religious institution – Snapping The Globe

Metro de Chateau

At one end of the Paris metro yellow line is La Defense, the other, Chateau de Vincennes.

The location of my work hotel is somewhere in between and I’ve visited La Defense’s Christmas market a few years ago, but never gave much thought to the other end of the line. La Defense is a business district, I just naturally assumed Chateau de Vincennes metro stop was named after the area, not an actual Château. In actuality, I was partly correct.

The area of Vincennes was formed in the late 18th century, when two village communities located north of the chateau joined together…the hamlet of La Pissotte, which was built towards the end of the 13th century and Basse-Coura subdivision created under Charles V originally used to house royal servants. In 1829, the territory was enlarged at the expense of Fontenay-sous-Bois and Montreuil. Vincennes now covers an area of some 192 hectares and has almost 50,000 inhabitants. It is one of the most densely populated towns in France.

But, there really is a chateau in Vincennes!

Setting out shortly after my arrival into Paris, I was excited at the prospect of seeing this chateau in Vincennes that this metro stop was named for.

Exiting the metro, I discovered massive walls and an imposing gate a short distance away on the Avenue de Paris. Complete with a draw bridge spanning a moat surrounding the premises, I was reminded of its long history and its need for defense during tumultuous times.

Chateau de Vincennes entrance

Built between 1361 and 1369, this preferred residence of the French Kings was known for its keep and for its beautiful chapel, Sainte-Chapelle de Vincennes, although prior monarchs used the area during the century before construction commenced.

Passing through the gates, I glanced up at the bell tower and clock, the very first public clock in France (although now a reproduction with its original kept in Saint Chappelle). A little further, I walked into a large compound with buildings lining the walkway to both my left and right, and here, I discovered the ticket office. Although I had purchased my ticket prior to my arrival, I stopped inside to ensure that everything was in order and to confirm what my entry fee covered. Handed a map, I was pleasantly surprised that I was able to visit not only the Keep and the Chapel, but also the Queen’s Pavilion.

*Chateau de Vincennes inner courtyards and buildings*

The Keep, or “donjon” seemed to be the perfect place to start my explorations. This fortified central tower, the tallest in Europe at the time, was built during the 14th century. Initiated by King Philippe VI in 1340, later his son Jean II of France and subsequently, his son, the future Charles V, the fortress with high walls, towers and a keep were completed by 1370. Charles V moved into the Keep with some construction still underway. As I moved through the massive structure with its 52 meter tower in the center, I read through the signage describing each of the areas’ usage.

The ground floor of the Keep has wells and the remains of a large fireplace, probably originally used by royal servants. It was largely rebuilt when the building was used as a prison.

*View of Sainte-Chapelle de Vincennes and King and Queen Pavilions from the Keep*

The first floor contained the meeting hall of the Council of the King, and was also used when needed for bedchambers of the Queen and others close to the King. The walls were originally covered with oak panels, some of which are still in place.

The second floor was occupied by the bedchamber of the King, and has decorations added by Charles V of France when he rebuilt it from 1367–38. The walls were originally covered with oak panels, and the vaulted ceiling was decorated with sculpted keystones and consoles and painted flour-de-Lys and the coat-of-arms of the King, against a blue background, still visible. A small oratory is set into the north wall, though its wood paneling has disappeared.

The third floor has the same plan as the second, but lacks the ornate decoration of the royal floor. It was probably used by important guests of the King.

The fourth, fifth and sixth floors, which lack ornament, were probably used by domestic servants or soldiers. They were also used to store munitions for the weapons placed at the windows of the fourth floor and on the terraces of tower of latrines and the main body of the keep. The sixth floor has no windows and a ceiling only two meters high, and a single entrance. Beginning in 1752, the upper floors were used primarily as prison cells. The bars in the windows and doors date from that period. The extensive and elaborate graffiti still found on the walls on the upper floors also dates from the 17th and 18th century.

After Charles death, it remained a place of refuge for future kings, eventually converting to a prison and finally, a military installment. In fact, the most interesting portions of the keep were one of the areas used for the restraint of prisoners. In this area, I spotted many signatures etched onto the walls and the remains of murals painted on the walls by these prisoners, the most beautiful being those completed by Monseigneur Boulogne, confessor of Napoleon I, imprisoned on his orders. This room was also used to later keep the Comte de Mirabeau, who spent three years imprisoned at Vincennes where he wrote about the abuses of the royal warrant. Other famous prisoners included Denis Diderot (1713-1784), François-Vincent Raspail (1794-1878), the Marquis de Sade (1777-1784).

My tour of the Keep complete, I headed across to Sainte-Chapelle de Vincennes. Having been to the beautiful chapel of Sainte Chapelle in Paris’ Ile de Cite, I was curious to see how they would compare.

Conceived by Charles V as his dream to add an exceptional religious monument to the fortress and a place to house the relics of the Passion of Christ, he did not live to see its culmination. With construction beginning in 1379, it still remained unfinished in the 16th century. King Francois I, a frequent resident, resolved to bring it to its completion in 1520, to celebrate the birth of his son and heir. Upon his death, Henry II of France resumed construction, completing the vaults and overseeing the addition of woodwork and stained glass with its completion in 1552.

While both are built in the Gothic style and organized in the same manner, this one seemed much more narrow and more brightly lit. Devoid of seating or ornamentation aside from the windows and the altar, it was a clear view of the sole internal space, especially from the rear choir loft, in contrast to Sainte Chapelle on the Ile de la Cite having two levels, upper for the King and his family and the lower for ordinary members of the court.

The sacristy, a separate two story structure, is attached to the chapel at the oratory of the King on the north side of the chapel and a stunning funerary monument of the Duke of Enghien can be found inside as well.

