2881:, Germany. Arfe labored on it from 1517–1524, on commission to Cardinal Cisneros. It is of late Gothic design. This triumph of the silversmith's craft is in the form of a Gothic temple, with all the architectural details, such as columns, arches, and vaultings, the whole resembling a delicate lacework. Scenes from the life of the Saviour are illustrated in relief. It has two hundred and sixty statuettes of various sizes, all exhibiting the same skill in workmanship. The Great Monstrance has a hexagonal base, and rises on small exquisitely made columns, with adornments of gems and varied figurines of angels and saints, fleurons, small bells and clappers. The work is crowned in the uppermost section by a 17th-century cross. The pedestal on which it sits is in the Baroque style of the 18th century. Originally made of silver, Archbishop Quiroga commissioned its gilding to match the gold plated wood of the monstrance of the altar; it was gilded in 1595 by Valdivieso and Morino. Today it is encased under bulletproof glass and heavily guarded by an automatic security system within the grounds of the cathedral.
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1598:, or Gospel side of the church, with its screen, was demolished to make room for the sepulchre of Cardinal Mendoza. The lectern, or Epistle side, remains as it was and by this it can be deduced that it was part of a larger work. Some art critics assure us that this stone screen is the most beautiful part of the cathedral. It is possible that its construction was completed during the tenure of Archbishop Pedro de Luna whose polychromatic shield and coat of arms of Castile and León are displayed here. It is adorned with abundant statuary including a sculpted choir of angels that appear to be flying. The two pillars that form the passage to the interior of the chapel were built to harmonize with this work of fretted stone. On the left pillar is a statue of Martín Alhaja, the famous shepherd who (according to legend) led King Alfonso VIII of Castile through the Despeñaperros Pass in the
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the original appearance of this façade. He was also the designer of the only tower of the cathedral, which was built during the office of
Archbishop Juan Martínez de Contreras, whose coat of arms appears in the frieze that crowns the first section. The crowning of the tower was done by another great master sculptor, the Fleming Hanequin de Bruselas, who moulded the coat of arms of the succeeding archbishop Juan de Cerezuela. With Hanequin came a group of illustrious masters: Egas Cueman (de Bruselas' brother) , Enrique Egas, and Juan Guas; these worked on façades, chapels, and sumptuary works, completing the work done in the Gothic idiom with their labor. The vaults at the footing of the central nave were closed in 1493, under the direction of Juan Guas and Enrique Egas, with the patronage and supervision of
3395:"And the king with the archbishop Don Rodrigo, walking by the church of Toledo, savouring it and conversing about it, taking it for too old already; and restraining in him his wine, the spirit of God and of sanctity came into him and restrained the King don Ferdinand so that God renewed him and gave him to make many conquests of the Moors in lands that Christianity lost, which good it would be to renew by those gains the church of Saint Mary of Toledo and had this reason for very good and very right, and King Don Ferdinand and Archbishop Don Rodrigo put it into work. Then they laid the first stone of the church of Saint Mary of Toledo, the king and the archbishop, they both placed one... And the work grew marvelously from day to day."
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3381:"Upon entering its interior , in the enormous hall of more than 120 meters of longitude and around 60 wide, a master work of calm and harmony, we find ourselves in a world very different from that of the French cathedrals, to think of the similarity of their forms. In place of the magnificent ascendant rhythm of these, the Toledan, its five naves in steps, without great differences of height, without any theatricality, is of balanced proportions. The sanctuary has a small elevation, flattened, if we compare it to that of whichever French cathedral. In something so essential in architecture as is the feeling of space, the Castilian temple differs radically from the French models from which it is derived."
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James is of a very pure and select
Flamboyant style, one of the best examples that exist in Spain. This most elaborate Gothic style is reflected in the entrance arches with their openwork traceries and in the skylight of the blind arches of the interior, in the gables, the ornaments (openwork and hanging festoon), and the structural ribs rising from the floor that cross the vault forming a star. Nevertheless, the exterior features are austere, and completely Hispanic. Granite was used for the cladding, in contrast with the pleasing whiteness of the stone of the interior; the dome is crested in the manner of a battlemented castle with turrets.
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where
Archbishop Pedro Tenorio planned to build his cloister, the owners of the stands and shops there were reluctant from the start. The historian Eugenio Narbona recounted the desire of the archbishop to occupy as soon as possible the site of "the markets, which is the place where the merchandise is sold." During negotiations between the archbishop and the owners over purchase and price, a massive fire destroyed the entire market. Tenorio took advantage of this fortuitous event for his own purposes, and here enters the legend—he was accused of having caused the disaster to facilitate his acquisition of the desired plots.
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2772:(triangular candelabra). In their manufacture they were worked first in the forge by hammer and anvil and then by lathe. The Renaissance screens are divided into two or three horizontal levels by transverse bars which in turn are vertically divided by columns which were intercalated between the thinner upright bars. Almost all are adorned with mythological figures, medallions, candelabra and crestings. They were forged of iron and later plated in gold or silver. The master rejeros (reja-makers) who worked in the cathedral were: Domingo de Céspedes, Francisco de Villalpando, Juan Francés and Julio Pascual.
1862:. Before being moved to this space, it was called the Royal Chapel and was located at the foot of the cathedral, on the side nave of the north side (the Gospel Pulpit side), encompassing the last section, which cut off and impeded passage to the end of the nave. The Chapel Chapter wanted to change the location of this chapel to clear the nave, and Archbishop Alonso de Fonseca y Acevedo asked for permission to change its position in his correspondence with the King. The difficulty was finding a suitable site, which was finally resolved through the efforts of its architect, Alonso de Covarrubias.
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second level a frieze of black marble unfolds horizontally, with the coat of arms of
Archbishop Juan Martínez de Contreras (whose mandate was from 1422 until 1438) inlaid in white marble. Master Martínez completed this part of the work in 1422, but left no plans or drawings for construction of the pinnacle and its spire. This top level of the tower with its octagonal body was designed by the architect Hanequin de Bruselas, who was summoned to finish its construction with a group of accomplished masters: Egas Cueman, Enrique Egas and Juan Guas among others. The pinnacle with its
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3231:... we order that another master be found to instruct the said altarboys to sing plainchant and organ chant and counterpoint, of whom the same information is found, is twenty-one years old, conforming to the Statute, a Priest, and of good repute and name and well learned in the faculty of Music, who will teach the altarboys a lesson of how to sing on all the festival days and Sundays one hour before eating, and another after having eaten, and another at the end of the day, and on the other school days, each day a lesson after having dined.
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its namesake saint, the archbishop of Toledo, by Copín de
Holanda. This chapel contains a work distinguished by its early date and its art, i.e., the sepulchre of the Bailiff of Toledo called Fernán Gudiel, who died in 1278. It is in Mudéjar style, with neither architecture nor sculpture, decorated simply with plasterwork in which geometric themes predominate. The arcosolium is delimited by two double columns that protrude from the upper frieze or cornice, which is adorned with decorative
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1747:, conceived in the project of Rodrigo Ximénez de Rada, in their original state surrounded the sanctuary of the cathedral. Some were removed and others were widened or re-ordered. Of the minor chapels only the chapels of Saint Ann and Saint Giles remain. Of the main chapels those of Saint John the Baptist and Saint Leocadia remain with elements from the first era. The chapels of the Old Monarchs and of Saint Lucy remain with alterations only to their ornamentation.
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2265:: has a lattice of stone worked in Flamboyant style. It served as a burial chapel for the canon Juan Ruiz Ribera who commissioned its restoration in 1536; his ashes are in an urn located inside a niche. His uncle Juan Ruiz the Elder is buried in the front wall . In the retable may be found the namesake image of Saint Leocadia, a painting of the 18th century by Ramón Seyro (student of Mariano Salvador Maella), framed in white and black marblework.
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Monarchs is unknown. The current name had its origin in 1498 when
Cardinal Cisneros wanted to transfer the royal tombs from the main chapel, which in the end was never done. In the 13th century, this served as a sepulchre to house the remains of Archbishop González Díaz Palomeque. The chapel of Saint Lucy is one of the few places in the cathedral where some remains of the old mosque can still be seen—in particular, a column and its capital.
2031:: the previous chapel with this name, founded by Sancho IV, was located in the high part of the presbytery, where the sepulchres of the monarchs are paid respect. Cardinal Cisneros had it dismantled and ordered it relocated to the place it now occupies. It is enclosed with a well-worked screen by Domingo de Céspedes. The chapel contains three interesting retables: the center retable has eleven good Hispano-Flemish panels and a relic of the
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1914:: is a continuation of the Mozarabic chapel. The painting of the altarpiece, attributed to Juan de Borgoña (died c. 1438), on the theme of the Adoration of the Magi, inspired the name of this chapel. It was endowed in 1397 by Pedro Fernández de Burgos and his wife Maria Fernandez, who are buried on the Epistle side of the wall. It was later restored by Luis Daza (died 1504) who was chaplain to Henry IV. It has a well-executed
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period from 1389 to 1398 is generally accepted. It is certain that the building was finished shortly before the death of
Archbishop Tenorio on 10 May 1399. The archbishop prepared a written consecration to Saint Blaise, leaving the manuscript behind at his death; his will stipulated the rents to be collected for the maintenance of the chapel, and required the cathedral Chapter to take over its management.
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structure of the choir had to be altered and the royal tombs moved to accommodate the sepulchre. In its final decision the
Chapter deferred to the personal intervention in favor of the Cardinal by the Catholic Monarchs, who cited the invaluable services performed by those whom Isabel the Catholic called 'the three beautiful sins of the cardinal' (his children). When he died, on 11 January 1495 in
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1834:(1524), and incorporates among its ornamental elements the coat of arms of Cardinal Cisneros. The mosaic crucifix dates to the 18th century. It is said that it was brought from Rome and that the ship was shipwrecked in transit, leaving the image for a time at the bottom of the sea until it was recovered. The crucifix proper is made of a single piece, carved in Mexican fennel root. Another Gothic
2222:, this being the first chapel dedicated to the saint outside England. It is known that Álvaro commissioned the sepulchre while he was still alive; a three-dimensional figure of his person was made that consisted in a somewhat strange device—the bronze figure raised up and knelt down by means of a special mechanism activated at the moment the mass started. When he was executed under orders of
989:) and Juan Martín (master of stonemasons), who are believed to be relatives of each other. No new documents have appeared, so at present this master Martín is accredited as the first architect. To this argument it must be added that the date of the beginning of construction does not correlate with the age of Petrus Petri who during those years must have been too young to be an architect.
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somewhat separated. With this arbitrary division, the presbytery was improperly narrow for such a grand cathedral. Cardinal
Cisneros insisted that he wanted this part of the cathedral to be rebuilt and despite some resistance from the Chapel Chapter, he finally received its consent to demolish the old chapel and build one with a wider presbytery and sufficient space for the great Gothic
1478:), who made the screen in the city of Toledo in 1647. The documents preserved in regard to this say that the master metalsmith received 8,504 reales and 12 maravedís, in addition to the 27,000 reales that had been given to him earlier. The document gives account of the cost of the metal employed, which was nearly as much as the total payment he received for the work.
2226:, the chapel was still under construction so its completion was placed in care of his wife, Juana de Pimentel, and later of his daughter, María de Luna, who commissioned the sculpting of her parents' sarcophagi in 1498. This was the probable year of the chapel's completion by the great company of masters who were the associates of Hanequin de Bruselas.
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shocking to those who assisted in its construction, as much for its spectacular form as for abandoning the Gothic style, which until that moment was the established convention. The authorship of the work is not clear, though it is attributed to the
Florentine Jacopo d'Antonio Sansovino who later worked in the Portuguese court with a similar style.
2764:, or decorative ironwork screens placed in front of the choir, the chapels, and sometimes even the altars, were made in Renaissance style. Their bars, columns, and crests were made with great delicacy and often included fine gold work. The bar is the principal element articulating or dividing the sections, sometimes serving as a support for
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located in impressive sanctuaries, opting for smaller ones and situating the choir in the central nave. This was the syncretic solution of the Cathedral of Santiago de Compostela, which came first; all of this developed in Spain as much by the influence of the Mozarabic rite, as also by the Visigothic tradition and the Castilian liturgy.
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to 1227 and names "a master Martín of the work of Saint Mary of Toledo". Another document lists income collected by the cathedral in 1234 and records again the name of "Master Martín of the work", of whom it is also written that he was a tenant of a house associated with the cathedral. In later writings there appear the names of Martín (
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Cisneros. Archbishop Tenorio did not spare any effort in ensuring that the grandeur and majesty of the cloister was worthy of a Gothic cathedral. In the galleries on the ground floor there is a series of frescoes depicting scenes of the lives of the Saints Eugenio, Casilda, and Eladio. Eleven of these are by Bayeu and two by de Maella.
3367:"The Cathedral of Toledo is the example most clearly Spanish of all Gothic architecture, and exemplifies here the transition to the Classical style; it is first in Spain and one of the most singular in the world in terms of beauty and perfection. It has resolved, by means of rectangles and triangles, the problem of the ambulatory."
2619:. In the altars semi-detached to the walls are historically and artistically interesting reliquaries. The relics include a piece of the veil of Saint Leocadia (the Hispano-Roman Toledan virgin) which, according to the legend, was cut by Saint Ildephonsus off the saint's person when she appeared in the year 666. It is said that
2713:. This lower hole also allows persons in the ambulatory to see through the altarpiece to the tabernacle, so that they are seeing through its transparency, so to speak. The work was commissioned by Diego de Astorga y Céspedes, Archbishop of Toledo, who wished to mark the presence of the Holy Sacrament with a glorious monument.
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the cadets of the Infantry Academy. The monstrance comprises 5,600 different pieces held together by 12,500 bolts and decorated with 260 figurines. Eighteen kilograms of 18 karat gold and 183 kilograms of pure silver were used in its fabrication; it is said to contain the first gold brought by Columbus from the New World.
929:, the last cathedral being the most similar in appearance, although the three are more slender in aspect than the Spanish cathedral. The various reforms that were made over time altered the arrangement of some of the chapels; for example, in one case just one chapel was reconstructed in the former space of three.
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Bartholomew) was transformed at the beginning of the 17th century to give way to that of the Christ of the Students; those of Saint Barbara, of Saint Nicholas, of Saint Elizabeth and of the Holy Trinity were integrated into other structures although some details permit their earlier appearance to be discerned.
