Potepanja po Granadi 2 / Wandering around Granada 2

Siesta is a time of rest. It seems to be observed rigidly. Everything is closing down so you don’t really have a choice, so we had our siesta. In the afternoon we have returned in the general direction of the Basilica San Juan de Dios. San Juan de Dios is one of the most important Spanish saints. He was born in Portugal in Montemor-o-Novo, as João Cidade on March 8, 1495. What I found, was that he died on the same day, March 8, 55 years later in Granada. He was shepherd and then solder in the army of Charles V. He turned to religion and after he was rescued by Saint John of Avila from mental asylum, he started caring for poor and sick people. He organized his followers in Order of Hospitallers, which still exist and is known today as Brothers Hospitallers of St. John of God (http://www.saintjohnofgod.org/). This order apparently runs hospitals and different health and social services. This order has been officially entrusted with the medical and dental care of the pope. San Juan de Dios was canonized by Pope Alexander VIII on October 16, 1690. Basilica was constructed in 1757 in Granada to lodge his grave, and it is cared for by the Knights of Saint John of God. I was fascinated by the fact that this order was established in 2005. Apparently, the remnants of San Juan de Dios had to be hidden two times in history. First time in 1808, it was hidden in a fear from Napoleon army and second time during Spanish civil war. Regardless, Knights of Saint John of God are taking extremely good care of the Basilica. I have never seen a church so clean you could look for dust with the white gloves.

 

Jose de Bada was probably the man responsible for designing the last resting place for the saint, the Latin cross design with side Chapels and Capilla Major at the end of the crossing. Not very large church but decorated in the manner of ripe Baroque (Churriguera maybe?). Paintings and frescos were done by Diego Sánchez Sarabia, Granada painter for whom I could not find much information. The altar is a work of another artist I cannot surf out any information about, José Francisco Guerrero (and he is not famous composer or 20th century painter). Never the less, he did magnificent job. Behind the altar there is room which house reliquary with the remnants of San Juan de Dios. As we were silently trying to absorb as much intricate details as possible, a lady appeared and beckoned us to follow her. She led us up the stairs in the room behind the main altar. This was a very pleasant surprise. We felt privileged, because in most other churches you are treated as annoying tourist.

Siesta je čas počitka. Tu ga očitno zelo rigorozno upoštevajo. Vse se naenkrat zapre, in nisva imela druge izbire kot, da si privoščiva svojo siesto. Popoldan se vrneva po isti poti do že odkrite Basilike San Juan de Dios. San Juan de Dios je eden od najpomembnejših Španskih svetnikov. Rodil se je on 8. marca 1495 na Portugalskem v Montemor-o-Novo, kot João Cidade. Kar se mi je zdelo zanimivo je, da je umrl na isti dan 55 let kasneje v Granadi. Bil je najprej pastir in nato vojak v armadi Karla V. K veri se je obrnil ko a je njegov učitelj San Juan de Avillia reši iz azila za duševno bolne. Pričel je skrbeti za obubožane in bolne. Svoje učence je Red Hospitalierjev, ki obstaja še danes in je znan pod imenom Bratje Hospitalierji Svetega Janeza Božjega (nisem prepričan, da je ta prevod pravilen). Ta red zleda tudi danes upravlja z bolnišnicami in drugimi zdravstvenimi in socialnimi ustanovami. Temu redu so uradno zaupali zdravstveno in zobozdravstveno oskrbo papeža. Svetega Janeza Božjega je kanoniziral papež Aleksander VIII 16.oktobra 1690. Baziliko so pričeli graditi 1757 z namenom, da v njej dokončno pokopljejo ostanke svetnika. Za Baziliko skrbijo Vitezi Svetega Janeza Božjega. Presenetil me je podatek, da je red ustanovljen lete 2005. Posmrtne ostanke Svetega Janeza Božjega so morali pogosto skrivati. Prvič 1808 pred Napoleonovo vojsko in drugič med Špansko državljansko vojno. Ne glede na to je potrebno reči, da vitezi izjemno lepo skrbijo za cerkev. Nikoli še nisva videla cerkve, ki bi bila tako čista, da bi prah lahko iskali z belimi rokavicami.