*Funerary monument of the Duke of Enghien*

Exiting the Chapel I headed through the arches into the courtyard of the Pavilions of the King and Queen. A beautiful, open and grassy space each building, the King’s Pavilion on the southwest corner and the Queen’s opposite.

*View of the King and Queen Pavilion Courtyard*

The King’s Pavilion was constructed between 1610 and 1617 by Louis XVIII and modified over the years to enlarge the structure. Consisting of three stories with five rooms for the King, his apartment looked our west over the gardens. Today, parts of the King’s Pavilion ceiling can be found in the Egyptian collection of the Louvre Museum.

The Queen’s Pavilion was construction many years later, from 1658 to 1660 and followed the same basic design as the King’s structure, however, instead of a garden view, it overlooked the courtyard. As the Germans stored explosives in the two pavilions and these caught fire after an explosion, the building fell in to disrepair.

*King’s Pavilion, upper middle. Queen’s Pavilion, middle*

On this visit, I was able to visit the King’s Pavilion, which houses an exhibition of the Fortresses of the Emperor depicting Napoleon and his military engineers. Personal possessions, artillery, portraits, models and other objects were found on the second floor and although the signage was in French, it was nice to see part of the interior of the building.

As the day was winding to a close and the temperature started to drop, I decided that my exploration of Chateau de Vincennes was at its end. Making my way back to the entrance gate, I headed back to the metro with the same name…

Chateau de Vincennes.

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Chateau de Vincennes

https://www.chateau-de-vincennes.fr/
Address: Avenue de Paris, Vincennes, FR 94300
Hours: 1000-1700, daily
Admission: 9,5€

In Chains

Some of Rome’s major most beloved sights are what visitors aspire to lay their eyes on while visiting the Holy City…the Colosseum, St. Peter’s Basilica, the Vatican and the Trevi Fountain, just to name a few.

Bursting with history, the city offers many museums, churches and ancient archeological sites which detail the city’s bygone times. Amongst these stand-out attractions, however, there are many hidden gems. While visitors certainly have their pick of other attractions on the way to each of these places, it may be hard to discern which are worthy of a peek inside and I make it my mission to find these hidden gems…many of them, churches.

Last spring, while plotting my route to the Domus Aureus, I spotted a church a few blocks from the Coliseum. I had planned to leave with plenty of time to grab a bite to eat and take some photos of the Coliseum, so I decided to add this detour and mark off another church from my list (yes, I am obsessed with seeing all churches in Rome!).

As I exited the Cavour metro station and marched up Oppian Hill, I became a bit confused. Although I was operating on little sleep, I could not figure out if this was my intended destination. The façade of the the supposed church was extremely plain and situated next to a university building. In fact, spotting students chatting and reading on the adjoined steps, I thought it to be an extension of the university edifice.

Fully expecting to interrupt a classroom full of scholars, engaged in a discussion on world politics, I marched up to the conventional brown door, set inside a narrow portico, and pushed it open.

No stern professor glared back at me for the abrupt interruption…

This was San Pietro in Vincoli, or St. Peter in Chains, the church that houses the restraints that bound St. Peter when he was imprisoned in Jerusalem.

Formerly known as Basilica Eudoxiana, it was built on older foundations during a span of eight years, starting in 432. Consecrated in 439, it was to become the place that would house the shackles that kept St. Peter imprisoned.

The chains from Saint Peter’s Jerusalem confinement were passed from Iuvenalis, Bishop of Jerusalem, to Aelia Eudocia (consort of Valentinian II) and then given to her daughter, Empress Eudoxia (wife of Emperor Valentinian III). They were then gifted, by the Empress, to Pope Leo I. Legend states that on August 1, when Pope Leo I compared them to the chains of St. Peter’s final imprisonment in the Rome’s Mamertime Prison, the two chains fused together prompting the pope to initiate the construction of a place where this miracle could be viewed by the faithful.

The church contains a main nave and two aisles and normally, I would first work my way through each aisle to see the side chapels. This time, I headed straight for the main altar. There was something special here that I needed to see.

Underneath the main altar, accessed by an open stairway, I found these important relics, housed in a reliquary in a lighted case and flanked by statues. Judging by todays standards and chains that I have seen used in various applications, these appear to be thin and quite flimsy. That being said, even with these restraining me, I probably could have not escaped imprisonment and I was moved knowing that these iron manacles once touched the flesh of Saint Peter.

My inquisitiveness satisfied, I moved on, focusing my attention on the other important aspect of San Pietro in Vincoli. While the basilica is more commonly known for the chains of Saint Peter, it is also very well known for being the home of Michelangelo’s statue of Moses which guards the tomb of Pope Julius II. Located on the right side of the church, the imposing funeral monument was originally intended to be part of a massive forty-seven foot statue. Instead, it became the centerpiece of the Pope’s tomb. There is much to analyze in the massive sculptural piece, however, take a hard look at Moses…he is depicted with horns, connoting “the radiance of the Lord”, a symbol that was common in early sacred art and easier to sculpt than rays of light.

*Michelangelo’s statue of Moses and the tomb of Pope Julius II*

*Moses reproductions for closer inspection*

Naturally, I proceeded to move through the two side aisles and the two side altars, inspecting the chapels and beautiful works displayed in each as well as glancing above at the 18th century coffered ceiling. This great work of art displays the Miracle of the Chains, by Giovanni Battista Parodi, depicting the healing of Saint Balbina by Pope Alexander as he touches the neck goiter with the chains that once bound Saint Peter.

