The recent visit to the exhibition " The exploits of a king (Pastrana tapestries), the Santa Cruz Museum in Toledo (open until 9 January) has given me the opportunity to go the way of temporary and permanent collections of this excellent museum , that I have not visited (just from the exhibition "Carolus" in 2000).
Annotated in another blog entry this exhibition of tapestries, beautifully restored, I now add some impressions about this museum that encourage you to visit those who are still not known and a return to those who do not frequent long.
For starters, it should provide some information about the building that houses: the Hospital of Santa Cruz. This establishment was founded by Cardinal Pedro Gonzalez de Mendoza, the so-called third king of Spain, whose magnificent Renaissance tomb can admire one of the inner walls of the chapel in the cathedral of Toledo. The powerful Cardinal wanted to found a charity for sick children and foundlings (then very abundant) under the patronage of the Holy Cross in Jerusalem, which was very devoted and therefore asked the appropriate permission from Pope Alexander VI. The bad thing is that shortly after obtaining the Bull of the Pope in October 1494, Cardinal dies (the January 2, 1495), so that his executors had to be responsible for comply with their wishes.
works address was given by Enrique Egas (1455-1534) who was in Toledo a very active workshop. His plans of the hospital, writes Matilde Revuelta, "reflect the style of the author, based on a Greek cross inscribed in a square and four yards in the arms, which were built in Toledo, two and one smaller " 1 and draw on the cruciform structure of the Ospedale Maggiore in Milan. Egas carried out its work between 1504 and 1515. Then the work must be discontinued some time until around 1524 takes care of them Alonso de Covarrubias, the brilliant architect of Torrijos, so the building's architecture presents a hybrid style, a mixture of Gothic, Renaissance and Mudejar.
Since we are near the door, once visited the exhibition of tapestries, we went abroad again to see the facade, one of the most important to the history of English art in the first half of the sixteenth century, major work Alonso de Covarrubias .
noble facade and cloister
Annotated in another blog entry this exhibition of tapestries, beautifully restored, I now add some impressions about this museum that encourage you to visit those who are still not known and a return to those who do not frequent long.
For starters, it should provide some information about the building that houses: the Hospital of Santa Cruz. This establishment was founded by Cardinal Pedro Gonzalez de Mendoza, the so-called third king of Spain, whose magnificent Renaissance tomb can admire one of the inner walls of the chapel in the cathedral of Toledo. The powerful Cardinal wanted to found a charity for sick children and foundlings (then very abundant) under the patronage of the Holy Cross in Jerusalem, which was very devoted and therefore asked the appropriate permission from Pope Alexander VI. The bad thing is that shortly after obtaining the Bull of the Pope in October 1494, Cardinal dies (the January 2, 1495), so that his executors had to be responsible for comply with their wishes.
works address was given by Enrique Egas (1455-1534) who was in Toledo a very active workshop. His plans of the hospital, writes Matilde Revuelta, "reflect the style of the author, based on a Greek cross inscribed in a square and four yards in the arms, which were built in Toledo, two and one smaller " 1 and draw on the cruciform structure of the Ospedale Maggiore in Milan. Egas carried out its work between 1504 and 1515. Then the work must be discontinued some time until around 1524 takes care of them Alonso de Covarrubias, the brilliant architect of Torrijos, so the building's architecture presents a hybrid style, a mixture of Gothic, Renaissance and Mudejar.
Since we are near the door, once visited the exhibition of tapestries, we went abroad again to see the facade, one of the most important to the history of English art in the first half of the sixteenth century, major work Alonso de Covarrubias .
noble facade and cloister
The facade very battered during the siege of the Alcazar in 1936 2 and then restored, is of masonry and organized, by way of an altarpiece in three bodies. The first consists of front and drum in which they appear various saints (Santa Elena, San Pedro, San Pablo) and Cardinal Mendoza venerate the Holy Cross, accompanied by two pages or acolytes, kneeling on the ends, holding the hat and bishop's miter. Surrounding the eardrum is a very ornate archivolt of grotesques, cherubs and crosses of Jerusalem and among angels under canopies. Between the eardrum and the lintel of the front page of the cardinal shield supported by two angels. On both sides of the cover, separate columns on basement decoration very curdled. Of these two columns out around the archivolt and that break to hold the second body.
