THE FRONT OF THE SACRISTY

Model of virtuosity in the art of stone cutting

This "corner door and corner"as Alonso de Vandelvira calls it, is considered to be a model of the technical virtuosity achieved during the Spanish Renaissance for what we now call stereotomy and, at the time, art of stone cutting, o art of monteaThe technique required a solid background in geometry and mechanics. In the words of Fernando Maríasspecialist in the architecture of the Spanish Renaissance, Vandelvira is a "original inventor of montea traces" of which this doorway is the most exalted model, but of which numerous examples can be found throughout the historic quarter of Úbeda and especially in the Plaza Vázquez de Molina. [image 1]

Merging the classical world with the Old Testament world

In this door, as in the Sacristy it precedes, the human figure is both the physical and ideological support of architecture that it supports [fig. 2]. Thus, the caryatids would be representations of the Jewish religion that support, as columns, the entablature on which rests an original representation of the Augustus' vision disclosed in The Golden Legend. The cartouches leave no doubt as to the identity of the figures: on the left, the first emperor of Rome, Cesar Augustoin the centre, the Our Lady of Araceli and, on the right, the Sibila Cumana. According to The Golden Legendwhen Augustus, after subduing the world, asked the Sibyl if there was anyone superior to him, "...".around the sun there appeared an image of a most beautiful virgin with a child on her lap and a voice saying: this is the altar of heaven. Then the Sibyl said: this child you see in this maiden's lap is of more stature than you, worship it". This legend has its biblical correlate in the prophecy of Isaiah".Behold, a maiden is with child and will bear a son, and she will call his name Immanuel.". The classical oracle and the Old Testament prophecy would herald the coming of the Messiah, a new example of the humanist ambitionin which Dean Ortega took part, by merging the classical world with the OT world.

Although, as we have said, an inscription unequivocally identifies the kneeling figure with the first emperor of Rome, his attributes nonetheless establish an obvious parallel with Charles VThe imperial crown; the collar of the Golden Fleece and the mantle that covers him. The new Caesar Charles, like Octavian Augustus, whom Erasmus regarded as the most magnificent prince who ever ruled, would have revived the hope of an new era of peacein the construction of which it would play an important role Francisco de los Cobos. This interpretation is supported by the broad cloak worn by Octavian Augustus, since the imperial coronation cape was donated by the emperor to Francisco de los Cobos and, according to tradition, was preserved in the Chapel as a rain cape.until the 19th century.