*San Pietro in Vincoli coffered ceiling*

Artistry decorating the basilica include a painting depicting the Liberation of St. Peter (Domenichino,1604), Deposition (Cristoforo Roncalli) on the altarpiece on the first chapel on the left, the tomb of Cardinal Nicholas of Kues and its relief, Cardinal Nicholas before St. Peter. Other notable tombs include the one of Florentine sculptor, Antonio del Pollaiuolo (left side of entrance) who added the figures of Romulus and Remus to the sculpture of the Capitoline Wolf, the tomb of Cardinal Cinzio Aldobrandini and tombs once believe to be the seven Maccabean martyrs depicted in 2 Maccabees 7-14.

The third altar in the left aisle holds a beautiful mosaic of Saint Sebastian from the seventh century which depicts Saint Sebastian’s posthumous role in ceasing the plague in northern Italy in 680. Pay close attention to the frescoes as they illustrate skeletons and other images not often shown in Catholic churches.

As I exited the facility and walked around the peripheral, I was once again struck at its simplistic nature. Disguised by the activities of La Sapienza University next door, housed in the former associated convent, one might never know that they are walking past one of the most illustrious churches in the city.

Yes, on this day, I found one of the city’s hidden gems.

San Pietro in Vincoli

https://www.sanpietroinvincoli.com/
Address: Piazza di San Pietro in Vincoli 4/a, Roma, Italy 00184
Hours: Daily, 0800-1230 and 1500-1900
Admission: free
Getting There: By Metro, Cavour, Line B. By Bus, number 75, 84 and 117

The Almudena Cathedral

While there are many churches in Madrid, one that is relatively new is the one that takes center stage…for many reasons.

The Almudena Cathedral.

I’ve walked by this stunning piece of architecture countless times on my visits to Madrid. Why I never stepped inside, I am not sure. Perhaps it wasn’t during opening hours, or I simply had other more pressing matters to attend. On this particular day, however, it was open and I had nothing on the agenda.

But it was not the cathedral that I happened upon first. It was the crypt.

Noticing the open doors, located in front of the Arab Wall, I wandered in.

The first thing I noticed were the columns. 400 of them!

Four hundred columns fill the space, each crowned with biblical figures, nature scenes and the symbol of Madrid, the bear and the strawberry tree (which I had also spotted earlier near my hotel).

Mirroring the same architectural footprint as the cathedral above, it is the largest crypt in Spain and the resting place of some of the country’s most notable families and to King Alfonso XII’s first wife Maria de las Mercedes de Orleans. As I wandered through the space, admiring each of the incredibly bedecked side chapels with their Byzantine mosaics and Gothic stained-glass windows. Many of the tombs were extremely elaborate, demonstrating the power and wealth of the families of those interred. The most fascinating facet, however, was the Chapel dedicated to Nuestra Senora de la Flor de Lis (Our Lady of the Lily), possibly the oldest image of the Virgin in the city.

*Nuestra Senora de la Flor de Lis (Our Lady of the Lily)*

*Capilla de los Exemos Srs Marqueses de Urquijo*

*Capilla Virgen de Rosario and Capilla de la Exema Srs Marquesa de San Juan*

Overall, it had the grand feeling of a cathedral yet more peaceful as would be expected.

Now I was ready for the cathedral itself.

Making my way out of the crypt, I walked around the corner praying that I would find the cathedral open.

The sun was getting lower in the afternoon sky as I glanced up at the cathedral’s façade. Making my way up the stairs, it was hopeful to see other people exiting the entrance.

The church, which was completed and consecrated by in 1993 by Pope John Paul II, is the first cathedral to be consecrated outside of Rome, but plans for the church date back to 1879 when Francisco de Cubas wanted to create a pantheon for the late Queen Maria de la Mercedes. Construction was started four years later, but those plans were changed as the idea for a cathedral was conceived.

Inspired by French cathedral architecture, it was the first to include a crypt and it was to be a cathedral built by the people. When donations came up short, this and other construction problems delayed the project further. The crypt was opened in 1911 but further construction was delayed with the outbreak of the Civil War. As Gothic style went out of vogue, new architectural solutions were sought out. Work was restarted in 1950 with the cloister being completed in 1955 and the main façade in 1960. With many years of construction to follow, the cathedral was finally considered finished in 1993.

As I entered and made my way around the cathedral, what struck me most was not the beautiful stained glass windows (which were amazing), not the numerous columns that filled the space (like in the crypt), not the massive organ in the choir loft, but the colorful ceiling above. It was something like I’ve never seen and very much unexpected as it not matched the classical style!

After my departure, I learned that the cathedral houses a museum which contains effigies of the city’s patron saints, the Virgin Mary of la Almudena and San Isidro of Labrador and an exhibition of the life of the Church through the seven sacraments. The museum contains twelve halls which contain mosaics, Episcopal symbols and vestments. I also learned that I had missed access to the cathedral’s dome. My understanding of this area of the cathedral is that it is not particularly noteworthy however, I am not one to pass up an opportunity! After further research, I discovered I was visiting on a Saturday afternoon when closing time for these two features was well before my arrival. So my advice to those seeking to visit both the crypt and the cathedral and the entirety of it interior…get there early!

Guess I will have to go back!

And be early!!!

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Almudena Cathedral

http://www.catedraldelaalmudena.es
Address: Calle de Bailén, 10 28013, Madrid, Spain
Hours: Monday to Sunday, 0900-2030. Museum and crypt, Monday to Saturday, 1000-1430.
Admission: Cathedral, free. Museum and crypt, Adults, €6 (US$ 6.30), Students, groups, and seniors, €4 (US$ 4.20).
Getting There: Metro, Opera, lines 2 and 5. Bus numbers 3, 25, 39, 148.

