The choir stalls of the Cathedral of San Salvador de Oviedo (Asturias, Spain): deeper study of its elements, emphasizing the importance of German influence brought by Alejo of Vahía, and other interesting things like

The choir stalls of the Cathedral of San Salvador de Oviedo was commissioned by the Bishop of the diocese Don Juan Arias del Villar and beginning itself works completion in 1491 and ending in 1492. Assembly originally compose by 80 chairs attributed to Alexis de Vahía, but also to other teachers still unknown. The chairs would be used for centuries to bring together members of the clergy in the Cathedral of Oviedo. However, in 1901, Bishop Ramón Martín Vigil decided to withdraw the choir stalls of the Cathedral to reform the worship space. Therefore, it is distributed in several places. The chairs laid in the chapel of Covadonga and the Chapter House, which was 45 higher (dedicated to the canons) were destroyed during the revolution of October 1934. Moreover, the low chairs (to holders), which were 34, had been taken to the Chapel of Santa Barbara during the reforms of Martin Vigil. In 1954, no known reason, they are dismantled and abandoned in the attic of the Cloister of the Cathedral, to be discovered in 1979 by the American marriage of historians formed by Dorothy and Henry Kraus, who took care to preserve them through funding received from the International Fund for Monuments, American institution to restore, conserve and manage the overall artistic and cultural heritage. They proceeded to cataloging them as works of Spanish art of utmost importance. Currently 28 chairs set is preserved, since not everything was recoverable, plus several backups impossible to relocate and mercies. Exposed again in the Cloister of the Cathedral of Oviedo, specifically in the Chapter House.

It belongs to the artistic style called Late Gothic stalls was created in large part by the Rhenish Hispanic artist Alejo of Vahía. The restorations carried out in recent decades have allowed revive lustrosidad walnut wood, highlighting its brownish-red and particular brightness. The International Fund for Monuments in Washington, in 1979, undertook to restore seven chairs. It should be noted that marriage Kraus had disclosed them first who tried to rebuild those considered most valuable, or those in worse shape, but recoverable. The following year, in 1980, artisans Marino and Luis Manuel Espino, by financing the above organization, could restore the 28 assembly seats that remain to this day.

Front view of the high chairs in the Cathedral of Oviedo.

Lateral side of the high chairs in the Cathedral of Oviedo.

In high chairs, which are only five copies, thoroughly used marquetry inlays made ​​from boxwood. This is lighter than the walnut and serves to highlight the text, as well as coats, symbols and ornaments that appear on the backs. 

The inscriptions, located in the upper part of the seat backs are in Latin and fragments containing either the Bible or the Creed. In fact, one of the backups a part of the Old Testament (Judith, 15, 9) writes: <<IVDIC : TV GLO / RIA : IHM / TV : LETI / CIA : ISR / AEL : TV / HONORI / FICENCI / A : POPV / LI : NOS / TRI :>>. Its English translation: ''You are the glory of Jerusalem, thou joy of Israel, thou the honor of our people.'' Another fragment, part of the Holy Gospels, note: <<SACAR / IAS : DI / CITE : FI / LIE : SI / ON : ECCE /: REX : TV / VS : VE /NIT : M / ANSVE / TVS :>>. Translated:'' Tell the daughter of Zion, behold your king comes meek​​.''

Ecclesiastical shield of Don Juan Arias del Villar. High chairs in the Cathedral of Oviedo.

Thanks to the boxwood ecclesiastical shield depicting Don Juan Arias del Villar stands. It is known that this is a shield of the Church because the bell is crowned by a Capel, from which hangs a double string with ten tassels and four ranges on either side. Both Capel as the line always remind the Church, although the science of heraldry has many distinctions and variations in its ecclesiastical aspect. The shield symbolizes the lily scallops accompanied four five six-pointed stars. The fact that the shield appears Arias del Villar is not only a way to reflect their authority but also a way to do unmoved by time, may be remembered as the one who commissioned such a work of art.

Lower stalls of the Cathedral of Oviedo.

