STAGE 11 - BURGOS

This year we opted to spend a day in Burgos. This city offers so much to see and do; great food, a beautiful river walk, a magnificent Cathedral, and much,  much more. We love Burgos on many levels. 

This is the the Puente de Santa María that crosses the Arlanzón River and leads to the Puerta de Santa María and then to the Cathedral...

Along the river is a beautiful walkway (below). During the spring and summer the leafed-out trees create a shaded archway the full length of the river that runs through town. Note that the trees are grafted together. Each year the arborists leave one or two young branches from the previous season to grow and eventually be grafted into neighboring trees.

The first place that I want to introduce is the Cathedral de Santa María. Because it is so massive and there is so much to take in, I will focus on a few outstanding items.

The Cathedral sits where an earlier and smaller cathedral sat (11th century). Fernando III and don Mauricio, the local bishop, moved to build a bigger Cathedral to reflect the city's growth and the increased influx of pilgrims along the Camino. The new Cathedral followed the French Gothic style that don Mauricio had seen in other parts of Europe. The style featured flying buttresses, gabled roofs, and soaring steeples, and stained-glass windows. The construction on the new Cathedral began in in 1221.

THE OUTSIDE:

I want to focus on two doorways: 1) the Puerta de la Coronería (north doors); and 2) the Puerta del Sarmental (south doors). Both doors sit at each end of the transept. For me doors play a significant role in how the believer is oriented towards the entrance into a sacred space. In the case of both doors the Savior sits triumphant and beckons us to enter into his presence. These two doors offer important messages that depict the Savior's function. I am going to break the examination of this door into parts beginning with the tympanum (the triangular portion immediately above the double doors) and the lintel (the long portion directly under the figure of Christ).

THE PUERTA DE LA CORONERIA (CHRIST IN JUDGMENT)

The door is flanked by images of the Twelve Apostles. We will take a look at the tympanum and the lintel.

The Tympanum: Occupying the center is the figure of Christ in Majesty (or Pantocrator). Some scholars have called attention to the more subjective and gentler aspect of the Christ figure when compared to the more austere dignity of the figure in the Puerta del  Sarmental. In this instance the head of Christ bends slightly forward, the eyes downcast  and the lips parted. Above Christ is the scroll of Heaven and above that four angels who  draw the viewer's eyes towards a cross with a robe draped over their arms. The figures  in the upper peak of the tympanum correspond to the two angels located in the lower  angles of this space: one holds a spear and the other stands next to a column. The cross, the robe, the spear and the column belong to a grouping of symbols called Arma  Christi (or the Instruments of the Passion). More specifically they are: 1) the True Cross on which Christ was crucified; 2) the purple Robe of Mockery; 3) the Holy Spear used to  inflict the wound in his side; and 4) the column depicting the Flagellation of Christ. To  the immediate left of Christ is the crowned figure of the Virgen Mary and to the right the  figure of San Juan who was charged with caring for the Virgen after Christ's ascension. If  you look closely at the revealed portion of Christ's chest you will see the mark of the spear wound. This detail was often included to remind the viewer of the Savior's sacrifice and assumption of humanity's sins. Also, notice that the zig-zag decoration that separates  the tympanum from the lintel depicts arches and balconies; perhaps an indication of the abodes that the righteous might obtain.

The Lintel: There are two stories depicted along the lintel that move from the center to either  the right or to the left. Each story continues its narration onto the final depictions on each  of the three primary archivolts. At the center of the lintel presides the figure of the St.  Michael. Here is an examples of psychostasis (στάσις, 'disputa', y ψυχή, 'aliento'), a term  from Greek and means "the weight of the soul", or, in other words, the procedure by  which eternal condemnation or salvation is determined. Frequently associated with  depcitions of the Final Judgment here represented by St. Michael holding a set of  balances in his hand and standing at the division point between those destined for heaven  and those condemned to hell. 

The Weighing of Souls and the damned thrust to hell (right of center): Here St.  Michael "holds the scales with his right hand and with his left wards off three  devils who are trying to pull down the right (hellward) side of the balance. One of  the devils stands on the shoulders of another, making a very grotesque group." To  the right of the devil tampering with the balance is another who pulls a miser with  his bag of gold around his neck. Notice that he pulls at his hair. At the extreme  end of the lintel, almost completely hidden by the projection of the arcade of the  jambs, is a devil throwing a sinner over his head into the mouth of hell. 

