Introduction
Gothic style cathedral with a basilical floor design crowned and with an ambulatory.
Chronology
It is the next to the last Gothic cathedral of Spain. Its construction began in 1513 and did not conclude until 1733. Although its style is essentially Gothic, Baroque, Plateresque and Neoclassical elements can be found . In this sense, the Baroque tower stands out.
Historical fact
Throughout the 15th century the city of Salamanca experienced significant demographic growth that, among other things, made the Romanesque cathedral unable to hold such a large population. In 1491 the town council took into consideration the idea of constructing a new temple, that would be beautiful and spacious, and harmonise with the stateliness and importance that Salamanca had acquired throughout the century. But it was not until 1510 when steps began to be taken for the construction of the new temple. With this in mind, a meeting of experts was called to examine the proposals of different architects. In 1512 this meeting decided to maintain the old Romanesque cathedral in order not to interrupt religious ceremonies and the project was given to Juan Gil de Hontañón. Juan Gil was one of the most outstanding architects in Isabelian Gothic art.
Construction on the cathedral began May 12, 1513 and from the first moment was marked by continuous critisims and litigation that different architects brought against the project of Gil de Hontañón. These disputes not only slowed down the construction process, but also led to numerous revisions of the initial project. It was not until 1733 that the cathedral was finished.
It is necessary to make a special reference to the Bell Tower of the Cathedral of Salamanca. The Old Cathedral of Salamanca originally had two towers: the "Mocha" (or "Blunt") tower that is still conserved, and the tower of the "Bells". The town council decided to maintain this tower and, after elevating its height, have it serve as a steeple for both cathedrals. The history of this tower is marked by continuous misfortunes. In 1705 a lightning bolt struck the tower and caused a fire that damaged it severely; the main bell fell to the street; and one of the small ones melted due to the heat. The tower had to be rebuilt under the direction of Pantaleón Pontón, who gave it the appearance that it has today. In 1755, the serious damage caused by the earthquake of Lisbon to the cathedral made some experts consider demolishing it. Finally the problem was solved by placing metal reinforcements in its structure. In 1940 the damages caused by the Spanish Civil War.
Architectural element
The last stage of the Middle Ages was characterized by a social, cultural and economic revolution. Little by little the bases were being set for what was going to be the Renaissance: the figure of man began to become important once again. Urban life flourished again, and the medieval class system became more heterogeneous with the consolidation of the bourgeois. These changes were reflected in the art of the moment: Gothic. Gothic architecture is colour, light and elevation toward God. Cathedrals became its maximum exponent. The cathedral of Salamanca is one of the last works of the Spanish Gothic period. Its floor design is rectangular and basilical with three naves and side chapels located next to the buttresses. The exterior is structured according to the medieval ad triangulum outline, characterized by a progressive development of the naves. On the walls a rhythmic movement takes place between the windows and the buttresses, which are projected upwards by flying buttresses and pinnacles. The top is crowned with a beautiful display of balustrades and crest plates. The main facade was originally decorated with five arches, but the one corresponding to the chapel on the right disappeared in the 18th century when the base of the tower was widened to avoid its collapse. Among them the central one, also known as the Facade of the Nativity, stands out. In the lower part we find a door with a mullion, and the image of the Immaculate Virgin. The arches are flattened, which is characteristic of the Plateresque. In the middle section the Nativity and the Epiphany of the Lord are depicted above a tri-lobulated arch crowned by a large keel arch. In the upper part of the facade the Calvary of the Lord is represented with the figures of Saint Peter and Saint Paul. Symbolically, it is the eternal message of the beginning (the Nativity) and end (the Calvary). The façade of Palms, on the northern wall, represents Jesus' entrance into Jerusalem and it follows the same structural outline as the façade of the Nativity. The bell tower and the dome are Baroque.
The interior of the cathedral stands out due to its width and the great magnitude of its heights. The visitor feels he is in a forest in which the top of the trees rise toward God. The dome stands out under the cross vault. Its drum is decorated with panels that represent scenes of Mary. The dome is neoclassic and is articulated by means of Corinthian columns.
