Ourense Cathedral

The Cathedral of Ourense is the hl. Dedicated to Martin and the Cathedral Church of the Diocese of Ourense in the autonomous Spanish region of Galicia. She stands at the transition from Romanesque to Gothic. Its origins date back to the late 12th century. From the Romanesque period, it has maintained a rich sculptural decoration and Renaissance altarpieces significant and the choir stalls are obtained. 1887, the cathedral was minor given by the pope the title of a Basilica. On 3 June 1931 she was declared a cultural monument ( Monumento Nacional).

History

The foundation of the diocese of Orense is attributed to the time of Suebenherrschaft. In the course of the Moorish conquest of the Iberian peninsula in the 8th century, Ourense fell under Arab rule. Under Alfonso III. el Magno ( 866-910 ) reconquered the city and a bishopric again. The Crónica Albeldense mentions a bishop named Sebastian and the existence of a cathedral. Under the king Sancho II (1065-1072) the church of Santa María Madre was built, the predecessor of the present cathedral. The latter was built from the end of the 12th century to the second half of the 13th century.

Architecture

The San Martín cathedral has the shape of a Latin cross. The nave has three aisles. It extends over eight yokes and carrying a cross rib vault. Central and side aisles separated pointed arches resting on octagonal pillars with columns templates. The half- covered pillars with leaf and Figurenkapitellen. The transepts extend three yokes. The cathedral has three portals.

Portal of the north transept

The Romanesque portal of the north transept was altered in the 15th century after damage. It is spanned by three Archivolts, resting on three columns with decorated capitals. Two jamb, the (right ) are interpreted as a prophet (left) and apostles are still preserved from the Romanesque portal. On a column, an angel is represented, whose head is chopped off. There is a broader representation in an arch from the 15th century through the portal. Under a cross angel holding the sufferings tools and chalices for the blood of Christ. In the middle sits the Virgin with the dead body of her son on her lap. To her right, John stands with a book in hand, next to him the Holy. Martin, the patron saint of the cathedral, sitting on a horse and sharing his cloak with a beggar. Links of Mary Mary Magdalene stand with their attribute the Parfümflacon, the Apostle James, dressed as a pilgrim, and Peter with two large keys in his hand.

Portal of the south transept

The portal of the south transept is a similar design to that of the north transept, however, get better. The three Archivolts as the capitals of the Gewändesäulen are decorated with figures and plant motifs. The two central figures of the innermost, jagged arc of the soffit be interpreted as King Solomon and the Queen of Sheba, who seem to lead a defense. On the left central capital a person winds out of the foliage and stretches out her bare knee. The top section of the portal zone forms an arched frieze, which rests on figures provided with corbels. In the fields between the sheets animals and leaves are sculpted with pronounced ribs.

Portico del Paraíso

The Portico del Paraíso ( vestibule of Paradise ) was created under the pontificate of Bishop Lorenzo ( 1218-1248 ) in the first half of the 13th century and is inspired by the Portico de la Gloria of the Cathedral of Santiago de Compostela of Maestro Mateo. It forms the western end of the nave, to which it opens into three round arches. Here, the Heavenly Jerusalem is represented as it is described in the Book of Revelation. In the four corners of the vault are angels who blow the trumpet and announce the Last Judgment. On the Archivolts the central arcade, the 24 elders of the Apocalypse are depicted playing musical instruments like viola, psaltery, hurdy-gurdy or flute. On the columns under the Archivolts are prophets and apostles who hold scrolls with their name in the hands. On the Archivolts the southern arcade the blessed and the damned are shown, whose judgment is written on the two scrolls in the middle: Venite benedicti PATRIS MEI ( Come, ye blessed of my Father ) and ITEM MALEDICTI IN Ignem ETERNUM ( Depart from me, you cursed, into the eternal fire) (Matthew 25:34 and 41).

Choir and transept

Over the crossing rises above squinches an eight-part dome with a stellar vault and the sculptures of the twelve apostles. It is the work of Rodrigo de Badajoz and was built 1499-1505.

The end of the chancel is a more engaging the entire east wall carved in the early 16th century, which is the Flemish sculptor Cornielles de Hollanda attributed. On the altarpiece is the life of Jesus in 19 scenes depicted, from the birth of Mary to the Resurrection of Christ. The individual scenes are complemented by 40 fully -dimensional representations of prophets, apostles, saints and martyrs, who received a white, marble-like color version in the 19th century.

In the apse there is now a part of the choir stalls made ​​of walnut wood, which was made late 16th century by Diego de Solís and Juan de Anges. It originally consisted of two rows with 70 seats and was housed in the first three bays of the nave. It is rich with sculpted characters of the Old and New Testaments, with church fathers and prophets, the apostles and evangelists, many saints, representations of the virtues and scenes of paradise.

Capilla del Cristo

Equipped with several gilded carved altars is the Capilla del Cristo, which follows in the east to the northern transept. Under a carved, gilded canopy is the main altar of the chapel with a crucifix from the 14th century. On the walls of other parts of the choir stalls are housed in the 16th century. On three sides of the chapel runs a gallery, on the underside in rosewood carved the ten Sibyls are shown. The reliefs were created in 1703 by Castro Canseco.

Other equipment

In the church there are eight wall niche graves with sun figures from the 13th to the 15th century. In six bishops are buried tombs of Ourense. In the Capilla de la Asunción, a Romanesque crucifix of the four nail type is kept. The screen in front of the choir and at the Capilla del Santo Cristo were the late 16th or early 17th century created by Juan Bautista Celma, as are the two pulpits.

The organ of the cathedral was built in 1924 by the organ builder Elezgaray & Co and extensively restored in 1978 by the organ builder Aspiazu. The instrument has stops on two manuals and pedal.

Cloister

On the south side of the cathedral close to the four bays of the cloister. It was begun in the late 13th century or early 14th century and not completed. The four bays are provided with ribbed vaults that are supported by columns bundles. Their capitals are carved with figural scenes and floral motifs.