The Monastery of Miraflores: Press Kit

The Monastery of Miraflores: Press Kit

The Monastery of Miraflores: Press Kit
Art, architecture, history and,
most especially, spirituality can be
experienced in the heart of monastic silence
• The former hunting lodge of Miraflores built by King Enrique III of
Castile was to become a monastery of Carthusian monks and to
house the tombs of Spanish royalty
• Visitors come to Miraflores from around the world attracted by its
artistic treasures and captivated by the mystery of the monks’
vocation
• The architecture of the monastery church and the art it holds are
some of Spain’s finest pieces of Gothic art. Notable examples are
the main altar by Gil de Siloe who also carved the royal tombs
considered the most splendid funerary sculptures of their time. Also
to be admired are the famous painting of the Annunciation by Pedro
Berruguete, the statue of St. Bruno by Manuel Pereira and a series of
stained glass windows brought from Flanders
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1. More than 600 years of Art and History
Known throughout Spain as the “Cartuja de Miraflores” the name “Cartuja” is
the local word for a monastery of Carthusian monks. “Miraflores” is name of
the hill on which it stands and could be translated as “view of flowers”
referring to the lush countryside which surrounds it in the heart of the scenic
park of Fuentes Blancas (“White Fountains”). Below is the Arlanzón River
which, just three kilometers downstream, flows through the center of Burgos
an important city on the famous medieval pilgrim route to Santiago de
Compostela.
Arriving here is an unforgettable moment in itself as the monastery church
stands unmistakably, majestic and welcoming. Here the door is open to all
who wish to discover the many treasures it holds.
In 1442 King Juan II of Castile decided to donate the hunting lodge built
by his father Enrique III in 1401 to the Order of Carthusian monks. They
converted it into a monastery and, to the present day, it is the monks who
dwell in and care for these exquisite Gothic buildings. More importantly, their
hidden life of silence and solitude lends to Miraflores its unmistakable aura of
peace and tranquility.
From the entrance plaza three distinct parts of the monastery are clearly
visible: the tall and slender silhouette of the church, the side chapels of smaller
height, and the gatehouse entrance formed by three arches.
The church has a single nave supported by a series of five buttresses
between each of which is a magnificent stained glass window. Likewise, there
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is a stained glass window in each of the seven sides of the apse which closes
the church.
The gable is in the form of a low triangle presided by the coat of arms of
King Ferdinand and Queen Isabel “La Catolica”, daughter of King Juan
II the founder. It was she who completed her father’s work and gave
Miraflores its present form.
A royal hunting lodge becomes a monastery of Carthusian monks
The first monks arrived in 1442 and improvised as best they could to convert
the building into a monastery. To follow them would be hundreds of monks
who over the centuries have devoted their lives to God in recollection and
silence within these walls.
In 1452 a terrible fire reduced to ashes the greater part of the building. New
plans were drawn up by the master architect Hans of Cologne but,
unfortunately, King Juan II’s death in 1454 brought political upheavals to
Castile. For years construction of the new monastery barely progressed. It was
not until 1474 when his daughter Isabel “La Católica” succeeded to the throne
that work took full momentum. Such was her interest that she is no doubt to
be considered the great patroness of Miraflores as it stands today.
After the death of Hans of Cologne, the architect Garci Fernandez de
Matienzo briefly succeeded him in 1477. However, he died the following year
and that was when Simon, son of Hans of Cologne, would step into to finish
the church.
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Queen Isabel also took a very personal interest in the decoration. A set of
stained glass windows, commissioned to the famed artisan Nicolas Rombouts,
arrived from Flanders in 1484. Gil de Siloe completed in 1493 two
masterpieces of late Gothic art in the alabaster tomb of Queen Isabel’s
parents, King Juan II and Queen Isabel, and that of her brother, Prince
Alfonso. Shortly after, he began work on the high altar, a stunning and unique
piece that took three years to carve. It was then polychromed by Diego de la
Cruz using a technique now lost called “applied brocade” (gold leaf placed
over a base of tin and then given texture and pattern by molds).