Other artistic elements
The chapels are located along the side naves. There are two which stand out: the Golden Chapel (or "all saints chapel") and the Chapel of the Sacred Christ of Battles. The Golden Chapel is in fact a small church inside the cathedral. It has choir and its own sacristy and it is thought that in its day it even had a small organ. In it all the saints from the beginning of time to the 16th century are represented. The chapel was founded by archdeacon Francisco Sánchez de Palenzuela; he is represented lying below an arch. At his sides are the figures of his parents and nephew who are praying. Above them in a niche is the figure death. In the chapel of the Sacred Christ of Battles, the Christ that is worshipped is the one that Bishop Jeronimo Visque took into battle. According to the tradition, Christ accompanied the Cid in his battles. The seats of the choir are one of the best examples of Baroque carving. It was designed by Alberto de Churriguera. Carved in walnut wood, the choir is organized into two floors with a total of 104 seats. On the lower floor there are medallions and reliefs of saints and martyrs. On the upper floor bishops and prophets has represented. The collection is crowned by a crest plate formed by little angels playing musical instruments. In the centre of the choir there is a lectern with the effigies of the prophets.
Curiosity legend
In the mullion of the main façade there is a figure of the Immaculate Ascension with angels on either side. The one on her right is carrying a kind of poster which has a phrase in Latin referring to the Assumption of the Virgin: "Assumpta est María in coelum"; The one on the left is missing an arm. Originally it too was carrying a poster which made reference to the Virgin's immaculate conception. But the poster was sawed off in the 17th century by a religious current that rejected that idea. En 1755 the earthquake of Lisbon damaged the bell tower. The bell system was so damaged that a bellringer had to climb up to the bells to make them ring. Today that event is immortalised in a tradition that continues, and on October 31 a person dressed in a typical Salamanca suit, climbs to the top of the tower and plays a traditional song.
Open hours
Every day from 10:00 am to 1:00 pm and from 4:00 pm to 6:00 pm.
Construction date
Between 1513 and 1733.
Gothic style cathedral with a basilical floor design crowned and with an ambulatory.
Chronology
It is the next to the last Gothic cathedral of Spain. Its construction began in 1513 and did not conclude until 1733. Although its style is essentially Gothic, Baroque, Plateresque and Neoclassical elements can be found . In this sense, the Baroque tower stands out.
Historical fact
Throughout the 15th century the city of Salamanca experienced significant demographic growth that, among other things, made the Romanesque cathedral unable to hold such a large population. In 1491 the town council took into consideration the idea of constructing a new temple, that would be beautiful and spacious, and harmonise with the stateliness and importance that Salamanca had acquired throughout the century. But it was not until 1510 when steps began to be taken for the construction of the new temple. With this in mind, a meeting of experts was called to examine the proposals of different architects. In 1512 this meeting decided to maintain the old Romanesque cathedral in order not to interrupt religious ceremonies and the project was given to Juan Gil de Hontañón. Juan Gil was one of the most outstanding architects in Isabelian Gothic art.
Construction on the cathedral began May 12, 1513 and from the first moment was marked by continuous critisims and litigation that different architects brought against the project of Gil de Hontañón. These disputes not only slowed down the construction process, but also led to numerous revisions of the initial project. It was not until 1733 that the cathedral was finished.
It is necessary to make a special reference to the Bell Tower of the Cathedral of Salamanca. The Old Cathedral of Salamanca originally had two towers: the "Mocha" (or "Blunt") tower that is still conserved, and the tower of the "Bells". The town council decided to maintain this tower and, after elevating its height, have it serve as a steeple for both cathedrals. The history of this tower is marked by continuous misfortunes. In 1705 a lightning bolt struck the tower and caused a fire that damaged it severely; the main bell fell to the street; and one of the small ones melted due to the heat. The tower had to be rebuilt under the direction of Pantaleón Pontón, who gave it the appearance that it has today. In 1755, the serious damage caused by the earthquake of Lisbon to the cathedral made some experts consider demolishing it. Finally the problem was solved by placing metal reinforcements in its structure. In 1940 the damages caused by the Spanish Civil War.
