Camino de Santiago 2014: Saturday, August 30, 2014

We ate breakfast at a bar near Plaza Mayor: 2 bocaditos [small sandwiches], coffee/orange juice (3.60€).

Then we went to the Public Library (near Iglesia San Lesmes) to use computers and download photos from MT’s iPhone and Don’s camera to a flash drive. A kind guard at the library helped us with this.

9:30 AM – Burgos: waitress in bar with our bocaditos and orange juice.

On our way to the library, we passed Casa del Cordon.

The 15th-century Casa del Cordon [house of the cord] aka Palacio de los Condestables de Castilla [Palace of the Constables of Castile] and formerly called Corral de las Vacas [corral of the cows] is on the Plaza del Mercado Mayor [square of the main market], known today as Plaza de La Libertad. It is a civic building in late Gothic style, but today greatly modified from the original design. The main façade has two towers and many heraldic shields. Two shields above the front door are encompassed by a Franciscan cord carved in stone. (A cord or chains hung on the door of a house indicated a king had slept there.) Doña Mencia, wife of the Constable Don Pedro Fernandez de Velasco who had the palace built, was devoted to St. Francis and commanded the use of a Franciscan cord. In 1497, the Catholic Monarchs (Ferdinand and Isabela) received Christopher Columbus here on his return from his second trip to America.

‏‎9:41 AM – Burgos: Casa del Cordon 15th century.

This time the 14th-century Iglesia San Lesmes (on Plaza San Juan opposite the Biblioteca Pública del Estado [State Library]) was open, so we visited it. MT found some women in the sacristy and asked them for a sello, which they gave us: “S Lesmes – Burgos.”

Iglesia San Lesmes was built in the 14th century on the remains of the Romanesque chapel of San Juan Evangelista (built 1074, demolished 1382), alongside the Camino de Santiago to house the remains of San Lesmes (1035-1097), patron saint of the city of Burgos. He was a Benedictine monk who was originally buried in the nearby Monastery de San Juan until moved to the new church in 1480. In his earlier days, he was a French abbot called Adelhelm (or Aleume), but was persuaded by the French third wife of King Alfonso VI of Castile to stay in Burgos to help replace the Mozarabic liturgical rite with the new Roman liturgy. His life and work were bound to the Camino. He welcomed and cared for pilgrims in the Hospital de San Juan Evangelista and relieved their hunger and thirst in the Monastery of San Juan. The style of the church is Gothic, although its façade has almost no decoration (except around the main door and bell tower). Reforms of the 16th-17th century gave it a varied architectural style with Renaissance and Baroque elements. Its stone pulpit is considered the best of Burgos. In the central area, near the altar, is the 16th-century tomb of the saint, made of alabaster carved with the image of the saint on the top.

Friday, ‎August ‎29, ‎2014, ‏‎4:46 PM – Burgos: Iglesia San Lesmes main (west) façade with west portal, rosette, and Baroque belfry added in 1665.

10:32 AM – Burgos: Iglesia San Lesmes – 16th-century stone pulpit.

The 16th-century Plateresque stone pulpit on first pillar between nave and Gospel (left) aisle is decorated with medallions with a Virgin and child flanked by Santos Juanes (Saint Johns)—John the Baptist on the left and John the Evangelist on the right.

‎10:26 AM – Burgos: Iglesia San Lesmes – tomb of San Lesmes “Nacio en Loudun 1,035? † en Burgos el 30 Enero 1,097.” The effigy of the saint, with abbot’s cap and staff, is reading a book.

‏‎10:32 AM – Burgos: Iglesia San Lesmes – off to one side is this primitive tomb of St. Adelhelm (San Lesmes, in medieval Spanish Adelhelm or Adelelme and in French Saint Aleaume) with inscription on lid: “Hic fuit corpus Ste Adelelmi usque [ND?] 30 Jan 1969.” [Here was the body of St. Adelelme until {ND?} 30 Jan 1969.] The date was the 872nd anniversary of his death.

‏‎10:27 AM – Burgos: Iglesia San Lesmes – baptismal font and paschal candle by Retablo de la Santa Cruz (Altar of the Holy Cross).

‏‎1:034 AM – Burgos: Iglesia San Lesmes – side altar (Retablo pétreo de San Juan Evangelista).

On the Retablo pétreo de San Juan Evangelista [stone altarpiece of St. John the Evangelist], the top scene (similar to one on the back of Burgos Cathedral) shows St. John the Evangelist being cooked in a pot [in Rome in 95 AD, St. John was miraculously preserved from death when thrown into a pot of boiling oil; on account of this trial, related by Tertullian and others, he was given the title of martyr]). The bottom scene shows him writing his gospel.

‏‎1:034 AM – Burgos: Iglesia San Lesmes – close-up of top scene of Retablo pétreo de San Juan Evangelista (Cropped).

Burgos: Iglesia San Lesmes – main portal (commons.wikimedia.org).

The 15th-century Gothic portal in the lateral (south) façade has an ogival arch framed by buttresses surmounted by pinnacles and flanked with sculptures of the Annunciation. The metal main door with relief scenes from life of saint was given by the city to the church on the 900th anniversary of the saint’s death.

‏‎10:37 AM – Burgos: Iglesia San Lesmes – metal door on left side of main portal, opened toward interior. The relief scene shows San Lesmes serving pilgrims and the sick, with Santiago Peregrino at left, behind the scenes.

‏‎4:01 PM – Burgos: Iglesia San Lesmes – north side and west façade from Plaza de España bus stop.

Then we headed back to Hotel Pancho, passing through Plaza Mayor.

‏‎11:31 AM – Burgos: Plaza Mayor – MT, city hall (center), and Carlos III statue.