In 1532 construction began on the side chapels. Finally, in 1538 the church
acquired its actual appearance when, after damage caused by heavy snowfalls,
a complete renovation of the roof was undertaken by Diego de Mendieta,
who redesigned it adding the graceful pinnacles which give the church its
distinctive profile.
2. Miraflores: an artistic and historic monument of international
renown
The monastery church of Miraflores with its side chapels was declared a
National Monument on January 5, 1923. With a more than 600 year history
Miraflores is considered a reference in Spanish culture and is visited each year
by some 80,000 visitors from as many as 55 countries. About 65% of these
visitors come from Spain itself of which almost a third are from the local
region of Castile. 17% are from Madrid, 7% from the southern region of
Andalusia and 6% from the Basque Provinces to the north. A little over half
of the international visitors come from France, Italy and Germany with
significant increases in visitors from other continents.
Unfortunately, political upheavals of the 19th century in Spain were
catastrophic for Miraflores. The monastery was sacked in 1808 by
Napoleon’s troops who disbanded the community of monks and turned the
buildings into a military post until forced to retreat in 1813. During those
years of occupation only one monk managed to stay. It is thanks to him that,
while much of Miraflores’ art was stolen, the principal pieces were respected
and can be admired here today.
Another heavy blow fell in 1835 when the Spanish government passed a law
confiscating all monasteries with their possessions. Once again, the
Carthusian monks were forced to leave their home. The lands were auctioned
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off but as it was difficult to find a buyer and use for the buildings a handful of
monks were able to continue as caretakers but forbidden to receive novices.
With time the archbishop of Burgos was able to acquire ownership of the
monastery ceding it to the monks in perpetual usufruct.
Finally in 1880, a new political regimen permitted Carthusian monasteries in
other countries to send monks to reinforce the almost extinct community of
Miraflores. After some many years of bare sustenance renovation work was
needed to accommodate a full community. Halfway through the 20th
century, a time of abundant vocations, new repairs were made. However,
entering the 21th century it was evident that a comprehensive and orderly
restoration was necessary.
The regional government drew up a three phase project which began in
2005 repairing first the church roof followed by that of the side chapels. Once
completed it was possible to undertake the arduous and meticulous
restoration of the church’s most notable works of art: the two royal tombs,
the high altarpiece and the stained glass windows. Funding was provided by
the Regional Government of Castile, the Archdiocese of Burgos, the local
Castilian Landmark Foundation, the New York based World Monuments
Fund, and the Iberdrola Foundation. More than a year and a half was
necessary to complete the job but in 2007 that labor of expert artisans
recovered for future generations the original beauty of these unique Gothic
masterpieces.
In 2009, the second phase of restoration took place in which the gatehouse
courtyard was completely renovated as well as the church façade. At the same
time the side chapels were refurbished to permit an ongoing exposition of
paintings, sculptures and manuscripts, many of which have never before been
shown to the public as they had been kept inside the monastery.
The final phase is still pendant and will involve the renovation of the west
wing of the gatehouse. It will house information on the life and spirituality of
the Carthusian monks who over these last 600 years have given a soul and
heart to Miraflores.
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3. Principal Works of Art
Royal tomb of King Juan II of
Castile and Queen Isabel.
Gil de Siloe.
1489-1493.
Late Gothic alabaster sculpture
unique for its star-shaped design.
Carved with impressive skill using
exquisite decoration and rich
iconographic symbolism.
Royal tomb of Prince Alfonso.
Gil de Siloe.
1489-1493.
Late Gothic sarcophagus carved in
alabaster and placed within a niche
on the north side of the church. The
figurative motifs are superb quality
and allude to the redemption of the
soul. The typology used here of the
kneeling figure would influence
other artists throughout Castile.
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Main Altar.
Gil de Siloe.
Polychrome by Diego de la Cruz.
1496-1499.
