巴利亚多利德大教堂的合唱屏幕 - 美国大都会艺术博物馆展品查阅

品名（中）	巴利亚多利德大教堂的合唱屏幕
品名（英）	Choir screen from the Cathedral of Valladolid
入馆年号	1956年，56.234.1
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Rafal Amezúa【1725 至 1825】
创作年份	公元 1758 - 公元 1768
创作地区
分类	金属制品铁（Metalwork-Iron）
尺寸	52 × 42 ft. (15.85 × 12.8)
介绍（中）	西班牙钢铁工人被提供了许多格栅工作的委托，如窗户格栅和阳台格栅，但最重要的是格栅或屏风，用于将教堂的某些部分与其他部分分开。在十五世纪的最后几年，西班牙小教堂的屏风已经被制造出来，其比例非常高，但在十六世纪初，西班牙的铁匠们开始用细长的栏杆形铁纺锤取代方形或扭曲的铁棒。文艺复兴时期的屏风，或称rejas，由两层或三层纺锤组成，纺锤由最轻、最对称的实心铁锤击而成，并用装饰性的叶理冷凿而成。事实证明，这些rejas是西班牙教堂唱诗班和小教堂筛选的一个非常令人满意的解决方案，因此它们长期以来一直是西班牙钢铁工人的典范。博物馆的纪念碑reja虽然是以文艺复兴时期的模型为基础的，但是由十八世纪的赞助人巴利亚多利德主教Isidro Cosio y Bustamante委托制作的，并于1763年安装在巴利亚多利大教堂的中殿，将唱诗班与高坛分开。一年后，铁制品的冠饰和镀金工作完成了。
介绍（英）	Spanish ironworkers were provided with numerous commissions for grille work such as window grilles and balcony grilles, but the most important were the grilles, or screens, used to divide certain parts of a church from others. Spanish chapel screens of ambitious proportions were already being made during the last years of the fifteenth century, but early in the sixteenth century the Spanish smiths began to replace the square-sectioned or twisted iron bar with the slender, baluster-shaped iron spindle. Renaissance screens, or rejas, were composed of two or three tiers of spindles hammered from solid iron in the lightest, most symmetrical of forms and cold-chiseled with decorative foliation. These rejas proved so satisfying a solution to the screening of Spanish church choirs and chapels that they long remained models for Spanish ironworkers (rejeros). The Museum's monumental reja, although closely based on Renaissance models, was commissioned by an eighteenth-century patron, Isidro Cosio y Bustamante, bishop of Valladolid, and installed in 1763 in the nave of the Cathedral of Valladolid, where it divided the choir from the high altar. The cresting and the gilding of the ironwork were completed a year later.