Človek odgovoren za načrtovanje Bazilike je bil Jose de Bada. Načrt Basilike je v obliki Latinskega križa s stranskimi kapelami in Glavno kapelo. Cerkev ni zelo velika je pa okrašena v stilu prezrelega Baroka (mogoče celo Churriguera ?) Slike in freske so delo Diega Sáncheza Sarabie slikarja iz Granada o katerem nisem uspel prav veliko izvedeti. Oltar naj bi izdelal prav tako manj znan umetnik José Francisco Guerrero (ki pa ni skladatelj iz istega obdobja in ni slikar z začetka 20. Stoletja). Ne glede na to opravil je mojstrsko delo. Za oltarjem je prostor v katerem je nameščen relikviarij. Ko sva v tišini poskusila vpijati čim več detajlov, se nenadoma prikaže gospa, ki nas je povabi, da jo sledimo. Odpelje nas po stopnicah navzgor v prostor za oltarjem. Še eno zelo prijetno presenečenje. Priznam, da sva bila počaščena, saj te povsod drugod obravnavajo kot nadležnega turista. 

Nearby, barely 130 m away (according to Google maps) we have found another Granada jewel – Monasterio San Jeronimo de Granada. Monastery belonged to Hieronymite order. This order or its principal group was founded in Spain in XIV century. They say that nowadays there is only 11 monks left. The monastery itself was founded by Catholic kings at end of Reconquista. The work on the monastery began in1513 under the Jacopo Torni (from Florence) and finished by Diego de Siloé; Church itself and buildings around two courtyards are built in Renaissance style. Interior is richly decorated. The mannerist altarpiece of the main chapel is considered an important point of development of Andalusian sculpture and it is mainly the work of Pablo de Rojas. We have entered the church under the low ceiling which suddenly opened up to a full height and you had to stop and admire intricacy of medieval masters and builders. 

V bližini, niti 130 m daleč (sodeč po Google maps) odkrijemo še en Granadski dragulj – Samostan svetega Jeronima. Samostan pripada redu Hieronimitov. Ta red oz glavna skupina tega reda je ustanovljena v Španiji v XIV stoletju. Zanimivo je da red danes šteje samo 11 menihov. Sam samostan sta ustanovila Katoliška kralja. Na koncu Rekonkviste. Graditi so ga pričeli 1513 leta pod vodstvom Jcopa Tornija iz Firenc. Del je zaključil Diego de Siloé. Cerkev in zgradbe okoli dveh zaprtih dvorišč so gradili v renesančnem stilu. Notranjost cerkve je bogato okrašena. Oltar, ki je delo Pabla de Rojasa je narejen v zanimivem manerizmu, ki ga označujejo za pomembno točko v razvoju andaluzijskega kiparstva in arhitekture. V cerkev sva vstopila pod nizkim obokom, ki se naenkrat odpre v polno višino in moraš se ustaviti in občudovati kopleksnost in mojstrstvo renesančnih mojstrov.

Potepanja po Granadi / Wandering around Granada

You have probably noticed that my posts are lagging behind. Getting back in the harsh reality of everyday life doesn't help. But I do hope that my memories do not deteriorate and disperse before I get a chance to write the down.

Verjetno ste opazili, da moje objave zaostajajo. Vrnitev v kruto realnost vsakodnevnega življenja ne pomaga veliko, ravno nasprotno. Vendar upam, da moji spomini ne bodo prehitro izginili, še preden jih bom lahko zapisal.

Early morning - Plaza Bib Rambla is waking up. The name is coming from Arab Bab ar Ramia which means "wall gate" or maybe "gate at the river". The plaza used to be a sandy stretch near the river. It was used for different purposes, as a market place and also for different public events like "auto-de-fes" infamous inquisition public trails.


V zgodnjem jutru se prebuja Plaza Bib Rambla, Ime prihaja iz Arabskega Bab ar Ramia, kar pomeni "vrata v obzidju" ali "vrata na reko". Trg je včasih bil peščena obala reke. Uporabljali so ga za različne namene, predvsem za tržnice, vendar tudi za različne javne dogodke kot zloglasni "auto-de-fe" javno sojenje, ki jih je uprizarjala inkvizicija.

Around the corner we discover Alcaicería. This used to be a silk bazaar where silk was made and sold. Nowdays it is taken up by souvenir shops. Alcaicería literally means either the "house of Caesar" or "belonging to Caesar" in recognition of the fact that Emperor Justinian granted the Moors permission to sell silk. Original silk bazar burned down in 1843.


Za vogalom odkrijemo Alcaicerío. Včasih tržnica, kjer so izdelovali in prodajali svilo, danes trgovine z suvenirji. Alcaicería dobesedno pomeni "Cezarjeva hiša" ali "pripada Cezarju" v počastitev dejstva, da je bizantinski cesar Justinijan dovolil Mavrom, da so trgovali z svilo. Originalni bazar je pogorel leta 1843.

