Toledo Cathedral facts for kids

Quick facts for kids Toledo Cathedral
Mary of Toledo
Toledo Cathedral
Spanish: Catedral Primada Santa María de Toledo
Toledo Cathedral Location in Castilla-La Mancha
39°51′25.5″N 4°01′26″W / 39.857083°N 4.02389°W / 39.857083; -4.02389
Location	Toledo
Country	Spain
Denomination	Roman Catholic Church
History
Status	Cathedral
Consecrated	587
Architecture
Functional status	Active
Architect(s)	Master Martín Petrus Petri
Architectural type	church
Style	High Gothic
Groundbreaking	1227
Completed	1493
Specifications
Length	120 metres (390 ft)
Width	59 metres (194 ft)
Nave width	18 metres (59 ft)
Height	44.5 metres (146 ft)
Administration
Archdiocese	Toledo

The Primatial Cathedral of Saint Mary of Toledo, also known as Toledo Cathedral, is a very important Roman Catholic church in Toledo, Spain. It is the main church for the Archdiocese of Toledo.

This cathedral is one of Spain's three great High Gothic cathedrals from the 1200s. Many people consider it a masterpiece of the Gothic style in Spain. Building began in 1226 under King Ferdinand III. The last Gothic parts were added in 1493, when the main ceiling vaults were finished. This happened during the time of the Catholic Monarchs.

The design was inspired by the Bourges Cathedral in France. However, its five main sections were planned to cover the space of an older city mosque. It also includes some Mudéjar style, especially in the cloister, with its unique arches. The way light enters the building and the amazing ceiling designs are very special. It is built using white limestone from nearby quarries.

People often call it Dives Toletana, which means The Rich Toledan in Latin. A special part of the cathedral, the Mozarabic Chapel, still uses the ancient Hispano-Mozarabic Rite and its traditional music.

History of Toledo Cathedral

Early Beginnings

For many years, people believed that a church stood on this spot even before the current cathedral. This first church was thought to be from the time of Archbishop Eugene in the year 587. An old inscription from the 1500s supports this idea. It says the Church of Saint Mary was made Catholic on April 13, 587.

Toledo was a very important religious city for the Visigoths. Many important church meetings, called Councils of Toledo, happened here. When Muslims took over Spain, Christian presence did not disappear right away. The bishop's seat stayed in the church of Saint Mary of Alfizén.

Later, the Visigothic church was torn down. A large mosque was built in its place. Some experts think the mosque's prayer hall matched the five sections of today's cathedral. The mosque's courtyard might have been where the current cloister is. The minaret, or prayer tower, might have been where the bell tower stands now. You can still see some old Islamic parts, like a column in the Saint Lucy chapel. Also, the arches in the main chapel look like those found in Muslim buildings from Cordova.

King Alfonso VI and the Cathedral

In 1085, King Alfonso VI took back Toledo from the Muslims. To avoid fighting, he promised to respect their schools, customs, and religion. This included keeping the main mosque.

However, when the king was away, his wife Constance and the archbishop, Bernard of Sedirac, took action. On October 25, 1087, they sent armed men to take the mosque by force. They set up a Christian altar and hung a bell. King Alfonso VI was very angry about this. He even thought about punishing those involved.

But, the local Muslim leaders, especially a wise man named Abu Walid, helped keep the peace. They asked the king to be merciful and urged their people to accept the change. Because of this, the Cathedral Chapter honored Abu Walid. They placed his statue on a pillar in the main chapel to remember his actions. This is how the mosque became a Christian cathedral.

We don't have the original plans of the mosque. But it was likely a building with many columns and horseshoe arches. It might have looked similar to the Church of the Savior in Toledo, which was also once a mosque.

King Alfonso VI gave many gifts to the new church. In 1086, he put the cathedral under the care of Mary. He also gave it land, mills, and a share of income from other city churches. In 1088, Pope Urban II recognized Toledo Cathedral as the most important church in the kingdom. The mosque-cathedral stayed until the 1200s. In 1222, the Pope allowed a new cathedral to be built. Construction started in 1224 or 1225. The official groundbreaking was in 1226 or 1227, with King Ferdinand the Saint present.

Archbishop Ximénez de Rada's Vision

The cathedral's current design was set in the 1200s. This happened when Rodrigo Ximénez de Rada was archbishop and Ferdinand III of Castile was a young king. Work officially began in 1227. Ximénez de Rada became archbishop in 1209. He strongly believed that Toledo should have the most important church. He wanted to build a grand cathedral that would be worthy of the city.

The old mosque-cathedral was large but had a low roof. It was also getting old. Ximénez de Rada was very excited about building a new cathedral in the modern Gothic style. He was so involved that people later thought he was the architect. He spent years preparing the old building for his dream to come true.

The Cathedral Building

The cathedral's design is heavily influenced by French Gothic style from the 1200s. But it also has Spanish touches. It is 120 metres (390 ft) long, 59 metres (194 ft) wide, and 44.5 metres (146 ft) high. It has five main sections, a transept (the cross-arm of the church), and a double ambulatory (a walkway around the altar). The outer sections are a bit wider than the others.

The oldest part is the sanctuary, which still has its original triforia. These were upper galleries that ran along the naves. Later, they were replaced with large stained-glass windows. The surviving triforia in the sanctuary show Mudéjar influence. They have arches resting on columns and interlaced arches. It's not clear if these Mudéjar designs were copied from the old mosque or added later.

The sanctuary has a double ambulatory, which is very large. It has unique architecture and ceiling designs. The chapels around it have alternating rectangular and triangular shapes. This made each chapel a different size. This design can be seen in French cathedrals like Paris, Bourges, and Le Mans.

The ceilings of the main sections are quadripartite vaults. This means they have four parts. The transept and chancel ceilings are stronger, with extra ribs called tiercerons.

Master Builders and Supporters

For a long time, people believed that Petrus Petri (also known as Pedro Pérez) was the first master architect of Toledo Cathedral. This was based on an old inscription on a tombstone. It said Petrus Petri, who died in 1291, built the temple.