On the other hand, the lower stalls, which has 23 pieces, despite the intervention of more than one teacher, best carvings attributed to Vahía, as depicting the prophet Moses or the martyr St. Catherine.

Moses.

Thus appear as characteristic motifs of the sculptor as symmetrical faces, curls that tumble over the forehead (also symmetrical, usually like hair and beard), eyes downcast, iris remarked, the long nose and narrow, finish round toe, closed mouth, thin eyebrows, which are almost rectilinear, fingers very long and thin...

St. Catherine.

Detail of the face of St. Catherine.

It is interesting to note that, in women, eyebrows arching slightly. Also in Vahía them will discover their hair completely, with sharply interwoven strands. However, the opposite is not covered at any time by the hair, keeping clear, unlike in men. The embossments of this sculptor discover their tendency geometrización but nevertheless undulations hair and beards, as well as clothes, and slight motion gestures necks allow arms forms a nice counteractive is made. It is a good example of a late Gothic to Renaissance and approaches. In addition, the sculptor brings to the Cathedral of Central European art influence, as he is a native of the Rhineland (now Germany). Therefore, the Asturian stalls is testimony to a rich cultural mix is reflected in his art.

The Synagogue and the Church.

Out of this, boxwood inlay is also used in the lower stalls, for the phylacteries. Alejo of Vahía also be able to clarify which character is represented by identifying objects or features thereof. For example, Moses, holy prophet of the Old Testament in his head he wears a pair of horns, which symbolize the light rays that characterize the divine Mount Sinai. He argues, also, the Ten Commandments. Santa Catalina appears with gear who tortured and beheaded by the sword. Finally, the Synagogue is shown as an old woman, bent with fatigue the years, that is blindfolded, and bearing the Decalogue. On the other hand, the Church is represented as a young woman and enlarged, firm holding the chalice with the Host. They are a couple of completely opposite images that try to show that Judaism (a synonym of the Synagogue), is aged and is totally stuck, anchored to the past. On the other hand, Christianity (symbolized by the Church) represent a new religion and updated to current times. It is a genuine policy against Judaism.

The use of high relief figures used for backups, allowing projecting more easily perceive its importance, next to mediorrelieve and bas-relief for the less important scenes combined. The issue figured in the lower stalls is both religious (includes apostles, saints, prophets, the Annunciation, the Archangel Gabriel at the Annunciation, the Synagogue and the Church ...) as profane.

Fable of the fox and the crane.

In these mundane scenes, more schematized surely work for assistants Alejo of Vahía, can be highlighted dedicated to represent fables, demonstrating the educational function of the Church. This applies, for example, in the fable of the fox and the crane (''according to the treatment that we give, so shall you receive treatment'').

Harlequin circus with ferocious lions.

Details of the harlequin tights.

There are other configurations belonging to the field of leisure and enjoyment, as in a harlequin on one leg that is sustained by two lions with gaping jaws appears. Lifting one leg stand as a sign that the man who has managed to tame accompanies. It is surprising, on the other hand, the attention to detail that can be seen as small as it relieves. The meshes have character drawings, and being so tight, make even the buttocks.

Other images:

                                                                                      Backups high chairs. Numerous Christian symbols such as the Latin cross, and Jews, as the Star of David displayed.

Boar surrounded by greenery, next to the first high chair (to the left if the quintet is seen frontally). The boar is a very abundant mammal and therefore very popular within the Asturian territory.

St. Blas with crosier and hand on the throat, the lower stalls.

St. Barbara with the tower and lightning in the lower stalls.

Representation of wildlife and wildlife Asturian: Wolf attacking a bird (maybe a grouse) under an oak tree with acorns.

A wyvern, symbol of power, is represented by a merciful relief. This dragon, often used in heraldry, is typical of the United Kingdom and Central Europe, reaffirming the German influence in the Asturian Vahía stalls again.

Like a wyvern is testimony to the Rhenish origin of the sculptor, the lorelei also attests its Germanic roots. This figure sirenoide with gold mirror and comb, is equated with the famous xana Asturian mythology.