Chancel of Coro

The economic situation in which the Chapter found itself after the completion of the works on the transept, the choir vault, and later the Main Altar, made it impossible to undertake with full guarantees the construction of a new choir stalls fitting the importance of the new Main Chapel. For this reason, the canons were forced to move part of the choir stalls from the Old Main Chapel to the new location.

More than a century would pass before interest in creating new choir stalls was rekindled, sparked by the donation made by the archdeacon of Córdoba, Don José Díez de Recalde, after his death in 1742, contributing a total of 120,000 reales and imposing, in addition, the condition that “they be applied and used for this purpose within a period of four years.”

Selection of the Master and Project

Once the legacy was received, the Chapter set out to find a master to carry out the work. To this end, they commissioned several designs from various artists, such as Tomás Jerónimo de Pedrajas, who had already worked on the Cathedral, and Alonso Gómez de Sandoval, who had also collaborated with the Chapter years before. Shortly thereafter, two more projects were added, those of Francisco Galiano and the Sevillian Pedro Duque Cornejo. The designs by Pedrajas and Duque Cornejo were chosen as finalists, and both were ultimately asked to produce a full-size chair in pine wood. Pedro Duque Cornejo was selected as the winner.

Contract Conditions

There were ten conditions required in the contract: First, the artist had to move to the city and remain there throughout the duration of the works. He committed to personally oversee and direct the execution process. He would, with his own hands, carve the medallions on the high chairs, depicting the Mysteries of Christ on one side and the Mysteries of the Virgin on the other. Also for the high chairs, he would carve medallions representing Scenes from the Old Testament. Fifth, he would create the cherubs that crown each chair. He would also carve the reliefs representing a martyr of Córdoba, shown from the waist up, with the scene of their martyrdom in the background. Furthermore, the chapter members would have access to the works. The Chapter committed to paying the agreed-upon amounts. It was also required to provide the mahogany needed for the work’s execution. And lastly, the tenth condition expressed the obligation of both parties to adhere to the contract terms.

Execution of the Works

The works on the new Choir Stalls began in March 1748, without interruption, largely thanks to the contributions of Bishop Cebrián, who upon his death in 1752 donated all his possessions to the continuation of the works. At that time, it was decided to pave the floor of the choir with black and white tiles, which were brought from the Italian city of Genoa. That same year, Duque Cornejo was also commissioned to create the episcopal throne, which today presides over the ensemble. Above all, the “Ascension of Christ” stands out, an exceptional relief that is nearly a freestanding sculpture, life-size, displaying highly notable anatomical features and compositional quality.

In the years 1753 and 1754, in addition to continuing the mentioned works, the bronze grilles of the choir were commissioned, as well as a new lectern and the black stone bench that can still be seen in the center of the room today.

Completion and Artistic Evaluation

Only the famous Lisbon earthquake slowed the clear progress of the works, which were completed in September 1757. But misfortune struck the master, who died barely two weeks before the inauguration, at eighty years of age, after having led the work on the choir stalls for almost ten years. Nevertheless, the Chapter recognized his work by holding a solemn funeral, with all expenses covered by the Chapter itself. He was buried outside the choir, next to the north postern.

For scholars, this is a unique work of its time, not only because of its quality but also because of its arrangement and symbolism. The usual approach would have been to create a set based on individual half-relief figures—prophets, apostles, saints—which was common practice at the time; however, Cornejo was inspired by models from the 15th and 16th centuries, which featured biblical and even historical scenes. The iconographic model was not devised by Cornejo, of course, but was the responsibility of the Chapter, specifically Don José de Capilla y Bravo, who was tasked with dictating the scenes to be represented at all times.

Visit to the Choir Stalls

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’ll learn everything about the Choir Stalls. Choosing to enjoy quality tourism means choosing ArtenCórdoba.

Text: J.A.S.C.