Virtual visit

 

planta-iglesia

1.- The burial of the lord of Orgaz
2.- Crucified. Luis Tristán
3.- Inmaculada. Luis Tristán
4.- Piety
5.- Altarpieze of the Virgen de Guadalupe
6.- Altarpieze of the Virgen con El Niño
7.- Altarpieze of the Capilla de La Encarnación
8.- St Peter and St Paul
9.- Main Chapel
10.- Tombs
11.- St John the Baptist y San Elijah
12.- La incredulity of St Thomas
13.- Virgen Inmaculada
14.- Baptismal font
15.- Mosntrance

 

 

 

1.- El Entierro del Señor de Orgaz

The March 18, 1586 , the parish priest Andrés Núñez de Madrid, signed contracts with Domenico Teotocópuli , El Greco , to be perpetuated on a canvas the miracle of funeral and so nobody henceforth forget to Don Gonzalo Ruiz de Toledo, Count of Orgaz .

Thanks to excavations , begun in early March two thousand and one at the center of this Chapel of the Conception of Our Lady , she has discovered again the granite sarcophagus , noble but austere, containing the remains of the Count of Orgaz . In addition they also have uncovered part of the pavement of the time and the old church wall to build the same Don Gonzalo.

Signed terms for the completion of the canvas were quite explicit :

” That has been the canvas painting , a procession of how the priest and other clergy who were making trades to bury Don Gonzalo Ruiz de Toledo. And also painting to St. Augustine and St. Stephen , which fell to bury the body of this gentleman , the one having it ‘s head , and the other foot , and cast him into the pit around pretending to many people who were looking and above all this is to make an open cierlo glory .. . ”

The figure of Don Gonzalo Ruiz de Toledo, Count of Orgaz , buried in this church , and his spirit of charity and faith, are still present today . For if they do almost seven siblos rents were instructed in his will that helped the poorest of the city today is income arising from tourist visits , those who voted countless works of charity among the needy.

Don Gonzalo is doing good. And it’s only love transcends the centuries , only love has overcome the death.

 

 

2.- Crucificado. Luis Tristán

crucificadoUnder a stormy sky and illuminated by lightning, represented the Toledo Luis Tristan, painter trained in the studio of El Greco and exponent of the Toledo School of the seventeenth century, this Christ Crucified edgy and pathetic air.

This most important of Christ painted Tristan lacks spirituality that they enjoyed the paintings of his master El Greco, although this typology reflects modeled anatomies with great vigor, strong musculature and twisted bodies.

The city is represented in the background, resembling those found in some paintings by El Greco, but Luis Tristan gives the whole a gloomy air of intense spirituality, typical of his style, probably due to the contact he had in Italy with paint Caravaggio, the greatest exponent of the gloomy, chiaroscuro style based with a leading use of light and shadow and the “sfumato” or blur technique.

 

 

 

 

 

3.- Inmaculada. Luis Tristán

lainmaculada” !Rejoice, highly favored, the Lord is with thee : blessed art thou among women. ”

Fear not, Mary , for you have found favor with God . And now you will conceive in your womb, and bear a son, and shall call his name Jesus.

The Holy Spirit will come upon you , and the power of the Most High will overshadow you ; therefore also be holy offspring shall be called the Son of God. ”

Workshop Toledo Luis Tristan, is this representation of the Immaculate Conception , where you can see details of the transition between the style of the Renaissance, with more naturalistic Flemish influence , typical of the seventeenth century.

An immaculate in which the domain symbol of the Mother of Jesus in the heavenly elements shown . To do this, Luis Tristan represents the Virgin located on the crescent , as if floating , with a crimson robe and packed with rich folds and heavy blue cloak.

Luis Tristan, presents an idealized nature , full of symbolism. Cypress , symbol of ascension, the tree of life. Roses , lilies and lilies symbolize love and purity.

The whitish emanating source of water in abundance, as well as the well of living waters , represent goodness and life.

Custody , where he holds the Host, the best analogy is the image of the Virgin , who was carrying the body of Christ.

 

 

4.- Piedad

lapiedadThe death of a child , a difficult pain to endure and … difficult to know who has not suffered. Is this pain, which supports the Virgin Mary to her dead son and a anónicmo author wanted to portray in this painting .

The image of the Mother of God , appearing in his arms carrying her dead son , has a strong relationship with an iconographic theme of the Virgin of the knife , the great sword protruding from his chest.

The mother takes her son, Christ died just as we indicated the still bleeding wound in his side . Wound like the hands and feet, highlighted in a recumbent body of a strong white marble .

In the face of Christ , a sweet grin of death is also dyed white by the author, who with this skin tone contrasts with the Dead Christ ropaes other colorful characters .

