Burgos Cathedral

Romanesque building of the 11th century Burgos became a bishopric in 1075 by the king Alfonso VI of León and Castile "the Brave" on authority of Pope Gregory VII, giving it a canonical continuation with the episcopal tradition of the diocese of Oca, whose prelate was in 589 already recorded as a signatory to the Third Council of Toledo during the reign of the Visigoths. The monarch dedicated the construction of a cathedral to the Virgin Mary. Its design is not known, but it is supposedly Romanesque and of the type of contemporary works (of the Abbey of Santo Domingo de Silos, of the Monastery of San Pedro de Arlanza of San Martín de Tours de Frómista or the Cathedral of Jaca). There is documentary evidence that the monarch donated the outdoor area of the royal palace that had belonged to his father Ferdinand I of León and a small church dedicated to Saint Mary that was under construction. In 1096 the construction on this church was finished. But the church 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 canons already before 1200) and an increasingly dynamic business center. The decision to build a new cathedral was finally made in the 13th century. As was common at the time, the Romanesque building was destroyed (of which now only some sculptural elements remain), presumably during the second construction campaign of the new cathedral in the 1240s and the 1250s. And on this site, expanded through the demolition of neighboring houses, with donations by the Bishop Marino, rose a new Gothic cathedral. Floor plan :# Portico del Sarmental. :# Transept, South arm. :# Door of the upper cloister. :# Chapel of the Visitation. :# Chapel of Saint Henry. :# Chapel of Saint John of Sahagún. :# Chapel of the Relics. :# Chapel of the Presentation. :# Chapel of the Santísimo Cristo de Burgos. :# Central nave and Papamoscas. :# Chapel of Saint Thecla. :# Chapel of Saint Anne or of the Conception. :# Transept, North arm and Golden staircase. :# Chapel of Saint Nicholas. :# Crossing, Dome, Tomb of El Cid and Doña Jimena. :# Chapel and Altarpiece. :# Central nave, Choir. :# Chapel of the Nativity. :# Chapel of the Annunciation. :# Chapel of Saint Gregory. :# Aisles, Ambulatory and Girola. :# Chapel of the Constable. :# Sacristy. :# High cloister. :# Cloistered chapel of Saint Jerome. :# Chapel of the Corpus Christi. :# Chapterhouse. :# Chapel of Saint Catherine. :# Chapel of Saint John the Baptist and Saint James. :# Narthex, Gate of Saint Mary. :# Gate of the Coronería. :# Gate of the Pellejería. :# Low cloister. Gothic foundation and works in the 13th and 14th centuries s The first stone of the new cathedral was laid on June 20, 1221 in the presence of the promoters of the cathedral: King Ferdinand III and Bishop Maurice of Burgos, bishop of the Burgalese diocese since 1213. Pope Honorius III granted an indulgence to all contributors to the construction. Presumably, the first master builder was an anonymous French architect - although some researchers posit the name of the canon Johan de Champagne, cited in a document of 1227 -, most likely brought to Burgos by bishop Maurice himself, after his trip to France and Germany to arrange the marriage of the monarch with Elisabeth of Swabia. The bridal ceremony was held precisely in the old Romanesque cathedral. The cathedral was located just at the point where the slope of the hill, presided over by the Castle of Burgos, begins to rise. The construction was initiated at the front and at the presbytery, where the founding bishop was buried. His remains were later transferred to the center of the chapter choir. By 1240 the so-called Master Enrique became the master-architect of the works. He would also be responsible for the construction of the Cathedral of León and was inspired definitely by the Cathedral of Reims, with whose facade the gable of the Cathedral of Burgos shows great similarities. The work progressed very quickly and in 1238, year of the death of the founder prelate, buried in the presbytery, the front and much of the transept and the naves were already almost completed. The consecration of the cathedral took place in 1260, although ecclesiastical services were already held from 1230. The chapels of the aisles were completed between the second half of the 13th century and early 14th century and a new cloister was built. Master Enrique died in Burgos in 1277 and was succeeded by Master Juan Pérez. He was succeeded later by Aparicio Pérez, active in 1327, Pedro Sánchez de Molina and Martín Fernández, who died in 1396 and 1418 respectively. Expansions and reforms in the 15th to 18th centuries In the 15th century the Colonia family, originally from Cologne, incorporated the open spires of the main facade (between 1442 and 1458), 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 (fl. c. 1518–1569) and Felipe Vigarny, who replaced the original cimborio (a domed crossing tower) constructed by Juan de Colonia (sunk after a hurricane). This cimborio is a pinnacled, two-storey octagonal richly decorated lantern. In the 18th century the construction began of the magnificent Churrigueresque Chapel of Saint Thecla (finished in 1734) (on the site of the original parish church), the Chapel of the Relics and the Sacristy. One of the most famous bishops of Burgos was the 15th-century scholar and historian Alphonsus a Sancta Maria. Restorations of the 19th and 20th centuries Burgos Cathedral owes its many works of art of the 13th to 18th centuries, especially to 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. ==Exterior building==