El Coro - a photo on Flickriver

El Coro

            El Coro de la Catedral de Sevilla
Ocupa un tramo de la nave central del templo, decorándose con muros de cantería, excepto en su frente, donde lo hace con una excepcional reja renacentista, obra de Fray Francisco de Salamanca, realizada entre 1518 y 1523; esta rematada con una cresteria cuyo motivo central representa el árbol de gets‚.En el interior del coro se dispone la sillería compuesta de dos cuerpos, en los que se disponen 117 sitiales tallados en madera; realizados en estilo gótico mudejar y representan esculturas de santos y relieves con escenas del Antiguo y del Nuevo Testamento.  De gran interés es el conjunto decorativo situado en las "misericordias" donde aparecen un amplio repertorio alegórico de los vicios, personificados en figuras monstruosas. En la silla destinada al Rey, decorada con escudos de Castilla y León, aparece la firma del escultor Nufro Sánchez y la fecha de 1478, quedando así documentada la labor de talla. Sin embargo, a partir de 1479 el escultor Pyeter Dancart continuo trabajando en el proceso decorativo de la sillería, que no fue concluida definitivamente hasta el siglo XVI.
The Chorus in the cathedral of Seville
It occupies a stretch of the central nave of the temple, decorated with stonework walls, except on its front, where it does so with an exceptional Renaissance grille, the work of Fray Francisco de Salamanca, carried out between 1518 and 1523; it is topped with a cresteria whose central motif represents the tree of gets. In the interior of the choir is available the ashlar composed of two bodies, in which there are 117 seats carved in wood; made in mudejar Gothic style and represent sculptures of saints and reliefs with scenes from the Old and New Testaments. Of great interest is the decorative set located in the "misericordias" where they appear a wide allegorical repertoire of vices, personified in monstrous figures. In the chair destined to the King, decorated with shields of Castile and Leon, appears the signature of the sculptor Nufro Sánchez and the date of 1478, being thus documented the work of carving. However, from 1479 the sculptor Pyeter Dancart continued working on the decorative process of the stalls, which was not definitively concluded until the sixteenth century.
   

Taken on: November 13, 2017

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