Marquis Landmarks

Walking along the Manzanares River in Madrid, especially on a beautiful day, is a real treat as many landmarks and parks sit on or near its banks.

As I left the Ermita de San Antonio de la Florida, I decided to make my way to the Chapel of the Virgin of the Harbour which lies a short distance away, in the shadow of the Royal Palace of Madrid.

Walking along the Paseo de la Florida, I neared the metro station of Principe Pio and spotted a large structure in the middle of the traffic circle.

The San Vincente Gate.

Curiosity had me whipping out my phone to see what information I could find on this interesting piece of architecture. What I found, however, was more interesting than I anticipated.

While Madrid is filled with many historic architectural features, this was not one of them!

In 1726, a structure, commissioned by the Marques de Vadillo, stood in this area. Consisting of three giant arcs topped with a figure of San Vicente, the gate was also known as Puerta de Florida. Standing for about fifty years, it was then demolished to make way for much needed roadways. In 1775, King Carlos III, contracted Francesco Sabatini to design a new gate, closer to the river. Built of granite and limestone, it featured two shutters and an arc, Doric columns and military symbols. Unlike the first one, it stood for over two hundred years…but much like the first, it too was disassembled in the 1980s for traffic renovations.

In 1992, a proposal was passed by the City Council of Madrid approving an exact replica of the original 1775 gate. Original molds were used to construct the single arch and two blind apertures, decorated with two Doric columns and two pilasters in its interior.

Risking life and limb to make my way through the traffic zooming around the traffic circle, I crossed the roadway to get a closer look. What I thought was part of the gate, I quickly realized was remaining Christmas lighting, set within the openings of the the arches. The sun was low in the sky, highlighting the structure and I noted that if I stuck around for a couple of hours, I might get to see these holiday lights enhancing the structure.

If I wanted to get to the Chapel of the Virgin of the Harbour, however, I needed to make haste, so off I went, walking along the Paseo de la Virgin del Puerto. Many people were out due to the unseasonable warmth and I grew excited as I spotted the spires of the chapel in the distance.

Noting its unique appearance, I thought that it reminded me of a German palace. I approached from the rear, appreciated the sun’s rays highlighting the beautiful towers and roofline.

This chapel was built between 1716 and 1718 by Pedro de Ribera and is one of the first examples of baroque architecture in Spain. It was damaged by missiles in 1936, during the Spanish Civil War, which left only the walls and the octagonal dome. In 1945, it was proclaimed a national monument and reconstruction was begun by architect Carlos Mendoza. The church was reopened in 1951.

On this day, however, it was not open. I had read that it was often closed to the public and the best time to obtain access was immediately after masses of which I had hoped there would be one during the afternoon. I had hoped that it might arrive just at that time, however, it was locked up tight and I realized that the only afternoon masses were on Saturdays. Sad, considering that in the interior, you can see the tomb of Marquis Vadillo…yes, that same Marquis responsible for the San Vicente Gate, which I had just visited. What a coincidence!

While my visit to the chapel was a bit of a bust, I did get to get up close and personal to the Gate of San Vicente and learn that the chapel houses the remains of the person responsible for this gate. So, although I didn’t quite get to do what I had set out to, I learned a little bit about something unique in Madrid.

And that’s what visiting a city is all about…discovery!

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Gate of San Vicente

https://www.esmadrid.com/en/tourist-information/puerta-de-san-vicente
Address: Glorietade San Vicente, s/n28008
Hours: 24 hours, daily
Admission: free
Getting There: Metro, Príncipe Pío station (L6, L10, R). Bus, 3, 25, 33, 39, 41, 46, 62, 75, 138, 148, C1, C2, N16, N18, N19, N20, SE730.

Chapel of the Virgin of the Harbour

https://www.ermitavirgendelpuerto.es/
Address: Paseo de la Virgen del Puerto 428013 Madrid, Spain
Hours: Unknown
Admission: free

Plan Goya

Plans A, B, C, D, E and F.

When your time is limited in a city, it is imperative to have multiple plans because you never know…websites have incorrect hours, the lines are too long to get into your intended destinations or you happen to sleep too long.

On this particular day, I had plans to visit the Pantheon of Illustrious Men. It was some distance from my hotel and it closed at 3:00 p.m, so I knew that when I laid down for a quick nap, it had to be just that…quick.

So, what do you think happened?

Yes, I slept a little too long.

On this day, however, I had broken my cardinal rule. There was no Plan B, C, D, E or even F.

As I rushed to get ready, I ran through list of attractions, churches and museums in the area. Temple of Debod came to mind and I thought I would head that way to see what I would find.

It was a beautiful day and I headed on foot in the direction of the Temple of Debod. I didn’t remember that it was a place where you could enter the building; I had only remembered that it was in a park. Yet, when I arrived, there was a line formed waiting for entry.

“Okay, is this worth it?” I asked myself, looking at the empty water basins that make up the monument. I remembered walking by in the past, and it was quite lovely, but waiting an extraordinary amount of time due to Covid spacing requirements for entry, didn’t seem like a productive way to spend my shortened afternoon. Quickly taking a look at my Google maps, I realized that I wasn’t extremely far from the Real Ermita de San Antonio de La Florida (The Royal Chapel of St. Anthony of La Florida).

A few years ago, I had dragged a couple of my coworkers to this small church before taking a ride on the Teleferico en Rosales. I didn’t remember much about it except that it was extremely famous for its interior painting.

Walking through the Parque de la Montaña and near the Rosaleda del Parque del Oeste, I enjoyed the warmth of the winter afternoon. Finally, crossing the brightly bedecked pedestrian walkway above the train tracks, I found myself at the rear of the church.