The Plaza Mayor was the primitive Mercado Menor (Lower Market Square) and was designed early in the 16^th century, so that merchants and craftsmen coming down from the Castillo could be installed around the wall and gate of the carts (puerta de las Carretas) Construction of the neo-Classical Casa Consistorial (Town Hall) began in the late 17th century over what was the gate of the carts. Its two floors are topped by a balustrade with the coat of arms of the city and the date “AD MDCCLXXXVIII” [1788] on it and two towers at the ends, each one with a different kind of clock, topped by spires. The building we see today was inaugurated in 1791. It has three large arches under which pedestrians can pass from Plaza Mayor to the Paseo de Espolón. In 1784, the statue of Carlos III was placed opposite the main façade of the Town Hall.

‏‎11:31 AM – Burgos: Plaza Mayor –Carlos III statue.

We checked out of Hotel Pancho and moved our backpacks to 2-star Hostal Urban, where we had a reservation for Saturday night.

Sunday, ‎August ‎31, ‎2014, ‏‎8:50 AM – Burgos: Hostal Urban – MT by hostal entrance; tapas bat to left.

‎Sunday, ‎August ‎31, ‎2014, ‏‎8:50 AM – Burgos: Hostal Urban – hostal entrance

‏‎7:13 PM – Burgos: Hostal Urban – bed (no protruding legs).

‏‎7:13 PM – Burgos: Hostal Urban – our room.

10:20 PM – Burgos: Hostal Urban – orange table lamp.

10:26 PM – Burgos: Hostal Urban – orange wall lamp.

Then we went to the Albergue Municipal to wash and dry clothes in machines; however, it was not open yet. MT stayed there, in line with pilgrims seeking lodging there, Meanwhile, Don checked the tarifa (ticket price) for the Cathedral, which was 3.50€ for pilgrims; then he checked at the Turismo office about a bus to Cartuja de Miraflores. We had discussed doing the cathedral tour (which was a real highlight of our Camino in 2013) again, but also remembered that Belén in Cardeñuela had strongly recommended Cartuja de Miraflores. The Turismo lady gave Don a map where she marked where to catch that bus (at Plaza de España), the bus number (25) and the time (13:00 [but there were other times]). Don also found Restaurante-Cafeteria Bonfin below Iglesia San Nicolás with bacalao and merluza on its 11.95€ menu. On the way back, he passed Iglesia San Nicolás.

The Iglesia San Nicolás de Bari is situated beside and above the cathedral (at the top of steps, a steep climb up from the Plaza Santa María). It was built in 1408 over another Romanesque church that is mentioned as early as 1163. It was reconstructed in the second half of the 15th century. It features an austere 15th-century façade and a magnificent Castilian Renaissance altarpiece from 1505.

‏‎11:56 AM – Burgos: Iglesia San Nicolás with tourist train passing at top of steps; Hotel Mesón del Cid at left.

‏‎11:56 AM – Burgos: Iglesia San Nicolás – main door (the open door on the right was the one with San Nicolás and the pickled boys (in 2013, Don originally thought this was a baptism scene).

San Nicolás de Bari (b. ca. 270-d. between 345 and 352) is known in the Eastern Church as St. Nicholas of Myra, since that is the city in Turkey where he served as bishop and died. In the Western Church, he is called St. Nicholas of Bari because, when the Muslims conquered Turkey, a group of Roman Catholics secretly moved his remains/relics to the city of Bari, in Italy.

One legend of San Nicolás tells how, during a terrible famine, a malicious butcher lured three little boys into his house, where he killed them, placing their remains in a barrel of brine to cure, planning to sell them off as ham. Saint Nicholas, visiting the region to care for the hungry, not only saw through the butcher's horrific crime but also resurrected the three boys from the barrel by his prayers.

This is the same St. Nicholas whom Dutch settlers in New Amsterdam (now New York) made their patron saint as Sinter Klaas, which became Anglicized as Santa Claus.

‏‎11:55 AM – Burgos: Iglesia San Nicolás – main door wooden relief of San Nicolás rescuing the pickled boys.

We decided to go to Cartuja de Miraflores, rather than touring the cathedral again or going to Hospital del Rey and Santa María la Real de las Huelgas, which we would pass on the way out of town.

Then we went back to the Municipal Albergue, which opened at 12 noon, to do laundry.

‏‎12:23 PM – Burgos: Municipal Albergue – large photo of pilgrims going through some town, on wall of dining (and laundry) room.

12:24 PM – Burgos: Municipal Albergue – large photo of Camino path through vast fields of wheat stubble, on wall of dining (and laundry) room.

‏‎12:30 PM – Burgos: Municipal Albergue – poem in Spanish [translated: You already arrived. Therefore, feel the pleasure in each step and do not worry about the things that you still have to overcome. We have nothing in front of us, just a road to be travelled at each moment with joy.]

12:30 PM – Burgos: Municipal Albergue – photo (next to poem) of illuminated Nativity capital at San Juan de Ortega (Mary part of Annunciation scene, maid of Visitation scene, dreaming Joseph, and part of Birth scene).

After the laundry, we went to Restaurante-Cafeteria Bonfin for the 11.95€ menu: 1st course: MT had paella con marisco (seafood)/Don spaghetti; 2nd course: both had merluza (with butter and oil) and salad; dessert: both had torta de cuezo (cheesecake); 1/4 liter of wine; bread; agua del grifo (tap water).

2:13 PM - Burgos: Restaurante-Cafeteria Bonfin – merluza with salad.

2:27 PM - Burgos: Restaurante-Cafeteria Bonfin – well-dressed people at bar probably came from another wedding at Iglesia San Nicolás.