This second body is an entablature that supports three niches: the plant with the embrace of San Joaquin and Santa Ana and side figures of patriarchs. On both sides, windows platerescas highly decorated with grotesques in entablature, columns and cornices "all mixed, all fresh and tasty, grammar plateresco" 3 . There is still a third body with five columns that contain four holes balustered lintels, all crowned by a pediment with the arms of Cardinal supported by two angels.
crossed the lobby to enter through the door on the right, in the noble Senate, the work of Covarrubias 4 , gallery whose interior contains a set of stone pieces of different chronology, from the funds of the former Archaeological Museum 5 are not going to comment, but one that has attracted us attention: the Roman mosaic of the Four Seasons, discovered in 1923 in the Vega Baja of Toledo, composed of glazed tiles, marble in the spectacular central medallion, and other kinds of limestone .
worth transcribing the description of this mosaic does Manuel Jorge de Aragon 6 :
" The central part of the fish emblem and source looks around her, floral border with fruit or more outer concentric rings and braids adorned with scrolls, circles inscribed in turn on a penny with a double strip of the same drawing. Between this and the overall picture of the emblem, classic braids give rise to a series of compartments in different ways with multiple representations: cityscapes, figures symbolizing the seasons, floral and animal themes. A theory of triangles tangent emblem embodies the box, separately, at a time, traces of geometric composition database development swastika holding a diversity of solutions peripheral floes piece. "
One who has taken a liking to the musivaria, since this past fall, visited the Roman mosaics Villareal Hotel in Madrid, this mosaic of the Four Seasons seems splendid.
Vivar Juan Correa of \u200b\u200b
We are lucky in our visit to the Museum. In the temporary exhibition hall of the cloister opens today, without my knowing, with high attendance of the public an exhibition celebrating the birth of the Renaissance painter, Toledo, Mascaraque, Juan Correa of \u200b\u200bVivar (1510-1566 )
Leo some data the painter, not too well known to the public. Born in Mascaraque, trained as a painter in the workshop of John of Burgundy, lived in Toledo all his life, took the workshop, was a pious man, never married and when he died he left as the sole heir to his property to his soul. It was, above all, a painter of altarpieces: San Martin de Valdeiglesias (Madrid); Dos Barrios (Toledo); Herrera del Duque (Badajoz); Guisando (Ávila); Almonacid de Zorita (Guadalajara); Torrijos (Toledo). In the Museo del Prado is the author of several brochures or parts thereof from the funds of the Museum of Trinidad and others are deposited in provincial museums. In the Museum of Santa Cruz hangs a good batch of paintings Vivar belt and his school as the main altar of the convent of Santa Ana died out of Toledo and two doors Guisando.
This exhibition has met many features of the production of this important artist. I make several pictures with the phone, but among the many people there and my inexperience, not turn off the flash, the result is pretty disastrous. However, I include some, retouched, so readers can famialrizarse the work ofthis artist deserving of wider and more serious attention.
On one side (not the main staircase) ascend to the top floor of the cloister. They are installed in separate room spaces and permanent collection Carranza .
The Board Carranza
Carranza The Board holds part of the ceramic collection of the same name. Are read in the guide of the museum, 366 pieces in total, high-quality production centers outside of Spain, Holland and Portugal, installed in these rooms the top Senate since 2001, formed over fifty years by Vicente Carranza ceramology Escudero and his son Angel Carranza Garcia and donated, under a loan, and that the Museum. The truth is that until now ignored the importance of the private collection of ceramics, now divided between Toledo, Seville and Coldstream. One reason more to visit the Museum.
Permanent Collection
brings us to the permanent collection, the jewel in the crown. The new layout of the rooms museum organized the visit as a historic artistic journey from prehistory to modernity. Naturally I will only comment on some of the works, not necessarily the main, leaving me by my own tastes and criteria.
Section dedicated to prehistory (starting point) keeps things interesting as the trousseau campanifome the Higueras Valley in hollow or relief with figurative scenes found in the town of Cerrón Celtiberian in Illescas.
From the Roman era, besides the musivaria, highlight a bronze in the first half of the second century that depicts Hercules, found in Talavera de la Reina.
Very abundant Islamic art works such as capitals, reliefs or funerary inscriptions. To highlight the rim of the well, white marble and in one piece, elaborately carved, from the Great Mosque of Toledo, which was where Cathedral stands today. As a curiosity to say that January 1874 was in use in the former convent of the Mother of God, of Toledo .
The room devoted to Gothic and Moorish contains works very interesting and varied: painting, sculpture, epigraphy, furniture, ceramics ... Highlight three: the set of " twelve tables with the twelve apostles ", a work attributed to Nicholas French, disappeared from an altarpiece, the " table" , stock in which appears "Cardinal Mendoza , founder of the Hospital, haggard and old, praying to St. Peter enthroned, and especially the "tapestry of the Astrolabios " .