Waiting for monuments (Cathedral and Royal Chapel) to open for visitors we had wandered around taking in different glimpses of Cathedral squeezed in narrow streets. Open doors of now University building with baroque facade, let us see what is left of once great Nasrid sultan Yusuf I madrasa. The only surviving part of the school is the prayer room, which surprise you with intricate decorations, beautifully preserved.


Med tem ko sva čakala, da se Katedrala in Kraljevska kapela odpro za obiskovalce, sva se sprehajala po ozkih uličicah in se pustila presenetiti pogledom na utesnjeno Katedralo. Odprta vrata na lepi Univeritetni stavbi z baročni fasado, nama omogoči, da uzremo ostanek nekoč veličastne madrase Nasridskega sultana Yusufa I. Edini preživeli del je molilnica, ki preseneti s čudovito dekoracijo, ki je neverjetno dobro ohranjena.

Cathedral of Granada was built on the site of mosque, after Granada was reconquered from the Moors. It was begun in 1526 and finished in 1714. It took them 188 years. Enrique de Egas designed original Gothic style plans, but cathedral was later built in Renaissance style by Diego de Siloe.
Walking around the Cathedral we ended up on Calle de la Carcel at the very interesting Puerta del Perdon. It is not quite clear if forgiveness is gained by walking through this door or the justice was dispensed, considering the figures adorning this side entrance to the Cathedral.


Granadska katedrala je zgrajena na mestu mošeje, potem ko so Granado ponovno osvojili kristjani. Gradnjo so pričeli leta 1526, končali so pa 1714. Potrobovali so neverjetnih 188 let. Originalne načrte je narisal Enrique de Egas v Gotskem stilu, vendar je katedralo dokončal Diego de Siloe.
Ko hodiva okoli katedrale, v ulici Calle de la Carcel, odkrijeva zelo zanimiva Puerta del Perdon. Ob pogledu na figur, ki krasijo ta stranski vhod se lahko vprašamo ali so tisti, ki so vstopili bili deležni odpuščanja ali težke roke pravice.

Passing the market and spices and  knocking on the heavens door  we finally turned the corner and found our self in front of the cathedral. This amazing Baroque facade was designed by Alonso Cano in 1667. It was designed as a monumental Triumphal arch with coffered ceilings and three bays  moved in between pilasters. Again my fascination is with the details.

Mimo tržnice in začimb ter trkanja na nebeška vrata,  prideva  okoli vogala in se znajdeva pred glavno fasado katedrale. To je oblikoval Alonso Cano leta 1667. Zamišljena je kot slavolok z kastnimi stropiin tremi ladjami pogreznjenimi med pilastre. Kot vedno fascinirajo detalji.

Royal Chapel was commissioned by queen Isabel, to be her resting place. It was build in what is called Isabel Gothic. Unfortunately taking photographs of the inside is not allowed and all I have to show is a sneaky video I was shooting until I got caught.

Kraljica Izabela je za svoje zadnje počivališče naročila izgradnjo Kraljevske kapele. Ta je zgrajena v stilu, ki se imenuje Izabelinska gotika. Na žalost fotografiranje je bilo prepovedano in vse kar lahko pokažem je video, ki sem pokušal na skrivaj posneti, dokler me niso ujeli.

Finally, we have entered the Cathedral. Huge space and very bright. Four rows of five large classicall pillars form a nave and two aisles on both sides. Last three pillars before the Capilla Major contains gold plated organs on both sides. Transepts is not formally defined, it is drowned by the wideness of nave and aisles. Light is coming in through large clerestory high above and reflects on whitewashed walls. The outermost aisles are continued by ambulatory. Instead usual semicircular apse, Diego de Siloe designed unusual circular Capilla Major, covered by dome, supported by 12 thick Corinthian pillars. 

Končno vstopiva v katedralo. Ogromen prostor in zelo svetel. Štiri vrste s petimi klasičnimi stebri tvorijo glavno ladjo in na vsaki strani še dve stranski ladji. Zadnja stri stebra v vrsti pred Capillo Major podpirajo z zlatom obložene orgle. Transept (ne vem kako temu rečemo po slovensko, ker so slovenski internetni viri bolj revni) ni jasno definiran, ker je utopljen v prostranost glavne in stranskih ladji. Svetloba prihaja skozi velika okna klirestorija in se odbija od pobeljenih zidov. Zunanji stranski ladji se nadaljujeta v ambulatorij. Namesto polkrožne apse je Diego de Siloe ustvaril neobičajno Capillo Major, pokrito za kupolo, ki jo podpira 12 masivnih Korintskih stebrov.