However, in the mid-1900s, new documents were found. These showed there was an earlier master named Martín. He was French and was hired by Archbishop Ximénez de Rada. One document from 1227 mentions "Master Martín of the work of Saint Mary of Toledo." This suggests he was the first architect. Also, Petrus Petri would have been too young to be an architect when construction started.

Later studies suggest Master Martín designed the chapels around the ambulatory. When he left or died, Petrus Petri took over. He finished the ambulatories and built the triforia in the Toledo style. By the end of the 1200s, the sanctuary and two sections of the south side were complete.

In the late 1300s, Master Rodrigo Alfonso was documented. He laid the first stone of the cloister in 1389. This was under Archbishop Pedro Tenorio. The archbishop oversaw many cathedral projects, like the Saint Blaise chapel. This chapel is famous for its beautiful frescos.

The next known master was Alvar Martínez. He designed the west façade, which started in 1418. This façade was changed in 1787, so its original look is hidden. He also designed the cathedral's only tower. The tower's top was finished by a great sculptor named Hanequin de Bruselas from Flanders. He worked with other famous masters like Egas Cueman and Juan Guas. They completed the Gothic work. The central nave's ceiling vaults were finished in 1493. This was directed by Juan Guas and Enrique Egas, with support from Cardinal Mendoza.

Great Patrons of the 1500s

During the 1500s, 1600s, and 1700s, the cathedral was updated with new styles. This included grand entrances, chapels, sculptures, and paintings. The 1500s were a golden age for Toledo, which was called the Imperial City. Important church leaders, called archbishop-governors, supported these changes.

In 1493, Cardinal Mendoza oversaw the completion of the last vault. He wanted to be buried in the presbytery. His tomb, built in the early 1500s, was one of the first Renaissance style tombs in Castile. It is thought to be by Domenico Fancelli or Andrea Sansovino.

Cardinal Cisneros was archbishop for 22 years. He sponsored many important works, like the Mozarabic chapel. Masters like Juan Francés (iron screen), Enrique Egas, and Juan de Borgoña (paintings) worked on it. Cisneros also ordered the main altarpiece by Diego Copín de Holanda. He also built a cloister for the priests and a library.

Later, Archbishop Alfonso de Fonseca y Acevedo promoted the New Kings chapel. This was designed by architect Alonso de Covarrubias. Paintings by Mariano Salvador Maella were added in the 1700s.

Under Bishop Juan Tavera, the Toledo Renaissance reached its peak. The choir by Alonso Berruguete and Felipe Vigarny was built. Also, the transept's inner façades and the Saint John chapel were added. Archbishop Juan Martínez Siliceo added the screen to the main chapel, made by Francisco de Villalpando.

Cardinal Gaspar de Quiroga was responsible for the Tabernacle chapel, the Reliquary, and the treasurer's house. These were designed by Nicolás de Vergara el Mozo. To build this, the Hospital of the King was torn down and rebuilt. These works continued into the 1600s under Cardinal Bernardo de Sandoval y Rojas.

Outside the Cathedral

Main Entrance and Great Portals

The main entrance faces a square with the town hall and the Archbishop's Palace. On the left is the bell tower. On the right is the Mozarabic chapel, where a second tower was planned but never built.

The cathedral has only one tower. The lower, square part was designed by Alvar Martínez. The upper, octagonal part was designed by Hanequin de Bruselas. It ends in a tall spire.

The main entrance has three large doors: Puerta del Perdón (Portal of Forgiveness) in the center, Puerta del Juicio Final (Portal of the Last Judgment) on the right, and Puerta del Infierno (Portal of Hell) on the left.

The Portal of Forgiveness is from the 1400s. It was started in 1418 by Alvar Martínez. It's called this because people who entered through it could receive forgiveness. Today, it's usually closed and only used for special events. It has a large arch with six Gothic archivolts. The carvings show Christian scenes. The Virgin Mary gives a special robe to Saint Ildephonsus, a very important story for the cathedral. The bronze doors are from the 1300s and are over five meters tall.

The Portal of the Last Judgement is the oldest of the three. It shows scenes of the Last Judgment.

The Portal of Hell has only flower decorations, no figures. It's also called the Portal of the Tower or of the Palms. This is because it was used for the Palm Sunday procession.

The main entrance was changed in 1787 by Eugenio Durango and Mariano Salvatierra. This was needed because the stone was old and damaged.

Portal of the Clock

The Portal of the Clock is the oldest entrance. It was started in the 1300s and is on the north side. It has other names too:

• Portal of the Fair, because a market fair was held outside it.
• Portal of the Chapinería, because it faces a street where shoes were made.
• Portal of the Ollas, because it has carvings of pots (ollas).
• Portal of the Monarchs, for the kings shown in its sculptures.
• Portal of the Lost Boy, also for its carvings.

The arch above the door shows scenes from the life of Christ. These include the Annunciation, Nativity, and Adoration of the Magi. At the top, the Death of the Virgin is shown. A statue of the Virgin and Child is in the middle of the doorway. The sides have statues of kings and saints, made by Juan Alemán.

Above this portal, there are later sculptures by Gregorio López Durango. A clock face is in the center, giving the portal its name. The entrance is protected by a Gothic iron screen by Juan Francés.

Inside, there are medallions, paintings, and coats of arms. The best medallions are by Nicolás de Vergara el Mozo and Juan Bautista Vázquez. Above is a beautiful 13th-century rose window with the cathedral's oldest stained glass.

Portal of the Lions

The Portal of the Lions was built in the 1400s and 1500s. It is the newest of the large entrances. It's named for the lions on top of the columns at its gate. It's also called:

New Portal, because it was the last one built.

Portal of Joy, referring to the celebration of the Assumption of the Virgin shown above the arches.

It was built between 1460 and 1466. Architects like Hanequin of Brussels and Enrique de Egas Cueman worked on it. They collaborated with Flemish sculptors and Juan Alemán.