Architectural element
The last stage of the Middle Ages was characterized by a social, cultural and economic revolution. Little by little the bases were being set for what was going to be the Renaissance: the figure of man began to become important once again. Urban life flourished again, and the medieval class system became more heterogeneous with the consolidation of the bourgeois. These changes were reflected in the art of the moment: Gothic. Gothic architecture is colour, light and elevation toward God. Cathedrals became its maximum exponent. The cathedral of Salamanca is one of the last works of the Spanish Gothic period. Its floor design is rectangular and basilical with three naves and side chapels located next to the buttresses. The exterior is structured according to the medieval ad triangulum outline, characterized by a progressive development of the naves. On the walls a rhythmic movement takes place between the windows and the buttresses, which are projected upwards by flying buttresses and pinnacles. The top is crowned with a beautiful display of balustrades and crest plates. The main facade was originally decorated with five arches, but the one corresponding to the chapel on the right disappeared in the 18th century when the base of the tower was widened to avoid its collapse. Among them the central one, also known as the Facade of the Nativity, stands out. In the lower part we find a door with a mullion, and the image of the Immaculate Virgin. The arches are flattened, which is characteristic of the Plateresque. In the middle section the Nativity and the Epiphany of the Lord are depicted above a tri-lobulated arch crowned by a large keel arch. In the upper part of the facade the Calvary of the Lord is represented with the figures of Saint Peter and Saint Paul. Symbolically, it is the eternal message of the beginning (the Nativity) and end (the Calvary). The façade of Palms, on the northern wall, represents Jesus' entrance into Jerusalem and it follows the same structural outline as the façade of the Nativity. The bell tower and the dome are Baroque.
The interior of the cathedral stands out due to its width and the great magnitude of its heights. The visitor feels he is in a forest in which the top of the trees rise toward God. The dome stands out under the cross vault. Its drum is decorated with panels that represent scenes of Mary. The dome is neoclassic and is articulated by means of Corinthian columns.
Other artistic elements
The chapels are located along the side naves. There are two which stand out: the Golden Chapel (or "all saints chapel") and the Chapel of the Sacred Christ of Battles. The Golden Chapel is in fact a small church inside the cathedral. It has choir and its own sacristy and it is thought that in its day it even had a small organ. In it all the saints from the beginning of time to the 16th century are represented. The chapel was founded by archdeacon Francisco Sánchez de Palenzuela; he is represented lying below an arch. At his sides are the figures of his parents and nephew who are praying. Above them in a niche is the figure death. In the chapel of the Sacred Christ of Battles, the Christ that is worshipped is the one that Bishop Jeronimo Visque took into battle. According to the tradition, Christ accompanied the Cid in his battles. The seats of the choir are one of the best examples of Baroque carving. It was designed by Alberto de Churriguera. Carved in walnut wood, the choir is organized into two floors with a total of 104 seats. On the lower floor there are medallions and reliefs of saints and martyrs. On the upper floor bishops and prophets has represented. The collection is crowned by a crest plate formed by little angels playing musical instruments. In the centre of the choir there is a lectern with the effigies of the prophets.
Curiosity legend
In the mullion of the main façade there is a figure of the Immaculate Ascension with angels on either side. The one on her right is carrying a kind of poster which has a phrase in Latin referring to the Assumption of the Virgin: "Assumpta est María in coelum"; The one on the left is missing an arm. Originally it too was carrying a poster which made reference to the Virgin's immaculate conception. But the poster was sawed off in the 17th century by a religious current that rejected that idea. En 1755 the earthquake of Lisbon damaged the bell tower. The bell system was so damaged that a bellringer had to climb up to the bells to make them ring. Today that event is immortalised in a tradition that continues, and on October 31 a person dressed in a typical Salamanca suit, climbs to the top of the tower and plays a traditional song.
Open hours
Every day from 10:00 am to 1:00 pm and from 4:00 pm to 6:00 pm.
Construction date
Between 1513 and 1733.
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