The scene is wrapped by the author in an aura of mystery by a peculiar example of artificial lighting that highlights the characters, and by the smoke that rises from the torches lit by who gave his life for others. Some torches carried by saddened angels . Angels with hand on his chest as a sign of sorrow and with a nod of reverence to the dead Christ.

Stresses in this work, the donor of the same , which is represented in the lower part of the picture , an austere and simple way , with the religious habit of the Franciscan order .

 

 

5.- Retablo de la Virgen de Guadalupe

retabloTo you , the altarpiece of the Virgin of Guadalupe, in honor of the Virgin of the name, which occupies the central interior thereof. A Mannerist altarpiece , dated between the late sixteenth and early seventeenth century , a period of transition between the latest trends of the Renaissance and early Baroque , although Rococo altar table is porterior .

At its bottom, the central relief presents a scene with St. Francis of Assisi and those below the two columns , the Angel Gabriel and the Virgin , representing the passage of the Annunciation.

The reliefs on the paintings allude to the four evangelists : San Juan, San Marcos, San Mateo and San Lucas, and ends under the piers , San Pablo and San Pedro should appear , but alas, the latter not figure remains.

At the top of the altarpiece , an attic, surmounted by a triangular pediment with balls Herrera style , has a relief with the image of the Divine Father .

But they are , the paintings , the most interesting of the whole. The central , larger , representing San Roque and the angel in an entertaining dialogue, in which the saint
leaning on his staff , discover the wound in his left knee.

In the remaining four tables are depicted : top left , Baptism of Christ, when in the Jordan River , receives water from the hand of John the Baptist. This painting emphasizes softness and detail being treated landscape and remarkable anatomical study of the two characters , besides the interesting burst of glory at the top , in which God the Father sending the Holy Spirit appears in the form of OMPOSITION dove and lighting throughout .

In this painting, one with the scene of the washing of Christ , in which we have tried to identify the Emperor Charles V , with the character that washes the feet of Christ , dressed as a pilgrim. From right to left , a Jesuit character , which could well be San Ignacio de Loyola , Santa Leocadia , with a decanter on a tray , a Dominican priest , and a character with large cross layer and identified by some as San Ildefonso , Archbishop of Toledo .

The top right picture is a representation of San Francisco , who kneels receiving the stigmata of passion. Below , San Bernardo also kneeling , in his cell , provides hands together, the appearance of the Virgin and Child, in a spectacular rupture of Gloria .

Rococo table, highlight the representation of attributes sombólicos holy book, pen, mitres and a vase with lilies, alluding to purity.

 

 

6.- Retablo de la Virgen con El Niño

virgenninoArchitecture, sculpture and painting, are combined in this altarpiece , to compose an elegant ensemble , which has been dated to the second half of the sixteenth century Mannerist within this period , but with a completely classical design . Elements such as broken and where the upper curved pediment sculptures are based , is proof of that .

Known as the altarpiece of the Virgin and Child, the central sculpture which presides , is crafted with the same delicacy that transmit their two figures ; Fashion Lady putting her arms to restrain the child, the closeness of their faces … but above all, the faint and subtle smiles of both, make the set in a privileged place to find hope and recollection that can only offer a mother.

Originally this sculpture was polychrome today without the covers , like the rest of the top figures or reliefs under the Corinthian columns.

The top of this altarpiece , contains a large number of symbols , as in the highest, Charity was escorted to the sides, the fortress , resting on a column , and Prudence or Temperance, lying on the pediment . In the center, painted with ECENA background of the Annunciation , where the angel Gabriel announced to the Virgin , to conceive the Son of God.

In the bottom of the altar , under the columns to the left , San Juan Evangelista , and right, San Juan Bautista . Both reliefs have cuerpor pronounced , with good anatomical modeling and volume indicates an inspiration in the models of Michelangelo.

These two reliefs , circular tondo among garlands juicy fruits that fall on the figures of two naked gay children , provide a framework for a painting which depicts St. Lucia, with the symbols of martyrdom , palm and eyes on the tray.

 

7.- Retablo de la Capilla de La Encarnación

laencarnacionUndoubtedly , the conservation of all types of documents , provides valuable information about various events and of course, on the works of art.

Thanks to one of these documents, dated in the year 1573 , we can know that day the painter Hernando de Avila, by the sculptor Nicolas de Vergara el Viejo, was forced to compose this altarpiece in 1566 . Though the sculptural part correspond a third, Diego Velasco Avila .

This altarpiece is in the Chapel of Don Juan Nuñez de Toledo , also called Chapel of the Incarnation, whose style belongs to the transition from the last third of the sixteenth century , called Mannerist style.