Though it wasn’t extremely far, it had taken about 45 minutes and it suddenly dawned on me that it could be closed. I also suddenly remembered that there had been no photography allowed when I had first visited…oh brother…this afternoon was surely going to be a bust!

Oh well, I was here.

Walking toward the front of the church, I found a sign directing me to the entrance on the right. There was no one to greet me and I made my way through the hallway and right into the church, where I found two other visitors, eyes trained on the ceiling. Following their lead, I looked upward and remembered what this church was famous for.

Goya.

Okay, so I had moved on to Plan G. Plan Goya.

In the late 17th century, a chapel, devoted to St. Anthony of Padua, had a great many devotees, especially those of women without future matrimonial prospects. To this day, it still hosts of a pilgrimage, held on June 13, that is attended by young adult women who hope to be married.

The chapel was eventually demolished and relocated to the estate of La Florida. King Charles V ordered the construction of the new chapel between 1792 to 1798 and commissioned painter Francisco de Goya to adorn its vaults with a series of frescoes. Goya, aware of the importance of this chapel to its devotees took great care with his creation and these frescoes ultimately became some of the greatest of his masterpieces.

Due to its importance to the city of Madrid and to Spain, in 1905, the chapel was declared a National Monument and Francisco de Goya’s remains were moved here in 1919 from Bordeaux (where he had died in 1828). In order to preserve the original as a museum, an identical chapel was built beside it, in 1928, for worshipers.

As my eyes moved around the room, I was entranced by the muted movement within each series. These frescoes, depicting the miracles of St. Anthony of Padua, were painted over six months time during which Goya developed many new techniques that he went on to incorporate into his art going forward. The most captivating series, however, are within the dome and depict Saint Anthony raising a man from the dead and absolving his father who had been falsely accused of his murder.

Take a moment to sit on one of the benches, prepare for a neck ache and take it all in.

As I did this for a while, my neck spasms then began. Moving around, I then took in the two altarpieces painter by Jacinto Gómez Pastor, on each side of the rectangular Greek cross-plan chapel, as well as a gold cherub chandelier dropping from the dome. At the front of the chapel, I admired the crucifix, within the apse, decorated with angels and fronted by Goya’s tomb.

The chapel is and contains one of Madrid’s most spectacular treasures and it is a place that all visitors should seek out. Best part for me? Photographs are now allowed!

As I always like to suggest to people, “head on over,” to places that I recommend, I think that in this case it takes on an interesting connotation here.

When Goya’s remains were to be brought to Madrid, the French officials realized that his head had gone missing. Madrid’s response?

“Bring him home, even headless!”

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Real Ermita de San Antonio de La Florida

Email: http://www.madrid.es/ermita
Address: Glorieta San Antonio de la Florida, 528008
Hours: Daily, 0930-2000, Closed Monday. Summer hours, from June 15-September 15, 0930-1400, Tuesday to Friday. Saturday, Sunday and public holidays, 0930-1900.
Admission: free
Guided tours (conducted in Spanish and English, with prior booking by calling 91 542 07 22, from 9:30 to 20:00.
Getting There: Metro, Príncipe Pío (L6, L10, R). Bus, 41, 46, 75, N20. Local train (Cercanías).

Shrine Surprise

Having visited Our Lady of La Leche Shrine and on my way to making a stop at each of St. Augustine’s illustrious churches on the trolley tour, it should be no surprise to anyone that I would seek out a small Greek Orthodox Shrine in the heart of the historic district.

Although I knew that this shrine was dedicated to Saint Photios the Great (Feast Day February 6), the Ecumenical Patriarch of Constantinople (middle of the ninth century) and to the first colony of Greek people who came to America in 1768, I was not sure what I was going to find on St. George Street. I wandered inside, finding no entrance fee and a small courtyard. Following the walkway to a pair of plain grey doors, I heaved one open and stepped inside.

At first glance, I was a bit underwhelmed. A large sterile room with glass cases housing ornaments filled the room and photographs graced the walls. But as I turned right, color caught my eye.

An archway led to a little chapel decorated in the most magnificent manner. Each of its interior arches was trimmed intricately in gold leaf and the ceilings and alcoves contained Byzantine style frescoes of Greek apostles and saints. Unlike anything I have ever seen, even during my travels abroad, it was no surprise that it has been described as the “Jewel of St. George Street.”

Thankfully, I was alone for quite some time and I was able to absorb every little detail including an altar and a lectern and inspect each of the stunning frescoes before making way for other visitors.

Exhibits within the museum depict the life of early Greeks in America and the development of the Greek Orthodox Church in America. The displays tell the story of the First Greek colony in the New World through various artifacts, photographs and historical documents. Of particular interest was a black and white photographic exhibit on the inhabitants of Mount Athos by Nikos Vatopoulos. There was also another smaller photographic collection by Peter C. Yalanis detailing Greek ruins just before heading the gift shop filled with religious treasures.

Although I had been excited to seek out the numerous churches in the city, this shrine took me by surprise. Much to my delight, I found a stunning piece of architecture hidden away in the center of the historic district. Now that my religious interest had been sparked by Our Lady of La Leche shrine and this amazing chapel, I was excited to set out and see the city’s other holy sites!

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St. Photios Greek Orthodox National Shrine

https://stphotios.org/
Address: 41 St. George Street, St. Augustine, FL, 32084
Hours: Daily, 1100-1700
Admission: Free, donations accepted

The First American Saint

As a Catholic school girl, it was de rigueur to learn about the many saints of my religion.

There are over 10,000 named saints and blessed people. Christians began honoring other Christians around 100 A.D. with many of the first saints being martyrs who had given up their lives during the persecution for their faith, a custom that was appropriated from the Jewish faith in which prophets and holy people were revered and honored with shrines.