The statues on this portal are some of the best from the 1400s in Spain. The Virgin Mary statue and the angels are especially delicate. The façade was later changed by Durango and Salvatierra. The bronze doors are a masterpiece by Francisco de Villalpando. They have 35 carved panels. Above is a large, colorful rose window.

The inside of this portal leads to the south side of the transept. Above it is a small balcony with the Emperor's organ. Higher up is the rose window.

Below the rose window, the portal is divided by a central column. The carvings above the doors show the Virgin Mary's family tree. Above this is a plateresque carving of the Coronation of the Virgin by Gregorio Pardo. Statues of David and Solomon are on either side.

Two tombs are next to this entrance. One is empty. The other holds the remains of Canon Alfonso de Rojas. The bronze screen was made in 1647 by Juan Álvarez de Molina. It is simpler and stronger than older screens.

Other Portals and Façades

Level Portal

The Level Portal is in Neo-Classical style, built in 1800. It's the only entrance without steps, making it level with the ground. Processions often used this portal to exit.

Façade of Saint Katherine

The Façade of Saint Katherine is in a late Gothic style. Its arches are carved with plants and leaves. The central pillar has carvings of castles and lions. Inside, it has two sections with statues.

Portal of the Presentation

The Portal of the Presentation is from Cardinal Tavera's time. It has rich carvings of small figures in white stone.

The Tower

The original plan was to build two matching towers on the west side. But the ground for the southern tower was unstable due to an underground stream. So, only one tower was built. The Mozarabic chapel was later built where the second tower was planned.

The tower was mostly designed and built by Alvar Martínez. It is Gothic, with some Mudéjar style. It stands 92 meters (301 ft) tall. It has four main levels and a smaller fifth level. The base holds the Treasury chapel. Between the first and second levels, there's a black marble band with Archbishop Juan Martínez de Contreras's coat of arms.

Master Martínez finished this part in 1422. But he didn't leave plans for the very top. The octagonal top part and its spire were designed by Hanequin de Bruselas. He worked with skilled masters like Egas Cueman and Enrique Egas. The spire has arches and is topped with a point that looks like a papal tiara.

Inside the Cathedral

Main Chapel

The main chapel is full of amazing art. Originally, it was two separate parts. The back part was the chapel of the Old Monarchs. This made the main altar area too small. Cardinal Cisneros wanted to rebuild it to make the presbytery (the area around the altar) wider. He also wanted space for a large Gothic retable (altarpiece) that he had ordered. Despite some disagreement, he got permission to do this.

The chapel used to have two grand stone screens on its sides. The screen on the left side was taken down to make room for Cardinal Mendoza's tomb. The screen on the right side remains. It is considered one of the most beautiful parts of the cathedral. It might have been finished during Archbishop Pedro de Luna's time. It has many statues, including angels that look like they are flying. The two pillars leading into the chapel match this stone work. On the left pillar is a statue of Martín Alhaja, a shepherd who helped King Alfonso VIII in a battle. The other pillar is called Faqih's Pillar, named after Abu Walid, who helped bring peace to Toledo (see this section).

The entire sanctuary is covered with carved figures. On the left side are the beautiful tombs of Alfonso VII and Doña Berenguela. On the right side are the tombs of Sancho III of Castile and Sancho IV. The statues of the kings were carved in wood by Copín de Holanda.

Chapel of the Sepulchre

Below the main altar is the Chapel of the Sepulchre, like a crypt. You enter it from outside the main altar area, down a staircase. It has three altars. The central altar is for the Holy Sepulchre and has a sculpture by Copín de Holanda. The right altar has paintings by Luis Medina and Francisco Ricci. The left altar is for Saint Julian and has a carving of the archbishop.

The Great Retable

The retable (altarpiece) of Toledo Cathedral is a very detailed Gothic artwork. It's one of the last examples of this style before the Renaissance took over in Spain. Cardinal Cisneros ordered it. Work started in 1497 and finished in 1504. Many artists worked on it, including Enrique Egas, Pedro Gumiel (design), Francisco de Amberes, Juan de Borgoña (painting), Rodrigo Alemán, Felipe Vigarny, Diego Copín de Holanda, and Joan Peti (carving).

The retable is very tall and has many statues. It also has delicate carvings of balusters, spires, and small arches. It has five sections, with the middle one being the widest. It is five stories tall. The central section shows scenes from the life of Jesus. At the very top is a large scene of Christ's crucifixion. Other sections show more events from Jesus's life.

Cardinal Mendoza's Tomb

Cardinal Mendoza wanted to be buried in the cathedral's main altar area. He said this in 1493. The church leaders were against it at first, as this spot was usually only for monarchs. But the choir's structure had to be changed, and the royal tombs moved, to make space for his tomb. The Catholic Monarchs supported the Cardinal, praising his services.

Cardinal Mendoza's tomb was the first Renaissance tomb in Castile. It looks like a Roman triumphal arch, which was very new and surprising at the time. It moved away from the traditional Gothic style. The artist is not fully known, but it's thought to be by Jacopo d'Antonio Sansovino from Florence.

This tomb had a huge impact on later works. Many other tombs copied its new style.

Inside Chapels: An Overview

The chapels inside the cathedral were originally planned by Rodrigo Ximénez de Rada. They surrounded the main sanctuary. Some were removed, and others were made larger or rearranged. Only the chapels of Saint Ann and Saint Giles remain from the smaller original chapels. The chapels of Saint John the Baptist and Saint Leocadia still have parts from the first era. The chapels of the Old Monarchs and Saint Lucy have only changed their decorations.

Other chapels were greatly changed or removed. For example, three small chapels were combined into the burial chapels of Saint Ildephonsus and Saint James. The chapel of the Christ of the Column became the Christ of the Students chapel.

Today, you can find the Chapels of the Old Monarchs, Saint John the Baptist, Saint Leocadia, Saint Lucy, Saint Eugene, Saint Blaise (in the cloister), Saint Peter, and the New Monarchs.