Considered the finest work of Gil de
Siloe, a completely innovative
design of circles was adopted
abandoning the traditional use of
perpendicular lines. The rich and
complex iconography is an
expression of Faith in the
Redemption brought by Jesus Christ.
Stained Glass Windows.
Nicolaes Rombouts.
1484.
Brought from Flanders, there are in all 13
stained glass windows. The three in the apse
picture scenes related to the Virgin Mary.
The five on the left-hand side of the main
nave represent the Passion of Christ while
the matching five on the right represent the
Resurrection and Glory. Noteworthy is the
scene of the “Descent from Cross” as it is
remarkably well conserved and signed by the
glassmaker.
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Choir of the Brohthers.
Simon de Bueras.
1558.
Renaissance Choir with 14 walnut
stalls of marked Italian Renaissance
style. In the central part of each
choir stall is a saint whose life
alludes to the prayer, silence and
penance observed by the Carthusian
monks.
Choir of the Fathers.
Martin Sanchez.
1486-1489.
It consists of forty stalls carved in walnut
with a Moorish influenced décor of
geometric design. Carved in the same
style are the celebrant’s chair and the
lectern. To the right of the choir and
immediately above the doorway is an
alabaster statue of the Virgin Mary the
Child Jesus, dearly invoked by the monks
as “Our Lady of the Choir”.
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The Annunciation.
Pedro Berruguete.
1495-1500.
This painting is considered one of the
masterpieces of this artist, a
Castilian native. Following formulas
inspired by the Flemish style of Roger
van der Weyden and the Italian Early
Renaissance movement, this work
reflects a careful study of light and
an exquisite treatment of the central
figures’ faces and robes.
Saint Bruno.
Manuel Pereira.
1634-1635.
Baroque sculpture, one of the best
preserved of this Portuguese artist. It
represents St. Bruno, founder of the
Carthusian monks, clothed with the
traditional white habit of the Order.
The ecstatic expression
contemplating the crucifix is truly
astonishing.
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4.
“From the Beautiful to the Divine”
In order to share with visitors the monastery’s rich history and superb art, a
temporary exhibition titled "From the Beautiful to the Divine” is being
held in the side chapels. It is a unique opportunity to discover the impressive
cultural legacy conserved for centuries with dedication and humility by the
Carthusian monks inside their monastery.
Floor plan of the Church with the side chapels on the north side marked in green.
Here on exhibit are some of the most important pieces kept until now inside
the monastery. They reflect centuries of history: such as the 15th century oil
painting of the Annunciation by Pedro Berruguete, arguably the highlight
of the exhibition; or another 15th century piece, the silver gilt chalice linked
to King Juan II; or the royal canopy of Queen Isabel “La Católica” used when
she entered the city of Burgos. Impressive as these masterpieces may be what
overwhelms visitors is the deep spirituality of the Carthusian monks reflected
in the splendid vestments and other liturgical pieces used daily over hundreds
of years.
Also on display is an important collection of book from the monastery library
including manuscripts, codices, incunabula and centuries old choir books.
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Especially worth seeing is the original text of the royal document signed by
King Juan II in 1442 donating Miraflores to the Carthusian monks.
Brought recently from New York is a replica of a statute of the apostle St.
James, carved by Gil de Siloe for the tomb of King Juan II and Queen Isabel
but whose original is now part of the collection of the The Cloisters of the
Metropolitan Museum in New York.
A surprise to visitors is a more modern work: a painting by Joaquín Sorolla of
the Elevation of the Cross. The emotion expressed on the figures’ faces is
truly astounding.
These and many other impressive works of art take visitors through an
unforgettable journey of art, spirituality and history.
Chapel of of Our Lady of Miraflores
Dedicated to the Virgin Mary, this chapel surprises visitors with its
spectacular Baroque decoration. The profusion of bright colors highlights
the unique iconography centered on the figure of Blessed Mother. It was
Father Nicholas de la Iglesia, prior in the 17th century, who commissioned
these frescos. His aim was to more worthily venerate here the statue of the
Virgin nursing the Infant Jesus, one of the figures carved by Gil de Siloe for the
royal tomb of King Juan II and Queen Isabel. He also collected in a book
titled Flowers of Miraflores a series of devout meditations explaining the series of
“hieroglyphics” or emblems painted in this chapel. Thus, we have an
unusual case of a book being inspired by a piece of art.
