Sheraton Santa Maria de El Paular - Monastery Art
Most notable is without doubt the altarpiece, completed in late fifteenth early sixteenth century. It is situated at the front of the sanctuary of the temple and is a magnificent example of Hispano-Flemish sculpture.
The entire altarpiece is made of gilt and polychrome alabaster, with the exception of the upper section in Baroque style, composed of five sculptures of rotund form, carved in wood and also decorated with polychrome.
Observe the image of Santa Maria de El Paular surrounded by angels that date in the first decade of the sixteenth century, replacing the original.
A cornice with decorative foliage gives way to the first body of the building, divided into six sections that house an iconographic series related to the life of the Virgin Mary with the following scenes from left to right: "Presentation of the Virgin, "Annunciation", "Visitation", "Nativity of St. John ',' Birth of Christ" and "Adoration of the Three Kings".
The second and third bodies are also divided into four sections each (those along the side being wider), house scenes concerning the life, passion and death of Christ. The reliefs of the second body are: from left to right, "Submission," "Purification and Candlemas," "The Baptism of Christ," "The Supper" and "The Taking", while on the third floor we find: "The Whipping," "Road to Calvary," "The Crucifixion" and "Pity and lamentation".
At the top, the attic is also divided into two scenes with reliefs depicting the "Resurrection", which close the iconographic representation with "Christ's descent into hell" and "The Resurrection".
All the scenes are filled with friezes styled with gothic tracery.
Complete the decor of the altarpiece, the remaining figures of saints that are distributed across the surface of the arches and pathways provide a repertoire of architectural detail and decorative motifs of plants, animals, humans between the rich foliage of organic masonry.
Finally, on top of the altar we find a series of sculptures of rotund form made of wood, which include a Calvary arranged above the attic, the image of St. John the Evangelist on the left side and San Bruno on the right.
While exact dating and provenance unknown, it has been speculated that the Calvary could be dated to the late sixteenth and early seventeenth centuries, while San Juan Bautista and San Bruno are attributed to the workshops of seventeenth century Madrid.
Condition
There have been numerous interventions for conservation of the altarpiece in the sixteenth, seventeenth and eighteenth centuries, which have been identified as the first and second period and third period that would stretch from the late nineteenth century (1896) until today.
Evidence has been given indicating an "intervention" in 1956 without effect on the altarpiece. Subsequently, after the progressive and widespread deterioration of the altar, efforts were made in the 1970s. The most recent restoration work was carried out in 1997.
Also noteworthy is the Transparente (the windows that give light to the altar), the cloister and gardens, the Capilla Capitular, the Patio de la Cadena y del Ave Maria and the Capilla de los Reyes, the Church and its Atrium.
Next Exhibition of Paintings by Carducci
Between 1626 and 1632 the painter Vincenzo Carducci created fifty-six Carthusian iconographic paintings of more than ten metres squared each for the Monastery of The Paular. All the paintings have been restored in the Prado Museum in Madrid and were recently returned to El Paular to be exhibited to throughout the cloister, in their original place.
Because of the arrival of Carducci's paintings to El Paular great works are being carried out in the Cloisters, modifying them in order that they may house this great exhibition. During the time of these works the Cloister will not be open for visits.