When changes were made, architects usually worked from the sanctuary outwards. This is why the current layout can sometimes seem a bit mixed up compared to the first designs. The Chapel of the Old Monarchs got its name in 1498. Cardinal Cisneros wanted to move royal tombs there, but it never happened. In the 1200s, it held Archbishop González Díaz Palomeque's remains. The Saint Lucy chapel is one of the few places where you can still see parts of the old mosque, like a column.

The chapel of Saint Eugene (also called Saint Peter the Old) is on the south side. It still has its 13th-century architecture. The chapel of Saint Peter is the largest and serves as a local parish church. The cathedral also has a heptagonal sanctuary with two rows and special vaults. It was built in the early 1400s as a burial place for Archbishop Sancho de Rojas.

Mozarabic Chapel

The Mozarabic chapel is in the southeast corner. It was built on the spot where a second tower was planned but never finished. Cardinal Cisneros named it the Chapel of the Corpus Christi in 1500. Its purpose was to provide a place of worship for followers of the Hispano-Mozarabic rites.

Centuries earlier, King Alfonso VI had given special rights to the Mozarabs of Toledo. In 1371, King Henry II confirmed these rights. By creating this chapel, Cisneros wanted to support this group of Christians. He also helped restore their old prayer books. He paid a large sum of 3800 gold coins to the Cathedral Chapter to build it. Services in the Mozarabic Rite are still held here today.

The chapel has a square floor plan and an octagonal dome. The original wooden ceiling was lost, perhaps in a fire in 1620. The current dome was designed in the 1600s by Jorge Manuel Theotocópuli, son of El Greco. It has eight sections and a large central opening for light. Inside, Cardinal Cisneros asked Juan de Borgoña to paint scenes of the conquest of Oran.

The Gothic iron screen was made by Juan Francés in 1524. It includes Cardinal Cisneros's coat of arms. The mosaic crucifix is from the 1700s. It is said to have been found at the bottom of the sea after a shipwreck. The crucifix itself is carved from a single piece of Mexican fennel root. Another Gothic screen by Julio Pascual separates the choir.

Chapel of the New Monarchs

The Chapel of the New Monarchs refers to the new royal family, the Trastámara. This chapel is on the north side, next to the chapels of Saint James and Leocadia. It has a unique and tricky entrance designed by architect Alonso de Covarrubias.

Before, this chapel was called the Royal Chapel. It was at the front of the cathedral, blocking the end of the north nave. The church leaders wanted to move it to clear the nave. Archbishop Alonso de Fonseca y Acevedo asked the King for permission. Finding a new spot was hard, but Covarrubias solved the problem.

This chapel is more like a small church. It has one nave with two sections and a polygonal apse (a rounded end). It also has a sacristy and an entrance hall. It was built between 1531 and 1534. This was Covarrubias's first big work in Toledo.

The two sections of the nave have Gothic Cross vaults. But all the decorations and tomb carvings are in Renaissance style. A screen by Domingo de Céspedes separates them. The first section is the main part of the small church with altars. In the second section are the royal tombs, moved here and placed in Renaissance vaulted tombs by Covarrubias. On one side are King Henry II and his wife Juana Manuel. In front of them are King Henry III and Catherine of Lancaster.

Two small altars in neoclassical style are at the entrance to the presbytery. The main altar is by Mateo Medina. It has a painting by Maella. On both sides of this altar are tombs with statues of John I of Castile and his wife Eleanor of Aragon.

As a historical reminder, the armor of Duarte de Almeida is kept here. He was a soldier who fought in the Battle of Toro in 1476 and lost both arms.

Chapels on the South Wall

Chapel of the Epiphany: This chapel is next to the Mozarabic chapel. Its altarpiece painting, showing the Adoration of the Magi, gave the chapel its name. It was started in 1397 by Pedro Fernández de Burgos and his wife, who are buried here. It was later restored by Luis Daza. It has a well-made screen by Juan Francés. A portrait of the chaplain is in the altarpiece. His tomb is also in this chapel. The frescos in the Chapter Room, also by Juan de Borgona, are considered the first Renaissance paintings in Castile.

Chapel of the Conception: You enter this chapel through a beautiful screen with the Salcedo family's coat of arms. Juan de Salcedo paid for its construction in 1502. Its altarpiece has paintings by Francisco de Amberes. The tomb of its patron is on the left side.

Chapel of Saint Martin: This chapel is also enclosed by a large screen, signed by Juan Francés.

The chapel has a respected altarpiece, likely by Juan de Borgoña and Francisco de Amberes. It shows Saint Martin of Tours. On the sides are the tombs of canons Tomás González de Villanueva and Juan López de León.

Chapel of Saint Eugene: This chapel is special because it keeps its original 13th-century architecture. It was once called Saint Peter's Chapel. It has a screen similar to others by Juan Francés. The altarpiece has a statue of Saint Eugene by Copín de Holanda. This chapel also holds the tomb of Fernán Gudiel, who died in 1278. It is in Mudéjar style, with plasterwork and geometric patterns. An Arabic inscription on the cornice says: "The Mother of God. To the Virgin Mary."

The other tomb is for Bishop Ferdinand of Castillo, who died in 1521. This was made by Alonso de Covarrubias. On the wall between the chapel and the Portal of the Lions is a large painting of Saint Christopher carrying the Christ child. It was painted earlier and restored in 1638.

Chapels of the Ambulatory

The original chapels were small and varied in size. Over time, changes were made that completely altered their placement and size.

Original Chapels

Chapel of Saint Lucy (Patron saint of the blind): Also called Chapel of Saint Joseph. Its original 13th-century architecture is still there. It has paintings and old inscriptions.

Chapel of the Old Monarchs: The previous chapel with this name was in the presbytery. Cardinal Cisneros had it moved to its current spot. It has a well-made screen by Domingo de Céspedes. The chapel has three interesting altarpieces. The central one has eleven Hispano-Flemish panels and a relic of the Holy Face of Jesus.

Chapel of Saint Ann: This chapel has a beautiful Plateresque screen. It contains the tomb of its sponsor, Juan de Mariana. It is one of the smallest chapels.

