the writer exposes a religious eclecticism that overcomes and
resolves the "existentialism" of Heidegeer.
ON THE SIDE, AND BELOW:
Two photos of Llanes, Asturias. To the side, detail of a niche with a
saint on the facade, in a building of the port. Below, the house with
the patron saint on its wall, which looks like a Saint Nicholas
(dressed as a bishop and protecting children).
ON THE SIDE, AND BELOW: Next, a niche of the cathedral of Plasencia (they are, Mary Virgin and St. John at the Gólgota. The Christ, on the center, was stolen...). Down, one of the typical facades of the palaces of Toledo; in this case,
entrance to the episcopal palace with an image of the Conception on
its door. Above the sculpture, the Holy Spirit flies in the form of a
dove in a statue. At his side, several true pigeons crowd, due to the
gregarious nature of this species.
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ON THE SIDE, AND BELOW:
Two photos of a passage in Sigüenza, Guadalajara. To the side,
entrance by the arch, where an image of the Virgin is seen in the
high part. Below, I pass through the arch and entrance of the wall.
BELOW: Image of
the whole street, in the passage of the arch of Sigüenza that we
have mentioned before (Photo Chiho Onozuka).
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ON THE SIDE, AND BELOW:
Wonderful sculpture of a "San Martín on horseback, making his
cap a coat", in the church of the same name, next to the Plaza
Mayor of Salamanca. To the side, detail of the statue, on the
entrance; down, main door of the temple.
ON THE SIDE, AND BELOW:
Facade of the cemetery church of the Melon convent, in Orense. To the
side, detail of the Virgin on the door of the hermitage of the
cemetery; below general view of the facade (in popular classical
style, Galician, 18th century).
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ABOVE AND BELOW:
Above, main facade of the church of Santiago, in Jerez de los
Caballeros, Badajoz. Observe the beautiful decoration with tiles,
presenting different saints (San Antonio, San Francisco etc); above,
in a huge urn, the temple pattern.
Down, re-used tomb to turn it into an altar of
Santa Olaya, in the Monastery of Melón (Orense). On one side there
are several votive offerings of wax offered by the faithful.
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ON THE SIDE, AND BELOW:
Three images of the entrance to San Tirso el Real de Oviedo; a work
of Asturian pre-Romanesque that is attributed to the architect Tioda.
Although this part of the facade was remade in 1679, as dictated by
the tombstone, under the sculptural niche; where we see a small
figure that looks like a Roman emperor, which undoubtedly recalls
Alfonso II, who donated the temple.
Next, (above), urn with the Roman emperor.
To the side, gravestone under the previous urn. This slab we believe is not very old (17th or 18th century); despite this, they should not paint it or damage it, as can be seen in the photograph -where we see it full of marks and cuts-.
Down, set of this beautiful wall, located next to the Cathedral of Oviedo-Alfonso II Street. The appearance of the small altarpiece reminds us of the worship of Roman gods.
ON THE SIDE, AND BELOW:
Next, a beautiful Gothic niche, with a contemporary sculpture, of the
cathedral of Salamanca (to which we are grateful we can divulge our
image). Below, San Juan sculpted on the facade of the garden and
cloister of the convent of Tibáes, Braga (Portugal) -that we thank
for allowing us to give out our image-.
ON THE SIDE, AND BELOW:
Next, urn on the Star Gate; in the wall of Cáceres (capital). On the
pass, a Virgin illuminated by a lantern in the shape of a star.
Below, a San Jerónimo in an urn, in the Main Church of Arroyo de la
Luz, Cáceres (to which we thank we allow us to disclose our image).
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C-2)
Chapels in the streets:
An advocación very different from the one of
the attachments or urns, are the exterior chapels. Small rooms with
altars, enabled outside the churches and that were commonly opened on
certain dates (especially during Holy Week). These street chapels
used to abound in Andalusia; even many of them remained in use and
open and numerous occasions. But the robberies and expolios, together
with their lack of use, have made disappear those altars of the
Andalusian public roads. Despite this, many are still preserved and
open in our neighboring country, where citizen security is still very
high. It is very beautiful to walk through historical centers -such
as the one in Évora or Guimarais-, where we enjoy walls and facades
that look out on these great altars -open to the faithful, or to the
curious and visitors-.
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ON THE SIDE, AND BELOW:
Two photographs of one of the chapels of Guimarais; in this case
dedicated to a Christ of the Falls. Next door, exterior; and below,
inside the altar.
BELOW: Another of the
chapels of Guimaraes, Portugal.
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ON THE SIDE, AND BELOW:
Two photographs of another of the chapels of Guimarais. Next, inside
and below, exterior view (where we can see that the altar is in the
wall of the city).
ON THE SIDE, AND BELOW:
Two photographs of Évora, Portugal. To side, altar with a column and
cross, in the streets of the capital of the Alentejo. Below, one of
the chapels of Évora, next to the cathedral (in this case closed and
with a motorcycle at your door).
ON THE SIDE, AND BELOW:
Three images of two of the chapels of Borba, Portugal.
