San Juan y Todos los Santos Church

Córdoba, Spain

San Juan y Todos los Santos (St John and All Saints) stands on the site of the former Convento de la Trinidad established shortly after Fernando III conquered the city in 1236. Built in the Baroque style, it forms part of the Historic centre of Córdoba.

It is believed the original church and convent were built on the site of a mosque although nothing remains of it. Nor are there any remains of the Church of San Juan de los Caballeros which remained after the convent was disbanded. There are however records of the roof collapsing in the 16th century and of its subsequent repair funded by Don Martin de Córdoba.

After the building again fell into disrepair, it was decided to build a completely new church which was consecrated on Trinity Sunday in 1705. The Baroque building is constructed in the form of a Latin cross with a nave covered by a barrel-vaulted ceiling decorated with painted lunettes. The dome above the transept is supported by pendentives. The church's artwork includes a figure of Christ the Saviour (Santo Cristo de la Salud) from 1590 carved by an anonymous author. It was brought from the former convent church of the Order of the Trinity (Orden Trinitaria) which used to be located in the Vía Crucis. Recent paintings from the nearby Cofrafía de la Santa Faz monastery include Nuestro Padre Jesús Nazerano by Antonio Dubé de Luque and María Santísima de la Trinidad by Antonio Salto.

The decorations surrounding the church's entrance contrast with its whitewashed facade topped with a triangular pediment and two oculi. The portal consists of a Romanesque arch flanked by double Doric columns with a frieze of triglyphs and metopes. The upper section with Solomonic columns contains group of sculptures in a niche with an angel in a Trinity robe assisting two captives. The square-shaped sacristy is decorated with several notable murals by Antonio Palomino (1653–1726). They depict scenes from the Old Testament associated with the Eucharist. The church's altarpieces are also decorated with a number of works from the 17th and 18th centuries.

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Details

Founded: 1705
Category: Religious sites in Spain

More Information

en.wikipedia.org

Rating

4.6/5 (based on Google user reviews)

User Reviews

José Ramón González (2 years ago)
Totally deserves a visit
Dolores Garcia Tamarit (2 years ago)
Preciosa. El altar mayor es una pasada. Y las figuras del resto de la parroquia
Johann Stenger (2 years ago)
Bellísimas tallas y un altar espectacular... No te lo pierdas.
Margarita Muñoz Hidalgo (2 years ago)
Una iglesia católica muy bonita y bien cuidada, con unos retablos y una imagineria digna de ver,... una bonita iglesia para el recogimiento, rezo y culto
Rubén Esteban (2 years ago)
Not bad but I would rather another places of the city
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.