The bank or lowest part of this altarpiece , divided into three white marble friezes , which appear on the sides, the four evangelists , left San Mateo and San Juan , right San Lucas and San Marcos and the center , San Pedro , with the keys and St. Paul , with a cross .

The columns of red marble , framed paintings of saints and biblical scenes. Presentation of the Child Jesus in the Temple is shown in the bottom , center , and right, to St. Augustine and St. Magdalene Penitent and left to San Juan Bautista and a scene of the Visitation and Santa Isabel and Virgin.

At the top , in the center an image of St. Jerome Penitent, pounding his chest with a stone , flanked by the Archangel Michael to the right and the episode of the extent of St. Thomas on the left.

The altarpiece appears crowned at the top by a sculptural representation of God the Father blessing with his right hand and left holding the ball, symbol of the world .

The style of the painter, Hernando de Ávila , is characterized by a broad and strong volume in the figures, dominating the representation of the human anatomy, especially in the torsos. So the faces of the various characters , convey all the inner strength of these . Also takes great details, examples are , the hair, the beard , the folds of the dresses or funds landscapes and architectures.

The effect of perspective , it reached, in the case of the Presentation in the Temple, by the arrangement of the large table , the bottom of columns or floor decoration in runaway perspective.

 

 

 

8.- San Pedro y San Pablo

sanpedroysanpabloBoth the image of San Pedro, as the share of San Pablo, which is paired with, two copies are made ​​by the painter Simon Vincent in 1673, the paintings of Antonio de Pereda, located in the Church of the Discalced Carmelites Toledo.

Both paintings are medium bodied, which highlights the strong anatomical constitution of both saints and expressiveness of their faces with majestic white beard.

Dark backgrounds make the colors of the coats and garments, take the role of the canvases and frames serve except some faces and hands full of expression and tension.

San Pedro carries in his hands the keys of heaven, and San Pablo sword that constitutes its attribute.

Works great quality, very striking naturalism with espcial represented are the faces and hands.

 

 

9.- Capilla Mayor

capillaSince 1483 , we have news about the construction of this chapel , chapel that stands out for its elegance and purity of line.

Its construction was carried out for burial, of the illustrious family of Toledo Ayala -Silva , Counts of Fuensalida.

To lift , had to demolish the existing Mudejar header , since the Lord of Orgaz remodel commanded this Church of Santo Tomé, in the late thirteenth century.

The Chapel is built along the two existing stylistic trends in Toledo in the fifteenth century ; Flamboyant Gothic , complex and ornate style , highly dynamic and mobile, and style
Mudejar , wherein Muslim styles and techniques were conjugated with Christian .

The result of all this, was this sober Gothic flamboyant style headboard and simple ground elevation where the spatial clarity and cleanliness prevails. A language in short, very
rationalist , wherein the structural nature of the decorative predominates.

The light in this chapel , which is reduced to replacing the two small side holes, through which the ribbed vaults , in the case of the dome, are dimly lit
decorated with paint , as well as washers paneling in the junction points of these nerves .

The onset of these nerves in the wall itself , is based on a polychrome brackets , as in the case of the central section , representing the four evangelists.

Painting in grids that decorates the walls , is but an attempt to reproduce parameters chairs undoubtedly a more noble establishment , but also expensive.

 

 

10.- Sepulcros

sepulcroThe construction of the Chapel of Santo Tomé, was made to house the tombs of the family of the Counts of Fuensalida, becoming six members of this family whose remains rest here today.

Los Condes Fuensalida constituíana perhaps the most illustrious families of the fifteenth century Toledo, whose favors came from King Henry IV.

In their tombstones tombstones, perfectly reflects the own fifteenth century Gothic style, such as the use of black slate for your accomplishment with thistle leaves surrounding the heraldic shields.

The counts of Fuensalida come from the union of two feuding families in a time and eventually joined by a marriage. In some graves, can know the shields of both the families of Ayala, with blades framing a pair of wolves and the Silvas with a lion rampant.

 

 

11.- San Juan y San Elías

esculturaThis chapel walls saved their important artistic works of great quality , among which these sculptures St. Elijah the prophet , and San Juan Bautista, Castilian baroque style made ​​in the seventeenth century.

Both saints are depicted sitting on a rock. So St. Elias has a numb and San Juan Bautista attitude is captured with a very theatrical and full of movement pose, producing a sense of imbalance.

Certainly it is a sculpture of great firmness , the author conveys the support of his left leg, which together with the elegant moviento arms and fingers are quite a technical bravado.

Also more noteworthy facial features and detail and naturalism of his clothing, which makes estmaos not think that is a work of first category in the Spanish Baroque sculpture .