While a schoolgirl, the most beloved saints, and the ones I remembered most, hailed from other countries; Saint Francis of Assisi (Italy), Saint Patrick (Ireland), Saint Anthony of Padua (Italy), Saint Christopher (Canaan), Saint Patrick (Ireland), Saint Theresa of Avila (Spain), Saint Bernadette (France). In 1975, just after I began third grade, I remember my teacher, Sister Mary Cecilia, giving us some important information. The first American-born saint had been canonized…Saint Elizabeth Seton.

I don’t remember learning much more about her at the time…learning to duplicate Sister Cecilia’s neat cursive handwriting seemed much more crucial.

Years later, during a visit to Gettysburg, Pennsylvania, a familiar name popped up on the map in the nearby town of Emmitsburg, Maryland…that of Elizabeth Seton.

The fact that a shrine to this American saint was located in a very small town in Maryland was quite puzzling as I knew that she was a New York native. Gettysburg had been my main destination on this trip, but once I learned of this shrine, it was a place that I simply had to visit and the mystery as to how St. Elizabeth Seton ended up here would be solved.

An arresting film in the museum presented St. Elizabeth Seton’s life in a brief twelve minutes.

Elizabeth Ann Bayley was born in New York City on August 28, 1774 in the Episcopal faith. Married at the age of nineteen to William Magee Seton, she had five children. During a trip to Italy with her husband, she was moved by the deep faith of those who practiced Catholicism. Before their return home, however, William passed away from tuberculosis, leaving her a widow. Seeking consolation and the desire to experience the deep faith that she had witnessed in Italy, Elizabeth decided to convert to Catholicism two years later, despite criticism from friends and family,

*Portraits of the Seton Family, Mother Seton, top right*

Working as a teacher for a short time, in order to support herself and her children, she was approached by a visiting priest, the Abbe Louis William Valentine Dubourg, a member of the French émigré community of Sulpician Fathers and then president of St. Mary’s College of Baltimore Maryland. Abbe Dubourg extended an invitation for Elizabeth to move to Emmitsburg and establish the Saint Joseph’s Academy and Free School, dedicated to the education of Catholic girls on land bestowed by Samuel Sutherland Cooper, a wealthy convert and seminarian at the newly established Mount Saint Mary’s University.

On July 31, 1809, Elizabeth Seton established the first congregation of religious sisters to be founded in the United States, which was dedicated to the care of the children of the poor. With the initiation of Sisters of Charity of St. Joseph’s, Elizabeth adopted the title of “Mother Seton”. Mother Seton, along with the sisters, worked tirelessly until her death on January 4, 1821, at the age of 46.

Touring the museum, I learned a great deal about Elizabeth Seton’s remarkable life from illustrations, anecdotes, 19th century artifacts and letters written by the saint. The 40 Years A Saint exhibit detailed how she became a saint and highlighted the event on September 14, 1975, when Pope Paul VI proclaimed her a saint.

“Elizabeth Ann Seton is a saint. St. Elizabeth Ann Seton is an American. All of us say this with special joy, and with the intention of honoring the land and the nation from which she sprang forth as the first flower in the calendar of the saints. Elizabeth Ann Seton was wholly American! Rejoice for your glorious daughter. Be proud of her. And know how to preserve her fruitful heritage.” –Pope Paul VI

This exhibit’s focal point is the actual banner which hung in St. Peter’s Square on the day of her canonization.

Moving on to the basilica located upstairs from the museum, I was extremely moved by the the artistic beauty of the building. Originally designed as a chapel for the sisters of the Daughters of Charity, upon her beatification it was decided that it would serve as her National Shrine. Completed in 1965, the main feature is the altar for Saint Elizabeth. Here, in the Altar of Relics, is where Saint Elizabeth Seton’s remains are entombed in a copper casket enclosed in marble and topped with a statue of the saint, sculpted in Italy and depicting Mother Seton dressed in the habit that she and the Sisters of Charity wore beginning in 1809.

Stepping out of the basilica into the beautiful sunny afternoon, a day fit for visiting a saint, I ventured through the well manicured lawn to the Stone House, one of the first homes that Elizabeth Seton lived in when she first arrived in Emmitsburg. The home, which had been expanded over the years to accommodate the growing number of sisters, is usually available for self-guided tours. Due to the Covid restrictions, however, this and none of the other buildings throughout the premises were open. There was an audio recording that I was able to play and listen to while I peered into the windows at the period furnishings that still decorate the structure.

Moving through the gardens, I made my way over to the White House, the first house of the Sisters of Charity. Originally called “St. Joseph’s House” for Elizabeth Seton’s high regard of the saint, it is fully furnished with items that include those in existence for nearly 200 years and includes a schoolroom, much like the one Saint Elizabeth taught in, and a small chapel. Again, the interior was not open to visitors, but a recording was available at the back door.

The cemetery was a short walk away. As Mother Seton, her sister-in-law, Harriet, and other sisters walked through the woods searching for a cemetery site, the story has been passed on that Harriet threw an apple core against an old oak and declared it to be her final resting spot. Sadly, it was where they laid Harriet to rest only four months later.

Surrounded by a high wall set with bronze stations of the cross, the cemetery is the final resting place of many graves of Sisters and Daughters of Charity. As I walked toward the center, I discovered the Mortuary Chapel. Built by Elizabeth’s son, William to honor his mother, her remains laid in rest here for only a short while. In 1846, they were transferred to the chapel’s vault and later exhumed for her beatification. As I saw earlier, they rest in the basilica.

My visit to the National Shrine of Saint Elizabeth Seton had come to an end. So much information was imparted on me that I felt like once again, I was at St. Joseph’s School in Sister Cecelia’s religion class. Thinking that I was going to only learn about Gettysburg and the ghosts of Civil War past, I discovered so much more about the first American saint.