Chapel of Saint John the Baptist: This chapel is enclosed by a Gothic screen. Its sponsor was Fernando Díaz de Toledo, whose tomb was damaged in 1790. Only his statue remains. A valuable ivory statue of Christ is also kept here. The chapel has a sacristy.

Chapel of Saint Giles: This small chapel is considered a jewel. Its sponsor, Miguel Díaz, had the entire interior painted in a Pompeiian style, which was popular at the time. The screenwork is also very tasteful. The chapel has a small marble altar.

The Chapterhouse (Sala Capitular)

Beyond the chapels of the ambulatory is the Chapterhouse. First, you pass through a fine entrance by Diego Copin (1510) into the Antesala. This is a small old chapel that acts as a waiting room. It has a marble floor and a beautiful wooden ceiling (artesonado) by Francisco de Lara (1517). The walls have a plateresque frieze by Juan de Borgoña. The Antesala has cabinets for storage. The entrance to the Chapterhouse itself was made in 1510. It combines Mudéjar and Plateresque styles.

Cardinal Cisneros ordered the Chapterhouse to be built next to the apse in 1504. Enrique Egas drew the plans. It is a rectangular room with a beautiful wooden ceiling by Diego López de Arenas and Francisco de Lara (1508-1510). The ceiling is painted red, blue, and gold. The frieze has rich plateresque decorations. The painting and frieze were done by Luis de Medina and Alfonso Sanchez (1510).

The room has a long wooden bench for the church leaders. At the end is the archbishop's chair, carved by Copín de Holanda. Above the seats, in two rows, are portraits of all the archbishops from Saint Eugene to the most recent. Juan de Borgoña painted the early portraits.

Between the portraits and the ceiling frieze, the walls are decorated with famous frescos by Juan de Borgoña. These are a great collection of Spanish wall paintings. Columns painted to look real divide the panels, which show scenes from the life of the Virgin and the Passion of Christ.

Chapel of Saint Ildephonsus: This chapel is in the center of the ambulatory. It faces El Transparente, a Baroque altarpiece. The chapel is dedicated to Saint Ildephonsus. Its construction began in the late 1300s. Cardinal Gil Carrillo of Albornoz wanted it as a burial chapel for his family. He died in Italy in 1367, but his remains were later moved to Toledo.

The chapel takes up the space of three older chapels. It has an octagonal shape, one of the first chapels to use this design for a burial place.

On the central arch of the entrance, there's a painting of Esteban Illán. He was the one who declared Alfonso VIII king of Castile from the tower of Saint Roman. The chapel combines three styles: Gothic (arches, vaults, a tomb), Plateresque (bishop of Ávila's tomb), and Neo-Classical (central altar). This 18th-century altar was designed by Ventura Rodríguez. The large carving in its center, showing Saint Ildephonsus receiving the chasuble, is by Manuel Francisco Álvarez (1783).

Tombs in the Chapel of Saint Ildephonsus

Cardinal Gil Carrillo de Albornoz's tomb is in the center. It has Gothic decorations. To the right of the altar is the tomb of Bishop Alonso Carrillo of Albornoz, who died in 1514. This tomb, by Vasco de la Zarza, is considered the best work in the chapel. The other tombs belong to the Albornoz family.

Chapel of Saint James

This chapel is also called the Chapel of Álvaro de Luna. He was a powerful figure who ordered the chapel built as a burial place for his family. It is one of the largest chapels in the ambulatory. It takes up the space of three old chapels and has an octagonal shape. The Chapel of Saint James is in a very pure and beautiful Flamboyant Gothic style, one of the best in Spain. This style is seen in the arches, openwork carvings, and star-shaped vault. However, the outside is simpler and more Spanish. It uses granite, which contrasts with the white stone inside. The dome looks like a castle with turrets.

History

In 1435, Álvaro de Luna was at the peak of his power. He wanted his own chapel in the main cathedral. So, he bought the older chapel of Saint Thomas of Canterbury. This was the first chapel outside England dedicated to that saint. Álvaro ordered his tomb while he was still alive. It was a special bronze figure that could rise and kneel during mass. When he was executed by King John II, the chapel was still being built. His wife, Juana de Pimentel, and later his daughter, María de Luna, finished it. They ordered the carving of their parents' tombs in 1498. This was likely the year the chapel was completed by the masters who worked with Hanequin de Bruselas.

Retable

The retable is a Gothic altarpiece by Pedro de Gumiel. It has fourteen panels painted by Sancho de Zamora. María de Luna hired him in 1488. In the center is a statue of Saint James on horseback by Juan de Segovia. The bottom part shows the Weeping Before a Dead Christ. On the sides, Álvaro and his wife are shown praying, with Saint Francis and Saint Anthony.

Burials

The two tombs 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 at the corners are very well made. A Knight of Santiago kneels at each corner of Álvaro's tomb. Four Franciscan friars are at the corners of his wife's tomb.

In the left wall are the tombs of Juan de Luna (Álvaro's son), Álvaro de Luna (father), Archbishop Juan of Cerezuela (brother), and Archbishop Pedro de Luna (uncle). The Dukes Infante have their own burial crypt below the chapel.

Chapel of Saint Leocadia: This chapel has a stone screen in Flamboyant style. It was the burial chapel for Canon Juan Ruiz Ribera, who had it restored in 1536. His ashes are in an urn. His uncle, Juan Ruiz the Elder, is buried in the front wall. The altarpiece has a painting of Saint Leocadia from the 1700s by Ramón Seyro.

Chapel of the Christ of the Column: This is a very small chapel. Its most important feature is the altar, thought to be by Diego Copín de Holanda. It has beautiful carvings of Christ on the column, with Saint Peter and Saint John praying.

Chapels on the North Wall

Chapel of Saint Peter: This chapel is between the Portal of the Clock and the Chapel of Saint Catherine. Its patron was Sancho de Rojas, who is buried here. It sometimes serves as a parish church. The entrance has an iron screen and a Gothic portal. The portal is decorated with plants and symbols, including the five-star motif of the Rojas family. The inside wall has frescos thought to be by Pedro Berruguete. A bust of the archbishop is at the top of the arch. In the center is a Gothic statue of Saint Peter on his throne.