To be continued

Se nadaljuje

Albaycín

We have started our wandering through Albaycin on the nice Monday morning, on September 24th 2012. Just for the record. Setting of in spite of the guidebooks from Iglesia de Santa Ana.Santa Ana church was built in 16th century and is example of Mudejar style. This style is mentioned very  often in Spain. The word Mudejar is Spanish corruption of Arabic Mudajjan (domesticated) which have designated Moors who have stayed in Spain after Reconquista and didn't convert to Christianity. Most of them were probably skilled craftsman who have introduced and offered their technics to a new masters. Use of brick and intricate carving of different materials in geometric pattern is characteristic of the style. 

Potepanje po Albaycinu sva pričela na ponedeljkovo jutro, 24. septembra 2012. Da ne bo pomote. Navkljub različnim vodičem sva pričela pri cerkvi Svete Ane. Sveta Ana je zgrajena v 16 stoletju in je primer Mudejar stila. Ta stil v Španiji pogosto omenjajo. Beseda sama je španska popačenka arabske besede Mudajjan (udomačen) s katero so označevali riste Mavre, ki so po Rekonkvisti ostali v Španiji in niso prevzeli krščanstva. Večinoma je šlo za mojstre različnih obrti, ki so svoje zananje in tehnike ponudili novim gospodarjem. Za stil je značilna uporaba opeke, in zelo privinjeno klesanje različnih materijalov v geometrične vzorce.

Walking along Darro river one comes on intresting uphill bridges. I am not sure if this was because the other bank is steeper or there was some other reason.

Ob reki Darro naletite na zanimive mostove, ki se vspenjajo. Ali so jih tako gradili, ker nasprotni breg bolj strm, ali gre za kakšen drug zidarski razlog ne vem.  

Sometimes wandering around you can suddenly see an not advertised sight. Sight you will not find in usual tourist information, and I am not sure everybody will like it, but I do,

Med potepom včasih zazreš prizor, ki ga ne reklamirajo. Prizor, ki ga ne neajdeš v običajnih turističnih informacijah, in mnogim ne bo všeč, vendar meni je.

There was a gate over Darro river. This gate was part of fortification called "curacha". This type of  fortification did not exist in other parts of Europe, so there is no translation. Apparently this fortification included iron bars which extended to the bottom of the river, allowing water to flow through, but preventing any unwonted guests to enter.

Čez reko Darro je potekalo obzidje z vhodom. To obzidje so imenovalu "curacha". Ta tip obzidja ni  poznan drugje v Evropi, zato ni imena v drugih jezikih. Zgleda, da je to obzidje vključevalo železne rešetke, ki so segale do rečnega dna, kar je dovoljevalo odtekanje vode, vendar pa preprečevalo vstop nezaželjenim obiskovalcem.

Facade of Casa de Castril is decorated in what is called Plateresque style with an allegory in which lord of the house is always victorious over death like a phoenix above the door. The lord is grandson of Hernando Zafara judged by the coats of arms with Comares towers in them.

Fasada Case de Castril je okrašena v tako imenovanem Plateresk stilu z alegorijo, ki predstavlja gospodarja vedno kot zmagovalca na smrtjo kar ponazarja feniks nad vrati. Gospodar je vnuk Hernanda Zafare, kar vemo po grbih, ki vsebujejo Comares stolpe.

Plateresque means in a manner of a silversmith (Plata means silver in Spanish). It is a Spanish style on the transition from Gothic to Renaissance. Facades usually have three parts (Gothic) and lot of decoration to deny Gothic origin. Ornaments are botanical and often heraldic.

Plateresk naj  bi pomenilo zlatarska izdelava (Plata pomeni srebro), To je stil značilen za Španijo na prehodu iz Gotike v Renesanso. Fasade so po navadi trodelne (Gotika) z veliko okraskov v poskusu zanikanje svojega Gotskega izvira. Okrasje ponazarja rastline, pogosto pa so uporabljeni heraldični elementi.

De Zafra were obviously important family  although very little information about them in English language. Hernando de Zafra was a secretary to Catholic Kings (Ferdinand and Isabele). His grandson was  defying death lake phoenix, so the allegory of this facade is telling us. 

De Zafre so očitno pomembna družina, čeprav je v angleščini o njih ( na netu) relativno malo informacij. Hernando de Zafra je bil tajnik katoliških kraljev. Njegov unuk je pa goljufal smrt tako kot feniks, vsaj tako nas poskuša prepričati alegorija fasade.