2796:, its sculptures allude as much to his death as to his life. This façade consists of a closed, round arch framed by two very ornate columns; the linteled door is open. Covarrubias carved a bust of Saint John the Baptist on the tympanum (the space between the arch and the lintel), inside of a medallion or
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is represented in fourteen scenes in the manner of the dial of a clock. At the lower part beneath the cornice is a painting of the Final Judgement and scenes of the Lives of the Saints. The authorship of the works is not clear, even though it remains attributed without a doubt to Florentine painters,
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embroidered by Felipe Corral, and perhaps the most remarkable specimen of embroidery that exists in Spain. It is made of twelve yards of silver cloth, entirely covered with gold, pearls, rubies, sapphires and emeralds. There are two good carvings, one by Juan Martínez Montañés and another by Pedro de
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legend over a floor of shells, in an allusion to death; this is the work of the sculptor Olarte. The group is enclosed by balustraded columns of rich ornamentation. On both sides of the niche is the coat of arms of Cardinal Tavera (repeated in smaller size in the tympanum) and below them, the coat of
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and his four sons (two architects, one painter and one sculptor). The illumination is enhanced when the Mass is being said in the mornings and the sun shines from the east, shafts of sunlight from the appropriately oriented skylight striking the tabernacle through the hole in the back of the retable,
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for the historical figure who commissioned the chapel as a burial place for himself and his family. This is one of the largest of the ambulatory, occupying the space of three of the old chapels: one large chapel and two small chapels; its floor plan is laid out in octagonal shape. The Chapel of Saint
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On the keystone of the central arch of the entranceway is a portrait painting of Esteban Illán, who proclaimed Alfonso VIII as king of Castile, doing so from the height of the tower of Saint Roman. The chapel is built in three styles of different periods: Gothic in the arches, vaults and a sepulchre;
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and his four sons. The chapel is consecrated under the protection of Saint Ildephonsus; its construction dates from the end of the 14th century by the expressed desire of Cardinal Gil Carrillo of Albornoz as a burial chapel for himself and his family, which he did not see completed. Cardinal Albornoz
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Through the arch that gives access to the presbytery are two small altars in neoclassical style. The main altar is by Mateo Medina. It has a painting by Maella with the theme of the Descension, framed by two Corinthian columns. On both sides of this altar are tombs with the respective praying statues
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The two sections of the nave have Gothic Cross vaults but all of the ornamentation and carving of the sepulchres is in Renaissance style. They are separated by a screen, the work of Domingo de Céspedes. The first section forms the body of the small church with some altars and in the second section is
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confirmed these privileges. Having founded this chapel, Cisneros encouraged the restoration and republishing of the codices, breviaries and missals of their rites; he seems to have aimed to conciliate that subset of the faithful. This supposition is reinforced by notice of the large sum he had to pay
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The original plan was to build two symmetric towers on each side of the west façade, but when the one at the northern corner was raised, it was discovered that the ground beneath the site planned for the southern tower was unstable due to an underground water stream. Even so, the Mozarabic chapel was
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and musical angels that accompany the ascension of Mary to the sky are works of art executed with great delicacy. The façade was altered by Durango and Salvatierra, the same as in the other portals, to enhance the appearance of the building. The bronze leaves of the doors are the work of Francisco de
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Above this portal is found the later sculpting of Gregorio López Durango, whose work is also seen on the main façade. It is consolidation work that was needed because of the deteriorated state of the stone. The central intercolumniation above the portal is occupied by the face of the clock that gives
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data it is possible to discern an Islamic column mounted inside the chapel of Saint Lucy; the marble shafts that decorate the exterior of the choir are an improvement of an old Muslim construction, and the intertwined arches of caliphate style in the triforium of the main chapel and of the ambulatory
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was begun on 14 August 1389, and finished in 1425. The architect Rodrigo Alfonso and master builder Alvar Martínez supervised the construction of the four corridors with quadripartite vaults. The history of the building was not without intrigue. Since the local market fair was held in the very place
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The makers of many of the 15th-century windows are documented. It is known that those of the main chapel and some of the transept were created by the glass-maker Jacobo Dolfin and his servant Luis, and those of the southern transept and some large windows of the main nave on the Epistle side, by the
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The chapel is under the protection of the Virgin of the Tabernacle, a Roman-style carving which was plated in silver in the 13th century and later dressed with a mantle studded in pearls. This image has always been called by the name 'Saint Mary'. Tradition holds that it belonged to the Apostles and
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The sepulchre of Cardinal Gil Carrillo de Albornoz is in the center of the chapel, with Gothic decoration of small arches and lamenting figures on its four faces. To the right of the altar is the sepulchre of the bishop of Ávila, Alonso Carrillo of Albornoz, who died in 1514. This, the work of Vasco
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Between the gallery of portraits and the frieze of the coffering, the walls are adorned with a celebrated series of frescoes by Juan de Borgoña. This constitutes one of the great collections of Spanish wall paintings. Trompe l'oeil columns divide the panels where scenes of the life of the Virgin and
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is unique in retaining the original architecture from the 13th century. Previously called the Chapel of Saint Peter, its name was changed during the time of the Archbishop Sancho de Rojas. It is enclosed by a screen very similar to the others signed by Juan Francés. On the altarpiece is the image of
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During the 16th, 17th and 18th centuries, various modifications were made to the cathedral according to the new styles: architectural works including magnificent portals and chapels, and sumptuous works of sculpture and painting. The 16th century was the golden age of Toledo, which consequently came
743:, in 1085. One of the points of the Muslim capitulation that made possible the transfer of the city without bloodshed was the king's promise to conserve and respect their institutions of higher learning, as well as the customs and religion of the Muslim population which had coexisted with the larger
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The influence of the music of the cathedral of Toledo was decisive in Spanish religious music—not only in Mozarabic chant, but also in training maestros who later moved to other dioceses such as Seville or Jaén, and in the Six-Piece choristers who formed choirs in other cathedrals, even introducing
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The chapel is situated about twenty-three feet below street level, the archbishop having ordered the ground outside the building raised with fill, a circumstance that in the long run caused many problems with humidity, which had a devastating effect on the artworks of the lower interior walls. This
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The Chapel of the Treasure has an artesonado ceiling, painted in gold and black, with carved flowers and figures. In its interior are multiple glass display cabinets that hold the treasure of the cathedral, which consists of liturgical objects, relics, crosiers, clothing, etc., including the mantle
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The sacristy exhibits treasures from the cathedral's collection, including many major works of art. It is a large space that includes the apartments of the ante-sacristy and the vestuary with its collection of garments. The ante-sacristy is a rectangular room decorated with paintings by the Italian
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The two sepulchres in the center of the chapel belong to Álvaro and his wife Juana de Pimentel. The reclining figures are Hispano-Flemish sculptures by Pablo Ortiz. The praying figures in the corners are of high quality: a Knight of Santiago kneels at each corner of Álvaro's tomb, in the corners of
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and canon of Toledo, Fernando Díaz de Toledo, whose tomb suffered damage in 1790, sparing only the recumbent figure which was placed on one side of the chapel. A relic with a valuable ivory statue of Christ is also preserved in a shrine within this space. The chapel has a sacristy, corresponding to
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The chapel of Saint Eugene (also called of Saint Peter the Old or of the Corpus Christi), is located on the south side, and retains the architectural style of the 13th century in contrast to the rest of the cathedral. The chapel of Saint Peter is the largest of all and serves as a parochial chapel.
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The retable rises to a great height above the altar; it includes an important statuary and a magnificent, delicate filigree of balusters, spires, small dossals, and chambranles, all done by Joan Peti. It consists of five continuous panels, the center panel being the widest; it is five storeys tall,
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The tower was designed and built mostly by Alvar Martínez; it is Gothic, with some decorative Mudéjar influence and reaches a height of 92 m (301 ft). Four levels and a fifth of lesser height rise on a square elevated base which houses the chapel of the Treasury. Between the first and the
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The next master of whom there is information was Alvar Martínez (in some sources called González), who was quantity surveyor of the Olihuelas limestone quarries at the boundary of Olías del Rey. He is the designer of the west façade whose construction was begun in 1418. Changes made in 1787 obscure
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thoroughly investigated this claim and brought to light a series of documents which demonstrated the existence of a first master prior to Petrus Petri called Master Martín, married to María Gómez and certainly of French origin, who had been summoned by Ximénez de Rada. One of the documents is dated
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Given the topography of its location, the ground level for the foundations of the cloister was raised nearly five feet above the level of the floor plan of the cathedral, and in a way that it could in future support the weight of the two heights, which came to pass upon the investiture of Cardinal
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Since 1595, it has been customary to carry the monstrance in the procession of the Corpus Christi, on a float made for this purpose with an adjustable leveling which is mechanically activated. In the procession, political and ecclesiastical dignitaries proceed ahead of the monstrance and behind it
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At the beginning of the 18th century, new stained glass was made to replace that which had been damaged. The artist Francisco Sánchez Martínez (one of the last glass-makers of the cathedral) was one of the better restorers, even though no new designs were produced and the old motifs were repeated.
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The retable is a Gothic altarpiece, the work of Pedro de Gumiel with fourteen panels painted by Sancho de Zamora. He was contracted by María de Luna in 1488. In the center is an equestrian figure of Saint James, the work of Juan de Segovia. In the center of the predella is represented the scene of
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for the prelates, save the archbishopric chair at the end of the room, centre of the wall, carved by Copín de Holanda and finished in 1514. Above the seats of honor, in two rows and lining the walls are the portraits of all the archbishops from Saint Eugene to the last. Juan de Borgoña painted the
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Below the main altar is the Chapel of the Sepulchre in the form of a crypt. It is entered from outside the presbytery, through a screen and the Portal, and down a staircase. It is a vaulted chapel which contains three altars. The center altar is dedicated to the Holy Sepulchre and has a sculptural
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Studies released after this discovery indicate that the master Martín would be the designer of the chapels of the ambulatory and upon his departure by death or by absence the supervision of the work was taken up by master Petrus who finished the ambulatories and constructed the triforia in Toledan
3357:"The Cathedral of Toledo is a world in itself, the centuries bestowing it with such an accumulation of great works of art, very diverse one from another, that the fabulousness of its riches and the attractiveness of its diversity, produce to the point of incredulity an impression of astonishment."
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were their points of reference. The constructive solutions of the French Gothic builders were well-accepted, such as counter-rests, buttresses and pointed arches; nevertheless, the Spanish builders resisted the importation of the layout of the French cathedrals, where the choir and the altar were
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The stained glass windows of the 16th century are adorned with figures done in Renaissance style. On these worked such renowned masters as Vasco de Troya (in 1502), Juan de Cuesta (1506) and Alejo Ximénez (1509–1513), who worked on those of the side naves and of the west façade. The stained glass
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The stained glass windows together constitute a very beautiful and important collection of artworks. The Cathedral of Saint Mary of Toledo is one of the Castilian buildings that preserves the most medieval stained glass windows. They were produced from the 14th to the 17th centuries; restorations
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and others. In addition to the paintings, there is a collection of valuable objects, most especially the Rich Bible of Saint Louis, which belonged to the king of France and dates from 1250; it has 750 miniatures on the cover and 5,000 more distributed in the manuscript pages of its three volumes.
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wooden ceiling with lacery of interlaced laths), by Francisco de Lara (1517), and a plateresque frieze by Juan de Borgoña. The Antesala is furnished with wardrobes or cabinets; the finer work on the left with Hellenistic decoration is by Gregorio Pardo (1551), and that on the right is by Gregorio
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Inside are diverse medallions; the best are those of the Virgin of the Annunciation by Nicolás de Vergara el Mozo and of the Archangel Saint Gabriel by Juan Bautista Vázquez. It is also adorned with paintings and coats of arms. Above is the rose window of the 13th century that contains the oldest
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and Felipe Vigarny, the interior façades of the transept, the chapel of Saint John or of the Treasure and other façades and adornments were constructed. During Archbishop Juan Martínez Siliceo's time in office, the cathedral was adorned with the screen of the main chapel, the work of Francisco de
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For many years, an unwritten popular tradition has held that there was originally a church from the era of the first Archbishop Eugene (Saint Eugene of Toledo) located in the same place as the present cathedral. This church was consecrated for a second time in the year 587, after having undergone
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At the beginning of the 21st century, a profound conservation-restoration of the paintings of the Chapel of Saint Blaise was inaugurated to stabilise the frescoes and restore the splendour of their original colors, with the exception of those unsalvageable fragments on the lowest portions of the
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The Chapterhouse was commissioned by Cardinal Cisneros to be built abutting the apse on its south side, in 1504. The drawing of the plans was assigned to the architect Enrique Egas. It is a rectangular unvaulted room, with a beautiful artesonado coffered ceiling done by Diego López de Arenas and
1703:, above this the tabernacle and a Gothic monstrance carved in wood, then a depiction of the Nativity, and above that, the Ascension. The whole culminates in a monumental scene of Christ's crucifixion at Calvary. Further themes of the life and passion of Jesus are represented on the other panels.
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The façade was modified in 1787 by the architect Eugenio Durango under the orders of Cardinal Lorenzana. The sculptor was Mariano Salvatierra. The work was necessary because of the deterioration of the stone, which was not of good quality. It is possible that the portals were to be moved forward
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was commissioned by Archbishop Tenorio as well. Built on the lower level of the cathedral grounds, and entered from the Cloister itself, it is roofed by an octopartite vault in a reminder of the chapel's purpose as a burial chamber. The starting date of its construction is debated, although the
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This chapel is so named because of its octagonal plan, though it is sometimes called the Chapel of the Reliquary for the many relics kept there. The entrance to this chapel is by two doors flanking the altar of the chapel of the Tabernacle. The walls are decorated with marblework. The chapel is
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The rest were drastically modified or removed, even though in some the entrance can still be recognized: six small chapels of the ambulatory gave way in the 14th and 15th centuries to the burial chapels of Saint Ildephonsus and Saint James; that of the Christ of the Column (also called of Saint
1586:
The main chapel of the cathedral brings together a wealth of artwork, starting with the architecture of the enclosure itself. In its original state, the enclosure was separated into two parts with two independent vaults. The polygonal vault pertained to the chapel of the Old Monarchs, which was
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Mariana writes that king Alfonso VI was so irritated by these events that neither the archbishop nor the queen were able to prevent him from ordering the execution of all the active participants. Legend tells that the local Muslim populace itself helped restore peace, with its chief negotiator,
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Along with the adjacent chapel called the Chapel of the Eighths, this chapel is the best example of the Herrerian building style in the cathedral. The grandeur of its new structure and ornamentation in the stark Herrerian style of the latter 16th century is owed to Cardinal Bernardo de Rojas y
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The sepulchre of Cardinal Mendoza was the first Castilian Renaissance sepulchre. The structure consists of an open central arch and two smaller arches, carved on two façades and through which the tomb can be seen from inside and outside, following the model of a Roman triumphal arch, which was
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On 25 October 1087, the archbishop in cooperation with Queen Constance sent an armed contingent to seize the mosque by force. They proceeded to install a provisional altar and hung a bell in the minaret, following Christian custom to 'cast out the filthiness of the law of Mohammed'. The priest
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The Chapel of the Treasure is located in the old chapel of Saint John, occupying the site of the former tower chapel, called the Quo Vadis. It stands before the Mozárabe chapel, on the north side, directly below the cathedral tower. In reality, it was never a true chapel, instead it served as
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In the subsequent remodeling and construction, the architects almost always followed the criterion of advancing from the sanctuary of the cathedral towards the wall, which explains the sometimes chaotic current layout, with respect to the early designs. The first name of the chapel of the Old
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The sepulchre of Cardinal Mendoza was located in the cathedral as he himself had decreed in 1493; the Chapel Chapter had been opposed from the beginning to its being situated in the Presbytery, this space was reserved as the privileged prerogative of the monarchs. Nevertheless, in the end the
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belongs to the 15th century—it was begun under the direction of Alvar Martínez in 1418. It is so called because indulgences were granted to penitents who entered through it. These days it is always closed and is used only on special occasions and upon the investiture of new archbishops of the
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This section pertains to the comprehensive architectural composition of the spaces of the Sacristy (including the vestuary and other rooms), the courtyard and house of the Treasurer, the Chapel of the Tabernacle and Chapel of the Eighths or of the Reliquary, situated at the north side of the
2064:: is considered a jewel amongst the chapels, although it is very small. Its sponsor was Miguel Díaz, canon and apostolic notary, a man of refined artistic taste who commissioned the entire interior to be painted with decoration in Pompeiian style, a style which at the time was fashionable in
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the Cathedral Chapter in order to do the work of joining the old chapter house and the minor chapels. The huge sum of 3800 gold florins was raised, suggesting there were sufficient local patrons in town to support the effort. Services in the Mozarabic Rite are still performed in this chapel.
