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San Miguel de Lillo (Oviedo) (Grande)

€ 60.00
dimensions (mm.): 130x150x110
Weight (Kg.): 1.100
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Labels: Románico
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Description

El edificio fue consagrado por Ramiro I y su esposa Paterna en el año 848, fecha recogida en la inscripción grabada por el propio rey en el ara actualmente conservada en el edificio regio del Naranco, situado a trescientos metros de San Miguel.
La iglesia experimentó el hundimiento de las dos terceras partes de su traza primitiva en el siglo X, siendo las causas de su derrumbe la baja calidad geotécnica de los materiales que constituyen el substrato del templo. La proximidad de la cabecera del templo al arroyo y la erosión constante producida por este sobre el substrato son factores que favorecerían el desarrollo de asientos diferenciales del terreno. También contribuiría en el derrumbamiento parcial de la iglesia la débil cimentación del edificio. La ruina de buena parte del edificio condiciona, pues, que en la actualidad su estructura arquitectónica original se encuentre fuertemente alterada. De su primitiva obra se conservan el antecuerpo occidental, donde se abre el vano de ingreso a un vestíbulo sobre el cual se eleva la tribuna regia, y el primer tramo de la arquería del cuerpo central de la nave; restos, actualmente conservados, de una disposición original de la iglesia en planta basilical con tres naves con bóveda de cañón.
La planta original del fragmentado templo palatino de Lillo, responde, en parte, a la tipología común de las iglesias asturianas de la época: planta basilical de tres naves con disposición del ámbito de arquerías apoyado en columnas con una cabecera tripartita destruida orientada al este y un cuerpo de entrada que alberga el vestíbulo sobre el cual se encuentra situada la tribuna regia abovedada. La iglesia carece del característico vestíbulo de las iglesias asturianas. En la parte superior de la puerta con
dovelaje de ladrillo y con signos de reformas posteriores se abre un vano cegado al que se sobrepone una celosía de factura contemporánea. En los lienzos externos laterales se abren, a elevada altura, sendas celosías que iluminan con su tamizada luz los accesos interiores a la tribuna. Se recurre al uso de la columna como apoyo de los arcos en la construcción de la arquería en sustitución del tradicional pilar asturiano, siendo San Miguel de Lillo la única iglesia que altera esta norma o regla.
A destacar las jambas esculpidas de la puerta de entrada, las cuales ofrecen una especial relevancia por la fuerte carga ideológica y de representatividad regia así como por conocerse el motivo original formal que inspiró al artista que efectuó la talla, con todo lo que ello supone de interés para el estudio de las influencias artísticas, analogías e innovaciones de estilo y formas. El modelo de inspiración es el díptico consular romano-bizantino, ejecutado en marfil, del cónsul Areobindus (506 d.C.). La talla del díptico, representa al cónsul sentado en un subsellium y acompañado de dos acólitos; sostiene un cetro en la mano
izquierda y la mappa (pañuelo conteniendo arena) en la mano derecha que en el momento en que sea echado a la arena del circo señalará el inicio de los juegos, los cuales se representan en los siguientes paneles.

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