Miraflores Charterhouse

Both of these sights preverves within today

• 
  Sepulchers of John II of Castile and Isabella of Portugal in the Miraflores Charterhouse by Jenaro Pérez Villaamil and Charles Fichot in 1850. Lithograph published in the work España artística y monumental.
• 
  Sepulcher of infante Alfonso in the Miraflores Charterhouse by Jenaro Pérez Villaamil and Philippe Benoist in 1850. Lithograph published in the work España artística y monumental.

The sources for the study of the Miraflores Charterhouse include writings of various kinds

• Compendium of the Libro becerro entitled Brief and compendious news of the foundation of this Miraflores Charterhouse taken from Libro Becerro with worthy of knowing's other news, and covering events and privileges granted to the Charterhouse from 1442-1764.
• Other sources, among which are the following contributions:
  • Iglesia, Fr. Nicolás, "Flowers of Miraflores sacred hieroglyphics, figurative truths, true shadows of the Mistery of the Immaculate Conception of the Virgin and Mother of God Our Lady Mary […]», Burgos, 1659.
  • Vallés, José de, "First Institute of the Sacred Religion of the Cartuxa: foundations of convents throughout Spain, martyrs of England and generals of the whole order" Madrid, 1663.
  • Arias de Miranda, Juan, "Historical Notes about Miraflores Charterhouse Burgos» Burgos, 1843.
  • Tarín and Juaneda, Francisco, "The Royal Miraflores Charterhouse (Burgos). History and description" Burgos, 1896.

Plan of the Miraflores Charterhouse (Burgos)

The floor of the monastery follows other Carthusian monasteries's pattern of the Middle Ages. The floor develops from the placement of the church and the layout of two main cloisters for each of the groups of Carthusian monks who inhabit: Fathers and Brothers. Around these two cloisters are individual hermitages that allows the monk to live solitude and silence own of the Carthusian spirituality. This part of the monastery is not visitable.

The floor of the church is formed by a single quadripartite longitudinal nave, distinguishing the spaces of the chancel, the choir of the Fathers, the choir of the Brothers and the faithfuls stay. The nave is closed with vaults with tiercerons, keeping the Gothic original layout.

Portal

The church's portal rose in year 1486 and was originally located on left side of the monastery, providing access to faithfuls directly from outside the monastery. It consists of pointed archivolts decorated with plants, animals and some human figurative motifs located under a big ogee with poaceaes. In the tympanum represents the motive of the Compassion of the Virgin, which according to late-Medieval iconographic canons, shows the Virgin sitting with her died Son in her arms, accompanied by the symbols of the moon and sun.

Stylistically it is linked to the works of the Colonia (father and son), who participated in the rising of the monastery. It can also relate with other portals of other Burgalese monasteries, i.e. the church of San Nicolás de Bari or the church of San Lesmes Abad.

Between 1657 and 1659 was ordered its move to the current location, accessing from courtyard de la Portería and connecting to the nave of the monastery. In year 2010 proceeded to restore the portal to returning to its original condition, especially recovering the Compassion of the Virgin's sculpture.

Courtyard.

The entrance's portal to the church of the Charterhouse is currently located in an entrance's courtyard landscaped with a Saint Bruno of Cologne's statue, founder of the Order. Its tracery dates from first half of the 16th century, originally serving as connection of the stays of the monastery with the service units and the portería.

The arcaded long gallery preceding the courtyard is formed by arches that form recessed groin vaults finished off in keystones with modular decoration. In 2010 the cloister is intervened for ensure the maintenance of the walls and consolidate the out of waters of the courtyard, that suffered inclement weather.

The main altarpiece of the Charterhouse was carved in wood by artist Gil de Siloé and polychrome and gilded by Diego de la Cruz (whose gold came from the first shipments of the Americas after its discovery)[4] Made between 1496 and 1499, is undoubtedly one of the most important existing works of the Spanish Gothic sculpture, by its compositional and iconographic originality and excellent quality of carving, valued by the polychrome.

One of the most important elements of the altarpiece is the angelic wheel in which is framed the Christ crucified image for its beauty and significantly accentuated expressiveness by the work of polychrome of Diego de la Cruz. In the outer part of the wheel, are placed the figures of God the Father to the left and the Holy Spirit to the right bearing the rungs of the cross.

In the bottom of the cross, the figures of the Virgin Mary and John the Evangelist complete the scene. The pelican located at top of the cross gives the core set an extraordinary symbolic value as an allegory to the Eucharistic sacrifice, because the bird feeds its birdies of its own blood.

Sepulchers of the King John II and Isabel of Portugal

The royal sepulchers set were designed by artist Gil de Siloé commissioned by Queen Isabella I of Castile. On the one hand is the Sepulchers of John II of Castile and Isabella of Portugal, placed in the nave's center, eight-pointed star shaped. And in the Gospel side of the church is located the Sepulcher of infante Alfonso of Castile. Both sepulchers were made in alabaster and are late-Gothic sculpture's jewels.

The sepulcher of John II of Castile and of his second wife Isabella of Portugal is made in alabaster and is in Gothic style. It has octagonal eight-pointed star shaped, formed by the superposition of a square and a diamond.