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In the sanctuary, one encounters the double ambulatory, which is doubled as would correspond to a ground plan of five naves. This double ambulatory is of grand proportions and is enriched with architectural elements and an original vaulting. The new sections of the chapels were resolved with
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was archbishop of Toledo and during the reign of a young Ferdinand III of Castile. Commencement of the work was delayed until the king could be present at the official ceremonial cornerstone-laying (1227). Ximénez de Rada was elected bishop of Toledo in 1209, and thenceforth he defended the
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of the Toledan See before the Papal authority. He aimed to build a grand cathedral, worthy of the city he governed. When he came to office, the mosque-cathedral had ample space, but with a low roof, making the interior noisy. The cathedral was aged; some sections had been demolished by his
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More than a chapel, it can be considered as a small church, of one nave with two sections and a polygonal apse, including a sacristy and an entrance vestibule, the original design of Covarrubias. It was built between 1531 and 1534. It is the first great work done by Covarrubias in Toledo.
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that is seen to the right belongs to the Mozarabic chapel which was commissioned by Cardinal Cisneros. The tower has two parts: the lower part, of square cross-section, was designed by Alvar Martínez; the upper, octagonal part was designed by Hanequin de Bruselas. It is topped by a spire.
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The interior of the portal corresponds to the great façade of the transept on its southern side, on top of which rests the small balcony with balustrade that corresponds to the tribune where the organ of the Emperor is located. Higher up is the rose window, surrounded by a frame with its
1470:(metalwork screen) was made a century after the great screens of the main chapel and of the choir, in a style completely different from these, valuing solidity and utility more than the taste for ornamentation of the previous century. Its designer was Juan Álvarez de Molina, a native of
877:. He was so enthusiastic about the project and involved himself so much in it that it was later falsely rumoured that he was the designer-architect of the cathedral. The archbishop spent a few years maintaining and reinforcing the old structure in hopes that his dream would be realised.
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Don Francisco Jiménez Cardinal Cisneros, Cardinal Archbishop of Toledo, Governor of Spain and conqueror of Africa, commissioned this monstrance of the Most Holy Body of Christ to be made, which was finished during the vacant see, being the work of Diego López de Ayala. Year of the Lord
3218:(boys) who sang in the liturgical services was already mentioned in the 12th century. They were and are the Choir of the Cathedral and of the Chapel of Music. In its constitution of the 16th century, its red clothing was already established, which the students still wear with a white
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it its name. The portal and its surrounding stonework form an appealing space with the entranceway enclosed by a Gothic screen; this is the work of Juan Francés, with very plain crosspieces, a small, carved frieze with a separation in the center, and a simple and harmonious design.
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One of the apartments contains a collection of garments that includes many valuable pieces. There are a total of 70 suits here; these include vestments of the 16th and 17th centuries, some embroidered by the father of Alonso de Covarrubias, who held the office of the vestuary. The
1926:. The frescos in the Chapter Room, also by Juan de Borgona, representing the life of the Virgin, Christ's Passion, and the Last Judgment set within a trompe l'oeil gallery of columns, have long been understood to be the first introduction of a Renaissance painting style to Castile.
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It is worth noting that there being no monastic order in the cathedral, the cloister and other sections built along its perimeter had very different functions at various times: from storeroom to classroom, and as a centre of mercantile transactions (regaining the sense of the old
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After the various modifications, there now can be found the aforementioned Chapels of the Old Monarchs, Saint John the Baptist, Saint Leocadia and Saint Lucy, including that of Saint Eugene, of Saint Blaise (incorporated into the cloister), of Saint Peter and of the New Monarchs.
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grouping carved by Copín de Holanda. The altar on the right has important paintings by Luis Medina and Francisco Ricci. The altar on the left is dedicated to Saint Julian and presents a carving of the archbishop and two Italian panels with the theme of Saint Peter and Saint Paul.
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The structure of the building is greatly influenced by the French Gothic style of the 13th century, but adapted to Spanish taste. It measures 120 metres (390 ft) in length by 59 metres (194 ft) in width and 44.5 metres (146 ft) high. It consists of five naves with
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In the cathedral of Toledo, the most important organ is the so-called "Organ of the Emperor" in the transept of the cathedral. Next are the so-called "General", the organ made by Fray Joseph de Echevarría, and the organ made by José Verdalonga (1796–1797), located in the choir.
1415:, also known as Anequín de Egas Cueman, and Enrique de Egas Cueman, his son, in collaboration with the Flemish sculptors Pedro and Juan Guas and Juan Alemán, designer of the Apostolate. These artists supervised a large workshop that included prestigious stonemasons and carvers.
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and other professors with the boys; who supervised their development, which included, for a time, their incorporation into the Royal University of Toledo. The constitutional charter of the College, drafted by Silíceo on 9 May 1557, specifically instructed in its sixth point:
2300:. A bust image of the archbishop decorates the vertex of the last archivolt, and to the right and left are small busts of the fourteen ranking bishops of the Chapter. In the centre and over the statuette of the archbishop is another Gothic image of Saint Peter on his throne.
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English translation: Petrus Petri, deceased in 1291, master of the church of Saint Mary of Toledo, whose fame was propagated by his good examples and customs, who constructed this temple and rests here, for what an admirable building he made, he will not feel the wrath of
2742:. The fully Baroque display contrasts strongly with the predominant Gothic style of the cathedral. The cathedral is also illuminated through more than 750 stained glass windows from the 14th, 15th and 16th centuries, the work of some of the greatest masters of the times.
2218:Álvaro de Luna had reached the height of his political power. He wanted his own chapel in the primatial cathedral as a sepulchre for himself and his family, so he bought the earlier chapel of Saint Thomas of Canterbury which had been commissioned in the 12th century by
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I, Alfonsus, Emperor of Hesperia by the disposition of God, grant to the metropolitan See, that is, the church of Saint Mary in the city of Toledo, the complete honour that she should have the pontifical see according to what before was constituted by the holy fathers…
1206:, a particularly special theme for the cathedral which is repeated in the interior in the chapels and paintings. The leaves of the doors measure more than five meters in height and are covered by elaborately fashioned bronze plates, which date to the 14th century. The
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are carved with vegetal motifs of leaves and foliage. The pillar that makes the mullion is splendidly carved on its side faces, with castles and lions. In its interior, it has two sections. The higher section is ornamented with a series of statues with small dossals.
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that extended along the length of the naves and were removed in one of the many alterations that the cathedral underwent. Still in the Gothic period, these triforia were replaced with large stained-glass windows. Those triforia that survive in the sanctuary are of
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and the Chapel of Saint Catherine (which leads to the cloister). Its patron was Sancho de Rojas who is buried here; more than a chapel, it sometimes serves as a parish church. The entrance, delimited by an iron screen, is through a Gothic portal decorated by
2709:. Its name refers to the unique illumination provided by a large skylight cut very high up into the thick wall across the ambulatory behind the high altar, and another hole cut into the back of the altarpiece itself to allow shafts of sunlight to strike the
1113:. To construct this complex, the Hospital of the King was torn down and rebuilt on its former site; these works were carried out under the supervision of Cardinal Bernardo de Sandoval y Rojas and the architect Nicolás de Vergara in the 17th century.
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dedicated a homage to Walid and ordered his effigy to be placed on one of the pillars in the main chapel, in this way perpetuating his memory. Thus the conversion of the Toledan mosque was upheld and it remained consecrated as a Christian cathedral.
2543:, is noteworthy; it is embroidered with heraldic emblems. Another good example is the cope of Cardinal Gil de Albornoz, with Gothic embroidery of scenes from the Bible and lives of the Saints, principally English. The collection also contains the
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López Durango (1780). The square portal leading from here to the Chapterhouse proper was executed in the so-called Cisneros style by Master Pablo and Bernardino Bonifacio de Tovar, combining Mudéjar features with Plateresque decoration, in 1510.
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alternate plans of rectangles and triangles, which allowed for each chapel to be of a different size, rectangular plans being larger and triangular plans smaller. This method of distributing the sanctuary can be seen in the French cathedrals of
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In recesses in the left wall are the tombs of Juan de Luna (the son of Álvaro), Álvaro de Luna (father), the archbishop Juan of Cerezuela (brother) and Archbishop Pedro de Luna (uncle). The Dukes Infante have their own burial crypt beneath the
1959:; it is believed to be the work of Andrés Florentino. On the sides of the altar are arcosolia containing the sepulchres of the canons Tomás González de Villanueva and Juan López de León; their sarcophagi are covered by their recumbent statues.
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As a historical memorial, the armor of the second lieutenant Duarte de Almeida, who fought in the Battle de Toro (where he lost both arms, and was taken prisoner by the troops of the Catholic Monarchs in 1476), is kept in this chapel.
2651:) and some of those of the ambulatory, even though these have a softer color. Then there are those of the main chapel and those of the north aisle of the transept on the east side that display enormous figures of saints and apostles.
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was built in the 15th and 16th centuries. It is the most modern of the great portals. It is so named because of the lions that surmount the columns of the gate that encloses the small entranceway. In addition, it has two other names:
755:, Bernard of Sedirac (or Bernard of Cluny), who had been elevated to the rank of archbishop of Toledo. These two, in mutual accord and taking advantage of the absence of the king, undertook an unfortunate action which, as told by the
4043:
Martí y Monsó, José. Estudios histórico-artísticos relativos principalmente a Valladolid. Basados en la investigación de diversos archivos. Primera edición 1892-1901. segunda edición facsímil, Valladolid 1992, Editorial Ámbito S.A.
2413:, a theme that is repeated throughout the cathedral in paintings and sculpture. The walls display a variety of elaborately framed paintings, forming a gallery of works by several great masters. The most renowned are the fifteen by
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The chapel occupies the space of three earlier chapels: one large central chapel and two smaller side chapels. It is of octagonal plan, being one of the first chapels in which the model of an octagon was used for a burial chapel.
1037:. The best informed and most active patrons lived during this century. It was the archbishop-governors who, in the absence of the kings, attended to the city and added to its magnificence. In 1493, at the end of the 15th century,
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is depicted. The column-mullion is decorated with an image of the Virgin and Child. In the jambs are images of kings and saints, all of which are the work of the sculptor Juan Alemán who also worked on the Portal of the Lions.
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typical of Mudéjar. It is not known if these Mudéjar themes existed in the previous mosque and were copied as a reminder or if they were added in one of the improvements of the stonework, as something original and tasteful.
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The retable of the Cathedral of Toledo is an extremely florid Gothic altarpiece; it is one of the last examples of this artistic style, which was disappearing as the Renaissance began to take hold in Spain. Commissioned by
2888:, and to show it off in the procession of the Corpus Christi of Toledo, which at the time was the most important feast in the Kingdom of Castile. The monstrance took seven years to create and its cost surpassed 15 million
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occupied the cardinalate office for twenty-two years; under his influence and sponsorship important works were done (perhaps the most important was the Mozarabic chapel), realised by masters of the stature of Juan Francés
5554:
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The "Six-Piece", or children's choir, of the cathedral was created as a vocal group by Cardinal Silíceo who, on 22 July 1557, founded for its members the College of Our Lady of the Infantes, even though the existence of
818:
Ego Disponente Deo Adefonsus, Esperie imperator, condeco sedi metropolitane, scilicet, Sancte Marie urbis Toletane honorem integrum ut decent abere pontificalem sedem secundum quod preteritis fuit constitutum a sanctis
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liturgy. To further enhance the spectacular grandeur of the cathedral a visually impressive ritual was provided in which music has the mission of embracing the architectural work and amplifying the glorification of
2271:: is a very small space. The most significant feature is the altar attributed to Diego Copín de Holanda, with well-done carvings of Christ on the column between Saint Peter and Saint John, in an attitude of prayer.
2804:, or standing figures, one on each side, sculpted as angels in human form; John the Baptist was the patron saint of Cardinal Tavera. Above is a niche which contains the sculptural group depicting the events of the
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The walls are clad in marblework and the great dome is supported by pendentives. On the north wall is the altar with an image of the Virgin and in one of the side walls, the sepulchre of Cardinal Sandoval y Rojas.
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predecessor, and the structure lacked the slenderness and height of other religious edifices of similar importance. Ximénez de Rada became the enthusiastic promoter for a new cathedral, to be built in contemporary
3175:, introduced another organ in the chapel. Others are also found in the rest of the important chapels: that of the New Monarchs (which has two), of the Alcázar, of the Virgin of the Sacristy, and of Saint Peter.
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The Cathedral of Toledo has long been widely admired by art critics and historians, and it has been extravagantly praised by some. Here are citations from authorities in the study of art and of architecture:
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Sandoval. These works were begun by Nicolás de Vergara el Mozo and finished around 1616. Juan Bautista Monegro and Jorge Manuel Theotocópuli (son of the painter El Greco) participated in the project as well.
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The original chapels were small and were designed to alternate in size, according to how the vaults were aligned. With time, reforms were made that completely changed the placement and size of some of these.
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and double ambulatory. The outer naves present an odd anomaly in being a little wider than the other two. The oldest part of the building is the sanctuary, which maintains in its architecture the original
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In the name of the Lord the Church of Saint Mary was consecrated as Catholic, the first day of the ides of April, in the joyful first year of the reign of our most glorious king Flavius Reccared, Era 625
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During the Spanish Civil War the glass deteriorated badly, but in the latter years of the 20th century a great restoration effort was undertaken and some of the brilliance of former periods was revived.
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Camón Aznar, José; Morales y Marín, José Luis; Valdivieso, Enrique. Historia general del arte, Tomo XXVII, colección Summa Artis. Arte español del siglo XVIII. Editorial Espasa Calpe S.A. Madrid 1984.
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The Spanish art historian and architect Fernando Chueca Goitia believes the old central chapel was from early times dedicated to Saint Ildephonsus, being located in the same center of the ambulatory.
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The other tomb is the burial place of the canon and bishop Ferdinand of Castillo, who died in 1521, the work wholly done by Alonso de Covarrubias. On the wall of the aisle between the chapel and the
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Throughout Spanish history, several monarchs have wanted to be buried in the Primatial Cathedral of Toledo. Therefore, located in different parts of the cathedral, are found the sepulchres of the:
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sacristy to the chapel of the New Monarchs before its transfer. It was designed and built in 1537 by Alonso de Covarrubias, in the Renaissance style. Since 1870 this has been the repository of the
2344:: also known as of the Christ of the Spoons in reference to the ladles on the coat of arms of the López de Padilla family. It was founded by Teresa de Haro, widow of Marshal Diego López de Padilla.
1858:. The current chapel is located on the north side of the chapels of Saint James and of Leocadia, in the sanctuary, on the north side. It has an odd and difficult entrance designed by the architect
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The building plans of the former mosque have not been preserved nor is the appearance of the structure known, but taking into account the preserved vestiges of mosques in other Spanish cities (in
2110:) has a very rich plateresque ornamentation. The painting and frieze were the work of Luis de Medina and Alfonso Sanchez (1510). The entire room is traversed by a wood pew which functions as the
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population. Naturally, the preservation of the main mosque was integral to this compromise. Shortly thereafter, the king had to depart on matters of state, leaving the city in charge of his wife
3315:
This historical evolution, combined with the status of the Primatial Cathedral, encouraged the adoption of the Toledan model by the rest of the Spanish cathedrals, with the exception of that of
1934:: is accessed through a screen of much artistic value which incorporates the coat of arms of the Salcedo family, as construction of the chapel was financed in 1502 by Juan de Salcedo, apostolic
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style, built in 1800. It is the only entrance to the cathedral that is level with the ground, without steps, so giving it its name. It was customary for processions to exit through this portal.
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was responsible for the architectural complex of the chapel of the Tabernacle, the Reliquary and the courtyard and house of the treasurer. The renderings and plans were drawn by the grandmaster
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The cathedral has a heptagonal sanctuary, with two rows, and tierceron vaults; it was built at the beginning of the 15th century to serve as a burial chamber for Archbishop Sancho de Rojas.
