Architecture and fittings Las Palmas Cathedral

interior view, demonstrating piers imitation palm trees.

the cathedral designed in gothic pointed architectural style. present structure consists of nave double aisles, pseudo-transepts eastern aisles, , sanctuary. nave , aisles of 4 bays westward of cross. primary aisles carried same height nave. secondary aisles low, , used chapels. wall between 2 aisles carries clerestory. piers worked in imitation of palm-trees. on bold square base, 5 square feet (0.46 m), imposed octagon. on octagon, there circle of cut classicizing mouldings rise columns circular in plan. these columns finely moulded; 4 bold circular rolls @ cardinal sides; between each 3 fluted members. whole effect combines corinthian , pointed. these columns banded twice rich , effective moulding, combining cable, row of ball-flowers above it; below, cut chevron, pointing downwards. these shafts have no capitals; run horizontal fillet, spring plain vaulting ribs, flow shafts palm-branches trunk. vaulting sexpartite. between 2 aisles pure pointed arches. responds circular piers,—that is, responds on wall between aisles, vaulting of primary aisles falls,—are half shafts of ordinary pointed work, without fillets, , of 5 foliaged heads; caps of aisle vaulting foliaged. western responds circular shafts ordinary pointed. plain, therefore, architect trust palmary development in isolated shafts. old work: church being left unfinished in sixteenth century.

eastward of 4 bays eduardo s eighteenth century work; consists of cross, transepts, or rather pseudo-transepts, carried throughout height of nave , first aisles, not extending laterally beyond secondary aisles. throughout arches scarcely pointed, possible forming semi-circle. square of cross old work, except soffits of 4 sustaining arches enriched featherings of shell-work, , above these sunk hollow, enriched ornaments. above arches rises second pointed arch, sustaining vaulted ciborium, entirely classical on exterior, pointed within. space between 2 arches pierced 3 windows; between each window statue. transepts have eastward aisles, piers of same palm-trees in old work. sanctuary has 1 bay more, without aisles, itself, making in 7 bays nave, cross, , sanctuary, , 6 rest of church. case in spain, mass of sacristy , panteon attached east end, has therefore no constructive architectural feature. dimensions of church west follows:—four bays, each 23 feet (7.0 m) long; 3 piers, each 5 feet (1.5 m) in square; 2 piers cross, each 5 feet (1.5 m) in square; cross, 30 feet (9.1 m); aisle of cross, 25 feet (7.6 m); sanctuary, 25 feet (7.6 m); equal 197 feet (60 m), total length. nave 36 feet (11 m) wide, , aisles each 27 feet (8.2 m); equal 144 feet (44 m) total width.

the cathedral s windows.

the second , third bays west filled, or rather walled up, vile classical coro. aisle-windows broad single-lights, , pointed. many of them, however, classicized internally, secondary aisles have been tampered with. several walled off chapels, , in 2 western bays of north aisle vaulting plaistered over; , in 1 of bays of south aisle, old piers have been cut away, , corinthian shafts have been stuck onto walls. there 2 ambons against easternmost piers of cross.

one of campaniles.



crucified josé luján pérez, 1793, located in sala capitular.




video on luján pérez masterpiece.

the exterior intended entirely cased eduardo, , reduced so-called classical uniformity new works, which, though pointed both in feeling , detail internally, entirely classical on exterior. object fuse whole cathedral, vast accessories of sacristies complete design. eastern part finished, in sacristy has grand, though false, apsidal look, lofty columns , recesses; northern , southern fronts of transepts have been masked huge, soaring, , deep portals, , western facade have been resolved corinthian arcade, flanking campaniles. of these latter 1 executed. arcade carried architrave; second story has not been built. new work set forward few feet, old western front partly discoverable. consisted of centre gable nave, flanked 2 octagonal italian romanesque campaniles. primary aisles again gabled; impossible whether secondary aisles gabled, or again terminated westward turrets. whatever western finish, embedded in modern work.the romanesque campaniles similar ones found in village of teror, in old octagonal italian romanesque tower of same date. reproduces flanking campaniles of cathedral, , same architect. rises ground, , consists of 6 equal stages; mouldings , divided, , alternate faces of top stage pierced bells pisan-looking arcade. has pyramidal, , norman-looking, capping. externally, window-arches—there one, of course, in each bay of aisles—are moulded single bold roll imposed upon shaft, base , capital. bases moulded, , run string, enriched ball ornament. buttresses have been cased , modernized; old gurgoyles remain. buttresses joined clerestory walls flying buttresses, of outline of segmental arches remain. clerestory windows plain pointed single lights, -with mouldings of 3 orders; transept windows same. below each clerestory window single, recessed, narrow niche, or blank window, in place of triforium. there pretty rose window in western gable of nave. rest of exterior classicized;; cimborium, or dome on cross, mean; curtailment of poor architect s death-blows; , rest consists of usual vases, flower-wreaths, knobs, pots , pans, , spikes, , scent bottles of so-called italian art. eduardo s elevation still preserved; inquiries made in vain memorial drawing of church before eighteenth century. in westernmost chapel of south aisle gigantic st.christopher, unfailing accompaniment of many spanish churches; here door leading pretty semi-moorish wooden cloister, domestic , patio-like in effect; above library , chapter-house, common-place italian rooms. sacristy has remarkable stone floor, 40 square feet (3.7 m), cunningly jointed , dovetailed; how supported without piers, or girders, vaulting, under surface being entirely horizontal, crux canarians , others. natives point floor out triumph of eduardo s genius. plate , vestments rich hut late. pax of italian enamel worth attention; , in sacrarium, capilla mayor, suspended lamp of genoese work—the offering of bishop ximenes, (1005-1690). both altar , credence have frontals of beaten silver; on latter, @ south side of altar, 3 large salvers arranged, heraldically speaking. gigantic paschal candle stands on north side of altar 15 feet (4.6 m). sacrarium lined throughout crimson velvet, canopied baldachin on high altar. clerestory windows, , of cimborium, basely filled circular patches of plain coloured glass.