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5. Masterpieces of Art: taken and never returned
The art to be admired at Miraflores in certainly impressive and one could
easily believe that the collection is complete. Yet much has been lost over the
years, basically due to the political upheavals in the 19th century.
As already mentioned, when Napoleon’s army invaded Spain in 1808
Miraflores was ransacked and the buildings confiscated for military use. The
occupying official, General D’Armagnac, was a man with a fine artistic taste
and did not hesitate in appropriating the very best of Miraflores’ paintings for
his personal collection. Among them was the St. John the Baptist Triptych
by Juan of Flanders, court painter of Queen Isabel “La Católica”. Formed by
five superb oil paintings on wood, they are today scattered throughout the
world in different museums and private collections. Also stolen and still lost is
a painting of the Adoration of the Magi, probably of Flemish origin.
Perhaps the finest piece of all is a painting by Roger van der Weyden, known
by experts as the Miraflores Triptych (pictured below), and now in the
Staaliche Museum of Berlin.
Triptych of Miraflores conserved today at the Staatliche Museum (Berlin).
When in 1835 the Spanish government issued a decree suppressing
monasteries, both Miraflores’ buildings and land were confiscated. This
resulted in the loss of other works of art. Perhaps the most notable of these
was a series of six paintings telling the life of Saint John the Baptist. Today it
is in the El Prado Museum (Madrid).
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Unfortunately, the plundering of Miraflores did not end there. In 1914, a
wealthy aristocrat offered to finance some conservation work in the
monastery church. He showed a keen interest in the royal tombs removing
several small alabaster statues on the pretext that they were to be restored in
Madrid. One of these pieces, the statue of St. James the Apostle, never
returned and is now on display at The Cloisters, Metropolitan Museum of Art (New
York).
Replica of the statue of Saint James the Apostle exhibited
in one of the side chapels of Miraflores.
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6. The Carthusian monks: nine hundred years of history and present
today on three continents
The beginnings of the Carthusian monks go back to the end of the 11th
century. The first monastery in Spain, called Scala Dei near the city of
Tarragona, was founded in 1163 followed by other foundations throughout
the Iberian Peninsula: first, in the Kingdom of Aragon and later in Castile and
Portugal. At the same time the Order spread throughout the rest of Europe
and, more recently, to both North and South America and finally to Asia.
Today it is formed by 16 monasteries of monks and 5 of nuns.
Saint Bruno, the first Carthusian monk
San Bruno was born in Cologne (Germany) around the year 1030. He was
sent very young to pursue his studies at the famous cathedral school of Reims
(France) where he would later became a prominent teacher, then a canon of
the cathedral and finally chancellor of the archdiocese. He opposed the abuses
committed by Archbishop Maneses guilty of simony and who would be
deposed by a regional church council. The Pontifical Delegate considered
Bruno a candidate to be the new archbishop of Reims; however, feeling a
divine calling to hermit life he declined and set out to live totally dedicated to
God in solitude and silence.
So it was in 1084 that Bruno along with six companions who shared his
same ideal established a hermitage is a secluded valley of the French Alps
called “Chartruese”, from whence comes, in English, the name
“Carthusian”. With time the form of life they initiated was canonically
recognized as the Order of Hermit Monks of “Chartreuse”.
Only six years after Bruno had settled in the Alps, Pope Urban II, a former
student of St. Bruno in Reims, summoned him to Rome in need of his
counsel. Obeying without hesitation, St. Bruno left immediately for the papal
court but, as time passed, he continued to feel a call to solitude. The Pope,
understanding that it was God’s will, permitted him to return to a hidden life
of prayer and silence but not in Chartreuse but rather in Calabria, a region in
southern Italy. That is how the second Carthusian monastery, Our Lady of
the Tower, was founded and where St. Bruno would pass on to eternal
life on October 6th, 1101.