1444:. Above the doors are the tympanum sculpted with themes of the genealogy of the Virgin whose designers were the same who worked on the exterior of this portal. On top of the tympanum is the
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of the city of Toledo was erected in its place. Some investigators point out that the prayer hall of the mosque corresponds with the layout of the five naves of the current cathedral; the
3202:, like the so-called viola, which served as an accompaniment to the vocal music, were introduced. With the creation of the Chapel of Music, throughout the 16th and the 17th centuries the
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The impact on other later works was enormous: the sepulchres of Fadrique of Portugal, Pedro López de Ayala or Fernando de Arce, among others, were partial imitations of this new model.
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Near the end of the 14th century the existence of a master Rodrigo Alfonso is apparently documented; he laid the first stone of the cloister in 1389, under the patronage of Archbishop
3896:(1869-1957, Spanish art critic and historian) used to say that this architectural complex inside the cathedral is like a small El Escorial transferred to the Mudéjar city of Toledo.
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on top of columns in revision of earlier Roman and Visigothic construction. It is possible that it appeared very much like the Church of the Savior of Toledo, previously a mosque.
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and Nicolás de Antonio. Deterioration caused by excessive humidity and some badly done restorations have damaged the paintings closest to the floor, in some cases irremediably.
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Pijoan, José. Historia general del arte, Tomo XI, colección Summa Artis. El arte gótico de la Europa occidental, siglos XIII, XIV y XV. Editorial Espasa Calpe S.A. Madrid 1953.
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and it was granted villas, hamlets, mills and one third of the revenues of all the rest of the churches of the city. The first royal privilege that is preserved is a prayer in
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1418:
The statuary of this portal is one of the best Hispano-Flemish assemblages of the 15th century, above all the Virgin of the column-mullion and the statues of the jambs. The
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recognised this church in 1088 as the primatial cathedral over the rest of the kingdom. The mosque-cathedral remained intact until the 13th century, when in the year 1222 a
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Camón Aznar, José. Historia general del arte, Tomo XVIII, colección Summa Artis. La escultura y la rejería españolas del siglo XVI. Editorial Espasa Calpe S.A. Madrid 1961.
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was brought to Toledo by Saint Eugene. Also entering into the legend is the fact that it was hidden during the period of Muslim rule and restored later by King Alfonso VI.
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supervised the closing of the last vault of the cathedral and expressed in his will his desire to be buried in the presbytery. In the first decade of the 16th century, the
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with vegetal and heraldic themes in which are replicated the five-star motif found on the coat of arms of the Rojas. The interior wall has fresco paintings attributed to
1922:) Juan Francés. A portrait of the chaplain is seen in the figure of the donor in the predella of the altarpiece. On one side of this chapel is his sepulchre, in a Gothic
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carving with a great medallion of the Coronation of the Virgin in the center, the work of Gregorio Pardo (eldest son of Felipe Vigarny). On both sides are the statues of
4971:
1688:
2896:. He was awarded a bonus of 2,500 maravedís that the cathedral's chapter presented to him on Christmas of 1523, having been impressed by the magnificence of his work.
2023:(Patron saint of the blind): also called Chapel of Saint Joseph. Its original architecture from the 13th century is preserved; it contains some paintings and epitaphs.
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and the lines of separation are stair-stepped. The themes of the central panel from bottom to top are: the figure of a seated Virgin and Child plated in silver on the
2570:, the gift of Archbishop Fernández Portocorracero, which he commissioned expressly for the cathedral. Some of these are hung on the walls of the cathedral during the
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cathedrals in Spain and is considered, in the opinion of some authorities, to be the magnum opus of the Gothic style in Spain. It was begun in 1226 under the rule of
3352:
The French historian and archeologist Élie Lambert (1888–1961) made a profound study of Gothic art in general and of the Cathedral of Toledo in particular. He wrote:
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Abu Walid, requesting the king to show mercy, and imploring his fellow townsmen to accept the Christian usurpation as legitimate. In gratitude for this gesture, the
5574:
2321:
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series of portraits from Saint Eugene to Cardinal Cisneros. Those of Sandoval and Rojas were done by Tristán; of Moscoso, by Ricci; of Iguanzo, by Vicente López.
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3057:(Jewish commercial district), on the north side of the cathedral, Archbishop Pedro Tenorio planned the cloister and a chapel which would serve as his sepulchre.
5564:
2297:
1459:
To the right and left of this front are two sepulchres. The one on the right is empty (it is believed that it was prepared to receive the remains of Brother
1613:
The whole sanctuary is covered with carved and chiselled mythological figures of all sizes. On the Pulpit side are the beautifully decorated sepulchres of
5268:
2164:
de la Zarza, Castilian Renaissance sculptor, is considered the best work of the chapel. The remaining sepulchres are other tombs of the Albornoz family.
1807:
of Mozarabic style has been lost (perhaps in the fire in 1620, or by later remodeling). The current dome was designed in the 17th century by the son of
1680:
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style. This work is attributed to a team working under the leadership of Domenico Fancelli, although some authorities attribute it to Andrea Sansovino.
5529:
3517:
In the 15th century this appellation was popularized through a Latin proverb exalting the four Spanish cathedrals considered the grandest, which says:
5026:
3032:, 1223–1248, dispossessed of the throne, fled in exile to Toledo, died on 4 January 1248 and was buried in the city's cathedral (historically assumed)
1795:. Centuries earlier, on 20 March 1101, King Alfonso VI had given certain privileges to the Mozarabes of Toledo in exchange for tribute. In 1371, King
971:). Such certainty was based on the only existing testimony regarding the authorship, a legend inscribed in vulgar Latin still visible on a tombstone:
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2870:
2827:
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and Francisco de Amberes. It is divided into three panels and five vertical sections. The central panel represents the namesake of the chapel, Saint
1663:, the work was begun in 1497 and finished in 1504. Among the architects, painters and sculptors who collaborated in this collective masterwork were:
530:, and the last Gothic contributions were made in the 15th century when, in 1493, the vaults of the central nave were finished during the time of the
1831:
208:
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died in Viterbo, Italy, in 1367; his remains were later transferred to Toledo where Henry of Castile had them entombed with almost royal honours.
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1716:, it was said those present had seen a sparkling white cross, perhaps in an effort to invest his posthumous reputation with an aura of sanctity.
180:
1024:
1668:
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where the relocated royal sepulchres were placed in Renaissance vaulted tombs, the work of Covarrubias. On one side are Henry II and his wife
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Villalpando, who created a masterpiece on the 35 panels or plates. They are hidden from view, protected with wood panels. On top is the great
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faces an irregular square containing the town hall and the Archbishop's Palace. To the left is the bell tower and to the right the projecting
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Also, in its original state, the chapel had been enclosed laterally by two magnificent screens of stone, which were like enormous gates. The
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invasion did not immediately eliminate the Christian presence and the bishopric remained established in the church of Saint Mary of Alfizén.
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5141:
5126:
4976:
4816:
4093:
Sánchez-Palencia, Almudena. Fundaciones del Arzobispo Tenorio: La capilla de San Blas en la Catedral de Toledo. Diputación de Toledo, 1985.
4868:
3884:: Well that great High Constable, master whom we knew very privately, It is not fitting to speak of him, but only that we saw him ruined.
1078:
to be built (the work of Diego Copín de Holanda) and the high cloister for the canonical community, plus the library. He was followed by
4253:
5011:
4966:
4334:
2085:, an old chapel of small size which serves as a kind of vestibule through which the Chapterhouse is entered; it has a marble floor, an
1256:
is the oldest of the portals, begun in the 14th century and located in the façade of the north side. In addition, it is also known as:
670:
some alterations, as testified by a 16th-century inscription preserved on a pillar in the rear of the nave of the church which states:
2308:: founded by the canon treasurer Alfonso Martínez for his burial. The altar is dedicated to Saint Teresa whose image is attributed to
2427:) on the high altar, framed by marblework and a pair of Corinthian columns. This painting underwent cleaning and conservation at the
1783:
is located at the southeast corner, and incorporates the foundations of an unbuilt second tower. The chapel was named originally the
2792:
The building has an unusual façade, designed by Covarrubias. Because it was intended originally to be the burial chapel of Cardinal
5041:
3287:, through the efforts of the song masters of the cathedral (up to 18 masters have been recorded), figures who disappeared with the
538:, although its five naves plan is a consequence of the constructors' intention to cover all of the sacred space of the former city
2081:
Beyond the chapels of the ambulatory stands the Chapterhouse. First one passes through a fine portal by Diego Copin (1510) to the
1097:
With the ascent of Bishop Juan Tavera, the Toledan Renaissance reached its height of splendor. Under his governance, the choir of
5136:
5106:
4996:
4986:
1411:
It was constructed between the years 1460 and 1466, under the mandate of Archbishop Alfonso Carrillo de Acuña, with designs from
5091:
3943:
1946:
is also enclosed by a large screen, signed by Juan Francés with the following signature: "Juan Francés, grandmaster reja-maker".
806:
King Alfonso VI made important donations to the new church. On 18 December 1086, the cathedral was placed under the advocacy of
5061:
1938:
and Toledan canon. On its altarpiece are paintings by Francisco de Amberes and to the left side is the sepulchre of its patron.
97:
4248:
5086:
4473:
4453:
4079:
Polo Benito, José. El arte en España. Catedral de Toledo. Patronato Nacional de Turismo. Editorial H de J. Thomas, Barcelona.
3953:
3686:
3659:
3633:
3502:
2146:; and Neo-Classical in the central altar. This 18th-century altar was made of marble, jasper and bronze, and was designed by
1976:. Lining this cornice is a repetitive inscription in the Arabic language which says: "The Mother of God. To the Virgin Mary".
843:
authorised the construction of a new cathedral which was begun in 1224 (or 1225). The official ceremony of the laying of the
69:
5156:
5544:
5386:
5348:
4680:
428:
4513:
3905:
The relics described are part of the Church tradition. Knowledge takes no side on the reality or falsity of these legends.
1553:
arches rests on the octagonal barrel of the fifth level and is topped with a spire that supports three crowns imitating a
993:
style. Towards the end of the 20th century, the sanctuary and two sections of the naves of the south side were completed.
5358:
4821:
4206:
3593:
Angus Macnab, "The Moslim Saint in Toledo Cathedral", in: Studies in Comparative Religion, Vol. 2, No. 2. (Spring, 1968)
2241:, and on its sides the Count Álvaro and his wife are portrayed as patrons accompanied by Saint Francis and Saint Anthony.
2043:: has a fine Plateresque screen and contains the tomb of its sponsor, Juan de Mariana. It is one of the smallest chapels.
1895:
17:
5131:
5046:
3782:
Archbishop Francisco Jimenez de Cisneros and the Decoration of the Chapter Room and Mozarabic Chapel in Toledo Cathedral
3737:
3651:
Archbishop Francisco Jimenez de Cisneros and the Decoration of the Chapter Room and Mozarabic Chapel in Toledo Cathedral
76:
5477:
5001:
4652:
2154:
to Saint Ildephonsus, is the work of Manuel Francisco Álvarez (1783), completed during the time of Cardinal Lorenzana.
1528:
is from the time of Cardinal Tavera; it is richly carved with imagery of miniatures in good quality, very white stone.
567:
are some of its more remarkable aspects. It is built with white limestone from the quarries of Olihuelas, near Toledo.
4541:
3110:
walls. A second undertaking is nearly finished—the elimination of the water seeping through the walls from the street
1614:
796:
4191:
4154:
4117:
4101:
4087:
4065:
4049:
4035:
4017:
3804:
3565:
3540:
643:
617:
116:
50:
5318:
1000:, who died ten years later. The archbishop occupied himself with many works of the cathedral, such as the chapel of
740:
625:
5549:
5323:
5238:
5121:
5066:
5056:
4503:
4243:
1090:) was the promoter of the New Kings chapel, which was planned by the architect Alonso de Covarrubias. Paintings by
5243:
5187:
5146:
5036:
4372:
4349:
4133:
3014:, 1406-1454, the Chapel of the New Monarchs: a cenotaph; his body is buried in the Chapterhouse of Miraflores, in
2655:
masters Pedro Bonifacio, Cristóbal, and the German monk Pedro. Later, works by the Toledan master Enrique appear.
1788:
1660:
1052:
908:
influence. The lowest section is made of cusped arches that rest on paired columns and the upper section presents
83:
4991:
4861:
4690:
3623:
963:
For centuries it was held with complete certainty that the first master architect of the cathedral of Toledo was
957:
5096:
5151:
4551:
3094:
decision was made after construction was well along due to the cluttered impression the building gave the eye.
2001:) carrying the Christ child, painted in an earlier period and restored in 1638 by the painter Gabriel de Rueda.
1063:
621:
460:
54:
4324:
3323:
which more closely follows the French model. A similar arrangement of spaces can be seen in the cathedrals of
1980:
5076:
3604:
Regarding the question of the age of Petrus Petri at the beginning of the construction of the cathedral, see
3362:
Manuel Bartolomé Cossío (1857–1935), pedagogue and Spanish university professor, made the following critique:
2640:
were done in the 18th century, according to changes in style that had evolved with the passing of the years.
2552:
2515:
2460:
2106:
Francisco de Lara between 1508 and 1510 in the Cisneros style. It is painted red, blue and gold; the frieze (
1599:
65:
3303:
and those who followed him used master builders who had worked in or had experience designing in the French
2668:
1110:
5353:
5081:
4981:
4589:
4147:
3609:
2536:
2192:
on his chest. Grand Master of the order from 1445 to 1453, he prays before the altarpiece of the chapel of
4801:
2608:
1812:
1038:
1013:
851:. Throughout the 13th century the cathedral's income tax was raised through the previous incorporation of
5273:
3144:
2097:
1771:
3977:
3594:
5482:
5472:
5308:
5016:
4854:
4748:
4743:
4382:
4377:
3863:
The Flamboyant style came late to Spain from northern Europe and disappeared quickly being replaced by
3077:), or of prayer (one of its rooms was a Mozarabic chapel). The Cloister later served as the town hall.
997:
5021:
4458:
4438:
4096:
Conferencia Episcopal Española. Celebración eucarística según el rito Hispano-mozárabe. Madrid, 2000.
3300:
864:
5368:
5328:
5288:
4924:
4725:
4073:
Nieto Siria, José Manuel. Iglesia y génesis del Estado Moderno en Castilla (1369–1480), Madrid, 1993.
3457:
2683:
2068:. The screenwork was also executed in good taste. The chapel has a small altar of various marblework.
1496:
1320:
909:
5278:
5171:
3373:
5503:
5363:
5161:
4738:
4576:
4178:
1629:(The Brave). The images of the monarchs were carved in wood by Copín de Holanda and polychromed by
1312:
1220:, in contrast, does not contain figurative motifs, only floral decoration. It is also known as the
848:
606:
527:
5101:
2854:. Made of the finest silver and gold and bejeweled with gems, it measures over ten feet tall. The
2643:
The oldest, and also the most appreciated for the beauty of their stained glass, are those of the
1463:); that of the left holds the remains of Canon Alfonso de Rojas, represented in a praying statue.
5421:
5293:
5283:
4914:
4773:
4599:
4594:
4425:
4233:
2977:
2476:
2440:
2418:
1879:
1304:
1195:
1091:
610:
43:
5416:
5111:
4781:
3770:
This sepulchre is in the cathedral of Sigüenza, in the chapel of Saint John and Saint Katherine.
3240:
3210:
were being incorporated into the celebration of the Mass, before the flageolet and the sackbut.