‏‎2:49 PM - Burgos: view up Calle San Lorenzo (from SW): sign for Bar Pancho (left) and “HA” sign for Hotel Pancho on right.

MT went back to Hostal Urban, where she learned the price was now 60€ (with “inflation”), while Don went to buy bananas and yogurts. He quickly bought 2 bananas (0.84€) at a frutería (fruit store). For the yogurts, he tried first at the alementación (grocery) store near Hotel Pancho (it was closed), then around nearby streets, and finally took off north in the direction of Iglesia San Gil. Then, on Calle San Francisco, he asked a Spanish lady on the street, and she said a supermercado was farther down the street. After going several blocks without a store and seeing no people, he asked an old man, who then walked with him to the supermercado, which was back south and one street to the east (parallel to Calle San Francisco). He bought a 4-pack of yogurts for 1€ at the supermercado. He barely got back to Hostal Urban by 3:30, when we had planned to leave at 3:40 to catch the 4 pm bus.

‏‎3:03 PM - Burgos: Iglesia de San Gil façade.

Iglesia de San Gil Abad is extramural (outside the city wall) near the eastern slope of the hill of the Castillo, close to the Arco San Gil gate. The present Gothic church was built in 1399, but in the 15th and 16th centuries numerous artists who came to Burgos to work on the Cathedral also made additions to San Gil. The western gable has a rosette with an 8-pointed star over a portal in which the tympanum has sculptures of the Virgin flanked by, probably, San Gil and another unidentified saint.

‎3:10 PM – Burgos: ruins of Monasterio de San Francisco church, past Iglesia San Gil on Calle San Francisco.

The Monasterio de San Francisco was a Franciscan monastery of which only a few ruins remain. According to local tradition, it was founded by St. Francis of Assisi in 1213 during his visit to Spain on the way to Santiago de Compostela. The church of San Francisco was a prototype for the first Franciscan churches of the 13thg century. The naves of these churches were wider than others, wide and rectangular, with a polygonal apse and side walls resting on buttresses. The nave of the church of San Francisco was more than 300 ft (90 m) long.

The monastery was badly damaged in 1808, during the War of Independence (1808-1814), when it was looted and used as a barracks by French troops. In 1813, when the Duke of Wellington besieged Burgos, the French occupiers bombed the monastery and almost completely ruined the church, which suffered a major fire. In 1815, the Franciscans returned and built a new church, whose artistic merit was much lower than the first, and a new monastery used until they were forced to leave in 1836 due to the confiscation of Mendizábal. Demolition of the new building began in 1836, and stones from the monastery were used by inhabitants of the neighborhood and in the construction of a containing wall for the Río Arlanzón. In 1844, parts of the building were rebuilt to house a battalion of provincial militias, and in 1852 a military factory settled in the ruins of the building.

The ruins of the church are still preserved, including part of the north wall of the church and the adjoining solar [floor (courtyard?]. These ruins are near the Puerto de San Gil and close to the now-disappeared Convento de la Santísima Trinidad (Monastery of the Holy Trinity), which was also damaged by French troops and demolished in 1836.

‏‎3:23 PM – Burgos: back side of same shell of Monasterio de San Francisco church.

The lady at the Turismo was right about the bus stop but not the bus number, which was 27 vs 25. An old lady at the bus stop helped us get the right one and told us where to get off. The bus cost 1€ per person each way. At the Cartuja de Miraflores, we met the same Spanish lady who had shown us the Papamoscas clock in the cathedral Friday evening. Another lady told us how to walk back to the bus stop.

The Cartuja de Miraflores (the Carthusian Monastery of Our Lady of Miraflores) is 4 km south/east of Burgos. Cartuja is the Spanish word for a monastery of Carthusian monks. Miraflores was the name given to the king’s early 15th-century hunting lodge over which the monastery was built. Founded in 1442 by King Juan II of Castile and León, the buildings of the actual 15th-century Gothic monastery are almost entirely due to the patronage of his daughter Queen Isabella “La Catolica,” as a memorial to her parents. Today, 20 monks still live there in solitude and silence. These is no admission fee, and brochures are available (for sale) in Spanish, German, French, English, and Italian for self-guided tours. (No flash photography was allowed in the monastery.)

‏‎5:49 PM – Burgos: Cartuja de Miraflores – exterior, outside the wall, with crucero (Mary on this side and crucifix on other side, facing the gatehouse).

‏‎5:44 PM – Burgos: Cartuja de Miraflores – façade and main door (entrance).

The entrance of the monastery church is crowned by the coat of arms of King Juan II and the Kingdom of Castile and León. Immediately above the door is a Pieta.

‏‎4:31 PM – Burgos: Cartuja de Miraflores – façade and main door (entrance).

‏‎4:33 PM – Burgos: Cartuja de Miraflores – atrium vaulted ceiling with intricate stars.

‏‎4:34 PM – Burgos: Cartuja de Miraflores – view from vestibule of the faithful, through gate into lay brothers’ choir, then through door into fathers’ choir and further to main altar.

‏‎4:35 PM – Burgos: Cartuja de Miraflores – 17th-century Baroque statue of San Bruno (of Cologne, c. 1030-1101), founder of the Carthusian order, on right side of vestibule of the faithful; when viewed from different angles, his expression seems to change (here from nearly straight on).

‏‎4:36 PM – Burgos: Cartuja de Miraflores – view of San Bruno statue from left.

‏‎4:36 PM – Burgos: Cartuja de Miraflores – view of San Bruno statue from right.