Today we conserve only three texts of St. Bruno whose authenticity is
certain: a letter to the monks of Chartreuse written from the new monastery
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in Calabria, a letter to an old friend and colleague in Reims Ralph Le Verd and
the Profession of Faith he pronounced on his death bed.
The Life of the Carthusian monks: radical commitment profound
wisdom and true peace of soul
Essentially, a Carthusian monk consecrates his life to prayer in silence and
solitude forming a close knit community with other hermit monks. Their
unique vocation is as radical as its sounds yet, in their over 900 year history,
prudence and common sense have always guided them. The silence and
solitude which is so characteristic of a Carthusian monastery is not a penance
imposed on the monks but rather the environment they cherish and carefully
nurture to better lead a life of intimacy with God.
Twice each year the monks receive a visit from family and close friends but,
except in very exceptional cases, no other visitors are allowed. Letters are very
few and phone calls even more so. The hermitage is considered a sheltered
harbor where peace, silence and joy prevail. The days are seemingly
monotonous yet precisely that regularity permits the monks to free
themselves of trivial concerns and focus on what is truly essential.
The moments of community life foment a family like atmosphere and allow
the monks to know and support each other. Together they strive to be of one
heart and soul. The weekly walk and Sunday recreation are very important
as they express and, at the same time, foster a community spirit. They also
offer a healthy balance to the solitude which is characteristic of the Carthusian
vocation. If any news from the outside world comes to a monk, he refrains
from communicating it to others so as not to disturb their contemplative
recollection. It is the Prior, as the monastery’s superior is called, who informs
the monks on important issues of the Church, the Carthusian Order itself
and, most especially, the needs of the world.
Prayer is certainly the most important part of a monk’s life. Dear to them is a
method of prayer called lectio divina. It involves a calm and meditative reading
of the Bible. Then, in silence, one flows with the feelings of gratitude, praise
or contrition that the text inspires. When inevitable distractions arise one
simply returns to reading a passage of Sacred Scripture allowing it to seep into
the heart. The ancient monks called this exercise “savoring” the Word of God.
In the middle of the twelfth century in was precisely a Carthusian monk,
Guiges, who best explained and systemized lectio divina. He classified the
different movements of the soul as reading, meditating, praying and
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contemplating. His treatise, “Scala Claustralium”, has become a classic in
Christian spirituality.
Basically, there are two different ways to live the Carthusian vocation. One
is that of the Fathers, called so because they are priests. Their life is more
enclosed in the hermitage where even their manual labor is done. The other
form is that of the Brothers whose solitude is accompanied by more time
spent outside their cell in the different workshops: kitchen, carpentry, tailorshop, monastery grounds and general upkeep. Both Fathers as Brothers wear
the same habit and, more importantly, assist each other in living out more
fully their vocation.
The Midnight prayer of “Matins” and a Typical Day in the Monastery
Having gone to bed at 8:00 in the evening a Carthusian monk is up again at
11:30 to prepare for the midnight prayer called “matins” followed by
“lauds”. At 12:15 the bells rings inviting the monks to leave the solitude of
the hermitage and join together in the monastery church. The Gregorian
chant of psalms, antiphons and responses are interwoven with readings from
the Holy Scriptures and the writings of the great mystics, as well as moments
of total silence. Before ending around 2:15 or 2:30 (after 3:00 on Sundays
and Feast days) intentions are offered for the needs of all mankind.
Monks all agree that nothing like the silence of the night prepares the
soul for intimate prayer.
Upon returning to the hermitage there are some last prayers offered in honor
of the Virgin Mary. Then the monks return to bed until 6:30 am when they
rise for morning prayer and the reciting of Prima and the Angelus in
preparation for the community Mass at 8:00, which is always sung.