The Weighing of Souls and the righteous received into Paradise (left of center): "At the left of St. Michael stands an angel with a naked soul in his arms, waiting to receive the one...whose good deeds are outweighing his evil ones" (note that the left scale balance is indistinguishable due to weathering). Next to the angel is a doorway, perhaps the opening to Paradise. Note that doorways (e.g., the mandorla in which Christ is often depicted) shows Christ as the door through which the righteous receive salvation. "At the extreme left are a queen and a king. Approaching them are a friar or a monk, a bishop who has lost his head, and a Franciscan, recognized by the cord with three knots that fall from his waist." "Instead of simply being in the procession of the blessed, expressing joy and rapture... [these] are within the gates of Paradise and appear to be engaged in some ceremony together. The king is being approached by the friar or monk who has a scroll in the right hand. The bishop behind him seems to be presenting him to the monarch. The Franciscan, who holds the book in his hands, turns toward the others. The queen stands beside the king looking on. Some sort of historical scene seems to be taking place." The most commonly accepted interpretation of this scene is that of Flórez who identifies St. Francis and St. Dominic as the figures on either side of the bishop. "They are exhibiting the bulls of the foundation of their orders to St. Ferdinand in the presence of Bishop Maurice" with the queen, Beatrice of Swabia, looking on.

[1] All quotations and specific information is taken from, Frederick B. Deknatel, “The Thirteenth  Century Gothic Sculpture of the Cathedrals of Burgos and Leon,” The Art Bulletin 17:3 (Sep. 1935), pp. 273-281.

Now here is a detail that corresponds to the Medieval perspective on high and low; spiritual and carnal; vice and virtue. Many scenes in Christian paintings and sculpture deal directly with this division. The representations of evil is a reminder to stay on the path of righteousness. The three representations above serve just this purpose. At the end of the three final voussoirs of the archivolts are: 1) a headless demon that holds the inverted body of a sinner and the arm of another, holding them fast as they are drug away; 2) to the left a demon prepares to submerge a woman into a boiling pot (note the  flames) where a man's head appears, grimacing in pain. To the right is a feline figure (often  associated with heresy, vanity and the devil) also submerging a body into the same boiling pot.  Another figure lurks in the shadows as if waiting his turn; 3) a demon stands with his back to a person who kisses the buttocks of the demon. This act was known as Osculum infame and was seen as the way that devotees greeted the devil and demonstrated their submission to his will; a form of  seduction associated with carnal sin. This scene is augmented by the figure that defecates into a  woman's arms. The combination of these three scenes presents a shocking view of sin,  perversity, heresy, and punishment. In each of the scenes the viewer encounters the Middle Age's  division of the human form into the upper body (e.g., head, spirit and intellect) and the lower  body (e.g., entrails, gluttony, and defecation). These are warnings to those entering a sacred space what the fate is of those who reject Christ and through their actions "recrucify" and mock him. 

THE PUERTA DEL SARMENTAL (CHRIST THE LAWGIVER)

First, the door is flanked by jambs holding statues. To the left are figures from the Old Testament: 1) Moses; 2) Aaron; and 3) an unidentified figure. To the right are figures from the New Testament: 1) Peter; 2) Paul; and 3) an unidentified figure. 

The tympanum: The central  figure is a seated Christ in Majesty (or Pantocrator) holding in one hand a book, often  associated with the Book of the Law, and the other he raises with three fingers extended  to represent the Holy Trinity. Unlike the Christ figure found on the Puerta de la  Coronería, this Christ poses a more upright, far-seeing figure that seems to gaze into eternity. Surrounding the Christ figure are the tetramorphs representing the four evangelists: an Eagle (John), a Lion (Mark), an Angel (Matthew), and a Bull (Luke). Just  above Christ's head are two angels rolling back the clouds of Heaven "like a scroll"  (Revelation 6:14). Tucked into the upper register of the tympanum and lower angles of the tympanum are four scribes. These figures represent the four evangelists. Perhaps  more significantly, they embody the act of writing which was a symbol of witnessing and  testifying: Matthew to the Savior's Birth; Mark to his Resurrection; Luke to his Sacrifice  and Passion; and John to his Divine Being. 

The lintel: Located just below the tympanum, the lintel presents an Apostolate with each  of the twelve figures sustaining a book in their hand (again a symbol of their mission as  witnesses for Christ, his ministry, his death, and his resurrection) and each one  represented with a nimbus.