‏‎4:37 PM – Burgos: Cartuja de Miraflores – 15th-century Flemish triptych on left wall of vestibule with 3 scenes from the Passion: The Way to Calvary (Carrying of the Cross), Crucifixion, and Lamentation over the Dead Christ (Burial of Christ).

‏‎4:37 PM – Burgos: Cartuja de Miraflores – vaulted ceiling of lay brothers’ choir, with seal of Kingdom of Castile and León at convergence of ribs (this seal seemed to alternate with another throughout the length of the nave).

‏‎4:39 PM – Burgos: Cartuja de Miraflores – 16th-century choir stalls of lay brothers’ choir on left, with small (open) door at left end.

‏‎4:39 PM – Burgos: Cartuja de Miraflores - 16th-century choir stalls of lay brothers’ choir on right, with small (closed) door at right end.

‏‎4:40 PM – Burgos: Cartuja de Miraflores – small (closed) door (brass plate says to “Clausura”) with high reliefs of Evangelists and Church Doctors at right end of 16th-century choir stalls on right side of lay brothers’ choir.

‏‎4:40 PM – Burgos: Cartuja de Miraflores – door between lay brothers’ choir and fathers’ choir with inscription “Felix Coeli Porta” [Joyful Gate of Heaven] and Immaculate Conception statue above door and 2 Baroque altars to the sides.

Above the lay brothers’ choir is a series of stained glass windows brought from Flanders in 1484. The five large windows on the left side represent scenes of Christ’s Passion and Crucifixion.

‏‎4:41 PM – Burgos: Cartuja de Miraflores – ceiling in choir and stained glass windows (left).

Burgos: Cartuja de Miraflores – stained glass window of Agony in Gethsemane (https://www.flickr.com/photos/75710752@N04/8136299149).

Burgos: Cartuja de Miraflores – stained glass window of Flagellation (https://www.flickr.com/photos/75710752@N04/8136303515).

Burgos: Cartuja de Miraflores – stained glass window of Jesus carrying the cross (https://www.flickr.com/photos/75710752@N04/24138630860).

Burgos: Cartuja de Miraflores – stained glass window of Crucifixion (www.flickr.com , http://farm2.static.flickr.com/1625/24138748740_40d8b5fd24.jpg).

Burgos: Cartuja de Miraflores – 15th-century Flemish stained glass window in lay brothers’ choir: Christ being taken down from cross and laid in the tomb, with crest of Castile and León at bottom; the woman at bottom right carries a vessel that bears the signature of the stained glass artisan (https://www.flickr.com/photos/75710752@N04/8136317888).

Burgos: Cartuja de Miraflores – 15th-century Flemish stained glass window of Christ being laid in the tomb—detail showing signature of the stained glass artisan “Claes Romb” (Niclaes Rombouts), scanned from monastery guidebook.

The stained glass windows on the right side of the lay brothers’ choir represent the Resurrection and Glory.

‏‎4:42 PM – Burgos: Cartuja de Miraflores - ceiling in choir and stained glass windows (right).

Burgos: Cartuja de Miraflores – stained glass window of Resurrection (https://www.flickr.com/photos/75710752@N04/24138748740).

‏‎4:42 PM – Burgos: Cartuja de Miraflores – stained glass window of the Ascension (Mary and other saints in heaven) (telephoto, 186 mm).

Burgos: Cartuja de Miraflores – stained glass window of Pentecost (http://farm5.static.flickr.com/4130/5004549779_eb229e3995_m.jpg or https://www.flickr.com/photos/75710752@N04/8136293307).

Burgos: Cartuja de Miraflores – stained glass window of Final Judgment with Christ Triumphant (https://www.flickr.com/photos/75710752@N04/24434283865).

‏‎4:44 PM – Burgos: Cartuja de Miraflores – cloister door in fathers’ choir.

‏‎4:44 PM – Burgos: Cartuja de Miraflores – 15th-century alabaster statue of Virgin with Child and a choir book in her lap, over cloister door: Our Lady of the Choir.

‏‎4:45 PM – Burgos: Cartuja de Miraflores – fathers’ choir with 40 walnut choir stalls (15th century), the royal tombs, and the high altar; on the wall to the left is the mausoleum of Prince Alfonso.

‏‎4:45 PM – Burgos: Cartuja de Miraflores – late 15th-century high altar; in the center is a circle of angels around a crucifix; royal tombs in foreground.

The high altar, from 1496-1499 by the master sculptor Gil de Siloé, is like an enormous tapestry unfolding the mystery of Redemption. Its pine and walnut sculptures of exceptional quality make it one of the most important altarpieces of the 15th century in the Iberian peninsula.

In the center portion of the upper body is a large circle, symbolizing a Eucharistic host, formed by angels around the figure of the crucified Christ. Holding the ends of the arms of the cross are God the Father with a pontifical triple tiara (left) and the Holy Spirit represented in female human form wearing an imperial crown (right). At the top of the cross, symbolizing divine love, is a pelican feeding her young with the blood from her own heart (as Jesus shed his blood for us). At the foot of the cross are figures of Mary (left) and St. John (right).

Still within the circle of angels are four scenes of the Passion: the Agony in Gethsemane (top left), the Scourging before Pontius Pilate (top right), Jesus carrying the cross (bottom left), and the Pieta (bottom right). Flanking the circle are St. Peter with the keys (left) and St. Paul with a sword (right).

In the four corners around the circle, within their own circular frames, are the four Evangelists, at writing desks with their symbols: St. John (top left), St. Matthew (top right), St. Mark (bottom left), and St. Luke (bottom right). They are not in their usual order. John is accompanied by the Church Doctor Gregory, Matthew by Ambrose, Mark by Jerome; Luke’s bull symbol apparently left no space for a Church Doctor.