Below, the chapel of the central square of
Borba.
Below, the chapel of the central square of Borba.
ON THE SIDE, AND BELOW:
Two photographs of the ascent to the Parador de Monforte de Lemos
(Orense). Altar and chapel, in a part of the mountain on which this
castle stands. Undoubtedly it is a Via Crucis, with a stop at this
miraculous point; whose appearance makes us think that in those rocks
once, probably, waters flowed with healing properties.
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C-3)
Saints between bars and glass:
This section will be dedicated to the altars on
facades and walls, where the divinities are displayed between grilles
and glass. A way to protect them, which in the case of glass allows
the exhibition of very fragile sculptures, even dressed in clothes;
while the closing with a fence prevents them from being stolen. Thus,
the niches covered with glass, usually hide statues and votive
offerings with a much more intimate and childish character; where
they are exposed normally Virginitas and saints dressed as dolls.
Also, in those altarpieces with windows, even reliquaries are
included; being normal that many of them are illuminated. For its
part, the urns where the sculptures are out in the open, but
protected by bars; commonly they keep figures of certain artistic
importance (old), located at a height that makes them easily
sustrable. Having those fences a dissuasive function, so that no one
steals or damages the saint there saved.
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BELOW: Plateresque facade
of one of the churches of Zafra (Hospital de Santiago); in its high
part a canvas with a glass has been placed.
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ABOVE, ON THE SIDE, AND BELOW:
Photos of a chapel on the side of the Cathedral of Burgos. Above,
view of this niche closed with bars, where valuable Gothic sculptures
are contained, representing an adoration of the kings.
Next, two images in detail through the enclosure, where we can see the statues of the wise men.
Below, general view of the chapel, in which the Virgin and Child are perfectly appreciated and the characters at their side.
ON THE SIDE, AND BELOW:
Next, a small altar in the streets of Baeza, which contains a picture
promising forty days of indulgence to the one who prays there to the
virgin, announcing it with the following poem: "If you want your
sadness / to become joy / do not pass yourself a sinner / without
greeting Maria. " Below, a beautiful latticed urn (over a tomb)
in the cathedral of El Burgo de Osma.
ON THE SIDE, AND BELOW:
To the side, back of an apse near of Leiro, where a latticed urn with
a saint is contained. Below, the statue inside the urn; the size is
very deteriorated, not being able to know the saint that represents
(perhaps San Antonio).
ON THE SIDE, AND BELOW:
To the side, back of an apse near of Leiro (Galicia), where a
latticed urn with a saint is contained. Below, the statue inside the
urn; the size is very deteriorated, not being able to know the saint
that represents (Photos Chiho Onozuka).
ON THE SIDE, AND BELOW:
Next door, niche in the wall and gateway to Palazuelo, Guadalajara.
Below, an altar in Ponte de Lima (Portugal) -photos Chiho Onozuka-.
ON THE SIDE, AND BELOW:
Two photos of a niche in the streets of Plasencia, Cáceres. Next,
detail of the interior, where we see a virgin among angels carved in
a stone shield. Below, general view of the altarpiece illuminated at
night.
ON THE SIDE, AND BELOW:
Two photos of a niche in the streets of Sarria (Orense, Camino de
Santiago). At this point of the Jacobean Route we see a statue of
Santiago, in that latticed urn.
ON THE SIDE, AND BELOW:
Photographs of a small tower in the vicinity of Villacarriedo,
Cantabria. The tower we see next contains the shields of several
important families in the area (such as the Madrazo Escalera) and in
its central part a carved stone representation. Below, detail of the
figures found in the urn of this tower.
ON THE SIDE, AND BELOW:
Three photos with the interior representation that keeps the tower,
previously mentioned. In them we can see, it is a Christ and under
him two doves with a strange character, who is perhaps a priest
carrying what looks like a large branch loaded with apples.
ON THE SIDE, AND BELOW:
Detail of the door of a church in Miranda del Castañar, Salamanca.
In it we see a saint also lattice. Below, the author of these
arrticle taking photos a few months ago in Miranda del Castañar,
Salamanca -photo Chiho Onozuka-.
ON THE SIDE, AND BELOW:
Next to it, a small niche in the arch of the wall in Miranda del
Castañar. In the previous photo I was looking at this little Madonna
located at the entrance to Miranda. Downstairs, my wife on a
staircase and next to the door with a niche, taking the picture that
we have seen before.
ON THE SIDE, AND BELOW:
Next, a pillar in the cathedral of Úbeda with an urn containing a
statue of Mary. Below, a beautiful altar existing in the streets of
Zafra (Badajoz), next to the squares of the fairs. It is under roof
and has now been covered with glass.
ON THE SIDE, AND BELOW:
Existing altarpiece in the square of the columns of Évora, Portugal.
Next, detail of the altar. Below, my wife contemplates this little
street chapel with a San Antonio on top and some bars, to deposit
alms.