Chapel of Mercy: This chapel was founded by Canon Alfonso Martínez for his burial. The altar is dedicated to Saint Teresa. Her statue is thought to be by Pedro de Mena.

Chapel of the Baptismal Font: The most notable part is the iron screen by Domingo of Céspedes. The bronze baptismal font is highly decorated with Gothic-Renaissance elements.

Chapel of Our Lady of La Antigua: This chapel has a decorated iron screen. It is dedicated to the Virgen de la Antigua. Tradition says this image existed before the Muslim conquest of Toledo.

Chapel of Doña Teresa de Haro: Also known as the Christ of the Spoons. This refers to the ladles on the coat of arms of the López de Padilla family. It was founded by Teresa de Haro.

Herrerian Style Areas

This section describes the Sacristy, the vestuary, the Treasurer's courtyard and house, the Chapel of the Tabernacle, and the Chapel of the Eighths. These are all on the north side of the cathedral and show the Herrerian building style.

Sacristy

The sacristy holds many valuable art pieces from the cathedral. It is a large area with an ante-sacristy and a vestuary. The ante-sacristy is a rectangular room with paintings by Italian artists Vincenzo Carducci and Eugenio Caxés, as well as Francisco Ricci and Luca Giordano.

The sacristy was designed by Francisco Vergara the Greater and Juan Bautista Monegro in Herrerian style. The barrel vault ceiling is richly decorated with frescos by Luca Giordano. The main painting shows The Clothing of Saint Ildephonsus with the Chasuble. This scene is repeated throughout the cathedral. The walls have many framed paintings by great masters. The most famous are fifteen works by El Greco, including his El Expolio (The Disrobing of Christ). This painting was cleaned at the Prado in Madrid and returned in 2014. There are also works by Luis de Morales, Pedro de Orrente, Juan Pantoja de la Cruz, Juan de Borgoña, Luis Tristán, Anthony van Dyck, Francisco Goya (The Arrest of Christ), and Bassano the Younger.

Besides paintings, there is a collection of valuable objects. The most special is the Rich Bible of Saint Louis from 1250. It has 750 small pictures on the cover and 5,000 more inside its three volumes. Alfonso X of Castile bought this Bible.

The next room is the vestuary. Its ceiling was painted by Claudio Coello and José Donoso. This room has paintings like Titian's portrait of Pope Paul III, Velázquez's Cardinal Gaspar de Borja, Caravaggio's John the Baptist, and Giovanni Bellini's Burial of Christ.

One part of the vestuary has a collection of valuable church clothes. There are 70 suits, including vestments from the 1500s and 1600s. Some were embroidered by Alonso de Covarrubias's father. The cope (cloak) of Archbishop Sancho of Aragón is notable. It is embroidered with family symbols. Another example is Cardinal Gil de Albornoz's cope, with Gothic embroidery of Bible scenes. The collection also has the zucchetto (skullcap) and an embroidered part of the great tiara that Charles I of Spain wore at his coronation.

An Arab flag, won in the Battle of Rio Salado, is also displayed. There is a collection of over seventy tapestries. Some are based on sketches by Rubens. These are hung on the cathedral walls during the Corpus Christi celebrations.

Chapel of the Virgin of the Tabernacle

This chapel, along with the Chapel of the Eighths, is a great example of the Herrerian building style in the cathedral. Its grand structure and simple Herrerian decorations from the late 1500s were due to Cardinal Bernardo de Rojas y Sandoval. Work began with Nicolás de Vergara el Mozo and finished around 1616. Juan Bautista Monegro and Jorge Manuel Theotocópuli also worked on the project.

The chapel is dedicated to the Virgin of the Tabernacle. This is a Roman-style carving that was covered in silver in the 1200s and later decorated with pearls. This image has always been called 'Saint Mary'. Legend says it belonged to the Apostles and was brought to Toledo by Saint Eugene. It was hidden during Muslim rule and found later by King Alfonso VI.

The walls are covered in marble. A large dome is supported by pendentives. On the north wall is the altar with the Virgin's image. On one side wall is Cardinal Sandoval y Rojas's tomb.

Chapel of the Eighths

This chapel is named for its octagonal shape. It's also called the Chapel of the Reliquary because it holds many relics. You enter it through two doors next to the Tabernacle chapel's altar. The walls are decorated with marble. The chapel has a dome with a roof lantern cupola, made by Jorge Manuel Theotocópuli. The inside of the dome was painted by Francisco Ricci and Juan Carreño.

The altars along the walls hold interesting relics. These include a piece of the veil of Saint Leocadia. Legend says Saint Ildephonsus cut it from the saint when she appeared in 666. The knife he used is also kept as a relic.

Stained Glass Windows

The stained glass windows are a very beautiful and important collection of art. Toledo Cathedral has many medieval stained glass windows. They were made from the 1300s to the 1600s. Some were restored in the 1700s, following new styles.

The oldest and most beautiful stained glass is in the Rose Window of the transept (above the Portal of the Clock). Some in the ambulatory are also very old and beautiful, though softer in color. Then there are those in the main chapel and the north aisle of the transept, which show large figures of saints and apostles.

We know who made many of the 15th-century windows. Jacobo Dolfin and his helper Luis made those in the main chapel and some in the transept. Pedro Bonifacio, Cristóbal, and the German monk Pedro made those in the southern transept and some large windows in the main nave. Later, works by the Toledo master Enrique appeared.

The 16th-century stained glass windows have figures in Renaissance style. Famous masters like Vasco de Troya (1502), Juan de Cuesta (1506), and Alejo Ximénez (1509–1513) worked on them. They made windows for the side naves and the west façade. The stained glass in the Rose Window and the Portal of the Lions are by Nicolás de Vergara el Mozo.

In the early 1700s, new stained glass replaced damaged ones. Francisco Sánchez Martínez was a good restorer. He repeated old designs. During the Spanish Civil War, the glass was badly damaged. But in the late 1900s, a big restoration brought back some of their original brightness.