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The National Shrine of Saint Elizabeth Seton

https://setonshrine.org/
Address: 339 South Seton Avenue, Emmitsburg, Maryland 21727-9297
Hours: Visitor’s Center, Museum, Gift Shop, Monday-Saturday, 1000-1700 and Sunday, 1200-1700. Basilica, Monday-Sunday, 1000-1700.
Mass Schedule: Sunday-Friday, 1330. Confession and Adoration, Monday-Friday, prior to Mass from 1215-1315.
Admission: free
Getting There: The shrine is located along US 15, about 10 miles south of Gettysburg and within a one to two-hour drive of major metropolitan areas, like Frederick and Baltimore, MD, Washington, DC, and Harrisburg, PA.
Virtual tour Stone House:https://www.google.com/maps/place/The+National+Shrine+of+Saint+Elizabeth+Ann+Seton/@39.6973993,-77.3262549,3a,75y,11.56h,68.12t/data=!3m6!1e1!3m4!1sAF1QipOmM8s12yGQ8aeS4Fz2k2q_N1vxjWU1oktGVA!2e10!7i13312!8i6656!4m5!3m4!1s0x0:0x3b7e32e3dc36b610!8m2!3d39.6989248!4d-77.3264291
Virtual tour White House: https://www.google.com/maps/@39.6962387,-77.3276186,3a,75y,93.77h,87.86t/data=!3m6!1e1!3m4!1sAF1QipNtbN22HrpKiFfqMBPmlvWlwmseyeMMnU9GoA!2e10!7i13312!8i6656

Segovia’s San Martin

There are about fifty-four churches in Segovia.

Of course, I wanted to see them all.

But sometimes you don’t always get what you want.

Many churches were closed at the early hour when I made my way through the city. Many were only open at certain times. Of course, I was able to visit the cathedral, but I wanted there to be more.

After more misses than hits, I was finally able to find a church with some historical significance that was open for visitation.

The Church of San Martin.

In the prime location of the Plaza de Medina del Campo, there is an important Romanesque church, built in the 12th century and known for its unique design and structure. Its tower, which was designed in the Romanesque-Mudejar style is topped by a Baroque spire and the body of the church offers alluring porticos on three of its sides and a large fortified tower, the Torreon, built in the 14th century.

As I entered the church and paid my admission, I learned that a ticket can be purchased which covers most of the churches within the city. Since it was the end of my day, I opted to pay the single admission and begin my exploration.

The church has been restored on multiple occasions with reconstructions of some parts and the elimination of others. It is a rather small structure and takes only a short time to make your way throughout its ancient interior which consists of three naves and three apses.

The high altar commanded my attention with its beautiful gilded altarpiece. There are some interesting statues and altarpieces in the side chapels as well a prostrate statue of Jesus. The church is dimly lit which lends to its intimate appearance. It was interesting to note that the church boasts a dome, however, it is not visible from the inside as it is covered in plaster.

Moving on to the exterior, I was able to reexamine the doorways from which I had entered the church. These doors are quite beautiful made of arched archivolts. Continuing along the arcaded galleries, I was able to study the religious scenes which decorate the Romanesque capitals. Some have been restored and also focus on God’s creatures…lions, birds, griffins among others. There are also some scenes of the Nativity, the Annunciation, the Flight Into Egypt, the Massacre of the Innocents, the Presentation of Jesus at the Temple, the Resurrenction of Lazarus, the entry into Jerusalem, the Last Supper, the Betrayer of Judas and the Ascension.

Once my tour of the galleries was complete, I made my way around the entire exterior of the church’s walls. I discovered the image of the Saint Bishop San Martin de Tours (12th century) and gazed skyward at the bell tower. Though this particular one does not soar as high as the cathedral’s, it and the galleries, do lend to the unique beauty of the square.

Although my visit was short, it was extremely fulfilling to visit the ancient temple.

There are many other churches throughout the city. Try catching them during opening hours. Though I can’t vouch for the beauty of their interiors, some of their exteriors are extremely pleasing to the eye and have a rich history.

Segovia’s religious history is one to investigate.

Other churches within the city’s limits.

*Small Church on Calle la Juderia Vieja*

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Iglesia de San Martin

https://www.spain.info/en/que-quieres/arte/monumentos/segovia/iglesia_de_san_martin.html
Address: Plaza Medina del Campo, s/n, 40001 Segovia
Hours: 0900-1700 (not verified)
Admission: 3€

The Symbol of the City

When you scan the skyline of Segovia, there are many steeples and belltowers.

One stands out above the rest.

The Gothic bell tower of the Cathedral of Segovia, the symbol of the city.

After my inspection of the cathedral, I had decided to skip the bell tower tour since I had a lot more to see within the city and didn’t want to have to return to the cathedral at a later time. Walking out of the cathedral and past the Plaza Mayor, I suddenly had a change of heart and ventured back.

Paying my admission, I hastily made my way to the Chapel of San Blas where the tour was to begin.

It was a few minutes after the hour and I ducked into the chapel, trying to join the group without disturbing the guide’s opening comments. After her introduction was complete, we were ushered to the corner of the chapel where the entrance to the bell tower staircase was hidden.

The original cathedral bell tower was constructed of American mahogany, but destroyed by fire in 1614. This ancient structure was the tallest in Spain, at a height of just over 354 feet. The tower was rebuilt with stone and began undergoing renovations in 2004, but it wasn’t until a full decade later that the tower was opened to tourists and visitors.