This tapestry of Astrolabios or Signs of the Zodiac is one of those deposited by the Cathedral of Toledo in the Museum of Santa Cruz and perhaps the most famous. Was woven in the late fifteenth century in a workshop may Arras (the new museum guide said that in Tournai and Brussels). It has a wide legend in the top that explains the three scenes on the tapestry and relate to one another: on the left, God created the world drives the creatures in the center, the sky, figuratively and an astrolabe , indicating the cardinal points and represent the signs of the Zodiac along with other mythological figures, and the right philosophy, enshrined, along with arithmetic, geometry and astrology, along with Virgil and Hipparchus. Their quality and the subject depicted, symbiosis between elements of mythology, medieval Christian and humanist, this tapestry is unique and singular that should not go unnoticed by visitors.
The time of the Renaissance, which is the name the next stage of this thematic area for the Museum, offers a selection of paintings remarkable for their quality of English and Flemish authors and Pieter Coecke van Aelst, John of Burgundy, Francisco Comont (fixed, as something curious, that in two of the tables in " altarpiece of Santa Ana" , the figures of Philip IV and Mariana of Austria have come to replace those of the early donors), the aforementioned strap Vivar, Morales ...
But the great attraction of the museum, enriching to the maximum their collections of paintings, are the nineteen paintings by El Greco. Not all of his brush, several interventions shop there, but only to name the "Immaculate to San Juan Evangelista ", the " Sagrada Familia", the " Veronica with the Holy Face " (which illustrates the cover of the Museum Guide, Matilde Revuelta), "San Ildefonso ", "Santiago Pilgrim and St. Augustine, " San Juan Evangelista and San Juan Bautista " and " Immaculate Conception Chapel Oballe" , we have a cast that already want to have many more famous museums.
Como, for reasons of space and not trouble the reader, I have to choose one work to make a brief comment, I stay, without hesitation, with the "Immaculate Conception Oballe hood" .
The Board Carranza
Carranza The Board holds part of the ceramic collection of the same name. Are read in the guide of the museum, 366 pieces in total, high-quality production centers outside of Spain, Holland and Portugal, installed in these rooms the top Senate since 2001, formed over fifty years by Vicente Carranza ceramology Escudero and his son Angel Carranza Garcia and donated, under a loan, and that the Museum. The truth is that until now ignored the importance of the private collection of ceramics, now divided between Toledo, Seville and Coldstream. One reason more to visit the Museum. Permanent Collection
brings us to the permanent collection, the jewel in the crown. The new layout of the rooms museum organized the visit as a historic artistic journey from prehistory to modernity. Naturally I will only comment on some of the works, not necessarily the main, leaving me by my own tastes and criteria.
Section dedicated to prehistory (starting point) keeps things interesting as the trousseau campanifome the Higueras Valley in hollow or relief with figurative scenes found in the town of Cerrón Celtiberian in Illescas.
From the Roman era, besides the musivaria, highlight a bronze in the first half of the second century that depicts Hercules, found in Talavera de la Reina.
Very abundant Islamic art works such as capitals, reliefs or funerary inscriptions. To highlight the rim of the well, white marble and in one piece, elaborately carved, from the Great Mosque of Toledo, which was where Cathedral stands today. As a curiosity to say that January 1874 was in use in the former convent of the Mother of God, of Toledo . The room devoted to Gothic and Moorish contains works very interesting and varied: painting, sculpture, epigraphy, furniture, ceramics ... Highlight three: the set of " twelve tables with the twelve apostles ", a work attributed to Nicholas French, disappeared from an altarpiece, the " table" , stock in which appears "Cardinal Mendoza , founder of the Hospital, haggard and old, praying to St. Peter enthroned, and especially the "tapestry of the Astrolabios " .
This tapestry of Astrolabios or Signs of the Zodiac is one of those deposited by the Cathedral of Toledo in the Museum of Santa Cruz and perhaps the most famous. Was woven in the late fifteenth century in a workshop may Arras (the new museum guide said that in Tournai and Brussels). It has a wide legend in the top that explains the three scenes on the tapestry and relate to one another: on the left, God created the world drives the creatures in the center, the sky, figuratively and an astrolabe , indicating the cardinal points and represent the signs of the Zodiac along with other mythological figures, and the right philosophy, enshrined, along with arithmetic, geometry and astrology, along with Virgil and Hipparchus. Their quality and the subject depicted, symbiosis between elements of mythology, medieval Christian and humanist, this tapestry is unique and singular that should not go unnoticed by visitors.