El Transparente

One of the most amazing features of the Cathedral is the Baroque altarpiece called El Transparente. Its name means "The Transparent One." This is because a large skylight was cut high in the thick wall behind the main altar. Another hole was cut into the back of the altarpiece itself. This allows sunlight to shine directly on the tabernacle. This lower hole also lets people in the ambulatory see through the altarpiece to the tabernacle.

Archbishop Diego de Astorga y Céspedes ordered this work. He wanted a glorious monument to mark the presence of the Holy Sacrament. El Transparente is several stories high. It is incredibly well-made with fantastic figures in stucco, painting, bronze, and many colors of marble. It is a masterpiece of Baroque art by Narciso Tomé and his four sons. The light is best when Mass is said in the mornings. Sunlight from the skylight hits the tabernacle, making it seem like the whole altar is rising to heaven. This Baroque display is very different from the cathedral's main Gothic style. The cathedral also gets light from over 750 stained glass windows from the 1300s, 1400s, and 1500s.

Renaissance Ironwork in the Cathedral

In the 1500s, the rejas, or decorative ironwork screens, were made in Renaissance style. These screens were placed in front of the choir, chapels, and sometimes altars. Their bars, columns, and tops were made with great detail. They often included fine gold work. The bars divided the sections and sometimes held candelabra. They were first shaped by hammer and anvil, then by lathe.

Renaissance screens are divided into two or three horizontal levels by crossbars. These are then divided vertically by columns between thinner upright bars. Almost all are decorated with mythological figures, medallions, and candelabra. They were made of iron and then covered in gold or silver. The master rejeros (screen-makers) who worked in the cathedral were Domingo de Céspedes, Francisco de Villalpando, Juan Francés, and Julio Pascual.

Main Treasure of the Cathedral

The Chapel of the Treasure is in the old chapel of Saint John. It is below the cathedral tower, near the Mozarabic chapel. It was designed and built in 1537 by Alonso de Covarrubias in the Renaissance style. Since 1870, it has held the Cathedral Treasure, called Las Alhajas ("The Jewels").

The building has a unique façade by Covarrubias. It was meant to be the burial chapel of Cardinal Juan Pardo de Tavera. Its sculptures refer to his life and death. The façade has a closed, round arch framed by two decorated columns. The door is open. Covarrubias carved a bust of Saint John the Baptist in the space above the door. Above this is a niche with a sculpture showing the Quo Vadis legend. This work is by Olarte. On both sides of the niche are Cardinal Tavera's coat of arms. Below them is the coat of arms of Canon Diego López de Ayala, a great supporter of the cathedral.

The Chapel of the Treasure has a wooden ceiling (artesonado) painted in gold and black. It has carved flowers and figures. Inside, glass display cases hold the cathedral's treasure. This includes church objects, relics, and clothing. The mantle of the Virgen del Sagrario is especially remarkable. It is made of silver cloth, covered with gold, pearls, rubies, sapphires, and emeralds. There are also two good carvings: one by Juan Martínez Montañés and a wooden statue of St. Francis of Assisi by Pedro de Mena. The most valuable piece is the amazing Custodia, a large monstrance by Enrique de Arfe.

The Great Monstrance of Arfe

The most important object in the Chapel of the Treasure is the great Monstrance of Arfe, also called La Gran Ostensoria de Toledo. It is made of the finest silver and gold and decorated with gems. It stands over ten feet tall. This monstrance is famous for being used in the yearly Corpus Christi celebration in Toledo.

The creator of the Great Monstrance was Enrique de Arfe, from Germany. He worked on it from 1517 to 1524, ordered by Cardinal Cisneros. It is in a late Gothic style. This amazing silverwork looks like a delicate Gothic temple. It has columns, arches, and vaults, all like fine lacework. Scenes from the life of Jesus are shown in relief. It has 260 small statues, all very skillfully made. The Great Monstrance has a six-sided base. It stands on small, beautifully made columns, decorated with gems, angels, saints, and tiny bells. A 17th-century cross tops the work. Its base is in the Baroque style from the 1700s.

Originally made of silver, Archbishop Quiroga ordered it to be gilded (covered in gold) in 1595. This was to match the gold-plated wood of the altar's monstrance. Today, it is protected by bulletproof glass and a security system inside the cathedral.

In the Middle Ages, Cardinal Cisneros wanted a grander monstrance than the one owned by Isabella the Catholic. He wanted to show it off in the Corpus Christi procession in Toledo, which was the most important feast in Castile. The monstrance took seven years to make. It cost over 15 million maravedís. Arfe received 2,700 reales for his work. He also got a bonus of 2,500 maravedís because the church leaders were so impressed.

Since 1595, the monstrance has been carried in the Corpus Christi procession. It rides on a special float with a leveling system. In the procession, important political and church leaders walk in front of it. Behind it are cadets from the Infantry Academy. The monstrance has 5,600 different pieces held together by 12,500 bolts. It is decorated with 260 figures. It used 18 kilograms of 18-karat gold and 183 kilograms of pure silver. It is said to contain the first gold brought by Columbus from the New World.

The inscription on the Monstrance of Arfe says:

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 1524.

In 2011, for World Youth Day, the Monstrance of Arfe was brought out of the cathedral to the Cuatro Vientos airport. There, Pope Benedict XVI used it for Eucharistic Adoration.

Monarchs Buried in the Cathedral

Many Spanish monarchs wanted to be buried in Toledo Cathedral. Their tombs are found in different parts of the cathedral.

Kings of León

• Sancha II, 1230, Queen of León

Kings of Castile

• Sancho III the Desired, 1157–1158, in the Main Chapel

Kings of Castile and León

• Alfonso VII the Emperor, 1126–1157, the Main Chapel
• Sancho IV the Brave, 1284–1295, the Main Chapel
• Henry II, 1369-1379, and his wife Juana Manuel, the Chapel of the New Monarchs
• John I, 1379-1390, the Chapel of the New Monarchs
• Henry III the Infirm, 1390–1406, and his wife, Catherine of Lancaster (1373–1418), the Chapel of the New Monarchs
• John II, 1406-1454, the Chapel of the New Monarchs: a cenotaph (a monument, not his actual burial place); his body is buried in Burgos.

