Abstract
Trefoil chapels constitute the most innovative centralized model of all those developed in late-Gothic Spain. The brilliant unfolding of the great funerary chapels covered by astonishing vaults of star-shaped ribs at the end of the 15th and the first decades of the 16th century, created by artists who had emigrated from the other side of the Pyrenees, has long been recognized. Thus arise the great funerary chapels of Toledo or Burgos, in imitation of which appear an endless number of small chapels in churches and monasteries throughout the Peninsula, for all those nobles or ecclesiastics desirous of becoming a part of history. Only a few architects (pertaining to the Segovian region and to the influence of Juan Guas) and patrons (belonging to the upper Castillian nobility and high clergy), distanced themselves from this model to venture for the trefoil. The result was a highly homogeneous group of structures errected within a limited span of time.
Highlights
Trefoil chapels constitute the most innovative centralized model of all those developed in late-Gothic Spain
The brilliant unfolding of the great funerary chapels covered by astonishing vaults of star-shaped ribs at the end of the 15th and the first decades of the 16th century, created by artists who had emigrated from the other side of the Pyrenees, has long been recognized
A few architects and patrons, distanced themselves from this model to venture for the trefoil
Summary
Las capillas treboladas constituyen el modelo centralizado más innovador de cuantos se desarrollan en la España tardogótica. Es de sobra conocido el brillante desarrollo de las grandes capillas funerarias cubiertas con asombrosas bóvedas de crucería estrellada a finales del siglo xv y primeras décadas del siglo xvi de manos de artistas llegados de más allá de los Pirineos para renovar nuestro viejo gótico. Como un lugar común más, se ha venido manteniendo la relación del modelo con los ejemplos de cabeceras triconques (versión románica del trébol gótico) existentes en Colonia y su llegada a España de manos de arquitectos germanos. Creemos que la vía para explicar la introducción del modelo a finales del siglo xv de manos de un artista bretón, Juan Guas, está en las raíces de la tipología desde el mundo paleocristiano adaptado en un principio a funciones funerarias y relacionado en especial con las órdenes reformadas. Por su parte Bonet Correa incluye también la iglesia de Santa María de Laguardia (Álava), sin embargo, de cabecera ochavada
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