Gil de Siloé (Giles of Siloe, 1440s-1501) worked in Burgos in the late Gothic or Isabelline Gothic style. His style, which combines influences of the Germanic and Flemish Gothic and the Mudéjar, is very meticulously endowed with great technical virtuosity. His works at the Cartuja de Miraflores include the main altarpiece (1496-1499), the tomb of King Juan II of Castile and his wife Isabella of Portugal (1489-1493), and the funerary monument for the Infante Alfonso (1489-1492). In the Cathedral of Burgos, he created altarpieces for two chapels.

‎Saturday, ‎August ‎30, ‎2014, ‏‎4:52 PM (Cropped) -Burgos: Cartuja de Miraflores - High Altar center section of upper body.

‏‎4:52 PM – Burgos: Cartuja de Miraflores – High Altar center portion of upper body with circle of angels and center portion of lower body around tabernacle below it.

Immediately below the circle of angels (described above) is a square niche within which a series of six high reliefs are mounted on a revolving device that turns to coincide with the liturgical season with images of Christmas, the Baptism of the Lord, Easter, the Ascension, Pentecost, and the Assumption of Mary (Coronation of the Virgin. [The Assumption is shown here, since the Feast of the Assumption was just celebrated on August 15.]

Below that is the tabernacle, flanked by figures of John the Baptist (left) and Mary Magdalene (right). This lower body also has figures of the martyr St. Catherine of Alexandria (far left) and Santiago (St. James the Greater), patron of Spain and her kings (far right).

‏‎5:04 PM – Burgos: Cartuja de Miraflores – lower left side of high altar: to left of tabernacle is large statue of John the Baptist with scenes of the Annunciation and the Last Supper to the left of him; above the tabernacle is a square niche with reliefs rotating according to liturgical season, with the Assumption of Mary (Coronation of the Virgin) shown here.

‏‎5:04 PM – Burgos: Cartuja de Miraflores – high altar: John the Baptist (cropped).

Burgos: Cartuja de Miraflores – high altar: Last Supper with 11 disciples (Santiago with shell on hat next to Jesus) and a woman (Mary Magdalene) at Jesus’ feet (https://www.flickr.com/photos/j-s-c/3075092677/).

Long before The Da Vinci Code raised the question of whether the person seated next to Jesus in Da Vinci’s painting was Mary Magdalene rather than John, her image had appeared in depictions of the Last Supper in various pieces of religious art, but not seated at the table. Medieval and Renaissance art often mixed the story of Last Supper in Jerusalem (Matthew 26:20-35, Mark14:17-31, Luke 22:14-38) with the Biblical account of a woman (traditionally presumed to be Mary Magdalene) anointing Jesus’ feet while he was at another supper with his disciples (Matthew 26:6-13, Mark 14:3-9)—but that was in Bethany, just before he went to Jerusalem.

‏‎4:52 PM – Burgos: Cartuja de Miraflores – high altar (lower right).

On the lower right portion of the high altar is large statue of Santiago; above him are Adoration of the Magi (left) and Isabella’s coat of arms (right); below him are the Betrayal of Jesus (left) and a praying Queen Isabella protected by her patroness, St. Elizabeth (Santa Isabella in Spanish) and a young (very small) John the Baptist (right).

‏‎4:50 PM – Burgos: Cartuja de Miraflores – high altar (lower right): large statue of Santiago, with small statue of Queen Isabella praying at lower right (cropped).

Burgos: Cartuja de Miraflores - High altar (lower right): praying Queen Isabella protected by her patroness, St. Elizabeth (Santa Isabella in Spanish) and a young (very small) John the Baptist (https://www.flickr.com/photos/lumiago/5547263117).

‏‎4:52 PM – Burgos: Cartuja de Miraflores – high altar (at the extreme lower left) – King Juan II accompanied by St. James (Santiago).

‏‎4:59 PM – Burgos: Cartuja de Miraflores – royal tombs (from near chapel at left front); statues of San Marcos (St. Mark) at foot end, San Lucas (St. Luke) at right (queen’s side); in background is large overhead photo of tombs and choir stalls of Fathers’ Choir.

‏‎4:53 PM – Burgos: Cartuja de Miraflores – royal tombs: overhead photo (on wall next to tombs).

Before doing the main altar, Gil de Siloé carved in alabaster the royal tombs of King Juan II of Castile (1405-1454) and his second wife Queen Isabella of Portugal (1428-1496). Juan II was originally buried in the Iglesia de San Pablo in Valladolid (where he died), until his daughter Isabella (La Catolica) had this tomb built for him. She commissioned the work in 1486, but Gil de Siloé did not start it until three years later. Between 1489 and 1493, he created this masterpiece, considered the most elaborate tombs in Europe. It was placed in the center of the nave of the Church of the Cartuja de Miraflores, where the king had wished to be buried.

The royal tombs, in Gothic style, are in the form of an 8-pointed star. The four points at the head, foot, and two sides feature statues of the four Evangelists. Also on top of the tombs are eight smaller statues, placed on the vertices between each pair of points. All the sides of the tombs are adorned with intricate relief sculptures. No description of this mausoleum, however minute, can do justice to its endless details and symbolism. The monks, as well as experts who have studied it, agree that there is always something new to be discovered.

‏‎4:54 PM – Burgos: Cartuja de Miraflores – (biblical) relief sculptures on king’s side of tombs, with statue of San Mateo (St. Mathew the Evangelist) on top.

Burgos: Cartuja de Miraflores – king’s side of tombs: statue of San Mateo (St. Matthew the Evangelist) with his symbol (a man [normally winged]); head of King Juan II in background (https://c2.staticflickr.com/4/3143/3028902097_eee3f3e5db_m.jpg).