Afterwards, each of the priests celebrates Mass in solitude. Upon returning to
the hermitage they recite Tercia before the morning work period. There is also
time for study and spiritual reading before the midday prayer of Sexta
followed by the main meal of the day at 11:30 taken in the solitude of the
hermitage. Nona is prayed at 1:00 pm and then the monk returns to work and
study until 4:00 when the Community again meets together in the church, this
time for the singing of Vespers.
Supper is at 6:00, also taken within the hermitage. About half of the year,
from mid-September until Easter, this meal is reduced to only bread and wine
while during the other half of the year a more generous dinner is served of
vegetables with some fish or eggs. At 7:00 the bell rings reminding the monks
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that it is time to end the day with prayer. After reciting the Angelus and
Compline each monk, just before going to bed, offers his personal prayer for
those he holds dearest and for the intentions of those who ask for his prayers.
Special mention must be made about the deep devotion that the Carthusian
monks profess to the Virgin Mary. This has been true since the very beginning
of the Order. One of their many Marian traditions is to accompany the
praying of the Liturgy of the Hours with what is known as the Little Office of
the Blessed Virgin. Thus the example and presence of Mary brings them into
the heart of Jesus Christ.
The predominantly hermit lifestyle is balanced by a stronger community
element on Sundays and feast days. They come together to eat in silence in the
refectory and, after the midday prayers, share a time of recreation when the
whole community joins to talk and enjoy one another’s company. On Monday
afternoons they meet again for a long four hour walk through the fields and
woods of the nearby countryside.
The Handmade Craftwork of the Monks
While most of the monk’s time is spent in prayer and spiritual reading, manual
labor forms an important part of their day. Besides the general upkeep of the
monastery each monk tends to the garden of his hermitage. They also
become, each according to their skills, excellent artisans. Unique to the monks
of Miraflores is the tradition of making rosaries from authentic rose petals
(each rosary is made of some 3000 pressed petals). They also make candles of
pure beeswax and small plaster figures of monks in prayer. The sale of
these and other items at the monastery gift-shop help the monks
support themselves.
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Annex 1: Important Dates in the History of Miraflores.
The monastery church of the Cartuja de Miraflores, 1847. Print by Domingo de Aguirre
1401 The original building, a hunting lodge, is constructed on top of
Miraflores Hill by King Enrique III of Castile.
1442 The Carthusian Monks officially accept the donation of Miraflores by
King Juan II of Castile and convert the buildings into a monastery. The
original title of Saint Francis is respected.
1452 A fire reduces the building to ashes. The title is change to Our Lady of
the Annunciation.
1454 Master architect Hans of Cologne draws up blueprints following the
traditional distribution of a Carthusian monastery. On June 22, King Juan II
dies in Valladolid.
1455 Following his last wishes, the remains of King Juan II are taken to
Miraflores as his final resting place.
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1468 Juan II´s son, Prince Alfonso, dies in Cardeñosa, province of Ávila, on
July 5th. His remains will later be taken to Miraflores for his final burial.
1474 Upon the death of King Enrique IV of Castile, his half-sister Isabel,
later to be known as “la Católica” succeeds to the throne. She will be
Miraflores’ great patroness.
1477 Hans of Cologne dies. Matienzo Garci Fernandez assumes the work of
master architect. A year later he himself dies leaving the walls of the church
completed. Construction continues under Simon, son of Hans of Cologne.
1483 Queen Isabel visits her father´s tomb and takes a personal interest in
finishing the church.
1484 Martin de Soria, a Burgos merchant, brings a set of stained glass
windows from Flanders that had been commissioned by the Queen Isabel to
decorate the church.
1486 Gil de Siloé begins the first sketches of the royal tombs. The main
façade of the church is finished.
1488 The vaulting of the church is completed.
1489 Martin Sánchez carves the stalls of the Fathers’ Choir.
1489-1493 Gil de Siloé sculpts the royal tombs.
1492 The remains of Prince Alfonso, son of Juan II and brother of Queen
Isabel “la Católica”, are brought to Miraflores and placed in the tomb
prepared on the Gospel side of the church.