St. Elias, in a totally different pose to San Juan, much less dynamic , seems mired in deep thought or dream like sleepy . This does not prevent your face show through spiritual interiority which was carrying . The wrinkled forehead, accentuated cheekbones, aquileña nose, sunken cheek, the closed eyelids and his curly hair and beard , convey the character of spirituality.

 

 

12.- La incredulidad de Santo Tomás

santotomas” Unless I see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe .

Then Jesus came , and said to the disciples :

Peace be with you .

Then he said to Thomas :

Put your finger here and see my hands ; Reach out your hand and put it into my side: and be not faithless , but believing.

My Lord and my God !

Because you have seen me , you have believed ; blessed are they that have not seen and have believed. ”

This representation of the biblical passage about the ” Doubting Thomas ” , which closes the perspective of the altarpiece is the work of the former court painter of King Fernando VII and Elizabeth II , and artistic director of the Royal Museum of the Prado, the Valencian painter Vicente López Portaña , died in 1850 , and exponent of the painting called academic style.

In the scene clean and orderly composition in detail , vertical rhythms , where the only character kneeling predominate St. Thomas , head of this church , becomes a gesture to Jesus Christ in a beautiful example of majesty and solemnity.
The other apostles witness of the fact , noted for its elegant proportions, idealized beauty and perfect psychological characterization of each.

It is outstanding, the other conversation on the conversation that results from hand motion and gestures, one of the most difficult aspects of representing the whole universal painting, and Vicente López resolved here , with great skill and elegance box , especially in the group Formana Christ’s hand holding that of St. Thomas .

 

 

13.- Virgen Inmaculada

virgeninmaculadaFrom the late seventeenth or early eighteenth century , is the size of the Immaculate Virgin , a model derived from the Virgin Preexistent, that God possessed before there was anything in the world , a new Eve who beat the snake.

Looks like a strong wind , waves the blanket of this Immaculate Virgin , causing marked folds and ripples in his robe , robes decorated with ornamental motifs
florares carnations and stems that seem to vibrate with movement.

All this convulsive movement contrasts with the serene expression of the Virgin, which , by keeping your long hair wavy and brown , and his face , oval , with high forehead , thin lips and long eyelashes , convey an inner spirituality , away from reality that surrounds it.

A serene attitude in a turbulent storm. The Mother of God, on the great golden sphere symbolizing the universe , crushes the serpent representing evil , protecting all children from temptation and danger.

But sexy is also the base on which this beautiful sculpture, original octagonal shape , where his face decorated with paintings rises, reproduce architectural and maritime issues .

 

 

14.- Pila Bautismal

pila” Qui et bautizatus crediderit fuerit salvus erit , qui vero non crediderit , condemnatibur ” .

“He who believes and is baptized will be saved, but whoever does not believe will be condemned .”

So reads the Latin inscription of this Renaissance baptismal font of the sixteenth century.

Made of marble, its decorative frieze way denticulate , the arcades , the gallon , acanthus leaves, and arranged in a vertical row baquetones transmit the classic spirit in which it was made.

Originally it was placed at alos feet of this church, in the nave of the gospel, in the Baptismal Chapel , in the place where the picture of the Burial of the Count of Orgaz started .

Baptism is seen as the victory of light over darkness , hence to be broad place the baptismal fonts in the western or northern walls of the church , on the west side , associated with darkness , the devil and sin.

Its shape , similar to the glass used in the celebration of the Eucharist , the chalice, is not accidental , since the relationship between baptism and the Goblet of Blood, are present in the words of Christ from the Gospel of Mark :

” Can you drink the cup I drink and be baptized with the baptism that I be baptized? ” .

Its circular shape is a symbol of the heavens and emblem of perfection , as well as depiction of Paradise and Fünte center of life , baptism .

 

 

15.- Custodia

custodiaInspired custody who performed for the famous Toledo Cathedral Enrique Arfe , made ​​it in 1883 , Claudio VEGUE .

This type of ” architectural sculptures ” , whose function guard and expose during processions , the Sacred . The most important procession in which it is used , is to be done the day of the ” Corpus Christi ” .

This construction consists of three parts , the first of which , larger houses the monstrance or virile , place the Sacred dond stands . Thus, based on this you can recognize the busts of Christ , the Virgin and St. John the Evangelist saint among others .

The second body , located in the center houses a sculpture of St. Thomas the Apostle , the head of this church , carrying a spear and a book.

The last body, located higher , enclosing the slender figure of the Immaculate in prayerful pose with folded hands .

The constitution called custody, is topped with a Latin cross richly decorated with acanthus leaves and pearls with a blue crystal in the center and a database composed of foliate scrolls .
This type of sculpture at tim constituted a test of elements and forms of future architectures . So many of the elements used in the wards appear later part of decoration of buildings or structures .