The time of the Renaissance, which is the name the next stage of this thematic area for the Museum, offers a selection of paintings remarkable for their quality of English and Flemish authors and Pieter Coecke van Aelst, John of Burgundy, Francisco Comont (fixed, as something curious, that in two of the tables in " altarpiece of Santa Ana" , the figures of Philip IV and Mariana of Austria have come to replace those of the early donors), the aforementioned strap Vivar, Morales ...
But the great attraction of the museum, enriching to the maximum their collections of paintings, are the nineteen paintings by El Greco. Not all of his brush, several interventions shop there, but only to name the "Immaculate to San Juan Evangelista ", the " Sagrada Familia", the " Veronica with the Holy Face " (which illustrates the cover of the Museum Guide, Matilde Revuelta), "San Ildefonso ", "Santiago Pilgrim and St. Augustine, " San Juan Evangelista and San Juan Bautista " and " Immaculate Conception Chapel Oballe" , we have a cast that already want to have many more famous museums.
Como, for reasons of space and not trouble the reader, I have to choose one work to make a brief comment, I stay, without hesitation, with the "Immaculate Conception Oballe hood" .
"This table writes the failed Álvarez Lopera, a specialist in the work of Cretan - is surely the most lyrical picture the final years of the artist and may have to see it as a kind of testament both aesthetic and epitome of his career " 7. El Greco painted it in 1615, commissioned by the City of Toledo, central altar table, together with other works, were to decorate the chapel Oballe, Toledo foundation of a lady, Isabel de Oballe, enriched as it passes through the West Indies . The other works to be included in the chapel were San Pedro and San Ildefonso, now in the Monastery of El Escorial and the Visitation today at the Dumbarton Oaks Collection Washigton.
The best description of the work is what gives us Álvarez Lopera " The composition, essentially dynamic, is governed by the buoyant rhythm of the serpentine figure of the Virgin, which are subordinate all elements of representation. Below on the left is, spectral and dematerialized, Toledo, on the right, a dream landscape with symbols of the Immaculate Conception. And pulling up the flowers, beneath the angel us into a spiral upward gently back and forth eventually lead to the face of the Virgin . "
This picture, in which light and color take on a special vibration intensity was in the chapel of the Church of San Vicente Martyr Museum until 1965, when was transferred to Santa Cruz Museum. In 2003 he was subjected to rigorous technical research and careful restoration at the Prado Museum. Please do not miss it.
The baroque is widely represented in the Museum with works by Luis Tristán, Josep Ribera, Carreño, Vicente Carducho, Luke Jordan and other teachers. Luis Tristan, the best pupil of El Greco is a curious box " The round of bread and egg " donated to the museum by collector 1966 Adolfo de Arenaza and Basanta. Those who have read entries from one of my blogs http://manuelblasmartinezmapes.blogspot.com/ entitled "San Antonio the Germans" and "La Hermandad del Refugio " may be familiar with the name of this round, created in Madrid in the seventeenth century and I do not know if it would "branch" in the Toledo capital. 
De Ribera is a great painting "Holy Family in Nazareth " from the Bernardine convent of San Ildefonso in Ocaña. Lucas Jordan, the " fa presto, a" Deposition of Christ on the Cross ", had once de Ribera. Vicente Carducho a "Vision San Bernardo "repeating the plea" dairy "we've seen before in a box strap temporary exhibition. Goya, discussed, a crucified Christ, owned by the Provincial .
In sculpture, no other piece more interesting than the altarpiece of the Visitation of Alonso de Berruguete. XVII century strike me two busts of Ecce Homo and the Sorrows of Mena or very close to this.
museum also keeps some modern works. Ricardo Arredondo, a painter closely linked to Toledo, a friend of Galdós, "Workshop tanners. The tanneries Mr. Urbides "of Beruete ... Also some Toledo sculpture of Alberto Sanchez, Fat Albert.
After the visit descended the great staircase, designed by Covarrubias, padded walls, which connects the two floors. All the decoration is very thin and has a beautiful handcrafted tie, apparently of American woods, with the arms of a cardinal in the plates or risers.
While I go out through the hall, I think I just visited a museum, of which I like, a museum conceived and designed "to measure visitor" not overwhelming, can be seen in two hours, well- , which, however, contains works of art, first class .