1496 Isabel of Portugal, second wife of Juan II, mother of Queen Isabel “la
Católica” and Prince Alfonso, dies on August 15th in the castle of Arévalo,
province of Ávila. In 1505 her remains will be moved to the royal tomb
prepared at Miraflores.
1496-1499 Gil de Siloé carves and Diego de la Cruz paints the main altar.
1504 Queen Isabel “la Católica” dies on November 26th in Medina del
Campo, province of Valladolid.
1506 Death of King Philip the Fair, married to Queen Juana “la Loca”. The
Miraflores church is used as the funeral chapel until several months later his
remains are taken to Granada.
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1532-1539 A series of side chapels are added on the north side of the
church.
1538-1539 After damage due to unusually heavy snowfalls, Diego de
Mendieta rebuilds the church roof adding the pinnacles and an elaborate
parapet.
1558 Simón of Bueras carves the stalls of the Brothers’ Choir.
1657-1659 Reform work is done on the church according to the Baroque
spirit. A chapel is constructed behind the main altar in which the Carthusian
monk Cristobal Ferrando paints part of the murals. At this same time
Polycarpo de la Nestosa and Bernardo Elcarreta carve the ornate altars in the
Brothers’ Choir. The main façade is moved from the north side to the foot of
the church on the west side.
1808 Napoleon invades Spain. Miraflores and almost all other monasteries
are suppressed. Some of the monks from Miraflores are able to join the
Carthusians of the El Paular monastery near Segovia but are soon forced to
disperse. Having been ransacked Miraflores is used as a military outpost.
1814 King Fernando VII decrees the restoration of monasteries. The
Carthusian monks return to Miraflores.
1820 A new suppression of monasteries is decreed, this time by the Spanish
government. Miraflores becomes State property. As before, some monks from
Miraflores find refuge at the El Paular monastery.
1821 Miraflores is assaulted by a radical group from Burgos. Among other
damage, the crown and scepter of the King Juan II’s statute are smashed.
1823 Restoration of monasteries: the Carthusians return to Miraflores but
recover only a part of their property.
1835-1836 Yet another decree of extinction of monastic Orders is issued.
Miraflores, once again, is confiscated as state property. Some monks of
Miraflores go into exile finding refuge in Carthusian monasteries in France.
1845 Minor repairs: part of the church is paved, the wrought iron grill
protecting the royal tombs is redone and the walls of the church are
whitewashed.
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1864 Most Reverend Fernando de la Puente, Archbishop of Burgos, acquires
ownership of Miraflores from the government.
1880 The monastery is ceded to the Carthusian Orden by the archdiocese of
Burgos. As only two elderly monks have survived the confiscation of 1835 a
group of young Carthusians is sent from France.
1914 Reform work in the gatehouse.
1931 Extensive repair work is done on the church roof.
1952 Part of the gatehouse is adapted to assure the solitude of the monks.
The rooms reserved for the visits of family members are refurbished.
1965 Repair work is done on the roof of the side chapels.
1967 A new brick floor is put down in the side chapels.
1969 The stone pavement of the church is renovated.
1974 The rotted wooden beams of the church roof are replaced by ones of
cement.
1975 A series of restoration work is begun in the church atrium, the
gatehouse courtyard and the rooms for visitors.
2003-2006 Restoration is undertaken of the stained glass windows.
2005 Repair work is done on the church roof.
2005-2007 A complete restoration is undertaken of the royal tombs, the
main altarpiece and the murals in the chapel behind the main altar.
2006 Restoration of the side chapels.
2009-2010 The gatehouse cloister is restored. The church façade is restored
and three of the side chapels are renovated for exhibitions.
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Annex 2: Principal Artists who worked at Miraflores
Pedro Berruguete: born in Paredes de Nava, in the neighboring province of
Palencia, he may have travelled to Italy to learn the Renaissance style. As of
1483 documents speak of the paintings he was commissioned by royalty and
high church dignitaries. Having worked throughout Castile the Annunciation he
painted for Miraflores is thought to be one of his later and perhaps finest
works.