After brief respite listening to street guitar we have arrived at the Paseo de los tirstes large plaza  where celebration and festivities were held. There is tower like building at the beginning of this plaza with an interesting story. On the ground floor of this building, during the festivities   there were judges and constables watching the celebration, probably to stop anybody who would like to have real fun. First floor was reserved for the mayor and town council and top floor for the musicians. 

Po kratkem premoru ob uličnem kitaristu sva prispela do Paseo de los tristes, velikega trga na katerem so včasih prirejali proslave in zabave. Na začetku trga stoji stolpu podobna zgradba z zanimivo zgodbo. V pritličju te zgradbe so med proslavami, zabavo opazovali sodniki in policisti, verjetno, da bi ustavili vsakega, ki bi se res želel zabavati. Prvo nadstropje je bilo rezervirano za župana in mestni svet, zgornje nadstropje pa za glasbenike. 

Plaza is still very pleasent place so we decided to have our morning coffe there and to make plans where to proceed. 

Trg je še vedno zelo prijeten kotiček zato sva se odločila, da si privoščiva jutranjo kavo in načrtujeva kam naprej.

Walking along the Darro river we didn't really appreciated that the Albaycin  is build on hill. But the first steep uphill street soon changed our impression. Anyway we were on our way to Sacromonte. 

Ko se sprehajaš ob reki Darro nimaš občutka, da je  Albaycin zgrajen na hribčku. Mnenje sva spremenila, ko sva po prvi strmi ulici stopala navkreber. Kakorkoli že na namenjena sva na Sacromonte.

Scaromonte previously called Valparaiso, become important after discovery  of the Holly  Caves (Santa Cuevas) in 1595. Allegedly there were relics of Sain Cecil and his seven followers in the caves  together with "The Lead Books" Los Plomos dela Sacromonte, number of circular lead books written in Arabic identifying human remains as those of the Saint Cecil.

Scaromonte, poprej znan kot Valparaiso, je postal pomemben po odkritiju Svetih votlin (Santa Cuevas) leta 1595. Po pripovedovanju naj bi v votlinah našli ostanke Svetega Cecila in njegovih učencev ter "Svinčene knjige" številne okrogle svinčene plošče izpisane v arabščini, ki so človeške ostanke identificirale kot Svetega Cecila.

Fortunatly we have found early enough that museum on Sacromonte is closed on Mondy so we turned around and track back.

Na srečo sva pravočasno izvedela, da je muzej na Scromontu zaprt ob Ponedeljkih, zato sva se obrnila in se odpravila nazaj.

Next point of interest, if I skip few less interesting, was  Plaza Mirador de San Nicolas. Large plaza in front of Saint Nicholas church. This plaza as the name says is about the view, the best view of Alhambra. It is well worth the walk and you can reward yourself by having a lunch or at least a drink  at the nearby bar located on the hill slope just under the plaza.

Naslednja točka, ki naju zanima, če preskočim manj zanimive je  Plaza Mirador de San Nicolas. Velik trg pred cerkvijo Svetega Nikolaja. Že ime (Mirador) pove za kaj gre, za najboljši pogled na Alhambro v Granadi. Pogled je res vreden napora pa tudi nagradite se lahko s kosilom ali vsaj s pijačo v enem od barčkov postavljenih na pobočju tik pod trgom.

Albaycin is a maze of narrow streets. You do find some remains of mudejar architecture, but in most cases the buildings are quite unremarkable. But this maze of narrow streets is what make you feel the spirit of long gone age.

Albaycin je labitint ozkih uičic. Čeprav se tu in tam najde ostanek mudejar arhitekture je večina zgradb brez posebnosti. In prav ta labirint ozkih uličic nam pričara duh davno preteklih časov.

The most amazing thing is watching people drive in this maze. I must say that I admire their skill.
Najbolj zanimivo je opazovati ljudi kako vozijo v tem labirintu. Moram priznati, da občudujem njihovo spretnost.

This is not mudejar but it looks intersting. You had to wander who was swallowed by this door.  Was it a squatter or an architect with the attitude. 

To ni mudejar vendar se mi je poslikava vseeno zdela zanimiva. Moraš se vprašati, koga so požrla ta vrata skvoterja ali arhitekta odnosom.

We are finishing our wandering through Albaycin in lively streets full of shops and small cafes. We were told that number of Moroccan immigrants is living in the area and it does look like street in Marrakesh.  

Svojo pot po Albaycinu končujeva v živahni uličici polni trgovinic in majhnih kafeterij. Izveva, da v tem delu živi veliko Maroških priseljencev in res je ulica videti kot ulica v Marakešu.