167:
5373:
5343:
5253:
5233:
4929:
4523:
4263:
3005:
2917:
2859:
2571:
1883:
1675:(estofado: the technique of finishing sculpture of wood with gilding and punched patterns, and
1307:
is divided into four horizontal panels, in which there are scenes from the life of Christ: the
1182:. The decoration consists of typical Gothic iconography, with the figure of the Saviour in the
1087:
807:
445:
260:
5192:
4904:
4493:
3649:
2884:
In the Middle Ages, Cardinal Cisneros wanted to compete for a grander monstrance than that of
2566:, and a collection of tapestry with more than seventy exemplary pieces. There are sketches by
1855:
90:
5431:
5333:
5303:
4642:
4629:
4392:
4316:
4215:
3676:
3304:
3029:
2962:
2921:
2885:
2819:
2193:
1935:
1859:
1622:
1618:
1332:
1328:
1316:
1203:
800:
748:
516:
265:
5223:
5213:
4919:
4685:
4657:
3097:
The chapel is decorated in two different parts. First, from the cornice to the ceiling, the
2717:
is several storeys high and is extraordinarily well-executed with fantastic figures done in
2691:
1460:
1224:
or of the Palms as it used to be reserved as an entrance for the procession of the palms on
1004:
in the cloister which is famous for the artistic richness of its frescos from the school of
5436:
5398:
5391:
5218:
5051:
4894:
4758:
4556:
3387:
3267:, Juan Bonet de Paredes, Andrés de Torrentes, Ginés de Boluda and Francisco Juncá y Carol.
3001:
2983:
2793:
2563:
2465:
2219:
2215:
2189:
1630:
1626:
1412:
933:
564:
5228:
5208:
4367:
4271:
2947:
2147:
1951:
The chapel has a well-regarded altarpiece, believed to have been worked on by the masters
1731:
1373:
852:
8:
5508:
5487:
5378:
4951:
4899:
4786:
4609:
4561:
4483:
4433:
4415:
4281:
4186:
4170:
2989:
2397:
The sacristy was designed by Francisco Vergara the Greater and Juan Bautista Monegro, in
1796:
1565:
1348:
1244:
between buttresses instead of their current position, but this is not known for certain.
1086:), who never resided in Toledo. Alfonso de Fonseca y Acevedo (who had been archbishop of
937:
918:
874:
523:
508:
452:
353:
348:
341:
4791:
4301:
3178:
The organ was not the only important musical instrument. With the passing of the years,
2889:
1650:
763:, almost provoked a Muslim uprising and consequent ruin of the recently conquered city.
5441:
5426:
5313:
5248:
4806:
4715:
4700:
4637:
4448:
4339:
4238:
4196:
3719:
3435:
3413:
3098:
3011:
2782:
2032:
1713:
1404:
731:
710:
would coincide with part of the current cloister and the chapel of Saint Peter and the
684:
4733:
4531:
3324:
2502:
2444:
2143:
1952:
1820:
1672:
1606:
after its statue of Abu Walid who brought King Alfonso VI a message of tolerance (see
1067:
4909:
4753:
4710:
4614:
4604:
4566:
4498:
4400:
4357:
4286:
4139:
4113:
4097:
4083:
4061:
4045:
4031:
4013:
3949:
3864:
3810:
3800:
3682:
3655:
3629:
3561:
3536:
3498:
3335:, among others. And, as was foreseeable, the Spanish Empire carried the model of the
3328:
3288:
3164:
3103:
2995:
2925:
2710:
2567:
2540:
2375:
2223:
2185:
1994:
1891:
1324:
1213:
is the oldest of the three, and represents, as its name suggests, the Last Judgment.
1106:
1098:
1079:
922:
772:
535:
531:
464:
4405:
4296:
3914:
The transfer of this chapel is already explained in the section that bears its name.
3320:
2916:
in 2011, the Monstrance of Arfe was brought out of the Cathedral of Toledo into the
2623:
lent his knife to the saint to perform this act; the knife is also kept as a relic.
2201:
2177:
752:
720:
5446:
5338:
4811:
4796:
4763:
4647:
4584:
4546:
4463:
4410:
4329:
4306:
4291:
4228:
4223:
3711:
3558:
Art, Liturgy, and Legend in Renaissance Toledo: The Mendoza and the Iglesia Primada
3316:
2520:
2448:
2436:
2293:
2035:, a present from Pope Innocent X, which King Philip IV commanded to be placed here.
1804:
1344:
1340:
1071:
493:
154:
3477:
2379:
5456:
4934:
4705:
4695:
4536:
4362:
3492:
3332:
3294:
3272:
3179:
3172:
2913:
2809:
arms of the canon Diego López de Ayala, who was a great patron of the cathedral.
2705:
2612:
2432:
2428:
2324:. The bronze baptismal font is highly decorated with Gothic-Renaissance elements.
2126:
1956:
756:
2734:
2616:
2130:
560:. The spectacular incorporation of light and the structural achievements of the
4488:
4443:
4276:
3252:
3168:
2488:
2452:
1792:
1684:
1209:
579:
505:
360:
4944:
3893:
3674:
2631:
2362:
1475:
1231:
784:
556:
style, mainly in the cloister, with the presence of multifoiled arches in the
5523:
4877:
4619:
4508:
3814:
3152:
2863:
2750:
2497:
2383:
2367:
2309:
2111:
2052:
1803:
The chapel design encompasses a square floor plan under an octagonal dome. A
832:
512:
243:
223:
210:
5555:
Conversion of non-Christian religious buildings and structures into churches
3945:
The Grove encyclopedia of decorative arts - Volume 1: Aalto to Kyoto pottery
1865:
5451:
5258:
3427:
3339:
beyond, influencing those constructed in the Americas and the Philippines.
3041:
2893:
2838:
2601:
2471:
1816:
1536:
1308:
1001:
964:
940:
except for those of the transept and the chancel which are reinforced with
863:
The layout of the cathedral as now seen was set in the 13th century, while
303:
2846:
The most important object kept in the Chapel of the Treasure is the great
1149:
To the left of the main façade rises the only tower of the cathedral. The
869:
578:
in Latin). The Mozarabic Chapel in the Cathedral of Toledo still uses the
3264:
3207:
3199:
3123:
2620:
2389:
2065:
1835:
1621:
with their recumbent statues, while on the Lectern side are the tombs of
1554:
1445:
1434:
1425:
1290:
1270:
1225:
1046:
981:
844:
3979:
Toledo: An Historic and Descriptive Account of "The City of Generations"
3702:
Wethey, Harold E. (1865), "Anequín de Egas Cueman, A Fleming in Spain",
2822:. The most valuable and important piece in the Treasure is the gorgeous
2336:, an icon which tradition claims predates the Muslim conquest of Toledo.
1440:
In the lower part of the great façade is the portal divided by a column-
3723:
3156:
2855:
2765:
2510:
1923:
1676:
1578:
1187:
1146:
chapel that occupies the place where the second tower was to be built.
1126:
1019:
986:
847:
took place in 1226 (other sources say 1227), with the presence of King
836:
799:), it may be supposed that it was a columnary building, with horseshoe
715:
561:
440:
3625:
Art in Spain and the Hispanic World: Essays in Honor of Jonathan Brown
2992:, 1369-1379, and his wife Juana Manuel, the Chapel of the New Monarchs
2611:, while the interior of the dome itself was decorated by the painters
2051:: is enclosed with a Gothic screen. Its sponsor was the archdeacon of
1882:; in front of them, lying in sarcophagi, are Henry III the Infirm and
1407:
that is represented in the face of the back wall, over the archivolts.
1269:, because it fronts the street which bears that name, the place where
952:
905:
885:
553:
3868:
3462:
3183:
3155:, which soon found a place in the cathedrals and the churches of the
3140:
3131:
3127:
2805:
2544:
2398:
2289:
1512:
1336:
1179:
941:
900:
687:
attest to its important ecclesiastical past. Also, the abjuration of
680:
557:
326:
296:
3715:
3519:
Sancta Ovetensis, pulchra Leonina, dives Toledana, fortis Salmantina
3126:
advanced through all of Europe and with it religious music from the
2874:
2487:
In the next room is the vestuary with the ceiling groins painted by
2150:; the large relief in its centre, with its theme of the gift of the
1280:
792:
595:
32:
5263:
4880:
4846:
3827:
Archbishop of Toledo since 1338, but he barely frequented this see.
3407:
3219:
2722:
2481:
2414:
2151:
1973:
1808:
1700:
1692:
1550:
1199:
1042:
895:
744:
692:
688:
661:
549:
477:
3880:
The poet Jorge Manrique dedicated a few verses to him in his work
3291:
and most of whose compositions are kept in the cathedral library.
1791:. Its purpose was to provide a worship place for followers of the
1471:
858:
4055:
3308:
3191:
2878:
2730:
2700:
2402:
2173:
1744:
1588:
1453:
1441:
1183:
1143:
1075:
926:
788:
780:
711:
423:
276:
3494:
Arquitectura y mecenazgo: la imagen de Toledo en el Renacimiento
1263:, because it opened to the street where the fair was celebrated.
3490:
3148:
3015:
2739:
2726:
2718:
2604:
2556:
2492:
2406:
2090:
1969:
1595:
1419:
703:
696:
539:
3295:
Model and influence of the cathedral in religious architecture
3167:, with the reform of the chapel of the Corpus Christi for the
2562:
There is an Arab standard on display here as well, won in the
3854:
Converted into the Museum of Visigothic Councils and Culture.
3256:
3255:
of Rome and composed twenty-one masses and more than seventy
3187:
2699:
One of the most outstanding features of the Cathedral is the
2548:
1481:
1449:
1005:
811:
768:
253:
2903:
The inscription on the Monstrance of Arfe reads as follows:
2491:
and José Donoso. In this space are found several paintings:
2332:: has a decorated ironwork screen. It is consecrated to the
1074:
Pedro de Gumiel. Cisneros also ordered the magnificent main
4056:
Navascués Palacio, Pedro; Sarthou Carreres, Carlos (1997),
3675:
Piero Boccardo; José Luis Colomer; Clario Di Fabio (2004).
3203:
3195:
2760:
2745:
2532:
1915:
1824:
1736:
1191:
1178:
primatial cathedral. It has one great arch with six Gothic
1170:
1157:
The main façade has three portals, known as, respectively,
1150:
1058:
840:
544:
399:
3982:. New York, New York: John Lane Company. pp. 121–122.
2348:
2056:
what had been the chapel of Saint Britus or Saint Bricius.
3923:
Word used in this period. It is Italian, meaning "round".
3136:
2577:
522:
The cathedral of Toledo is one of the three 13th-century
3533:
A Companion to Medieval Toledo: Reconsidering the Canons
3390:
explains the reason for its construction in these terms:
3376:, born in Madrid (1888–1960), says (Ars Hispaniae, VII):
2869:
The creator of the Great Monstrance was the metalworker
2738:
giving the impression that the whole altar is rising to
2125:: is situated in the centre of the ambulatory and faces
1819:
cupola. In the interior, Cardinal Cisneros commissioned
947:
3102:
among whom are mentioned as very probably the artists:
5392:
Vice-Rectorate of Teaching and International Relations
4169:
3784:. New York, New York: New York University. p. 95.
2431:
in Madrid, returning in 2014. There are also works by
2405:
accommodating the windows, is lavishly decorated with
980:
Towards the middle of the 20th century, the bishop of
5535:
15th-century Roman Catholic church buildings in Spain
4025:
2320:: The most notable feature is the ironwork screen by
3948:. New York, NY: Oxford Univ. Press. pp. 27–28.
3403:
2072:
1121:
1020:
Great patrons of the 16th century: works and artists
3668:
3560:. Pennsylvania State University Press. p. 61.
2931:
1842:, separates the choir from the rest of the chapel.
719:coincide with the Muslim construction tradition of
57:. Unsourced material may be challenged and removed.
1984:Toledo - St. Christopher carrying the Christ Child
3836:Founder of the Royal College of Spain in Bologna.
3788:
3678:España y Genova: obras, artistas y coleccionistas
2775:
2159:The Sepulchres of the Chapel of Saint Ildephonsus
1726:
702:The Visigothic church was torn down and the main
665:The main façade, from the Plaza del Ayuntamiento.
5521:
2858:is famous for being used in the annual feast of
2382:, as well as Francisco Ricci and the Neapolitan
1706:
1607:
1165:(Portal of the Last Judgment, to the right) and
5575:Burial sites of the Castilian House of Burgundy
5540:Roman Catholic cathedrals in Castilla–La Mancha
2833:
2411:Clothing of Saint Ildephonsus with the Chasuble
2129:, a Baroque altarpiece created in 1729-1732 by
1691:(religious images), and Joan Peti (carving and
859:The Cathedral of the Archbishop Ximénez de Rada
552:. It also combines some characteristics of the
5570:Burial sites of the House of Burgundy-Portugal
3478:"Miembros del Cabildo (The Primate's Chapter)"
2892:, of which Arfe received the stipulated 2,700
726:
4862:
4155:
4007:
3942:Campbell, Gordon (2006). "Enrique de Arfe ".
3752:Chueca Goitia, Fernando and Navascués, Pedro.
3621:
3080:
2409:by Luca Giordano. The principal theme is the
1845:
1519:
855:into its archiepiscopal territories in 1129.
4107:
3739:Some account of Gothic architecture in Spain
3530:
3130:, devotional music became a key part of the
2274:
2005:
1905:
1830:The Gothic ironwork screen was fashioned by
1502:
1070:(paintings of the Mozarabic chapel) and its
3615:
3114:, which could damage the collection again.
3008:(1373–1418), the Chapel of the New Monarchs
2998:, 1379-1390, the Chapel of the New Monarchs
2873:, born Heinrich von Harff, originally from
2252:his wife's tomb are four Franciscan friars.
624:. Unsourced material may be challenged and
490:Primatial Cathedral of Saint Mary of Toledo
4869:
4855:
4162:
4148:
3628:. Paul Holberton Publishing. p. 215.
3484:
3452:
3450:
2725:, bronze castings, and multiple colors of
1918:enclosing it, in the style of the rejero (
1854:is in reference to the new lineage of the
1636:
1482:Other portals and façades of the cathedral
1267:Portal of the Chapinería (shoe-maker shop)
5565:Gothic architecture in Castilla–La Mancha
5530:Roman Catholic churches completed in 1493
5269:Colegio de Nuestra Señora de los Infantes
3935:
3151:. Instrumental music was produced by the
3117:
1815:; it displays eight sections and a large
1347:. In the upper part of the tympanum, the
644:Learn how and when to remove this message
117:Learn how and when to remove this message
5560:Roman Catholic churches in Toledo, Spain
4030:(in Spanish), Madrid: El País /Aguilar,
4026:Enríquez de Salamanca, Cayetano (1992),
3941:
3555:
3491:Rosario Díez del Corral Garnica (1987).
3040:
2837:
2749:
2746:The Renaissance Rejería in the cathedral
2690:
2682:
2630:
2626:
2594:
2470:
2388:
2361:
2172:
2168:
2096:
1979:
1864:
1823:to depict highlights of the conquest of
1770:
1730:
1649:
1577:
1564:
1535:
1403:, in allusion to the celebration of the
1372:
1230:
1161:(Portal of Forgiveness, in the centre),
1125:
1023:
951:
884:
730:
679:The city had been the episcopal seat of
660:
187:
3975:
3779:
3447:
3251:, was preeminent; he had worked in the
3222:. In the College lived, generally, the
3143:vocal pieces spread rapidly throughout
2547:and an embroidered lappet of the great
2349:Composite unity of the Herrerian spaces
2119:of the Passion of Christ are depicted.
2101:Chapterhouse of the Cathedral of Toledo
2014:
14:
5522:
3794:
3735:
3701:
2578:Chapel of the Virgin of the Tabernacle
1368:
1247:
739:The city of Toledo was reconquered by
542:with the cathedral, and of the former
498:Catedral Primada Santa María de Toledo
159:Catedral Primada Santa María de Toledo
5387:Juridical and Social Sciences faculty
5299:Islamic Halls of Colegio de Doncellas
5007:Monastery of Santo Domingo el Antiguo
4850:
4143:
3458:"The History of the Toledo Cathedral"
1082:, the Chief of the Spanish treasury (
948:The master builders and their patrons
515:. It is the seat of the Metropolitan
4876:
4060:(in Spanish), Madrid: Espasa Calpe,
2401:style. The barrel vault, inset with
2142:Plateresque in the sepulchre of the
1397:, for being the last that was built.