Hans of Cologne: one of the most prominent figures in the history of
Miraflores as he was the architect who designed the church and monastery
after the great fire of 1452. He was also a key figure in Castile as it was he who
introduced the German style of late Gothic architecture as can be seen in the
spires of the Burgos Cathedral.
Simon of Cologne: son of the original architect Hans, he took over
construction when Matienzo Garci Fernandez died in 1478. He completed the
vaulting of the church in 1484. Among his best known works is the chapel of
the Condestables in the Cathedral of Burgos.
Diego de la Cruz: Spanish painter of Flemish influence who worked
principally in Castile at the end of the 15th century. His extraordinary skill can
be appreciated today in the exquisitely polychromed altarpiece of Miraflores.
Simon Bueras: From the northern coast of Spain, he began to work as a
sculptor in the Burgos Cathedral around 1550. In Miraflores, he carved in fine
walnut the Brothers’ choir in 1558. The stalls have a strong Renaissance style
with figures of saints and hermits, in perfect harmony with the life of prayer
and solitude of the Carthusian monks.
Garci Fernandez de Matienzo: appointed in 1477, he was the second
architect of Miraflores and would die of the plague the following year. In any
case, only recently had construction resumed in earnest thanks to generous
support of Queen Isabel “La Católica” who had ascended the throne in 1474.
This circumstance gave Garci Fernandez de Matienzo the possibility of
completing the walls of the church.
Juan of Flanders: Of Flemish origin, he was court painter to Queen Isabel
“La Católica” and considered one of the most important artists of late 15th
century Spain. He was commissioned to paint an altarpiece with scenes from
the life of St. John the Baptist for the Miraflores church. This superb
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masterpiece has permitted experts to study his style during his first years in
Castile. Unfortunately, the paintings disappeared when Napoleon’s troops
plundered Miraflores in 1808 and today are scattered among museums and
private collections.
Diego de Leyva: Prolific painter from Haro, province of La Rioja, born in
1580 and known for his religious themes of martyrs, saints and virgins. After
the death of his wife he entered Miraflores and became a Carthusian monk at
the age of 53. Although he continued to paint few of his works have remain
today at Miraflores due to due to the confiscation and looting suffered during
the first half of the 19th century.
Diego Mendieta: A 16th century architect who gave the Miraflores church its
distinctive silhouette when he repaired the roof. He raised the height of the
walls and decorated the roof with a series of pinnacles and a graceful parapet.
Manuel Pereira: A Portuguese sculptor was won great fame in the royal
court of Madrid in the 17th century. There is an often told story about the visit
King Felipe IV made to Miraflores. One of the courtiers admiring the
expressive features of the statue of St. Bruno carved by Pereira said to the
king: "it need only to speak". The King is said to have replied, "he won’t speak
because he´s a Carthusian".
Nicolaes Rombouts: From Flanders, he was one of the Europe’s most
famous stained glass artisans in the late fifteenth century. Unfortunately, little
of his production has survived. This gives the windows of Miraflores a
particular importance as they are most complete and best preserved of his
works.
Martin Sánchez: Sculptor of the Fathers’ choir stalls which he finished in
1489 and is considered one of the masterpieces of its genre.
Gil of Siloé: Perhaps of Flemish origin, he was undoubtedly one of the finest
sculptors of late 15th century Castile. His expertise in detail is evident in the
high altar and the royal tombs of Miraflores.
Roger van der Weyden: An apprentice of Robert Campion and
contemporary of Jan van Eyck, he was one of the most famous and influential
painters of the Flemish school in the mid-15th century. In the oil painting
known today as the "Miraflores Triptych", now part of the Staatliche Museum
collection in Berlin, he achieved a remarkable expressiveness. Queen Isabel
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“La Católica” was so impressed by this work that she had her court painter
Juan of Flanders make a copy for the Royal Chapel of the Granada cathedral.
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