‏‎4:54 PM – Burgos: Cartuja de Miraflores – statue of San Marcos (St. Mark the Evangelist) atop foot end of tombs.

‏‎4:55 PM – Burgos: Cartuja de Miraflores – (allegorical) relief sculptures on queen’s side of tomb; in center are “La Justicia y la Fortaleza” (Justice and Fortitude); St. Luke statue on top left; Queen Isabella and her prayer book (Book of the Hours) in background.

Burgos: Cartuja de Miraflores – queen’s side of tombs: statue of San Lucas (St. Luke the Evangelist) with his symbol (a winged ox or bull); face of Isabella reading Book of Hours in background (https://www.flickr.com/photos/paul-mcclure/15255377697).

‏‎4:55 PM – Burgos: Cartuja de Miraflores – sculptures on corner at head end of tombs: San Juan (St. John the Evangelist) with his symbol (an eagle) on top; relief below includes a pieta; main altar in background.

Burgos: Cartuja de Miraflores – corner at head end of tombs: statue of San Juan ( St. John the Evangelist), with his symbol (an eagle); relief below includes pieta (https://www.flickr.com/photos/azuaje/22696508931).

Burgos: Cartuja de Miraflores – tomb with close-up of San Juan (St. John the Evangelist) (https://www.flickr.com/photos/lindalawen/538614031).

‏‎4:56 PM – Burgos: Cartuja de Miraflores – Nursing Madonna (Virgen de la Leche, aka Our Lady of Miraflores) on king’s side of corner at head of tombs; on corner at left are Carthusian monks in prayer.

‏‎4:57 PM – Burgos: Cartuja de Miraflores - Nursing Madonna (Virgen de la Leche, aka Our Lady of Miraflores) on king’s side of corner at head of tombs (close-up, telephoto, 76 mm).

On the left wall of the sanctuary, near the tomb of the monarchs, is a large niche reserved for the tomb of Infante Alfonso (1453-1468), erected in 1489-1492. Infante (Prince) Alfonso was the son of King Juan II of Castile and his second wife Queen Isabella of Portugal. His early death in a plague epidemic at age 14 in 1468 paved the way for his sister, Isabella (1451-1504) to become Queen of Castile and León, after the death of her half-brother Enrique IV of Castile (1425-1474). Alfonso was originally buried in the monastery of San Francisco de Arevalo. In 1486, however, Isabella (“La Catolica”) commissioned Gil de Siloé to sculpt two tombs in alabaster, one for her parents and also this mausoleum in the same florid Gothic style.

The tomb is topped by a pointed arch with many different images of plants and animals. Almost lost in it are angels holding the coat of arms of the Kingdom of Castile and León and an image of the Archangel Michael defeating a dragon at the peak of the arch. The tomb is framed by two pilasters adorned with images of apostles and saints, with gargoyles projecting from the sides, and topped by a relief depicting the Annunciation. Under the arch is a statue of a prayerful Infante Alfonso adorned with pearls and rhinestones and with a fur hat hung over his back. He is kneeling on an elaborate cushion of material similar to that of his robes. His face suggests a higher age than his at his death; his hands are clasped to his chest in a praying attitude; and his eyes are directed toward the main altar. Alfonso is kneeling on a richly decorated cushion. On the prie-dieu of the kneeler before him is another cushion holding the Infante cap and an open prayer book. On the frame across the bottom of the niche is a small statue of the Virgin Mary.

Burgos: Cartuja de Miraflores - tomb of Infante Alfonso (https://www.flickr.com/photos/8449304@N04/1799649501).

Burgos: Cartuja de Miraflores – tomb of Infante Alfonso (commons.wikimedia.org).

‏‎5:03 PM – Burgos: Cartuja de Miraflores – vaulted ceiling in main altar area, with more stained glass windows.

‏‎4:58 PM – Burgos: Cartuja de Miraflores – Chapel of the Blessed Sacrament (to left of main altar and tombs) with MT and [exposed] sacrament.

The church sacristy has recently been renovated as the Chapel of the Blessed Sacrament, a place for prayer and silence. The curious style of the altar is due to the fact that it was designed to hold the numerous reliquaries of saints. Above is a Baroque painting by a Carthusian monk of the shepherds arriving at the manger to offer their gifts to the newborn Jesus. On either side of that are two other paintings: on the left is St. Hugh of Lincoln (1134/40-1200), a Carthusian monk who while prior of the monastery of Witham, the first Carthusian charterhouse in England, was chosen to be Bishop of Lincoln (at the time of the Reformation, he was the best-known English saint after Thomas Becket); on the right is another St. Hugh of Grenoble (aka St. Hugh of Châteauneuf, 1053-1132), Bishop of Grenoble (at the Council of Avignon in 1080, he was elected Bishop of Grenoble although he was not yet ordained) who led St. Bruno and his companions to the Alpine valley where they founded the first Carthusian monastery in 1084.

‏‎4:58 PM – Burgos: Cartuja de Miraflores – statue (reproduction) of Nursing Madonna (Virgen de la Leche aka Our Lady of Miraflores) in side chapel (dedicated to Our Lady of Miraflores).

‏‎5:13 PM – Burgos: Cartuja de Miraflores – Museum – relief of Mary Magdalene.

‏‎5:17 PM – Burgos: Cartuja de Miraflores – English part of sign for “Mary Magdalene – 16th Century Alabaster” – “Invoked as the patroness of our contemplative life, different legends relate to the life of Mary Magdalene after the Resurrection of Jesus. This magnificent carving reflects different elements of the Provenzal tradition. The ship in the background at the right represents the miraculous voyage she made with her brother Lazarus and sister Martha arriving at the port of the walled city of Marseille.