The only "hits" I find the Museum is the lack of a stand selling publications, postcards, souvenirs ..., similar to those with many other English museums. But I guess that this absence will be difficult to rectify in the future .
© Manuel Martínez Bargueño
January, 2011
If you have interested in this entry and want to ask, comment or contribute something about it can leave a comment or write to my email manuelblas222@gmail.com with confidence be promptly addressed.
Spread among your friends this blog
Thanks.
Manuelblas
NOTES
1. "Santa Cruz Museum . Toledo." Ministry of Education and Science. General Directorate of Fine Arts. Second Edition. Madrid. 1966.
2. The windows of the main facade became parapets where militia troops threw hand grenades against the military government and rifle fire and machine gun at the Academy. These attacks therefore found the reply and the bullets were embedded in the resurgent beauties of the facade and interior paintings. A description of the damage caused by the war in the Hospital de Santa Cruz (1936-1937) is available in "Toledo Archaeological Museum." Museums Guide Spain.-VIII. Publications DeBella Arts Department. 1958, p.62.
3. Juan Antonio Gaya Nuño. " Toledo." Editorial Everest. 1977, p.90.
4 . The patio is one of the most prominent Covarrubias interventions in the building. Art historians look at the column only as corner solution, the capitals with characteristic style Alcarrenian necking of leaves, due perhaps to the influence of Lorenzo Vázquez, with whom he had contacted Covarrubias years earlier in Sigüenza, so as many elements as the architect repeated in his work of the thirties as dentellones in the entablature, the stems of the corners of the arches, rosettes square the soffits and decoration of the grooves (Natividad Sanchez "Alonso de Covarrubias and Renaissance Toledo . " Papers English Art History 14. History 16. 1991).
5. The Archaeological Museum of Toledo was established by Royal Decree of June 16, 1844, made from the works of art from the suppressed convents and archaeological collection of Cardinal Lorenzana. Throughout its history had different locations in the city Toledo: convent of San Pedro Martir, monastery of San Juan de los Reyes. And finally Provincial Hospital of Santa Cruz. The current Santa Cruz Museum was established by decree of May 21, 1961 will initially deposit large numbers of objects of the Cathedral and the churches of Toledo and the Archaeological Museum collection Provincial de Toledo.
6. "Toledo Archaeological Museum, op.cit. p.72.
7. " El Greco and Oballe Chapel." José Álvarez Lopera. Rafael Alonso Alonso. Museo Nacional del Prado, 2004, p.27.
Manuelblas
NOTES
1. "Santa Cruz Museum . Toledo." Ministry of Education and Science. General Directorate of Fine Arts. Second Edition. Madrid. 1966.
2. The windows of the main facade became parapets where militia troops threw hand grenades against the military government and rifle fire and machine gun at the Academy. These attacks therefore found the reply and the bullets were embedded in the resurgent beauties of the facade and interior paintings. A description of the damage caused by the war in the Hospital de Santa Cruz (1936-1937) is available in "Toledo Archaeological Museum." Museums Guide Spain.-VIII. Publications DeBella Arts Department. 1958, p.62.
3. Juan Antonio Gaya Nuño. " Toledo." Editorial Everest. 1977, p.90.
4 . The patio is one of the most prominent Covarrubias interventions in the building. Art historians look at the column only as corner solution, the capitals with characteristic style Alcarrenian necking of leaves, due perhaps to the influence of Lorenzo Vázquez, with whom he had contacted Covarrubias years earlier in Sigüenza, so as many elements as the architect repeated in his work of the thirties as dentellones in the entablature, the stems of the corners of the arches, rosettes square the soffits and decoration of the grooves (Natividad Sanchez "Alonso de Covarrubias and Renaissance Toledo . " Papers English Art History 14. History 16. 1991).
5. The Archaeological Museum of Toledo was established by Royal Decree of June 16, 1844, made from the works of art from the suppressed convents and archaeological collection of Cardinal Lorenzana. Throughout its history had different locations in the city Toledo: convent of San Pedro Martir, monastery of San Juan de los Reyes. And finally Provincial Hospital of Santa Cruz. The current Santa Cruz Museum was established by decree of May 21, 1961 will initially deposit large numbers of objects of the Cathedral and the churches of Toledo and the Archaeological Museum collection Provincial de Toledo.
6. "Toledo Archaeological Museum, op.cit. p.72.
7. " El Greco and Oballe Chapel." José Álvarez Lopera. Rafael Alonso Alonso. Museo Nacional del Prado, 2004, p.27.
0 comments:
Post a Comment