741:Alfonso VI, King of León and Castile
622:adding citations to reliable sources
589:
129:Seat of Archdiocese of Toledo, Spain
55:adding citations to reliable sources
26:
5359:School of Arts and Crafts of Toledo
3882:Couplets on the death of his father
2754:The chapel screen in the foreground
2695:El Transparente of Toledo Cathedral
1766:
1671:(design), Francisco de Amberes and
1591:which he himself had commissioned.
1337:Presentation of Jesus at the Temple
24:
5417:Caja Castilla-La Mancha Foundation
5157:Synagogue of Santa María la Blanca
5012:Monastery of Santo Domingo el Real
5002:Monastery of San Juan de los Reyes
4171:Roman Catholic cathedrals in Spain
3976:Calvert, Albert Frederick (1908).
3307:style. The cathedrals of Paris or
3263:were Matías Durango de los Arcos,
2678:
2393:Ceiling fresco in Toledo Cathedral
2269:Chapel of the Christ of the Column
1299:, also because of the iconography.
751:and the abbot of the monastery of
714:with the belltower. Using certain
25:
5586:
5383:University of Castilla-La Mancha
4127:
4112:(in Spanish), León: Everest Pub,
3535:. Brill Publishers. p. 100.
3480:(in Spanish). catedralprimada.es.
1735:Vaulted ceiling, high altar, and
1279:, because in its decoration some
1122:Main façade and the great portals
1062:, or the ironwork screen, of the
5324:Real Colegio de Doncellas Nobles
4972:Carmelitas Descalzas de San José
4950:
4943:
4205:
4008:Chueca Goitia, Fernando (1975),
3932:This has a separate description.
3420:
3406:
3275:in the form of what is known as
2932:Monarchs buried in the cathedral
2687:El Transparente of the cathedral
2330:Chapel of Our Lady of La Antigua
2049:Chapel of Saint John the Baptist
1456:, attributed to Esteban Jamete.
1429:of polychromatic stained glass.
1365:stained glass of the cathedral.
1094:were added in the 18th century.
594:
186:
179:
166:
31:
4136:in Maravillas ocultas de España
4082:Riera Vidal. Un día en Toledo.
3969:
3926:
3917:
3908:
3899:
3887:
3874:
3857:
3848:
3839:
3830:
3821:
3773:
3764:
3761:The retable in architoledo.org.
3755:
3746:
3729:
3695:
3642:
3580:As the story is related in the
2965:, 1157–1158, in the Main Chapel
2826:, the monumental monstrance by
1486:
880:
735:Alfonso VI of León and Castile.
482:Félix González-Mohíno Bartolomé
42:needs additional citations for
5319:Palacio del Marqués de Malpica
5244:Basements of Cardenal Cisneros
3736:Street, George Edmund (1937),
3598:
3587:
3574:
3549:
3531:Beale-Rivaya, Yasmine (2018).
3524:
3511:
3470:
2776:Main Treasure of the cathedral
1993:is the monumental painting of
1727:The interior chapels: overview
1573:
13:
1:
5349:Roman remains under Alfonso X
5027:Nuestra Señora de la Estrella
4350:Archdiocese of Mérida-Badajoz
4012:(in Spanish), Riga: Everest,
3989:
3608:, The Modern Spain, 1903, by
3556:F. Bosch, Lynette M. (2010).
2342:Chapel of Doña Teresa de Haro
1707:Sepulchre of Cardinal Mendoza
1602:; the other pillar is called
1600:Battle of Las Navas de Tolosa
1569:Looking down the main chapel.
1511:is of late Gothic style. Its
5354:Roman vaults of Nuncio Viejo
4108:Zarco Moreno, Zarco (1991),
3342:
2986:, 1284–1295, the Main Chapel
2980:, 1126–1157, the Main Chapel
2971:Monarchs of Castile and León
2920:, where it was used for the
2852:La Gran Ostensoria de Toledo
2834:The Great Monstrance of Arfe
2572:feast days of Corpus Christi
2318:Chapel of the Baptismal Font
2239:Weeping Before a Dead Christ
1785:Chapel of the Corpus Christi
1028:Cardinal Ximénes de Cisneros
956:The cathedral seen from the
7:
5545:Church buildings with domes
5274:Cortes of Castile-La Mancha
4837:no longer used as cathedral
4454:Santo Domingo de la Calzada
3399:
3036:
3004:, 1390–1406, and his wife,
2464:This was an acquisition of
2357:
2196:in the cathedral of Toledo.
2123:Chapel of Saint Ildephonsus
1687:, Diego Copín de Holanda y
1560:
1116:
797:Mosque-Cathedral of Córdoba
727:The Cathedral of Alfonso VI
534:. It was modeled after the
10:
5591:
5478:Plaza de las Cuatro Calles
5017:Mosque of Cristo de la Luz
4562:San Cristóbal de La Laguna
4203:
3795:Sancho, José Luis (1997).
3081:The Chapel of Saint Blaise
2669:Nicolás de Vergara el Mozo
2647:of the transept (over the
2555:wore at his coronation in
2283:: is situated between the
2200:Also called the Chapel of
2029:Chapel of the Old Monarchs
1852:Chapel of the New Monarchs
1846:Chapel of the New Monarchs
1838:, the work of the Toledan
1645:
1526:Portal of the Presentation
1520:Portal of the Presentation
1111:Nicolás de Vergara el Mozo
656:
585:
5496:
5465:
5407:
5289:Hospital del Nuncio Nuevo
5201:
5193:Roman Puente de Alcántara
5180:
5117:Santa Isabel de los Reyes
5072:San Juan de la Penitencia
4959:
4941:
4925:Puerta de los Doce Cantos
4887:
4830:
4772:
4726:Archdiocese of Valladolid
4724:
4671:
4628:
4575:
4522:
4472:
4424:
4391:
4348:
4315:
4262:
4214:
4177:
3797:Guide to Toledo Cathedral
3045:Cloister of the cathedral
2818:Mena, a wooden statue of
2758:In the 16th century, the
2729:; it is a masterpiece of
2609:Jorge Manuel Theotocópuli
2600:crowned by a dome with a
2275:Chapels of the north wall
2220:Queen Eleanor Plantagenet
2006:Chapels of the ambulatory
1906:Chapels of the south wall
1869:Tomb of John I of Castile
1813:Jorge Manuel Theotocópuli
1582:Interior of the cathedral
1509:Façade of Saint Katherine
1503:Façade of Saint Katherine
1437:decorated with rosettes.
1321:Massacre of the Innocents
570:It is popularly known as
476:
471:
457:D. Juan Sánchez Rodríguez
451:
439:
434:
422:
417:
413:44.5 metres (146 ft)
409:
398:
390:
382:
377:
369:
359:
347:
337:
325:
317:
312:
302:
292:
287:
271:
259:
249:
239:
205:
174:
165:
152:
147:
142:
137:
5504:Jewish quarter of Toledo
5162:Synagogue of El Transito
4577:Archdiocese of Tarragona
4179:Archdiocese of Barcelona
3441:
2507:Cardinal Gaspar de Borja
2263:Chapel of Saint Leocadia
1932:Chapel of the Conception
1654:Retable of the cathedral
1531:
1405:Assumption of the Virgin
761:General History of Spain
386:120 metres (390 ft)
5550:Former mosques in Spain
5022:Mosque of las Tornerías
4915:Puerta de Bisagra Nueva
4774:Archdiocese of Zaragoza
4673:Archdiocese of Valencia
4426:Archdiocese of Pamplona
4192:Sant Feliu de Llobregat
3799:. Aldeasa. p. 22.
3780:Dolphin, Erika (2008).
3610:José Amador de los Ríos
3606:The Cathedral of Toledo
3582:First General Chronicle
3301:Rodrigo Ximénez de Rada
3049:On the site of the old
2978:Alfonso VII the Emperor
2477:The Disrobing of Christ
2441:Juan Pantoja de la Cruz
2425:The Disrobing of Christ
2178:Álvaro de Luna y Jarana
1965:Chapel of Saint Eugene:
1944:Chapel of Saint Martin:
1793:Hispano-Mozarabic rites
1637:Chapel of the Sepulchre
1198:, the Virgin gives the
1163:Puerta del Juicio Final
1092:Mariano Salvador Maella
1066:chapel), Enrique Egas,
958:Church of San Ildefonso
865:Rodrigo Ximénez de Rada
394:59 metres (194 ft)
132:Church in Toledo, Spain
5442:San Marcos Arts Centre
5374:Toledo railway station
5344:Roman circus of Toledo
5339:Roman Cave of Hercules
5279:Flour factory San José
5254:Castle of San Servando
5234:Arab baths of Tenerías
5224:Arab baths of Caballel
5172:Tower of San Cristóbal
4524:Archdiocese of Seville
4504:Santiago de Compostela
4476:Santiago de Compostela
4264:Archdiocese of Granada
4028:Curiosidades De Toledo
3622:Sarah Schroth (2010).
3397:
3383:
3374:Leopoldo Torres Balbás
3369:
3359:
3233:
3118:Music of the cathedral
3087:Chapel of Saint Blaise
3046:
3006:Catherine of Lancaster
2963:Sancho III the Desired
2918:Cuatro Vientos airport
2910:
2843:
2755:
2696:
2688:
2636:
2484:
2394:
2370:
2197:
2102:
1985:
1912:Chapel of the Epiphany
1884:Catherine of Lancaster
1870:
1776:
1740:
1689:Sebastián de Almonacid
1655:
1583:
1570:
1541:
1540:Tower of the Cathedral
1382:
1377:Puerta de los Leones (
1297:Portal of the Lost Boy
1287:Portal of the Monarchs
1240:
1135:
1088:Santiago de Compostela
1029:
978:
960:
890:
889:Plan of the cathedral.
830:
821:
736:
677:
666:
580:Hispano-Mozarabic Rite
500:), otherwise known as
497:
446:Francisco Cerro Chaves
405:18 metres (59 ft)
158:
5432:Army Museum of Toledo
5304:Palacio de Fuensalida
5229:Arab baths of Cenizal
5142:Santos Justo y Pastor
5127:Santas Justa y Rufina
4822:Zaragoza (The Savior)
4817:Zaragoza (The Pillar)
4691:Ciutadella de Menorca
4686:Castellón de la Plana
4630:Archdiocese of Toledo
4393:Archdiocese of Oviedo
4317:Archdiocese of Madrid
4216:Archdiocese of Burgos
4010:La Catedral De Toledo
3654:. 2008. p. 130.
3393:
3379:
3365:
3355:
3229:
3044:
2950:, 1230, Queen of León
2922:Eucharistic Adoration
2905:
2886:Isabella the Catholic
2841:
2820:St. Francis of Assisi
2753:
2694:
2686:
2635:Stained glass windows
2634:
2627:Stained glass windows
2595:Chapel of the Eighths
2474:
2392:
2365:
2281:Chapel of Saint Peter
2176:
2169:Chapel of Saint James
2100:
2062:Chapel of Saint Giles
1983:
1868:
1860:Alonso de Covarrubias
1774:
1734:
1653:
1623:Sancho III of Castile
1581:
1568:
1539:
1376:
1333:Finding in the Temple
1329:Circumcision of Jesus
1317:Adoration of the Magi
1234:
1175:Portal of Forgiveness
1132:Portal of Forgiveness
1129:
1027:
973:
955:
888:
825:
816:
734:
672:
664:
517:Archdiocese of Toledo
266:Roman Catholic Church
224:39.857083°N 4.02389°W
5457:Workshop of the Moor
5437:Museum of Santa Cruz
5188:Puente de San Martín
5137:Santiago del Arrabal
5042:San Antonio de Padua
4977:Carmelitas Descalzos
4895:Puerta Bab al-Mardum
4058:Catedrales de Espana
3681:. CEEH. p. 58.
3249:Peccatem me Quotidie
3241:Cristóbal de Morales
3060:The building of the
3023:Monarchs of Portugal
3002:Henry III the Infirm
2794:Juan Pardo de Tavera
2564:Battle of Rio Salado
2466:Alfonso X of Castile
2457:The Arrest of Christ
2334:Virgen de la Antigua
2216:Constable of Castile
2021:Chapel of Saint Lucy
2015:The original chapels
1631:Francisco de Amberes
1413:Hanequin of Brussels
1173:, to the left). The
695:occurred there. The
683:Spain. The numerous
618:improve this section
51:improve this article
5509:Subterranean Toledo
5466:Streets and squares
5379:Well of El Salvador
5239:Archbishop's Palace
5219:Arab baths of Ángel
5107:Santa Clara la Real
5032:Purísima Concepción
4997:Las Concepcionistas
4960:Religious buildings
4905:Puerta de Alcántara
4900:Puerta de Alarcones
3261:maestros de capilla
3245:Emendemus in melius
3237:maestros de capilla
3030:Sancho II the Pious
2984:Sancho IV the Brave
2956:Monarchs of Castile
2815:Virgen del Sagrario
2789:, or "The Jewels".
2665:Portal of the Lions
2649:Portal of the Clock
2461:Bassano the Younger
2322:Domingo of Céspedes
2285:Portal of the Clock
2041:Chapel of Saint Ann
1991:Portal of the Lions
1743:The main and minor
1739:of the main chapel
1545:later built there.
1387:Portal of the Lions
1379:Portal of the Lions
1369:Portal of the Lions
1349:Death of the Virgin
1277:Portal of the Ollas
1273:were made and sold.
1254:Portal of the Clock
1248:Portal of the Clock
1237:Portal of the Clock
1222:Portal of the Tower
1167:Puerta del Infierno
1130:Puerta del Perdón (
849:Ferdinand the Saint
229:39.857083; -4.02389
220: /
18:Cathedral of Toledo
5483:Plaza de Zocodover
5473:Plaza de San Justo
5427:Hospital de Tavera
5314:Palacio de La Cava
5309:Palacio de Galiana
5087:San Miguel el Alto
5062:San Felipe de Neri
4967:Agustinas Calzadas
4920:Puerta del Cambrón
4134:Photos and history
3436:Councils of Toledo
3414:Catholicism portal
3388:Alfonso X the Wise
3224:Maestro de Capilla
3200:string instruments
3047:
2848:Monstrance of Arfe
2844:
2783:Cathedral Treasure
2756:
2703:altarpiece called
2697:
2689:
2637:
2553:Charles I of Spain
2485:
2395:
2371:
2366:Ceiling fresco by
2198:
2180:wearing the cope (
2103:
2073:The Chapterhouse (
2033:Holy Face of Jesus
1986:
1871:
1777:
1741:
1656:
1625:(The Desired) and
1584:
1571:
1542:
1461:Bartolomé Carranza
1383:
1289:, alluding to the
1261:Portal of the Fair
1241:
1235:Puerta del reloj (
1136:
1030:
961:
891:
737:
685:Councils of Toledo
667:
338:Architectural type
66:"Toledo Cathedral"
5517:
5516:
5369:The Templar House
5209:Alcázar of Toledo
4982:Cristo de la Vega
4910:Puerta de Bisagra
4844:
4843:
4706:Palma de Mallorca
4325:Alcalá de Henares
3955:978-0-19-518948-3
3865:Isabelline Gothic
3688:978-84-933403-4-6
3661:978-0-549-74530-3
3635:978-1-907372-00-1
3504:978-84-206-7066-9
3333:Palma de Mallorca
3289:Concordat of 1851
3277:Cantus Eugenianus
3165:Cardinal Cisneros
3104:Gherardo Starnina
2926:Pope Benedict XVI
2924:presided over by
2541:James I of Aragon
2376:Vincenzo Carducci
2312:or to his studio.