“In front is Mary Magdalene, prostrate on the ground of the grotto where she secluded herself dedicating the end of her life to prayer and penance. Before her is the book of Sacred Scripture and on her side is a jar of perfume which recalls both her conversion when she anointed Christ’s feet and also the Lord’s Resurrection when she went to Jesus’ tomb with ointments. In the back to the far left is an altar with a crucifix, a candle and, once again, the jar of perfume.

“Finally, in the back on the right are several pilgrims climbing up to the grotto. One of them witnesses the ecstasy of Mary Magdalene when two angels carried to heaven her naked soul, symbol of purity restored.”

Near the altar is the largest of the side chapels. It holds an exposition of paintings that, up to now, had been kept within the monastery enclosure and had never been seen before by the public.

‏‎5:15 PM – Burgos: Cartuja de Miraflores – Annunciation painting is largest side chapel.

‏‎5:24 PM – Burgos: Cartuja de Miraflores – Nursing Madonna (Virgen de la Leche) painting in side chapel.

‏‎5:24 PM – Burgos: Cartuja de Miraflores - sign for “Virgen de la Leche (Virgin Mary Nursing the Infant Jesus) Mid 16th Century Oil on canvas” – English part: “This small painting, according to the inscription on the back, was given in 1677 by His Excellency Andrés de Girón, Archbishop of Santiago de Compostela, to his nephew fray Francisco Girón, monk of this monastery.

“The representation of the Virgin nursing the Infant Jesus belongs to the most ancient iconography of Christianity. Already in the 4th and 5th centuries the Church Fathers identified the maternity of the Virgin Mary with that of the Church: just as the Blessed Mother fed and cared for her Son Jesus so the Church spiritually nourishes and sustains the newly baptized in their lives as Christians.

“It was both by Flemish influence as well as Italian that this theme spread widely through Spain in the 15th and 16th centuries emphasizing the maternal love of Mary and her role as intercessor as Mother of God and Mother of the Church. This mystery of faith is summed up with extraordinary beauty and meaning in this prayer which we Carthusian monks recite each morning at sunrise: ‘May Christ be born and grow in our hearts and may we receive Him with the same love with which Mary loved him.’ ”

In a smaller side chapel, dedicated to Our Lady of Miraflores, delicate restoration has recovered the impressive color of the 17th-century frescoes.

‏‎5:26 PM – Burgos: Cartuja de Miraflores – frescoes on ceiling of side chapel dedicated to Our Lady of Miraflores.

‏‎5:27 PM – Burgos: Cartuja de Miraflores - frescoes on walls and ceiling of side chapel dedicated to Our Lady of Miraflores.

‏‎5:28 PM – Burgos: Cartuja de Miraflores – sign in side chapel dedicated to Our Lady of Miraflores with photos of Virgen de la Leche and Immaculate Conception statues – English caption: “On February 2nd 1645, Solemnity of the Purification of Mary, fray Nicolás de la Iglesia, the sacristan’s assistant, adorned the high altar with the statue from the Royal Tomb which represents the Virgin Mary nursing the Infant Jesus. Afterwards, instead of returning the sculpture to its niche he restored and painted it. Seeing the devotion the statue inspired, he renovated this chapel especially for it. … In 1920, the alabaster statue was returned to the Royal Tomb in the church. Placed to preside over the altar of this chapel was a Baroque carving of the Immaculate Conception of Mary, beautifully polychromed and, apparently, close to the School of Alonso Cano.”

‏‎5:29 PM – Burgos: Cartuja de Miraflores – Baroque carving of Immaculate Conception of Mary on the altar of the side chapel dedicated to Our Lady of Miraflores.

‏‎5:29 PM – Burgos: Cartuja de Miraflores - Baroque carving of Immaculate Conception of Mary on the altar of the side chapel dedicated to Our Lady of Miraflores (cropped); note the heads of cherubim beneath her feet.

‏‎5:29 PM – Burgos: Cartuja de Miraflores – replica of statue of Nursing Madonna (Our Lady of Miraflores) in glass case. Several sculptures, including this one, from the sides of the tombs have been digitally reproduced.

‏‎5:33 PM – Burgos: Cartuja de Miraflores – replica of statue of Santiago Apóstol – plaque reads: “Gil de Siloé – Santiago Mayor (replica).”

‏‎5:33 PM – Burgos: Cartuja de Miraflores – English part of sign for “Santiago Apóstol” (Apostle St. James): “This small statue formed part of the group of apostles and saints carved around 1490 by Giles of Siloe for the tomb of King Juan II and Queen Isabel here in this church. In 1914 a wealthy aristocrat offered to finance a series of restoration work in our monastery showing special interest in the royal tombs. In fact, he took several alabaster carvings to Madrid under the pretext of having them restored. Those sculptures were never returned.

“Later, faced with economic ruin, he managed to take part of his private collection out of Spain and auction it off in New York. The auction catalogue included this statue of the Apostle Saint James which was acquired by an American collector. She would bequeath it to the Metropolitan Museum of New York where since 1969 it is exhibited in ‘The Cloisters’. In 2011 the World Monuments Fund whose headquarters are in New York, financed and donated to our monastery this splendid reproduction with the collaboration of the Metropolitan Museum and the Regional Government of Castile and León.

“The sculptor Giles of Siloe settled in Burgos in the second half of the 15th century although little is known of his origins which seem to be in Northern Europe. This sculpture is an excellent example of his extraordinary virtuosity as can be noted in the draping of the robes and the meticulous details of the beard and long hair.

