The Cathedral of The Cathedral raised beside the Ebro, under the advocación of Saint Salvador, first Christian cathedral of Saragossa,, is built in the solar of the ancient roman forum of Caesar Augusta, of the Visigothic church and of the main mosque of Saragusta, of whose minaret still perdura the print in the current tower. The edifice was begun in the 12th century in romance style integrated in the mosque aljama and has been object of a lot of reforms and enlargements by what find a variegated juxtaposition of styles that go from the romance until the neoclásico, of the 12th century to finals of the 18th century.
The Cathedral of the Cathedral is a church of five naves and six tracts covered by vaults of crucería of the same height, what gives to the enclosure appearance of church of quadrangular plant of living room. In the cabecera situate two apses (originally had five apses) and, in the side of the epistle, on two of the missing apses, emplazó the sacristy. To the extreme of the side of the gospel built the Parroquieta, to house the sepulcro of Lope of Moon.
The structure of the naves is leaned in contrafuertes that close with walls forming inner chapels. It covers cruise, that does not stand out in plant, a cimborrio of hechura mudéjar.
The fundamental constructive material is the brick, usual in the Aragonese architecture. The set of the cathedral, in his external appearance, does not reflect the internal structure because of the closing with the walls of several surrounding spaces with dependencies or residences of the members of the cabildo.
The main access makes by the western side, where raised in the second half of the 18th century a baroque façade classicist that substituted to the portal mudéjar of the 14th century of guinea pig canvas still conserve rests. They complete the set of the cathedral the baroque bell tower exento and the Arch and House of the Deán, that connects the cathedral with an external edifice saving the street.
The outside of the apses of which was main mosque of the Arab city denotes in his inferior tract his unambiguous romance origin regarding his Christian reform refers . The interior of the apses, conserve two of the three originals, preserve, in his decoration and structure, although camuflada by back additions, his pristino romance character original of finals of the 12th century, with an interesantísimo sculptural group in the arquerías.
Beside the apses find the glorious signposts of brick of the call Parroquieta of San Miguel, fundamental work of the mudéjar Aragonese and built in the last third of the 14th century. Slender arches mixtilíneos and a complex geometrical lace semejan a rich Arab tapestry in which engarzan very beautiful mosaics and ceramic pieces.
The work mudéjar continuous through the tracería calada of the ventanales that open above the apses finished all the set by the outside of the audacious cimborrio of principles of the 16th century.
They complete the external elements more interesting of the temple the baroque tower, built in the last decades of the 17th century, and the cover neoclásica, initiated in 1786 on the mudéjar original
The parish of San Miguel, built by desire of the archbishop gift Lope Fernández of Moon whose sepulcro of rich and very beautiful ornamentation, is considered essential piece inside the sculpture funeraria of century XIUV European. The another singular piece of the parish is the slender techumbre, a rich sample of the carpentry mudéjar.
In what it is properly the central enclosure of the temple, that in his day had to be of three naves of Gothic style, stand out the five naves, recently restored, in whose head raises the magnify main altarpiece, bra, in the essential, of the sculptor Pere Johan and of Hans of Suabia. Very beautiful and almost inverosímil is, likewise, the cimborrio, built in the first third of the 16th century in substitution of the primitive mudéjar, as mudéjar was also the primitive tower. The Arab influence in this cimborrio evidence in the form octogonal of the cúpula and by the octógono starry formed in the crossing of the arches that sustain it.
The chorus situates in the centre of the Cathedral, and was commanded to build among 1445 and 1447 by the archbishop Dalmau of Mur. It is formed by 117 chairs of style mudéjar made in oak of Navarra by the mazoneros Catalan Francisco and Antonio Gomar, the fustero Juan Navarro and the painter Jaime Romeo. The chairs are very sobrias, decorated with architectural elements and some vegetal elements, to exception of the three chairs of the presidency that are something more worked.. It closes the set a grille of golden bronze finished with wooden sculptures gilded of the The Saviour, San Pedro and Saint Pablo made by Juan Ramírez among 1721 and 1722.
The chapel of Saint Bernardo of Claraval is one of act them summit of the Aragonese renaissance. From among 1549 and 1555, it contains the tombs of the archbishop gift Hernando of Aragon, who command it make, and of his mother Mrs. Ana of Gurrea
The chapel of the archangels Miguel, Gabriel and Rafael, or simply chapel of San Miguel, was commanded to build and funded by Gabriel Zaporta, gentleman of Valimaña, on 13 October 1569, with intention to turn into it his chapel funeraria.
The museum of tapestries of The Cathedral, situated in the room capitulate, possesses an important collection, composed by some 60 cloths of the centuries XV to the XVIII, that allows to contemplate diverse periods of evolution of the art of tapestry, by what can consider one of the most notable and complete of the world.
In the sacristy of the Virgin custody the very valuable jeweller with very rich and numerous pieces of doubtful artistic value, no like this economic, except some exceptions.
In the main sacristy conserve numerous paintings of the 17th and 18th centuries of the Valencian and Aragonese schools. It is necessary to stand out, besides, the big cupboard, in whose interior conserve , among others, the busts-relicarios and whose doors were painted by José Luzán, master of Goya. In his interior conserve , among others, the busts-relicarios of Saint Valero, pattern of Saragossa, Saint Vicente and Saint Lorenzo, pertinent of the workshops of Aviñón and donados to the temple by the Aragonese pope Benedict XIII. We find also the professional custody, that made the orfebre Pedro Lamaison (with base in a drawing of Damián Forment) among 1537 and 1541 with 218 kilos of silver and the olifante of Gastón of will see, cut in ivory with the Arab technician of the 11th century.
Title: Cathedral of Saint Salvador or of The Cathedral
Situation: Square of The Cathedral
Chronology: Centuries XII to the XVIII
Style: Romance, Gothic, Mudéjar, Renacentista, Baroque