2186:Order of Santiago
2148:Ventura Rodríguez
1995:Saint Christopher
1896:Eleanor of Aragon
1892:John I of Castile
1789:Cardinal Cisneros
1661:Cardinal Cisneros
1325:Flight into Egypt
1293:of its sculpture.
1204:Saint Ildephonsus
1159:Puerta del Perdón
1107:Gaspar de Quiroga
1099:Alonso Berruguete
1080:Guillermo de Croy
1053:Cardinal Cisneros
1033:to be called the
936:of the naves are
910:interlaced arches
853:Alcalá de Henares
773:Cathedral Chapter
654:
653:
646:
536:Bourges Cathedral
532:Catholic Monarchs
486:
485:
318:Functional status
127:
126:
119:
101:
16:(Redirected from
5582:
5447:Sephardic Museum
5364:The Jewish House
5294:Infantry Academy
5167:Toledo Cathedral
5092:San Pedro Mártir
4954:
4947:
4871:
4864:
4857:
4848:
4847:
4209:
4164:
4157:
4150:
4141:
4140:
4122:
4070:
4040:
4022:
3984:
3983:
3973:
3967:
3966:
3964:
3962:
3939:
3933:
3930:
3924:
3921:
3915:
3912:
3906:
3903:
3897:
3891:
3885:
3878:
3872:
3867:in Spain and by
3861:
3855:
3852:
3846:
3843:
3837:
3834:
3828:
3825:
3819:
3818:
3792:
3786:
3785:
3777:
3771:
3768:
3762:
3759:
3753:
3750:
3744:
3743:
3733:
3727:
3726:
3704:The Art Bulletin
3699:
3693:
3692:
3672:
3666:
3665:
3646:
3640:
3639:
3619:
3613:
3602:
3596:
3591:
3585:
3578:
3572:
3571:
3553:
3547:
3546:
3528:
3522:
3515:
3509:
3508:
3488:
3482:
3481:
3474:
3468:
3467:
3454:
3430:
3425:
3424:
3423:
3416:
3411:
3410:
3281:Cantus Melodicus
3180:wind instruments
2941:Monarchs of León
2850:, also known as
2537:Sancho of Aragón
2525:Burial of Christ
2521:Giovanni Bellini
2516:John the Baptist
2449:Anthony van Dyck
2447:, Luis Tristán,
2437:Pedro de Orrente
2417:, including his
2294:Pedro Berruguete
1805:coffered ceiling
1781:Mozarabic chapel
1775:Capilla Mozárabe
1767:Mozarabic chapel
1345:Marriage at Cana
1039:Cardinal Mendoza
1014:Cardinal Mendoza
845:foundation stone
649:
642:
638:
635:
629:
598:
590:
576:The Rich Toledan
502:Toledo Cathedral
283:
280:
279:.catedralprimada
278:
235:
234:
232:
231:
230:
225:
221:
218:
217:
216:
213:
194:Toledo Cathedral
190:
189:
183:
170:
148:Toledo Cathedral
138:Toledo Cathedral
135:
134:
122:
115:
111:
108:
102:
100:
59:
35:
27:
21:
5590:
5589:
5585:
5584:
5583:
5581:
5580:
5579:
5520:
5519:
5518:
5513:
5492:
5461:
5422:El Greco Museum
5410:performing arts
5409:
5403:
5329:Roman aqueducts
5197:
5176:
4955:
4949:
4948:
4939:
4935:Puerta del Vado
4883:
4875:
4845:
4840:
4826:
4802:Roda de Isábena
4768:
4749:Salamanca (New)
4744:Salamanca (Old)
4720:
4667:
4624:
4590:La Seu d'Urgell
4571:
4518:
4475:
4468:
4420:
4387:
4383:Plasencia (New)
4378:Plasencia (Old)
4344:
4311:
4258:
4210:
4201:
4173:
4168:
4130:
4125:
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4068:
4038:
4020:
3992:
3987:
3974:
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3900:
3892:
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3862:
3858:
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3844:
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3835:
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3822:
3807:
3793:
3789:
3778:
3774:
3769:
3765:
3760:
3756:
3751:
3747:
3734:
3730:
3716:10.2307/3045689
3700:
3696:
3689:
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3648:
3647:
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3489:
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3476:
3475:
3471:
3456:
3455:
3448:
3444:
3426:
3421:
3419:
3412:
3405:
3402:
3372:The architect,
3345:
3297:
3273:Gregorian chant
3243:, who composed
3120:
3099:Apostles' Creed
3083:
3039:
2934:
2914:World Youth Day
2871:Enrique de Arfe
2836:
2828:Enrique de Arfe
2778:
2748:
2733:mixed media by
2715:El Transparente
2706:El Transparente
2681:
2679:El Transparente
2659:windows of the
2629:
2613:Francisco Ricci
2597:
2580:
2445:Juan de Borgoña
2433:Luis de Morales
2360:
2351:
2306:Chapel of Mercy
2277:
2171:
2144:bishop of Ávila
2127:El Transparente
2079:
2017:
2008:
1999:San Cristobalón
1957:Martin of Tours
1953:Juan de Borgoña
1908:
1848:
1821:Juan de Borgoña
1769:
1729:
1709:
1673:Juan de Borgoña
1648:
1639:
1619:Doña Berenguela
1576:
1563:
1534:
1522:
1505:
1489:
1484:
1371:
1250:
1124:
1119:
1068:Juan de Borgoña
1022:
950:
883:
861:
729:
691:on the part of
659:
650:
639:
633:
630:
615:
599:
588:
458:
332:
275:
228:
226:
222:
219:
214:
211:
209:
207:
206:
201:
200:
199:
198:
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196:
195:
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161:
133:
130:
123:
112:
106:
103:
60:
58:
48:
36:
23:
22:
15:
12:
11:
5:
5588:
5578:
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5572:
5567:
5562:
5557:
5552:
5547:
5542:
5537:
5532:
5515:
5514:
5512:
5511:
5506:
5500:
5498:
5494:
5493:
5491:
5490:
5485:
5480:
5475:
5469:
5467:
5463:
5462:
5460:
5459:
5454:
5449:
5444:
5439:
5434:
5429:
5424:
5419:
5413:
5411:
5405:
5404:
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5401:
5396:
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5175:
5174:
5169:
5164:
5159:
5154:
5149:
5144:
5139:
5134:
5129:
5124:
5122:Santa Leocadia
5119:
5114:
5109:
5104:
5099:
5094:
5089:
5084:
5079:
5074:
5069:
5064:
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5019:
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4930:Puerta del Sol
4927:
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4907:
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4778:
4776:
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4766:
4761:
4756:
4751:
4746:
4741:
4739:Ciudad Rodrigo
4736:
4730:
4728:
4722:
4721:
4719:
4718:
4713:
4708:
4703:
4698:
4693:
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4506:
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4496:
4491:
4486:
4480:
4478:
4474:Archdiocese of
4470:
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4466:
4461:
4456:
4451:
4446:
4441:
4436:
4430:
4428:
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4181:
4175:
4174:
4167:
4166:
4159:
4152:
4144:
4138:
4137:
4129:
4128:External links
4126:
4124:
4123:
4118:
4105:
4094:
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4053:
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3728:
3710:(3): 381–401,
3694:
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3398:
3392:
3391:
3378:
3377:
3364:
3363:
3354:
3353:
3344:
3341:
3337:Dives Toletana
3296:
3293:
3271:variations of
3253:Sistine Chapel
3169:Mozarabic rite
3139:. Since 1440,
3119:
3116:
3112:Hombre de Palo
3082:
3079:
3038:
3035:
3034:
3033:
3026:
3025:
3019:
3018:
3009:
2999:
2993:
2987:
2981:
2974:
2973:
2967:
2966:
2959:
2958:
2952:
2951:
2944:
2943:
2933:
2930:
2877:or Harff near
2860:Corpus Christi
2842:The Monstrance
2835:
2832:
2777:
2774:
2747:
2744:
2680:
2677:
2628:
2625:
2607:, the work of
2596:
2593:
2579:
2576:
2535:of archbishop
2489:Claudio Coello
2453:Francisco Goya
2359:
2356:
2350:
2347:
2346:
2345:
2338:
2337:
2326:
2325:
2314:
2313:
2302:
2301:
2298:Íñigo Comontes
2276:
2273:
2260:
2259:
2254:
2253:
2249:
2243:
2242:
2234:
2228:
2227:
2214:In 1435, High
2212:
2202:Álvaro de Luna
2170:
2167:
2166:
2165:
2161:
2112:seat of honuor
2078:
2075:Sala Capitular
2071:
2070:
2069:
2058:
2057:
2045:
2044:
2037:
2036:
2025:
2024:
2016:
2013:
2007:
2004:
2003:
2002:
1978:
1977:
1961:
1960:
1948:
1947:
1940:
1939:
1928:
1927:
1907:
1904:
1847:
1844:
1768:
1765:
1728:
1725:
1708:
1705:
1685:Felipe Vigarny
1681:Rodrigo Alemán
1647:
1644:
1638:
1635:
1604:Faqih's Pillar
1575:
1572:
1562:
1559:
1533:
1530:
1521:
1518:
1504:
1501:
1488:
1485:
1483:
1480:
1409:
1408:
1398:
1370:
1367:
1301:
1300:
1294:
1284:
1274:
1264:
1249:
1246:
1218:Portal of Hell
1210:Last Judgement
1208:Portal of the
1123:
1120:
1118:
1115:
1084:contador mayor
1021:
1018:
949:
946:
882:
879:
860:
857:
839:issued by the
757:priest Mariana
728:
725:
658:
655:
652:
651:
602:
600:
593:
587:
584:
572:Dives Toletana
506:Roman Catholic
484:
483:
480:
474:
473:
469:
468:
455:
449:
448:
443:
437:
436:
432:
431:
426:
420:
419:
418:Administration
415:
414:
411:
407:
406:
403:
396:
395:
392:
388:
387:
384:
380:
379:
378:Specifications
375:
374:
371:
367:
366:
363:
361:Groundbreaking
357:
356:
351:
345:
344:
339:
335:
334:
329:
323:
322:
319:
315:
314:
310:
309:
306:
300:
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294:
290:
289:
285:
284:
273:
269:
268:
263:
257:
256:
251:
247:
246:
241:
237:
236:
203:
202:
193:
192:
185:
184:
178:
177:
176:
175:
172:
171:
163:
162:
153:
150:
149:
145:
144:
143:Mary of Toledo
140:
139:
131:
128:
125:
124:
39:
37:
30:
9:
6:
4:
3:
2:
5587:
5576:
5573:
5571:
5568:
5566:
5563:
5561:
5558:
5556:
5553:
5551:
5548:
5546:
5543:
5541:
5538:
5536:
5533:
5531:
5528:
5527:
5525:
5510:
5507:
5505:
5502:
5501:
5499:
5495:
5489:
5486:
5484:
5481:
5479:
5476:
5474:
5471:
5470:
5468:
5464:
5458:
5455:
5453:
5450:
5448:
5445:
5443:
5440:
5438:
5435:
5433:
5430:
5428:
5425:
5423:
5420:
5418:
5415:
5414:
5412:
5406:
5400:
5397:
5393:
5390:
5388:
5385:
5384:
5382:
5380:
5377:
5375:
5372:
5370:
5367:
5365:
5362:
5360:
5357:
5355:
5352:
5350:
5347:
5345:
5342:
5340:
5337:
5335:
5332:
5330:
5327:
5325:
5322:
5320:
5317:
5315:
5312:
5310:
5307:
5305:
5302:
5300:
5297:
5295:
5292:
5290:
5287:
5285:
5284:Former Casino
5282:
5280:
5277:
5275:
5272:
5270:
5267:
5265:
5262:
5260:
5257:
5255:
5252:
5250:
5247:
5245:
5242:
5240:
5237:
5235:
5232:
5230:
5227:
5225:
5222:
5220:
5217:
5215:
5212:
5210:
5207:
5206:
5204:
5200:
5194:
5191:
5189:
5186:
5185:
5183:
5179:
5173:
5170:
5168:
5165:
5163:
5160:
5158:
5155:
5153:
5150:
5148:
5145:
5143:
5140:
5138:
5135:
5133:
5130:
5128:
5125:
5123:
5120:
5118:
5115:
5113:
5110:
5108:
5105:
5103:
5102:San Sebastián
5100:
5098:
5095:
5093:
5090:
5088:
5085:
5083:
5080:
5078:
5075:
5073:
5070:
5068:
5067:San Idelfonso
5065:
5063:
5060:
5058:
5055:
5053:
5050:
5048:
5047:San Bartolomé
5045:
5043:
5040:
5038:
5035:
5033:
5030:
5028:
5025:
5023:
5020:
5018:
5015:
5013:
5010:
5008:
5005:
5003:
5000:
4998:
4995:
4993:
4990:
4988:
4985:
4983:
4980:
4978:
4975:
4973:
4970:
4968:
4965:
4964:
4962:
4958:
4953:
4946:
4936:
4933:
4931:
4928:
4926:
4923:
4921:
4918:
4916:
4913:
4911:
4908:
4906:
4903:
4901:
4898:
4896:
4893:
4892:
4890:
4886:
4882:
4879:
4872:
4867:
4865:
4860:
4858:
4853:
4852:
4849:
4836:
4833:
4832:
4829:
4823:
4820:
4818:
4815:
4813:
4810:
4808:
4805:
4803:
4800:
4798:
4795:
4793:
4790:
4788:
4785:
4783:
4780:
4779:
4777:
4775:
4771:
4765:
4762:
4760:
4757:
4755:
4752:
4750:
4747:
4745:
4742:
4740:
4737:
4735:
4732:
4731:
4729:
4727:
4723:
4717:
4714:
4712:
4709:
4707:
4704:
4702:
4699:
4697:
4694:
4692:
4689:
4687:
4684:
4682:
4679:
4678:
4676:
4674:
4670:
4664:
4661:
4659:
4656:
4654:
4651:
4649:
4646:
4644:
4641:
4639:
4636:
4635:
4633:
4631:
4627:
4621:
4618:
4616:
4613:
4611:
4608:
4606:
4603:
4601:
4598:
4596:
4593:
4591:
4588:
4586:
4583:
4582:
4580:
4578:
4574:
4568:
4565:
4563:
4560:
4558:
4555:
4553:
4550:
4548:
4545:
4543:
4540:
4538:
4535:
4533:
4530:
4529:
4527:
4525:
4521:
4515:
4512:
4510:
4507:
4505:
4502:
4500:
4497:
4495:
4492:
4490:
4487:
4485:
4482:
4481:
4479:
4477:
4471:
4465:
4462:
4460:
4459:San Sebastián
4457:
4455:
4452:
4450:
4447:
4445:
4442:
4440:
4437:
4435:
4432:
4431:
4429:
4427:
4423:
4417:
4414:
4412:
4409:
4407:
4404:
4402:
4399:
4398:
4396:
4394:
4390:
4384:
4381:
4379:
4376:
4374:
4371:
4369:
4366:
4364:
4361:
4359:
4356:
4355:
4353:
4351:
4347:
4341:
4338:
4336:
4333:
4331:
4328:
4326:
4323:
4322:
4320:
4318:
4314:
4308:
4305:
4303:
4300:
4298:
4295:
4293:
4290:
4288:
4285:
4283:
4280:
4278:
4275:
4273:
4270:
4269:
4267:
4265:
4261:
4255:
4254:Vitoria (New)
4252:
4250:
4249:Vitoria (Old)
4247:
4245:
4242:
4240:
4237:
4235:
4232:
4230:
4227:
4225:
4222:
4221:
4219:
4217:
4213:
4208:
4198:
4195:
4193:
4190:
4188:
4185:
4184:
4182:
4180:
4176:
4172:
4165:
4160:
4158:
4153:
4151:
4146:
4145:
4142:
4135:
4132:
4131:
4121:
4119:84-241-4396-5
4115:
4111:
4106:
4103:
4102:84-931476-5-6
4099:
4095:
4092:
4089:
4088:84-400-5928-0
4085:
4081:
4078:
4075:
4072:
4069:
4067:84-239-7645-9
4063:
4059:
4054:
4051:
4050:84-86770-74-2
4047:
4042:
4039:
4037:84-03-59167-5
4033:
4029:
4024:
4021:
4019:84-241-4719-7
4015:
4011:
4006:
4003:
4000:
3999:
3994:
3993:
3981:
3980:
3972:
3957:
3951:
3947:
3946:
3938:
3929:
3920:
3911:
3902:
3895:
3890:
3883:
3877:
3870:
3866:
3860:
3851:
3842:
3833:
3824:
3816:
3812:
3808:
3806:9788480030847
3802:
3798:
3791:
3783:
3776:
3767:
3758:
3749:
3742:, p. 475
3741:
3740:
3732:
3725:
3721:
3717:
3713:
3709:
3705:
3698:
3690:
3684:
3680:
3679:
3671:
3663:
3657:
3653:
3652:
3645:
3637:
3631:
3627:
3626:
3618:
3611:
3607:
3601:
3595:
3590:
3583:
3577:
3569:
3567:9780271043814
3563:
3559:
3552:
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2800:supported by
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2498:Pope Paul III
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2384:Luca Giordano
2381:
2380:Eugenio Caxés
2377:
2369:
2368:Luca Giordano
2364:
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2310:Pedro de Mena
2307:
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2027:
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2022:
2019:
2018:
2012:
2000:
1996:
1992:
1988:
1987:
1982:
1975:
1971:
1966:
1963:
1962:
1958:
1954:
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1930:
1929:
1925:
1921:
1917:
1913:
1910:
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1903:
1899:
1897:
1894:and his wife
1893:
1887:
1885:
1881:
1875:
1867:
1863:
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1857:
1853:
1843:
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1840:Julio Pascual
1837:
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1498:
1497:Neo-Classical
1494:
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1443:
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1406:
1402:
1401:Portal of Joy
1399:
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1108:
1103:
1102:Villalpando.
