León Cathedral was built on the site of previous Roman baths of the 2nd century. During the Christian reconquest the ancient Roman baths were converted into a royal palace. King Ordoño II, who had occupied the throne of Leon in 916, defeated the Arabs in the Battle of San Esteban de Gormaz in 917. As a sign of gratitude to God for victory, he gave up his palace to build the first cathedral. Under the episcopate of Fruminio II, the building was transformed into a sacred place. The tomb of Ordoño II of Leon, who died in 924, is found in the cathedral.
After the political turmoil and Moorish raids that lasted till 1067 the state of the cathedral was in extreme poverty. This would move to King Ferdinand I of León, who, after transferring the remains of San Isidoro to León, sought to restore the temple. This king achieved success in the expansion of the kingdom.
With the help of Princess Teresa Urraca of Navarre, sister of the king, the construction of a second cathedral was started. It fell within the Pelayo II episcopal see. Its style was essentially Romanesque, built in brick and masonry, with three naves finished in semicircular apses, the central one dedicated to Saint Mary, as in the previous church. While the cathedral was built according to the international style, examination of what has survived of its original facade, its originally indigenous nature can be noted. There is still the use of the horseshoe arch, at least decoratively. The cathedral was consecrated on November 10, 1073 during the reign of Alfonso VI. Presumably the same masons who were building the Basilica of San Isidoro of Leon worked on it.
This cathedral remained standing until the end of the next century. When the last proprietary king of Leon, Alfonso IX, rose to the throne, the city and the kingdom witnessed major social, artistic, and cultural changes.
Construction of the third cathedral, now Gothic in style, began circa 1205, but problems with the foundation delayed continued work until 1255. The design is attributed to the master Enrique, perhaps a native of France, who had previously worked on the Cathedral of Burgos. In 1302 Bishop Gonzalo Osorio opened the whole church to the people. However, during the fourteenth century the cloister, the north end tower were at last to be finished, and the south tower was not completed until the second half of the fifteenth century.
The Cathedral of Leon follows the layout of the Rheims Cathedral in France. Like most French cathedrals, the one of Leon is built with a geometric module based on the triangle (ad triangulum), the primary lines of which relate to the square root of 3, and to which respond all of the parts and the whole. This aspect, as with the layout, the elevations, and the decorative and symbolic repertoires, makes this cathedral an authentic trans-Pyrenee building, removed from Hispanic fashion and belonging to the purest school of French Champagne.
The main façade has two towers. The southern tower is known as the 'clock tower'. The Renaissance retrochoir contains alabaster sculptures by Jusquin, Copin of Holland and Juan de Malinas. Particularly noteworthy is the Plateresque iron grillwork screen in the wall behind the sepulchre of King Ordoño.
It has three portals decorated with sculptures situated in the pointed arches between the two towers. The central section has a large rose window. Particularly outstanding is the image of the Virgen Blanca and the Locus Appellatione, where justice was imparted.
The church has nearly 1,800 square meters of stained glass windows. The great majority of them date from the thirteenth to the fifteenth century: a rarity among medieval gothic churches.
In the Main Chapel, there is an altarpiece by Nicolás Francés (15th century) and a silver urn containing the relics of San Froilán, the town's patron saint, made by Enrique de Arfe. The 13th- to 15th-century cloister contains sculpted details in the capitals, friezes and ledges.
The Cathedral Museum houses a large collection of sacred art. There are almost 1,500 pieces, including 50 Romanesque sculptures of the Virgin, dating from pre-historic times to the 18th century (Neoclassicism) with works by Juan de Juni, Gregorio Fernández, Mateo Cerezo, a triptych of the School of Antwerp, a Mozarabic bible and numerous codices. The first manuscript in Leonese language, the Nodicia de Kesos, can be found in its archives.References:
The first historical record of Lednice locality dates from 1222. At that time there stood a Gothic fort with courtyard, which was lent by Czech King Václav I to Austrian nobleman Sigfried Sirotek in 1249.
At the end of the 13th century the Liechtensteins, originally from Styria, became holders of all of Lednice and of nearby Mikulov. They gradually acquired land on both sides of the Moravian-Austrian border. Members of the family most often found fame in military service, during the Renaissance they expanded their estates through economic activity. From the middle of the 15th century members of the family occupied the highest offices in the land. However, the family’s position in Moravia really changed under the brothers Karel, Maximilian, and Gundakar of Liechtenstein. Through marriage Karel and Maximilian acquired the great wealth of the old Moravian dynasty of the Černohorskýs of Boskovice. At that time the brothers, like their father and grandfather, were Lutheran, but they soon converted to Catholicism, thus preparing the ground for their rise in politics. Particularly Karel, who served at the court of Emperor Rudolf II, became hetman of Moravia in 1608, and was later raised to princely status by King Matyas II and awarded the Duchy of Opava.
During the revolt of the Czech nobility he stood on the side of the Habsburgs, and took part in the Battle of White Mountain. After the uprising was defeated in 1620 he systematically acquired property confiscated from some of the rebels, and the Liechtensteins became the wealthiest family in Moravia, rising in status above the Žerotíns. Their enormous land holdings brought them great profits, and eventually allowed them to carry out their grandious building projects here in Lednice.
In the 16th century it was probably Hartmann II of Liechtenstein who had the old medieval water castle torn down and replaced with a Renaissance chateau. At the end of the 17th century the chateau was torn down and a Baroque palace was built, with an extensive formal garden, and a massive riding hall designed by Johann Bernard Fischer von Erlach that still stands in almost unaltered form.
In the mid-18th century the chateau was again renovated, and in 1815 its front tracts that had been part of the Baroque chateau were removed.
The chateau as it looks today dates from 1846-1858, when Prince Alois II decided that Vienna was not suitable for entertaining in the summer, and had Lednice rebuilt into a summer palace in the spirit of English Gothic. The hall on the ground floor would serve to entertain the European aristocracy at sumptuous banquets, and was furnished with carved wood ceilings, wooden panelling, and select furniture, surpassing anything of its kind in Europe.