Beginning the tour, the guide led us up the winding, spiral staircase, until we reached our first stop, the Audiovisual Room. Taking a seat, we were immersed in a video with three dimensional recreations which explained the cathedral’s and tower’s history as well as information on the works of art and spaces within the temple. Before making our way to the stairway to begin the climb once again, we were able to take in the series of seventeenth century tapestries which tell the story of the general Pompey the Great, woven in Brussels.

A bit breathless, we reached the the next level of the bell tower, the Ringer’s House. Four rooms consisting of a living room, kitchen and two bedrooms, make up the former residence where the bell ringers and their families lived until 1950. Our guide broke down the daily lives of the bell ringer and what it entailed.

Climbing further still, we found ourselves in the Clock Room, where there are more of the tapestries from the life of Pompey the Great. Named for the clock located inside (similar to the one located in Puerta del Sol in Madrid), which was manufactured in 1882 in Strasbourg, you can understand how the bell ringer performs his job with access to the bells through strings connected to the bell tower from his house. We were also rewarded with a reproduction of the sounds of the bells that originally rang out.

Finally, after one last push up the remaining of the tower’s 308 stairs, we arrived at the bell tower. From this highest viewpoint in the city, we were rewarded with outstanding panoramic views of the Aqueduct, numerous Romansque churches and their own towers, the Alcazar, the city wall, the Jewish cemetery and the monasteries and convents as well as the nearby mountains and plateaus. More importantly, it is here that the bells that ruled the city’s life are located.

Staring at these carillons from the inside of the tower is certainly a unique perspective and some of the ten bells date back to the eighteenth century. Each of the bells can be identified by the placard located near the bell which apprises visitors of the year it was cast, its weight and diameter.

While the bells no longer resonate from this important tower, if you close your eyes and use your imagination, you might hear a slight whisper from the past, breaking the silence of the city’s skies.

Bong…

Visitors to Segovia will have many opportunities to see the city from different perspectives. Brave the climb and make sure that this is one of them!

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The Bell Tower of the Cathedral of Segovia

https://catedralsegovia.es/torre/
Address: Calle del Marques del Arco 1, Segovia, 40003
Tour Hours: Daily, November 1 to March 31, 1030, 1200, 1330 and 1630. April 1 to October 31, 1030, 1200, 1630, 1800 and 1930. Night tours, Friday, Saturday and Sunday, May to October, 2130.
Admission: 3€

The Last Claim in Spain

Some cities love to boast that they have the first cathedral built within it boundaries.

Not Segovia.

The Spanish city’s religious claim to fame is that it has the last Gothic cathedral to be built in Spain.

Started in the 16th century, the Segovia Cathedral was not finished until 1768. Sitting proudly on the Plaza Mayor, it maintains the spot where Isabella I was proclaimed the Queen of Castile.

As I strode into the Plaza Mayor, the cathedral is what commanded my attention. There were some beautiful architectural elements in the square, but it was the grand church’s Gothic exterior that commanded my attention.

After paying my admission, I made my way around the massive church designed by Juan Gil de Hontanon and constructed by his son Rodrigo. Within its enormous interior, the outer fringe of the cathedral is lined with more than twenty chapels illuminated by 16th century Flemish windows. Though each chapel was unique and interesting in its own way, my overall impression of the cathedral was one of which was impressive but rather stark compared to other cathedrals I have visited. Some of the chapels, however, stood out more than others with elaborate decoration and golden altars.

The Blessed Sacrament Chapel, one of the most outstanding in the church, which was created by Churriguera and featured stained glass windows, carved choir stalls and 16th and 17th century paintings. The third chapel on my right from the entrances, the Capilla de San Cosme y San Damian, displays a wooden lamentation group by Baroque sculptor Gregorio Fernandez.

The large, 15th century Gothic choir, in the center of the church, was quite mesmerizing with its elaborately carved stalls and old manuscripts. Directly across from the choir, protected by bars, was the high altar with an 18th century altarpiece by Sabatini. Although you can peer through the barricade to see the specifics of the altar, it is a pity that the overall beauty cannot be fully appreciated from afar.

Through an elaborate doorway, I made my way to the late Gothic cloister, which dates back prior to the cathedral’s beginnings. Strolling through the peaceful halls and admiring the maze of green gracing the center, it was in one of the corners that I found the tombs of Juan and Rodrigo Gil de Hontanon, the men responsible for the beautiful place that I was exploring.

Beyond the cloister, within the first floor of the Chapterhouse, I discovered a small museum of religious art. There were some compelling paintings, jewelry and a collection of rare antique manuscripts. The Chapterhouse itself was a rich display of of paintings and tapestries and offered an array of religious vestments and tapestries on the second floor.

The rear of the cathedral was open and I was able to inspect the gated area to examine both the exterior architectural features and the tombstones set into the terraced area.

As I walked through one of the chapels at the rear of the structure, I spied a sign which advertised guided tours to the cathedral’s belltower. Undecided about the time it was scheduled (I had a lot more ground to cover), I left the church and made it as far as the Plaza Mayor’s center. It was only 35 minutes until the beginning of the tour…how could I not take advantage of the opportunity to see the cathedral in its entirety? Heading back to the cathedral, I paid for the tour and hastily made my way to the starting point, where the guide was already addressing a small group. Listening to the guide’s opening oration, I was eager to see what was in store for our group. Good views and a lot of information I hoped.

To be continued…

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Segovia Cathedral

https://catedralsegovia.es/
Address: Calle del Marques del Arco 1, Segovia, 40003
Hours: November-March, 0900-1830, Monday through Saturday. April-October, 0900-2130, Monday through Saturday. Closed Sundays.
Admission: General, €3.00, Seniors (ages 65+), €2.50, Children (under 10 years), free.