Kings of Portugal

• Sancho II the Pious, 1223–1248, was removed from his throne. He fled to Toledo and died there on January 4, 1248. He was buried in the city's cathedral.

The Cloister

On the north side of the cathedral, where an old Jewish market used to be, Archbishop Pedro Tenorio planned the cloister. He also planned a chapel there to be his tomb.

Building the Cloister began on August 14, 1389, and finished in 1425. The architect Rodrigo Alfonso and master builder Alvar Martínez oversaw the construction of its four corridors. The building's history has some interesting stories. The local market fair was held exactly where Archbishop Pedro Tenorio wanted to build his cloister. The shop owners didn't want to move. The historian Eugenio Narbona wrote about the archbishop's desire to quickly take over the market area. During talks between the archbishop and the owners, a huge fire destroyed the entire market. Tenorio used this event to his advantage. Legend says he was accused of causing the fire to get the land.

Because of the land's shape, the cloister's foundation was built almost five feet higher than the cathedral's floor. This allowed it to support two levels later, which happened when Cardinal Cisneros took office. Archbishop Tenorio made sure the cloister was grand and worthy of a Gothic cathedral. The ground floor galleries have frescos showing scenes from the lives of Saints Eugenio, Casilda, and Eladio. Eleven of these are by Bayeu and two by de Maella.

It's interesting that the cathedral didn't have a monastic order. So, the cloister and other areas around it were used for many different things. They were a storeroom, a classroom, a market center (like the old market), and a place for prayer. One room even became a Mozarabic chapel. The Cloister later served as the town hall.

The Chapel of Saint Blaise

The Chapel of Saint Blaise was also ordered by Archbishop Tenorio. It is on the lower level of the cathedral grounds and entered from the Cloister. Its ceiling has an octagonal vault, reminding us it was a burial chamber. The exact start date of its construction is debated, but it was likely between 1389 and 1398. It was finished shortly before Archbishop Tenorio died on May 10, 1399. The archbishop left instructions for its upkeep in his will.

The chapel is about twenty-three feet below street level. The archbishop had the ground outside raised with fill. This caused many problems with humidity, which badly damaged the paintings on the lower walls. This decision was made later because the building looked too crowded.

The chapel has two main decorated parts. From the cornice to the ceiling, the Apostles' Creed is shown in fourteen scenes, like a clock face. Below the cornice, there are paintings of the Final Judgment and scenes from the Lives of the Saints. The artists are not fully known, but they were likely Florentine painters like Gherardo Starnina and Nicolás de Antonio. Damage from humidity and poor restorations have harmed the paintings closest to the floor.

In the early 2000s, a major restoration project began to save the frescos. They aimed to stabilize the paintings and bring back their original colors, except for the parts that were too damaged. Another project is almost finished to stop water from leaking through the walls, which could damage the art again.

Cathedral Music

As the Renaissance spread across Europe, religious music from monasteries became very important. Music became a key part of church services, making the cathedral feel even grander. Since 1440, polyphonic vocal pieces (music with multiple independent melodies) became popular in Castile and Aragon. Instrumental music was played on the organ, which soon found a place in cathedrals and churches.

In Toledo Cathedral, the most important organ is the "Organ of the Emperor" in the transept. Other important organs include the "General" organ by Fray Joseph de Echevarría, and the organ by José Verdalonga (1796–1797) in the choir. Cardinal Cisneros added another organ to the Mozarabic chapel for its special music. Other important chapels also have organs.

The organ was not the only important instrument. Over the years, wind instruments (like flageolets, flutes, and sackbuts), harps, and other string instruments like the viola were added. These instruments accompanied the vocal music. With the creation of the Chapel of Music, the oboe and double bass were added to Mass celebrations in the 1500s and 1600s.

The "Six-Piece," or children's choir, of the cathedral was created by Cardinal Silíceo. On July 22, 1557, he founded the College of Our Lady of the Infantes for its members. However, boys singing in church services were mentioned as early as the 1100s. They were and still are the Choir of the Cathedral and of the Chapel of Music. In the 1500s, it was decided they would wear red clothes, which students still wear with a white surplice. The Maestro de Capilla (music director) and other teachers lived with the boys at the College. They oversaw the boys' education, which for a time included joining the Royal University of Toledo. The College's founding document from 1557 stated:

... 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.

Among the maestros de capilla, Cristóbal de Morales was very famous. He composed many pieces and worked in the Sistine Chapel in Rome. Other maestros included Matías Durango de los Arcos, Alonso Lobo, and Andrés de Torrentes.

The music of Toledo Cathedral had a big impact on Spanish religious music. It influenced not only Mozarabic chant but also trained music masters who went on to other cathedrals. The Six-Piece choristers also formed choirs elsewhere. They even introduced variations of Gregorian chant, known as Cantus Eugenianus. Most of their compositions are kept in the cathedral library.

Cathedral's Influence on Architecture

Bishop Rodrigo Ximénez de Rada and those who followed him used master builders who knew French Gothic style. Cathedrals like Paris or Le Mans were their inspiration. They adopted French Gothic building ideas like buttresses and pointed arches. However, Spanish builders didn't fully copy the French layout. In France, the choir and altar were in large sanctuaries. Spanish cathedrals often had smaller ones and placed the choir in the central nave. This was a mix of styles, first seen in the Cathedral of Santiago de Compostela. This developed in Spain due to the influence of the Mozarabic rite, Visigothic tradition, and Castilian liturgy.

Because of this history and its status as the main cathedral, the Toledo model was adopted by other Spanish cathedrals. Exceptions were Burgos and León, which followed the French model more closely. Similar layouts can be seen in the cathedrals of Cádiz, Seville, and Palma de Mallorca. The Spanish Empire also carried the Toledo model, influencing cathedrals built in the Americas and the Philippines.

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