ON THE SIDE, AND BELOW:
Two Portuguese street altars. Next, a fun urn of Barcelos (in the
Route of Santiago lusa). Below, lanterns with dedication to the
figure of Christ, in the streets of Braga (next to the Braca
cathedral) -photo Chiho Onozuka-.
ON THE SIDE, AND BELOW:
Two corner details in the streets. Next, Christ in a facade of
Llerena, Badajoz. Down, corner in Chinchón, Madrid; Casa Pedro
restaurant, with its owner in an urn (photo Chiho Onozuka).
ON THE SIDE, AND BELOW:
Two Andalusian altars to Maria, with lanterns and azulejo (Tiles).
Next, Córdoba (Capital). Photo Chiho Onozuka
Below, Linares (Jaén); facade seen from
its Archaeological Museum.
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ON THE SIDE, AND BELOW:
Two more beacons. To the side, I pass in the wall of Trujillo
(Cáceres) with an altar to the Virgin. Below, detail of a church
facade in Cáceres (capital), where we see how a San Miguel appears.
Observe in this last photo the disservice to aesthetics and Heritage
that the electrical installations installed in such a crude way.
ON THE SIDE, AND BELOW:
Next, Porto house with a large altar in its facade. Below, I step on
the wall of Toledo (San Martín bridge) with a niche dedicated to the
Virgin.
BELOW: To finish this
section we include a curious photo taken in Villagarcía de Campos
(Valladolid), where on one of its facades we can see this Virgin
between windows.
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C-4)
Fanals inside the churches:
In this penultimate section I will collect
strange urns and rare examples of niches and interior beacons.
Starting with the collection that is exhibited in the Azulejo Museum,
in Lisbon.
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ON THE SIDE, AND BELOW:
Photographs of the choir of the church Azulejo Museum of Lisbon (to
which we are grateful to allow us to disclose our image). On the
chairs of this choir can be seen the lanterns containing figures of
saints.
ON THE SIDE, AND BELOW:
Photographs of the choir of the church Azulejo Museum of Lisbon (to
which we are grateful to allow us to disclose our image). Next, my
sister-in-law taking pictures of the room. Below we can see some of
the niches with relics.
ON THE SIDE, AND BELOW:
Curious niche of the church of Santiago de Guimarais (Portugal) -to
which we thank for allowing us to give out our image-, where we find
the representation of the life of a saint.
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BELOW: Curious
altar in the Main Church of Estremoz, Portugal (to which we are
grateful we can divulge our image); in which the genealogy of Christ
is represented, with King David as the initial trunk (which we see
lying on the altar).
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ON THE SIDE, AND BELOW:
Photographs of the interior of the church museum of Sasamón (to
which we thank we allow us to disclose our images). In them we see a
door of step of the sacristy and above an urn with a baby Jesus of
great quality.
ON THE SIDE, AND BELOW:
Photographs of two altarpieces of the Cathedral of Seville (to which
we thank we allow us to disclose our images). Next, fanal with Baby
Jesus sleeping. Below, niche with San Jerónimo.
ON THE SIDE, AND BELOW:
Next, fanal with the Infant Jesus of the Great Captain, as it is
exhibited by the Cartuja de Granada (to which we are grateful we can
give out our image). This sculpture dated around 1490 accompanied
Gonzalo Fernández de Córdova in his battles. Below, detail of the
staircase climb at Casa Pilatos, Seville (to which we are grateful we
can disclose our image). In picture the azulejería (tile-work) and a
picture of Murillo with an Immaculate and Child.
ON THE SIDE, AND BELOW: Next, reliquary of the convent of San Antonio in Segovia (to which we thank you allow us to give up our image).
DOWN, detail of a window shelf, in the courtyard of the main church of Écija (to which we are grateful we can disclose our image). In it we see pieces of archeology exposed in the way that was done during the nineteenth century, in a very beautiful way (as is the rest of this wonderful collegiate church).
D)
Photos of Roy Uéhara:
We finish this first chapter remembering the
more than thirty years we have been traveling in Spain and Portugal
(for work and study reasons). As we said at the beginning, more than
three decades ago, the Japanese businessman and photographer, Roy
Uéhara, traveled with notaries; who was passionate about our
"cultural safaris". Sadly, the vast majority of images and
clichés that my wife and I were drinking during that first time,
were lost in a flood suffered in our office. Despite this, Roy's
remains are still preserved; that we will be publishing to close
these chapters.
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ABOVE, AND BELOW:
Two photos of Roy Uéhara from the mid-eighties. Above, facade of the
main church of Peñaranda de Duero, Burgos (full of urns). Below, a niche
with images in the convent of San Antonio, which I believe is in
Medinaceli, Soria.
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ABOVE, AND BELOW:
Two other photos of Roy Uéhara, from the mid-eighties. Above, exit
door of Segovia on the road to Santa María de Nieva. In the central
urn appears that King Philip II, with the orb in his hand. Down,
hermitage of the humiliator to the rise of Medinaceli (as it was more
than thirty years ago). In the image we can see that the saint in his
central urn had been stolen - or lowered from there, so as not to be
stolen.