1100:
1095:
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1089:
1085:
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1077:
1073:
1069:
1065:
1061:
1060:
1054:
1050:
1048:
1045:was built in
1044:
1040:
1036:
1035:Imperial City
1026:
1017:
1015:
1009:
1007:
1003:
999:
998:Pedro Tenorio
994:
990:
988:
983:
977:
972:
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966:
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954:
945:
943:
939:
938:quadripartite
935:
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928:
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920:
914:
911:
907:
902:
897:
887:
878:
876:
871:
866:
856:
854:
850:
846:
842:
838:
834:
833:Pope Urban II
829:
824:
820:
815:
814:, beginning:
813:
809:
804:
802:
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790:
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782:
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764:
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724:
722:
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716:archeological
713:
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686:
682:
676:
671:
663:
648:
645:
637:
627:
623:
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613:
612:
608:
603:This section
601:
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568:
566:
563:
559:
555:
551:
547:
546:
541:
537:
533:
529:
528:Ferdinand III
525:
520:
518:
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513:Toledo, Spain
510:
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331:Master Martín
330:
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121:
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89:
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82:
78:
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71:
68: –
67:
63:
62:Find sources:
56:
52:
46:
45:
40:This article
38:
34:
29:
28:
19:
5452:Teatro Rojas
5259:Cerro del Bu
5202:Other sights
5166:
5132:Santa Úrsula
5057:San Clemente
5052:San Cipriano
4992:La Magdalena
4834:co-cathedral
4662:
4600:Lleida (New)
4595:Lleida (Old)
4340:Madrid (New)
4335:Madrid (Old)
4109:
4057:
4027:
4009:
3978:
3971:
3959:. Retrieved
3944:
3937:
3928:
3919:
3910:
3901:
3889:
3881:
3876:
3871:in Portugal.
3859:
3850:
3841:
3832:
3823:
3796:
3790:
3781:
3775:
3766:
3757:
3748:
3738:
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3617:
3605:
3600:
3589:
3581:
3576:
3557:
3551:
3532:
3526:
3518:
3513:
3493:
3486:
3472:
3461:
3428:Spain portal
3394:
3380:
3366:
3356:
3346:
3336:
3319:and that of
3314:
3298:
3284:
3280:
3276:
3269:
3260:
3248:
3244:
3236:
3234:
3230:
3223:
3215:
3212:
3177:
3171:, which had
3161:
3121:
3111:
3108:
3096:
3092:
3086:
3084:
3074:
3071:
3067:
3061:
3059:
3054:
3050:
3048:
3022:
2970:
2955:
2940:
2935:
2911:
2906:
2902:
2898:
2883:
2868:
2851:
2847:
2845:
2823:
2814:
2811:
2801:
2797:
2791:
2786:
2779:
2769:
2759:
2757:
2735:Narciso Tomé
2714:
2704:
2698:
2673:
2664:
2660:
2657:
2653:
2648:
2644:
2642:
2638:
2617:Juan Carreño
2602:roof lantern
2598:
2589:
2585:
2581:
2561:
2529:
2524:
2514:
2506:
2496:
2495:'s portrait
2486:
2475:
2456:
2424:
2419:
2410:
2396:
2372:
2352:
2341:
2333:
2329:
2317:
2305:
2284:
2280:
2268:
2267:
2262:
2261:
2246:
2238:
2231:
2224:King John II
2209:
2199:
2181:
2158:
2140:
2136:
2131:Narciso Tomé
2122:
2121:
2117:
2107:
2104:
2086:
2082:
2080:
2074:
2066:the Escorial
2061:
2048:
2040:
2028:
2020:
2009:
1998:
1990:
1964:
1943:
1931:
1920:screen-maker
1919:
1911:
1900:
1888:
1880:Juana Manuel
1876:
1872:
1851:
1849:
1832:Juan Francés
1829:
1817:roof lantern
1802:
1784:
1780:
1778:
1761:
1757:
1753:
1749:
1742:
1722:
1718:
1710:
1697:
1669:Pedro Gumiel
1665:Enrique Egas
1657:
1640:
1612:
1608:this section
1603:
1593:
1585:
1547:
1543:
1525:
1523:
1508:
1506:
1493:Level Portal
1492:
1490:
1487:Level Portal
1467:
1465:
1458:
1439:
1431:
1424:
1417:
1410:
1400:
1394:
1386:
1384:
1378:
1363:
1359:
1358:
1354:
1309:Annunciation
1302:
1296:
1286:
1283:can be seen.
1276:
1266:
1260:
1253:
1251:
1242:
1236:
1221:
1217:
1215:
1207:
1174:
1166:
1162:
1158:
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1148:
1139:
1137:
1131:
1104:
1096:
1083:
1057:
1051:
1034:
1031:
1010:
1002:Saint Blaise
995:
991:
979:
974:
968:
965:Petrus Petri
962:
931:
915:
892:
881:The building
875:Gothic style
862:
831:
826:
823:In English:
822:
817:
805:
778:
765:
760:
738:
707:
701:
678:
673:
668:
640:
631:
616:Please help
604:
575:
571:
569:
543:
521:
501:
489:
487:
333:Petrus Petri
327:Architect(s)
313:Architecture
261:Denomination
212:39°51′25.5″N
113:
104:
94:
87:
80:
73:
61:
49:Please help
44:verification
41:
5488:Plaza Nueva
5408:Museums and
5334:Roman baths
5152:San Vicente
5077:San Lorenzo
4987:El Salvador
4653:Guadalajara
4643:Ciudad Real
3894:Elías Tormo
3497:. Alianza.
3265:Alonso Lobo
3208:double bass
3157:Archpriests
3132:Eucharistic
3128:monasteries
3124:Renaissance
2787:Las Alhajas
2770:tenebrarios
2663:and of the
2661:Rose Window
2645:Rose Window
2621:Recceswinth
2480:, 1579, by
2354:cathedral.
1936:protonotary
1836:rood screen
1787:in 1500 by
1714:Guadalajara
1615:Alfonso VII
1574:Main Chapel
1555:papal tiara
1466:The bronze
1446:plateresque
1435:pendentives
1426:Rose Window
1291:iconography
1226:Palm Sunday
1188:apostolates
1169:(Portal of
1140:main façade
1072:grandmaster
1047:Renaissance
982:Ciudad Real
969:Pedro Pérez
819:patribus...
582:and music.
524:High Gothic
478:Organist(s)
424:Archdiocese
354:High Gothic
304:Consecrated
227: /
5524:Categories
5264:Cigarrales
5147:Santo Tomé
5037:San Andrés
4782:Albarracín
4759:Valladolid
4557:Las Palmas
3995:In Spanish
3990:References
3235:Among the
3198:and other
3184:flageolets
3141:polyphonic
2856:monstrance
2766:candelabra
2711:tabernacle
2511:Caravaggio
2420:El Expolio
2290:archivolts
2188:, and its
2087:artesonado
1924:arcosolium
1856:Trastámara
1677:polychromy
1551:buttressed
1513:archivolts
1395:New Portal
1180:archivolts
1076:altarpiece
987:stonemason
967:(Spanish:
942:tiercerons
837:Papal bull
795:, and the
681:Visigothic
562:ambulatory
441:Archbishop
77:newspapers
5214:Alhóndiga
5097:San Román
5082:San Lucas
4881:landmarks
4787:Barbastro
4610:Tarragona
4494:Mondoñedo
4434:Calahorra
4416:Santander
4282:Cartagena
4187:Barcelona
3961:8 January
3869:Manueline
3815:432032847
3463:USA Today
3343:Citations
3331:, and of
2948:Sancha II
2890:maravedís
2806:Quo Vadis
2785:, called
2545:zucchetto
2539:, son of
2503:Velázquez
2399:Herrerian
2194:St. James
2184:) of the
1850:The name
1627:Sancho IV
1194:. In the
1144:Mozarabic
1105:Cardinal
1064:Mozarabic
749:Constance
745:Mozarabic
634:July 2023
605:does not
574:(meaning
558:triforium
548:with the
370:Completed
297:Cathedral
215:4°01′26″W
107:July 2023
5497:See also
5249:Bullring
5112:Santa Fé
4807:Tarazona
4716:Valencia
4701:Orihuela
4681:Alicante
4658:Sigüenza
4638:Albacete
4449:Pamplona
4239:Palencia
4197:Terrassa
3400:See also
3259:. Other
3220:surplice
3206:and the
3192:sackbuts
3062:Cloister
3037:Cloister
2990:Henry II
2824:Custodia
2802:tenantes
2723:painting
2482:El Greco
2415:El Greco
2403:lunettes
2374:artists
2358:Sacristy
2152:chasuble
2091:coffered
2083:Antesala
1974:muqarnas
1809:El Greco
1797:Henry II
1701:predella
1693:filigree
1561:Interior
1420:cherubim
1360:Interior
1343:and the
1313:Nativity
1305:tympanum
1200:chasuble
1196:tympanum
1117:Exterior
1043:cenotaph
901:triforia
896:transept
693:Reccared
689:Arianism
550:cloister
240:Location
5181:Bridges
4754:Segovia
4711:Segorbe
4615:Tortosa
4605:Solsona
4567:Seville
4542:Córdoba
4499:Ourense
4439:Logroño
4401:Astorga
4368:Cáceres
4358:Badajoz
4287:Granada
4272:Almería
3724:3045689
3329:Seville
3309:Le Mans
3299:Bishop
3145:Castile
3122:As the
3051:al-cana
3012:John II
2879:Cologne
2813:of the
2731:Baroque
2701:Baroque
2667:are by
2407:frescos
2258:chapel.
2247:Burials
2232:Retable
2210:History
1972:called
1970:corbels
1745:chapels
1646:Retable
1589:retable
1454:Solomon
1442:mullion
1341:Baptism
1190:in the
1186:and an
1184:mullion
927:Le Mans
923:Bourges
906:Mudéjar
870:primacy
801:arcades
789:Granada
781:Seville
759:in his
753:Sahagún
721:Cordova
712:minaret
657:Origins
626:removed
611:sources
586:History
554:Mudéjar
504:, is a
494:Spanish
465:Chapter
463:of the
288:History
272:Website
250:Country
155:Spanish
91:scholar
4878:Toledo
4812:Teruel
4797:Huesca
4792:Monzón
4764:Zamora
4663:Toledo
4648:Cuenca
4585:Girona
4547:Huelva
4484:Ferrol
4464:Tudela
4411:Oviedo
4373:Mérida
4330:Getafe
4307:Murcia
4302:Málaga
4292:Guadix
4229:Bilbao
4224:Burgos
4116:
4110:Toledo
4100:
4086:
4064:
4048:
4034:
4016:
3952:
3813:
3803:
3722:
3685:
3658:
3632:
3564:
3539:
3501:
3317:Burgos
3305:Gothic
3257:motets
3188:flutes
3149:Aragon
3075:alcana
3055:alcana
3016:Burgos
2996:John I
2894:reales
2875:Jülich
2864:Toledo
2740:heaven
2727:marble
2719:stucco
2605:cupola
2568:Rubens
2557:Aachen
2493:Titian
2296:or to
2108:alicer
2053:Niebla
1916:screen
1596:Pulpit
1495:is of
1339:, the
1335:, the
1331:, the
1327:, the
1323:, the
1319:, the
1315:, the
1311:, the
934:vaults
793:Málaga
704:mosque
697:Muslim
565:vaults
540:mosque
509:church
435:Clergy
429:Toledo
410:Height
383:Length
342:church
321:Active
293:Status
244:Toledo
93:
86:
79:
72:
64:
5399:Walls
4888:Gates
4734:Ávila
4696:Ibiza
4552:Jerez
4537:Ceuta
4532:Cádiz
4363:Coria
4244:Soria
3720:JSTOR
3442:Notes
3386:King
3327:, of
3325:Cádiz
3216:moços
3196:harps
3153:organ
2908:1524.
2798:tondo
2761:rejas
2551:that
2549:tiara
2429:Prado
2190:cross
2182:cloak
1532:Tower
1472:Úbeda
1450:David
1281:ollas
1271:clogs
1192:jambs
1006:Siena
919:Paris
812:Latin
808:María
769:faqih
472:Laity
402:width
391:Width
349:Style
254:Spain
98:JSTOR
84:books
4514:Vigo
4489:Lugo
4444:Jaca
4406:León
4297:Jaén
4277:Baza
4234:Osma
4114:ISBN
4098:ISBN
4084:ISBN
4062:ISBN
4046:ISBN
4032:ISBN
4014:ISBN
3963:2012
3950:ISBN
3811:OCLC
3801:ISBN
3683:ISBN
3656:ISBN
3630:ISBN
3562:ISBN
3537:ISBN
3499:ISBN
3321:León
3247:and
3204:oboe
3190:and
3147:and
3085:The
2768:and
2615:and
2533:cope
2519:and
2378:and
2237:the
1825:Oran
1779:The
1737:reja
1667:and
1617:and
1524:The
1507:The
1491:The
1476:Jaén
1468:reja
1452:and
1385:The
1303:The
1252:The
1216:The
1171:Hell
1151:dome
1138:The
1059:reja
976:God.
932:The
925:and
841:Pope
785:Jaén
708:sahn
609:any
607:cite
545:sahn
488:The
461:Dean
453:Dean
400:Nave
373:1493
365:1227
70:news
4620:Vic
4509:Tui
3712:doi
3283:or
3194:),
3137:God
3053:or
2912:On
2862:of
2523:'s
2513:'s
2505:'s
2459:),
2089:(a
1890:of
1695:).
1679:),
1610:).
1202:to
620:by
511:in
308:587
281:.es
277:www
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