“Invoked as patron saint of the Spanish people and protector of their kings, the Apostle Saint James is depicted here in pilgrim attire: tunic, cape and wide-brimmed hat with a seashell, attribute[s] which would later be associated with the pilgrim route of Santiago de Compostela. He wears a pouch over his shoulder and carries in his left hand a walking stick from which hangs a gourd for water. The book that he holds in his other hand recalls that he was an important figure in the New Testament.”

On the way to the bus stop, Don had to make an emergency stop in the woods.

‏‎6:15 PM - Burgos: near bus stop by Cartuja de Miraflores – fancy water bottle we bought for 1€ (each) at the monastery ticket counter.

We got the bus back to Plaza España and walked back to Hostal Urban just in time to hear Miriam and Angela trying to call us on Facetime; we couldn’t get that to work; so we finally got them on Skype (we could see them, but they couldn’t see us; all could hear).

We made it to Capilla de Santa Tecla in the cathedral for the 7:30 mass.

The Capilla de Santa Tecla, next to the foot of the cathedral, is attached to the nave of the Gospel (northern) side. The largest of all the chapels, it is the result of the transformation of four small Gothic chapels and the attached parish church of Santigo de la Fuente into a wide nave between 1731 and 1735. Its full name is Capilla de Santa Tecla y Santiago. It is totally in the Baroque style. It is covered with a ribbed dome and eight-part vaults; the whole ceiling is profusely decorated with polychrome plasterwork. Its main altar, in polychromed Churrigueresque (Spanish Baroque) style, depicts in its center the martyrdom of Santa Tecla. In the attic at the top of the altar is the figure of Santiago Matamoros. There are also figures of San Antón Abad and Santo Domingo de la Calzada.

One of the artists involved in the work of Capilla de Santa Tecla was Alberto Churriguera (1676-1750), one of the family of Baroque architects after whom the Churrigueresque style is named. He was orphaned in 1679 and learned architecture from his older brother Jose Benito Churriguera. He was the master builder of the New Cathedral of Salamanca and other important works in Madrid and Valladolid. He, Jose, and a third brother Joaquin (1674-1724) were recognized as the leading architects of their time.

Churrigueresque style (Spanish: estilo churrigueresco) refers to a Spanish Baroque style of elaborate sculptural architectural ornamentation that emerged as a manner of decoration in Spain in the late 17th century and was used up to about 1750. It is sometimes called Spanish Baroque, Spanish Rococo, or Ultrabaroque. It was marked by extreme, expressive, and florid decorative detailing, normally found above the entrance on the main façade of a building, although it was initially conceived for fashioning altarpieces. An example is the Churrigueresque façade of the Cathedral of Santiago de Compostela. The style is named after the architect and sculptor José Benito Churriguera (1665-1725) who was born in Madrid and worked primarily in Madrid and Salamanca. However, the likely ancestry of the style is in the Moorish or Mudéjar architecture that still remained throughout south and central Spain.

According to a popular 2nd-century apocryphal tale, “Acts of Paul and Thecla,” St. Tecla (or Thecla, Thékla in ancient Greek) was a native of Iconium (Konya, Turkey), born around 30 AD, who was so impressed by the preaching of St. Paul on virginity that she broke off her engagement to marry in order to live a life of virginity. Paul was ordered to be scourged and banished from the city for his teaching, and Thecla was ordered burned at the stake. When a storm providentially extinguished the flames, she escaped with Paul and went with him to Antioch. There when she violently resisted the attempt of the nobleman Alexander to seduce her, she was condemned to be devoured by wild beasts in the arena, but again escaped when the beasts did no harm to her. She rejoined Paul at Myra in Lycia, dressed as a boy, and was commissioned by him as a “female Apostle” to preach the Gospel. She did for a time in Iconium and then became a recluse in a cave at Meriamlik near Seleucia. She lived as a hermitess there for the next 72 years and died there (or in Rome, where she was miraculously transported when she found that Paul had died and was later buried near his tomb). The tale had tremendous popularity in the early Church but may have been a pious fiction and was labeled apocryphal by St. Jerome. However, despite the purely legendary nature of the story, it may be connected with a historical person. An inscription in remembrance "of the martyr Thecla" in the church of St. Menas in Cyprus, and dated to the second half of the 1st century, was interpreted in the early 20th century as evidence for her historical existence. Her name is found in many early books of martyrs.

Burgos: Catedral – Capilla de Santa Tecla vaults and part of dome (commons.wikimedia.org).

Burgos: Catedral – Capilla de Santa Tecla ribbed dome and vault over main altar (es.wikipedia.org).

‏‎8:12 PM – Burgos: Cathedral – Capilla de Santa Tecla main altar.

Burgos: Cathedral – Capilla de Santa Tecla statue of Santiago Matamoros on top of main altar (https://www.flickr.com/photos/75710752@N04/8132665712).

Burgos: Cathedral – Capilla de Santa Tecla statue of martyrdom Santa Tecla on main altar (https://www.flickr.com/photos/75710752@N04/8132625481).

After mass, we saw tango dancers in Plaza del Rey Fernando near the Cathedral (apparently a contest).

‏‎8:17 PM - Burgos: tango dancers.

Then we went to the Rimbombin tapas bar under Hostal Urban; ordered 2 sangrias (without knowing the price); a plate (ración) of Iberian cured shoulder (7€); one tray of grilled vegetables and goat cheese (12€); we asked for bread (1€). Our waiter, who doubled as desk clerk for the hostal, brought us 2 more glasses of sangria (on the house, and ended up not charging us for the first 2). So the bill was only 20€, and we left him a 2€ tip. The girl at the hostal desk called Consulta de Isar for us and reserved a room for the 31st there.