Resumen de Historia de una bóveda alboaire: La capilla funeraria de Gonzalo López de la Fuente en el convento de la Concepción Francisca de Toledo y de cómo pasó a llamarse de San Jerónimo
- español
El origen de la Concepción Francisca y el convento de san Francisco, fundados sobre los Palacios de Galiana, es clave para entender la que ha venido siendo conocida como capilla de San Jerónimo.
José Amador de los Ríos confundió la iconografía del retablo describiéndolo como “consagrado a San Gerónimo”. Juan Facundo Riaño, en la solicitud para la declaración de Monumento Nacional (23 de abril de 1884), perpetuó el error.
Tal y como reza la inscripción escrita sobre los azulejos exagonales (alfardones), en la base de la cúpula, fue creada en 1422 como capilla funeraria por “Gonzalo López de la Fuente, mercador”, casado con “María González” . En los mismos se puede leer que "Alfonso Ferandes Çoladio”, soló la capilla.
- English
The origin of the convent of the Franciscan Sisters of the Immaculate and its foundation on the monastery of San Francisco, which was itself founded on the Palacios de Galiana, is vital to understanding what has been known since the 19th century as the chapel of San Jerónimo. In his 1845 book Toledo pintoresca, José Amador de los Ríos referred to it as “an entirely abandoned chapel” and mistook the iconography of the altarpiece, describing it as “consecrated to San Gerónimo”. In applying to the Spanish Ministry of Development for it to be declared a national monument (23 April 1884), Juan Facundo Riaño made the same mistake. The chapel was founded in 1422 as a funerary chapel for “Gonzalo López de la Fuente, mercador (merchant)”, married to “María González”, as the inscription on the hexagonal tiles (traditionally known as alfardones) at the base of the dome states. The tiles also state that “Alfonso Ferandes Çoladio” tiled the chapel. In 1905 Font I Guma drew attention for the first time to the extraordinary tiles in the dome, attributing them to the workshops of Manises. The historic study conducted for its restoration – commissioned by the Consorcio de Toledo– and the conclusions it reached, provide us with important information that allows us to look at it from a fresh perspective.
