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 IV. Choir Stalls, Cathedral of Córdoba

a.Introduction & general description
b.Tomb of Pedro Duque Cornejo, Cathedral of Córdoba
c.Bishop’s Throne
 
i.Introduction
ii.Views
iii.Individual reliefs
d.Upper Stalls
 
i.Introduction
ii.Views of the upper stalls
iii.Large medallions
iv.Small medallions
e.Lower Stalls
 
i.Introduction
ii.Reliefs
f.Seat Backs
 
i.Introduction
ii.Backs
g.Entrance
 

Pedro Duque Cornejo, Spanish Sculptor, 1678-1757

c. Bishop's Throne
     i. Introduction

This imposing structure is called the trono in the documents, although it has three seats, one for the bishop and two for lesser dignitaries of the cathedral. The composition is dominated by a large high relief Ascension at the upper level. Above that is a large figure of St. Raphael, the patron saint of Córdoba. Flanking the Ascension are standing figures of Sts. Theresa and Mary Magdalene. At the level of the three seats there are ten reliefs that relate to the interests of the diocese of Córdoba. The five smaller reliefs have subjects relating to the Apostles Peter, Paul, and Philip, as is appropriate to the throne of a bishop, whose ministry is considered to be a continuation of that of the Apostles. The large relief of the Appearance of the Virgin of the Pillar to St. James, above the seat of the bishop, relates this idea specifically to the Spanish Church; and the arrangement of this relief on a vertical axis with that of St. Peter’s Vision on the lower level and the figure of St. Raphael at the top of the monument ties together the ideas of the universal Church, the Church of Spain, an the Church of Córdoba. The two large reliefs to the right of center, representing St. Michael and St. Vincent Ferrer, surely refer to Bishop Miguel Vicente Cebrián, who had a special devotion to St. Vicente Ferrer, and adopted his name after the saint miraculously cured him of epilepsy. Similarly, the relief of St. Joseph, to the left of center, probably alludes to the Archdeacon José de Recalde, whose legacy in 1742 was the original motivation for the construction of the stalls. The fifth large relief, representing the Miracle of the Ass that was caused by St. Anthony of Padua to kneel in the presence of the Host introduces a matter of special importance in the diocese of Córdoba: the special veneration paid to the Holy Eucharist. At the outer edges of the throne are round reliefs on the lower level of S. Agnes and another virgin martyr, perhaps St. Catherine or St. Victoria, and seated Virtues on the level of the Ascension.

 

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