The visitor of the Cathedral of Toledo, who paid religiously the ticket price (7 € as seven suns), access to the ship of the Epistle (right), did not go unnoticed a mural large, located between the chapel of St. Eugene and Lions Gate. Represents San Cristobal with the Christ Child on her left arm and a palm tree by staff in his right hand, when fording a river. Since ancient times people of Toledo know this wall painting as "Saint Christopher".
San Cristobal, called the "Polyphemus Christian" or "Christian Hercules" was revered especially in the Middle Ages. It was common belief that simply looking at a statue of this saint, anyone was safe that day about the dangers of water, fire or earthquakes. usually depicted as a big man and tall, because according to Christian tradition
average about four meters
According to the experts This painting was executed in fresco by Gabriel 1 Wheel in 1638, but before possibly had a previous since the fifteenth century. Despite their low Merit painting has been held by many writers: Tell of Rainer Maria Rilke, the poet called Europe, that during his stay in Toledo, in November 1912, came often to sit under the giant San Cristobal. Later in Paris in April 1913 compose the poem "St. Christofferus " where the giant figure of the saint appears significant and symbolically associated with the representation of the bridges: San Cristóbal is the "ancestor stone bridges that mimic his steps " 2 . Azorín
also felt sentences devoted to this huge figure, " San Cristobal is supported, as a reed, in a palm tree, and brings on the shoulder a Child, which is holding a world, St. Kitts has it on his shoulder, the physical and the spiritual world that this child is . Spirit and matter " 3 and inthe opposite pole, the Republican writer Carmen de Burgos (Colombine) saw this gigantic image the very symbol of the whole cathedral with her weight crushing the people that supports " 4 .
Jiménez Lozano For 5 the history of San Cristobal is, while an evangelical proposal (" What you do to one of these pequeñuelos a mi me lo hacéis ”), la expresión de una necesidad común: la de cruzar los ríos, empeño nada fácil durante toda la Edad Media cuando la escasez de puentes y el obligado pago de un peaje para atravesarlos en barca, hacía que los pobres tuvieran que recurrir frecuentemente a los servicios de alguien fuerte y práctico en vadear las aguas para que a sus hombros o sobre sus espaldas les pasase al otro lado 6 .
No es la única representación del Santo en la Catedral pues en el retablo de la Capilla Mayor hay otra imagen con el mismo motivo.
En otras muchas catedrales españolas (Burgos, Cuenca, León, Ourense, Pamplona Salamanca, catedrales old and new, Zamora) and numerous collegiate and church are frescoes of the saint whose legend made him very popular. But I prefer this to the Cathedral of Toledo, which brings back memories of other times when he was "happy and undocumented."
© Manuel Martínez Bargueño
December, 2010
San Cristobal, called the "Polyphemus Christian" or "Christian Hercules" was revered especially in the Middle Ages. It was common belief that simply looking at a statue of this saint, anyone was safe that day about the dangers of water, fire or earthquakes. usually depicted as a big man and tall, because according to Christian tradition
average about four meters
According to the experts This painting was executed in fresco by Gabriel 1 Wheel in 1638, but before possibly had a previous since the fifteenth century. Despite their low Merit painting has been held by many writers: Tell of Rainer Maria Rilke, the poet called Europe, that during his stay in Toledo, in November 1912, came often to sit under the giant San Cristobal. Later in Paris in April 1913 compose the poem "St. Christofferus " where the giant figure of the saint appears significant and symbolically associated with the representation of the bridges: San Cristóbal is the "ancestor stone bridges that mimic his steps " 2 . Azorín
also felt sentences devoted to this huge figure, " San Cristobal is supported, as a reed, in a palm tree, and brings on the shoulder a Child, which is holding a world, St. Kitts has it on his shoulder, the physical and the spiritual world that this child is . Spirit and matter " 3 and inthe opposite pole, the Republican writer Carmen de Burgos (Colombine) saw this gigantic image the very symbol of the whole cathedral with her weight crushing the people that supports " 4 .
Jiménez Lozano For 5 the history of San Cristobal is, while an evangelical proposal (" What you do to one of these pequeñuelos a mi me lo hacéis ”), la expresión de una necesidad común: la de cruzar los ríos, empeño nada fácil durante toda la Edad Media cuando la escasez de puentes y el obligado pago de un peaje para atravesarlos en barca, hacía que los pobres tuvieran que recurrir frecuentemente a los servicios de alguien fuerte y práctico en vadear las aguas para que a sus hombros o sobre sus espaldas les pasase al otro lado 6 .
No es la única representación del Santo en la Catedral pues en el retablo de la Capilla Mayor hay otra imagen con el mismo motivo.
En otras muchas catedrales españolas (Burgos, Cuenca, León, Ourense, Pamplona Salamanca, catedrales old and new, Zamora) and numerous collegiate and church are frescoes of the saint whose legend made him very popular. But I prefer this to the Cathedral of Toledo, which brings back memories of other times when he was "happy and undocumented."
© Manuel Martínez Bargueño
December, 2010
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Manuelblas
NOTES
1. Little is known of this painter who entered the service of the Church as a painter in September 1633. It seems that lived some time in Granada, who painted some pictures of history and who died in 1641. Reported (Pérez Sedano) who in 1638 took account of the Chapter of the Cathedral " for the repair of the painting he did in painting Mr. San Cristobal is in a stretch of the wall by the door of the Lions . "
2. Rainer Maria Rilke. "Correspondence English." Foreword and translation of Jaime Ferreiro Alemparte, Selecciones Austral. Espasa-Calpe SA, 1976, pp.64 and 65.
3. Azorín, 1930.
Manuelblas
NOTES
1. Little is known of this painter who entered the service of the Church as a painter in September 1633. It seems that lived some time in Granada, who painted some pictures of history and who died in 1641. Reported (Pérez Sedano) who in 1638 took account of the Chapter of the Cathedral " for the repair of the painting he did in painting Mr. San Cristobal is in a stretch of the wall by the door of the Lions . "
2. Rainer Maria Rilke. "Correspondence English." Foreword and translation of Jaime Ferreiro Alemparte, Selecciones Austral. Espasa-Calpe SA, 1976, pp.64 and 65.
3. Azorín, 1930.
4. Carmen de Burgos (Colombine) "The antique ." New "Library 1919?, P.212
5. José Jiménez Lozano. " spiritual leader of Castilla." Scope mason, 2004, pp. 206 and 207.
5. José Jiménez Lozano. " spiritual leader of Castilla." Scope mason, 2004, pp. 206 and 207.
6. In the nineteenth century this medieval was not corrected at all, because if we ignore the trial, perhaps exaggerated, Valenti Almirall if in a small town or village is crossed by a river or a ravine, storm water would run on a whim, and if there are floods in the rainy season, residents must cope as they can and find a way to wade these rivers permanent or occasional, and that the administration does not facilitate bridges or gateways "(V. Almirall." Spain as it is. "Seminars and Publishing SA, 1972, p. 151.
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