Just under the lintel and tucked over the two doors are a pair of enigmatic figures. 

Over the door to our left is a young man who appears to listen intently to an older fellow holding a book. Some have seen this interaction as the seeking of wisdom. Others have interpreted this interaction as one between the younger and older selves the younger moving towards wisdom in old age.

Over the door to our right is. a woman looking wantonly towards a figure known as the "espinario" or figure of Marcolfo who embodies the idea of luxuria rustica (unbridled carnality).

THE INSIDE:

It would take multiple volumes of studies to describe the interior of the Cathedral. Here are a few highlights.

EL PAPAMOSCAS and EL MARTINILLO

The papamoscas and the martinillo are comical figures that make up the Cathedral's clock. The both sit high above (about 90 feet above the floor) in the space at the back of the Cathedral known as the trans-choir.  The papamoscas announces the hours; the martinillo the quarter, half and three-quarter hours. Both are automatons from the 16th century. On the hour the papamoscas will move his mouth as if speaking and ring a large bell. The martinillo has two hammers and rings smaller bells on each side of him. Here is a video of papamoscas. Martinillo will ring preliminary bells and papamoscas will ring out the time.

Just down the left nave (known as the Evanglical Nave) is the Capilla de Santa Ana. I love the altar in this space. It is typical Gothic. However, it is the story that it tells. Remember, for the most part people in the middle ages could not read. They learned the lessons of the Bible from what they heard. 

So here in the middle section is the narration of the genealogy of Christ...

Let's begin at the bottom with a reclining figure of Jesse, the father of King David. From his body sprouts a tree... This is a genealogical tree that weaves itself to the next pair of figures...

The intertwining branches of the tree culminate in these two figures: Joaquim and Ana, the Virgen Mary's parents who were descendants of Jesse.

Above Joaquim and Ana is the figure of Mary holding the Christ child. On either side are two female figures: On the right is a symbolic representation of the Old Testament (notice the blindfold suggesting Israel's ignorance of the person of Christ) and on the left is a symbolic representation of the New Testament (a witness of God's divinity and saving power).

As you continue walking down the left nave you come to the transept (remember that the two doors that I have described open up at each end. Here is a magnificent staircase known as the La Escalera Dorada. This staircase sits at the door that corresponds to the Puerta de la Coronería. So how does this work? The cathedral is built into the side of a mountain so the north doors are some thirty feet higher than the south doors. In the middle ages a stone staircase allowed pilgrims and others access through the Puerta de la Coronería. In 1516, the bishop Juan Rodríguez de Fonseca initiated some reforms to the transept that included the installation of a new staircase designed by Diego de Siloé. The door and staircase are no longer used, but the beauty of the staircase remains one of the significant architectural contributions to the cathedral.

Finally, the Retablo Mayor (Main Altar Piece). Built during the second half of the 16th century the altar is a masterpiece of wood carved figures and polychromy. The scenes represent the life of Christ, figures of the apostles, and saints. It is 39 feet high and 20 feet wide.

At the crossing of the nave with the transept is the cimborrio or dome of the Cathedral. This structure dates from the 15th century. It is a combination of Gothic and Plateresque styles and reaches a height of 150 feet.

On the lower edge of the cimborrio is inscribed: "IN MEDIO TEMPLI TUI LAUDABO TE ET GLORIAM TRIBUAM NOMINI TUO QUE FACIS MIRABILIA" or "In the midst of your temple I will praise you and give glory to your name because you do wonders." Just below the cimborrio is the tomb of Rodrigo Díaz de Vivar "El Çid" and his wife Jimena.

Finally, a wonderful little discovery. I have contemplated the choir seat carvings on several occasions. One that I had not noticed was a representation that St. James had while preaching in Spain with seven disciples. In the vision St. James is frustrated that he hasn't gained any converts to Christianity during his travels in Spain. At the height of his sadness, the Virgen (in what is known as "translocation") appears to St, James and promises that if he is faithful, Spain will become a Christian country, In the vision, the Virgen appears on a pillar. Today, that pillar is in the Catedral/Basílica de la Virgen del Pilar in Zaragoza. I had never noticed this scene but it has significant ramifications for the Camino de Santiago (or St. James Way) and the saint's status as Patron of Spain. Notice the pilgrim's hat and staff at the bottom of the carving; both pilgrimage symbols.