ROOM 2

We are situated in Episcopal Room promoted by Archbishop Dalmau de Mur in the middle of 15th century. It is one of the most important parts of the late medieval palace and was used as a chapel for bishops, archbishops and royal characters, such as the Catholic Monarchs and Queen Mary of Castilla.
This archbishop was a great Maecenas of arts in a period in which Zaragoza was a melting pot of cultures. This room is a reflection of the wealth in that moment, and the best artists from the Crown of Aragon participated in its creation.

 

The architectonical design follows flamboyant Gothic style from northern Europe and was master Isembert’s piece of art. Upper zone remains of the original roof are appreciated, made by carved plaster. These remains have been discovered during the building restoration after remaining hidden since 16th century, when Hernando of Aragon, Archbishop and King Ferdinand the Catholic’s grandson, unmade this chapel separating it into different levels.

We are situated in Episcopal Room promoted by Archbishop Dalmau de Mur in the middle of 15th century. It is one of the most important parts of the late medieval palace and was used as a chapel for bishops, archbishops and royal characters, such as the Catholic Monarchs and Queen Mary of Castilla.
This archbishop was a great Maecenas of arts in a period in which Zaragoza was a melting pot of cultures. This room is a reflection of the wealth in that moment, and the best artists from the Crown of Aragon participated in its creation.

 

The architectonical design follows flamboyant Gothic style from northern Europe and was master Isembert’s piece of art. Upper zone remains of the original roof are appreciated, made by carved plaster. These remains have been discovered during the building restoration after remaining hidden since 16th century, when Hernando of Aragon, Archbishop and King Ferdinand the Catholic’s grandson, unmade this chapel separating it into different levels.

 

 

This Virgin with Child was made by Francí Gomar around 1450. Its author worked in the main altarpiece and the main choir of La Seo and made the alabaster altarpiece of this chapel. This artist Germanic style is related to northern Europe artists, such as Nicolaus von Leyde.

This Virgin with Child was made by Francí Gomar around 1450. Its author worked in the main altarpiece and the main choir of La Seo and made the alabaster altarpiece of this chapel. This artist Germanic style is related to northern Europe artists, such as Nicolaus von Leyde.

This Virgin of the Pilar from town Ejea de los Caballeros follows the iconography of the original Virgin of the Pilar, which was made by sculptor Juan de la Huerta in the middle of 15th century and was situated in the Holy Chapel of the Pilar. Infant Jesus holds with his right hand his Mother’s blue coat, and with his left hand the dove, as Holy Spirit representation. Juan de la Huerta made the Virgin of the Pilar following the French- Burgundian style by Queen Blanca of Navarra’s commission, who donated the sculpture to the Basilica of the Pilar after a fire in 1435.

 

These two tapestries were designed by Raphael Sanzio of Urbino, by Pope Leon X’s commission in the 16th century. They were thought to decorate the Sistine Chapel in Rome.

This Virgin of the Pilar from town Ejea de los Caballeros follows the iconography of the original Virgin of the Pilar, which was made by sculptor Juan de la Huerta in the middle of 15th century and was situated in the Holy Chapel of the Pilar. Infant Jesus holds with his right hand his Mother’s blue coat, and with his left hand the dove, as Holy Spirit representation. Juan de la Huerta made the Virgin of the Pilar following the French- Burgundian style by Queen Blanca of Navarra’s commission, who donated the sculpture to the Basilica of the Pilar after a fire in 1435.

 

These two tapestries were designed by Raphael Sanzio of Urbino, by Pope Leon X’s commission in the 16th century. They were thought to decorate the Sistine Chapel in Rome.

Did you know?…

 

  • The original access door was found during the building restoration in 2010, which can be seen in room 5.
  • The 15th century altarpiece predella is located in The Met Cloisters in New York.
  • If you want to know what archbishop Dalmau de Mur looked like, you must move to room number 9.

 

Did you know?…

 

  • The original access door was found during the building restoration in 2010, which can be seen in room 5.
  • The 15th century altarpiece predella is located in The Met Cloisters in New York.
  • If you want to know what archbishop Dalmau de Mur looked like, you must move to room number 9.

 

<< BACK TO ROOM 1
DOWNLOAD PDF ROOM 2
VISIT ROOM 3 >>