Chapel of the Blessed Sacrament

The Chapel of the Tabernacle was founded in 1330 by the widow of Don Juan Ponce de Cabrera, when she granted the chapter the considerable sum of 500 maravedíes, with the aim of serving as a burial place for her late husband and, in the future, for her family; although, from the beginning, it was known as the Chapel of Santiago. Located at the southeastern corner of the Mezquita-Catedral, it occupied the first three aisles of Almanzor’s expansion, with a depth of four intercolumniations.

From funerary chapel to chapter library

Since 1480, the chapter of the Cathedral had considered relocating the chapter library, which was then in the Chapel of San Clemente, to the one of Santiago. However, after several failed attempts, mainly due to financial problems, we must go back to the year 1517 to find reliable evidence of the start and proper progress of the works.

The architect chosen to adapt the space to its new functions was Hernán Ruiz I the Elder, the master who also designed the new Main Chapel. His intervention notably included the creation of the Gothic ribbed vault that covers the central nave, as well as the three entrance doors to the chapel, located on the North side. Only two of them, the side doors, preserve their original state, since the central access was remodeled by his grandson Hernán Ruiz III in 1571.

Conversion into the Chapel of the Tabernacle

But as stated by Don Manuel Nieto Cumplido, archivist of the Mezquita-Catedral of Córdoba: “a new project came to alter the fate of the space for the third time“. Indeed, the chapter decided that this would be the ideal space to locate the new Chapel of the Tabernacle, which since the 13th century had been located in the chapel adjacent to that of San Pedro (Mihrab). In 1581, the process of transferring all library materials to the chambers began.

We have abundant documentation regarding the adaptation of the chapel for the Tabernacle; in fact, we know that the Sevillian painter Luís de Valdivieso was initially hired to decorate the plastered arches and vaults of the room. However, neither the paintings nor any documents proving their execution have survived. We also know that Fernando de Valencia, the grille-maker of the cathedral, was assigned to make the grilles for the chapel, but he died before finishing them, and they were completed in 1581 by Juan Martínez, an assistant of the deceased. Before 1578, the Tabernacle, a work by the Flemish artist Guillermo de Orta, had already been completed, since that same year its decoration was commissioned to Alonso Rivera.

The intervention of Cesare Arbasia

Among all the artists involved in the adaptation of the chapel for the Tabernacle, the Italian painter Cesare Arbasia, a native of Saluzzo, stands out. It is believed he took on this great commission on the advice of his friend Pablo de Céspedes, with whom he had worked in Rome years earlier. The works began in September 1583 and progressed quickly, being completed by the end of 1586.

Iconography of the frescoes

So far, we have made a brief analysis of the chapel from its foundation, through its adaptation as a chapter library, and later, as the Chapel of the Tabernacle, listing the different artists who participated in its realization. Next, we will study the iconography of the frescoes so skillfully created by the aforementioned Arbasia.

The Last Supper and the exaltation of the Eucharist

In the central nave, above the Tabernacle by Guillermo de Orta, which is flanked by two frescoes representing “King David” and the “Prophet Isaiah“, is located “The Last Supper“, undoubtedly a theme chosen to exalt the institution of the Eucharist. This work earned Arbasia the label of “Leonardesque“, due to the influence Leonardo’s work may have had on the painter, especially regarding the characters’ postures.

The Cordoban martyrs

The rest of the iconographic program of the Chapel of the Tabernacle stems from the discovery, at that time, of the relics of the Cordoban Holy Martyrs, found in what is now the Minor Basilica of San Pedro. At the back of the epistle nave is “The Agony in the Garden“, an oil on canvas inspired by an engraving by Dürer, while in the gospel nave we find “Jesus Bidding Farewell to His Mother“, both scenes related to martyrdom, hence their placement.

On the other hand, we should highlight the series of frescoes depicting various Cordoban martyrs. Presented in groups of three, they are arranged chronologically. “Saint Zoilus“, “Saint Eulogius“, “Saint Acisclus“… the depiction of “Saint Victoria” has been considered the highest quality of the ensemble, due to the great serenity she displays, as well as the quality of her garments. In the lunettes above each group of martyrs are landscape representations, which is precisely the field where the master achieved the greatest virtuosity, enjoying great fame in his native Italy. The intradoses of the arches were decorated with angels and symbols of the Passion. The vault projected by Hernán Ruiz I was decorated, as Ambrosio de Morales put it, “with a sky full of angels“.

Visiting the Chapel of the Tabernacle

If you’re wondering what to visit in Córdoba, the best option would be the Mezquita-Catedral, choosing one of our guided tours. This way you can learn everything about the Chapel of the Tabernacle. Opting for quality tourism means choosing ArtenCórdoba.

Text: J.A.S.C.