La Seo Cathedral - Interior

Interior

Beginning with the foot of the cathedral, the chapels on the right side:

• Door of the Pabostría and atrium. The interior of the door is the most interesting part.
• Chapel of Our Lady of the Snows, a late Gothic chapel with Baroque altar and altar paintings by Francisco Ximeno.
• Chapel of San Valero (Valerius). Baroque entryway of gilded wood from the seventeenth century with scenes of the saints Valerius (patron of the city), Vincent, and Lawrence. Walls were painted by García Ferrer.
• Chapel of Saint Helen, or the Chapel of the Most Holy Sacrament. The altar, entryway, and paintings by Lupicini of Florence are all Baroque works of the seventeenth century.
• Chapel of the archangels Michael, Gabriel, and Raphael. The chapel was constructed by Garbriel Zaporta towards the end of the sixteenth century as a funerary chapel; only the lid of the sarcophagus has been preserved from that era. Dating from the Renaissance are altar decorations fashioned by Juan de Anchieta, bronze grating by Guillén Trujarón, and the doorway. The paintings and mosaics are believed to be the work of the painter Pedro Morone of Siena.
• Chapel of Santo Dominguito de Val, patron saint of the Infanticos. This Baroque chapel dates back to the second half of the eighteenth century and houses the remains of the saint himself. Elliptical cupola (dome) that arches over very detailed plaster pechinas (support structures of the cupola).
• Chapel of St. Augustine. Renaissance-era altar decorations by Gil Morlanes with sculptures by Gabriel Yoly and José Sanz (image of St. Augustine from 1720)
• Chapel of Saint Pedro Arbués. On the walls appear framed paintings from the seventeenth century attributed to the artist Berdusán. Below a canopy (pavilion-like draping of fabric) with Solomonic columns is a sculpture of Saint Pedro Arbués done by Juan Ramírez in the seventeenth century. Baroque doorway from the eighteenth century.

Beginning with the foot of the cathedral, the chapels on the left side:

• Chapel of St. Bernard. This is one of the greatest works of the Aragonese Renaissance. Between 1549 and 1555, it contained the tombs of the archbishop Hernando de Aragón, who ordered its construction, along with that of his mother Ana de Gurrea. Juan Vizcaíno created the sepulchre of the archbishop, and Juan de Liceire did that of his mother. The altar decorations for the Chapel of San Bruno were entrusted to the sculptor Pedro de Moreto. All parts were made of alabaster. The grating is also from the Renaissance and was the work of Guillén Trujarón.
• Chapel of St. Benedict. Commissioned in Gothic style in the sixteenth century, the construction was delayed by Hernando de Aragón in order to collect the bodies of his servants.
• Chapel of St. Mark.
• Chapel of the Birth of Christ. Simple doorway from the sixteenth century. Altar decorations with panels attributed to Roland de Mois or Jerónimo de Mora from the sixteenth century. Renaissance grating by Hernando de Ávila.
• Chapel of Saints Justa and Rufina. Paintings by Juan Galván hang over the walls. The painting of the saints was done by Francisco Camilo in 1644.
• Chapel of St. Vincent. Baroque doorway. The sculpture of St. Vincent is from roughly 1760 and was created by Carlos Salas.
• Chapel of St. James the Great (Santiago). A painting by Pablo Raviella from 1695. An image of St. James the pilgrim, from the 16th century, under a baroque canopy.

Choir:

• The choir section is formed by 117 oaken seats built by three monks named Gomar, Bernardo Giner, and Mateo de Cambiay. It is enclosed by a bronze grating accented with sculptures of gilded wood by Juan Ramírez. The archbishop Dalmau Mir is buried here.
• The organ preserves some remnants of the Gothic organ of 1469 and pipes hailing from the fifteenth to the eighteenth century. The present-day organ is the result of the integration of the complex historical pieces of the instrument, done between 1857 and 1859 by Pedro Roqués.
• To the rear of the choir lies the chapel of the Holy Christ, with a representation of the crucified Christ, Mater Dolorosa (Mary) and St. John created by Arnau de Bruselas near the end of the sixteenth century; all of this is below a canopy supported by Solomonic columns of black marble. The decorations are the work of Jerónimo Vallejo, Arnau de Bruselas, and Juan Sanz de Tudelilla, done in hardened plaster, and they form one of the most notable groups of sculpture from the Aragonese Renaissance. To the sides lie the small chapels of St. Martha, St. Matthew, St. John the Baptist, St. Thomas of Villanova, Nuestra Señora de la Merced, Saint Leonard of Noblac, Saint Philip, and Saint Orosia.

Apses:

• Chapel of the Virgen Blanca (White Virgin). Baroque altar decorations of wood with paintings by Jusepe Martínez (1647), a painter from Zaragoza. Alabaster sculpture of the Virgin with child from the fifteenth century made by the French sculptor Fortaner de Uesques. On the floor lie various tombstones of the archbishops of Zaragoza from the sixteenth and seventeenth centuries.
• Main altar decorations. Dedicated to the Savior, it was originally created in alabaster and painted by various artists from 1434 to 1480, most notably Pere Johan, Francisco Gomar, and Hans Piet D'anso. It can be considered one of the greatest works of European Gothic sculpture.
• Chapel of St. Peter and St. Paul. Altar decorations of gilded wood with relief scenes of the lives of Saints Peter and Paul.