Graphic Memory
In the fourteen tables that are kept in the altar of Castrogonzalo we can distinguish at least two cycles to facilitate reading thematic iconography. The first cycle is the main issue with various aspects of the life of the Virgin and the Infancy of Christ, while the second deals with the passion, death and resurrection of Christ. The first case developed in the first body and in the two tables on the left side of the second. Includes: The Birth of the Virgin , The Annunciation, The Visitation The Nativity, The Adoration of the Magi and The Presentation in the Temple . No deal then iconographic and compositional study of the two tables strictly track Christmas: Nativity and The Adoration of the Magi .
1. The Nativity
In the fourteen tables that are kept in the altar of Castrogonzalo we can distinguish at least two cycles to facilitate reading thematic iconography. The first cycle is the main issue with various aspects of the life of the Virgin and the Infancy of Christ, while the second deals with the passion, death and resurrection of Christ. The first case developed in the first body and in the two tables on the left side of the second. Includes: The Birth of the Virgin , The Annunciation, The Visitation The Nativity, The Adoration of the Magi and The Presentation in the Temple . No deal then iconographic and compositional study of the two tables strictly track Christmas: Nativity and The Adoration of the Magi .
1. The Nativity
Lucas is the only one of the evangelists who provides a comprehensive and coherent account of the circumstances surrounding the birth of Jesus. But our table does not include the exact time of birth but the later worship of their parents, following the tradition of other stories are not integrated into the corpus Bible and the Apocryphal Gospels and Revelations of St. Bridget . In this latest work indicates that after giving birth to Mary "flexis GENIbus" and bowing his head, with hands clasped loved the boy saying: "Bene Veneris, Deus meus, Dominus meus, Filius meus."
The scene on the table is closely based on this description, but incorporating other details common to the use of iconography. The central figures are St. Joseph to the left, described as a gentle old man with white beard in his hands Cudgel, the Virgin, kneeling with folded hands and Child in the manger. Served accompanying the ass and the ox, represented in part for not taking a backseat to the Sagrada Familia. Here remains divergent traditional attitude of the two animals: the ox with head bent toward the child in an attitude of devout worship, symbolizing the Church, and the donkey, the symbol of the Jewish people section and more unseemly gesture. Alongside this main scene coexists another in the background, theoretically parallel, as is the announcement to the shepherds, who serves both as background scenery for the table.
wearing phylacteries
An angel appeared to a shepherd his flock en un paisaje montañoso convencional. Otros dos pastores se asoman tímidamente a la escena principal, estableciéndose así un nexo conceptual entre ambos ambientes. Uno de ellos tiene las manos juntas en actitud de adoración, el otro, menos reverente, simplemente observa con aire curioso los acontecimientos. Este último personaje está calcando a otro prácticamente idéntico existente en la tabla homónima de Santo Tomás Cantuariense de Toro, obra de Juan de Borgoña II.
El niño, centro de toda la composición, es presentado tendido sobre un improvisado lecho. Es la representación tradicional del pesebre, formado por varios sillares perfectamente escuadrados y unas pajas, recurso este que alude a the cornerstone or foundation of the Church. Along the newborn are two wingless angels. In contrast, the three angels that hover over the manger itself deploying phylacteries are winged. The features of them all, highlighted cheeks and blushing skin tones are set at child beauty canon XVI century. It is east of a narrative very much in the School of Toro, who gives a shout scenes tender and endearing.
El niño, centro de toda la composición, es presentado tendido sobre un improvisado lecho. Es la representación tradicional del pesebre, formado por varios sillares perfectamente escuadrados y unas pajas, recurso este que alude a the cornerstone or foundation of the Church. Along the newborn are two wingless angels. In contrast, the three angels that hover over the manger itself deploying phylacteries are winged. The features of them all, highlighted cheeks and blushing skin tones are set at child beauty canon XVI century. It is east of a narrative very much in the School of Toro, who gives a shout scenes tender and endearing.
ruined architecture is used to recreate a legendary connotations spatial framework. Respond, in any case, widespread models for Flemish painting. It seems that the main objective author to compose the scene was to establish a contrast between the humility and poverty of the characters against the grand architecture, but in a decaying ruin. In this peculiar setting highlighted by the study of the quality and brightness, these two columns balustered gilded carved replicas of the altarpiece, which also serve as natural boundaries to the three main figures. The sense of depth throughout the panel is achieved by a combination of these elements with various levels scenic overlay.
2. The Adoration of the Magi
The representation of the wise men and the number of three different ages, for in fact the three ages of life: youth, maturity and old age is a very old, dating back to a text traditionally attributed to Bede. The same source explains the meaning of the traditional gifts: gold, by royalty, frankincense for divinity, and myrrh for humanity. The names of Gaspar, Melchior and Balthasar appear in the ninth century the Liber Pontificalis of Ravenna. However, the sources of inspiration used by artists to reflect the occurrence are very diverse, going back even to the imperial and Byzantine art, as in the New Testament alone the Gospel Matthew picks up in a few lines of the event:
In our table the author has made use of the frequent use of parallel scenes recreated directly related, such visions trip of the retinue. The approach responds to a somewhat simplified composition. The three wise men on the left, richly adorned, offering her to the Virgin. His features respond not only to the three ages but also tries to establish a reference to ethnic differentiation in the three parts of the world, in fact the Wizards were adopted as patrons for travelers and pilgrims.
The oldest child kneels in prayer respectful attitude, while the other two, more dynamic, advancing with a solemn gesture to the manger bearing their offerings. The figure of San Jose is the great absent composition, thus following a tradition cultivated in Christian iconography. In other representations appear in the background or we are asleep, as in the south portal of the church of San Juan del Mercado in Benavente.
Mary is sitting with the child in her lap. Thanks to his right hand the gifts received and subject delicately left the baby, wrapped in swaddling clothes. The star of Bethlehem presides over the scene, but is hardly prominent in the composition.
Mary is sitting with the child in her lap. Thanks to his right hand the gifts received and subject delicately left the baby, wrapped in swaddling clothes. The star of Bethlehem presides over the scene, but is hardly prominent in the composition.
In another vein, the challenge detail with which the author revels in the containers used present: gold, frankincense and myrrh. Two glasses and a chest, all gold, highlighting the noble donor origin and symbolism of those present. The author also demonstrated his technical mastery in particular the study of drapery, its folds, its highlights and shadows, and color contrasts, also observable in other aspects of this altar tables.
The atmosphere is cold and impersonal. Only the figures of the ox and ass vaguely reminiscent of the stable environment in the Gospels, because both the central pillar which serves as the seat base to Mary refer to Renaissance architecture in ruins. The backdrop has become greatly simplified in this case by representation of a mountainous landscape and a sky with clouds adjusted conventional horizontal lines. Images
The atmosphere is cold and impersonal. Only the figures of the ox and ass vaguely reminiscent of the stable environment in the Gospels, because both the central pillar which serves as the seat base to Mary refer to Renaissance architecture in ruins. The backdrop has become greatly simplified in this case by representation of a mountainous landscape and a sky with clouds adjusted conventional horizontal lines. Images
Castrogonzalo altarpiece [mid-sixteenth century]: 1. Nativity Table 2. Detail of the Nativity Table 3. Detail of the Nativity Table 4. Table of the Adoration of the Magi, 5. Table detail of the Adoration of the Magi and 6. Table detail of the Adoration of the Magi [Photos Rafael González].
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