RUTA JACOBEA

MMXII

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 TABLE OF CONTENTS
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INTRODUCTION 5
Pilgrims’ blessing. 7
History of the Pilgrimage. 9
Pilgrim traditions. 11
ITINERARY 13
1. Saint Jean Pied-de-Port 15
2. Roncesvalles 17
3. Larrasoaña 23
4. Pamplona 25
5. Cizur Menor 32
6. Puente La Reina 33
7. Estella 34
8. Los Arcos 37
9. Viana 38
10. Logroño 40
11. Navarrete 44
12. Nájera 46
13. Ciriñuela 49
14. Santo Domingo de la Calzada 50
15. Belorado 57
16. Villafranca de Montes de Oca 58
17. San Juan de Ortega 59
18. Burgos 61
19. Hornillos del Camino 64
20. Castrojériz 65
21. Frómista 66
22. Carrión de los Condes 68
23. Terradillos de los Templarios 70
24. Sahagún 71
25. Mansilla de las Mulas 73
26. León 75
27. La Virgen del Camino 78

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28. Hospital de Orbigo 79
29. Astorga 80
30. Rabanal del Camino 83
31. Molinaseca 84
32. Villafranca del Bierzo 85
33. Ponferrada 86
34. Samos 90
35. Portomarin 91
36. Palas de Rei 93
37. Melide 94
38. Santiago de Compostela 95
39. Finisterre 97

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introduction

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6
 PILGRIMS’ BLESSING

"In the name of our Lord Jesus Christ, receive this pouch,
habit for your pilgrimage, so that, castigated and corrected,
you hasten to prostrate at Saint James' feet, where you yearn
to arrive and, after having completed your journey, you come
to us delighted with the help of God, who rules over the world
without end. Amen.
Receive this staff as support for the journey and your efforts
during your pilgrimage so that you are able to defeat the
throngs of enemies and thus arrive safely at Saint James' feet
and, after having completed your journey, you come to us de-
lighted with the consent of the same God, who lives in and
rules over Heaven without end. Amen."

Another blessing, from a medieval rite dated 1078 preserved in the Missal of
Vich Cathedral, Barcelona, Spain. At the Abbey of Roncesvalles the blessing
is used at the end of the Mass for the blessing of pilgrims passing through.
Priest: Our help is in the name of the Lord.
Response: Who made heaven and earth.
Priest: The Lord be with you.
Response: And also with you.
Let us pray.
O Lord whose word makes all things holy, bless we be-
seech you these emblems, rucksacks and staffs to be used on this pil-
grimage. May all those who carry them arrive safely at the shrine of
St. James the Apostle, the objective of their journey. We ask this
through Christ our Lord.R: Amen
Presenting the Rucksacks
In the name of the Lord Jesus Christ, shoulder these rucksacks
which will help you during your pilgrimage. May the fatigue of car-
rying them be expiation for your sins, so that when you have been
forgiven you may reach the shrine of St. James full of courage, and
when your pilgrimage is over, return home full of joy. We ask this
through Christ our Lord.
R: Amen
Presenting the shells and other emblems
Receive these shells and medals, as signs of your pilgrimage. With
God’s grace may you behave as true pilgrims throughout your en-
tire journey and be able to reach your objective, which is to visit the

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 shrine of St, James and gain indulgences. We ask this through
Christ our Lord.
R: Amen
Blessing the Pilgrims
Lord Jesus Christ, you taught us through the Apostle St Paul that
here below we have no lasting city and must always seek the heav-
enly city. Hear our prayers for these pilgrims we commission. May
the Holy Spirit breathe his grace into their hearts; may he enliven
their faith, strengthen their hope and feed the flame of their love.
May they thus make their pilgrimage in the true spirit of penance,
sacrifice and expiation. May the same spirit purify their minds from
every evil thought. May he defend their hearts and give them the
constant help of his protection so that they can reach the objective
of their journey safely and by means of this pilgrimage they are now
starting merit to come one day to the heavenly Jerusalem. You who
live and reign with the Father and the Holy Spirit, one God, forever
and ever.
R: Amen
May the Lord always guide your steps and be your inseparable
companion throughout your journey.
R: Amen
May our Lady of Roncesvalles grant you her motherly protection,
defend you against all dangers of soul and body. Through her inter-
cession may you arrive safely at the end of your pilgrimage.
R: Amen
May St Raphael the Archangel accompany you throughout your
journey as he accompanied Tobias and ward off every contrary or
troublesome incident.
R: Amen
And may almighty God bless you, the Father, Son and Holy Spirit.
R: Amen
Go in the peace of Christ

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 HISTORY OF THE PILGRIMAGE
TO SANTIAGO DE COMPOSTELA

The story of the pilgrimage to Santiago de Compostela is intertwined with

the history of Christianity. After Jesus’ resurrection, St. James became the
leader of the church in Jerusalem. According to tradition, he also traveled to
Spain to spread the Good News, then returned to Jerusalem where he was
martyred. Following his death, his followers are said to have taken his body
to the coast, where a ship was miraculously waiting for them. The body of St.
James was interred in a tomb in northwestern Spain, after which its location
fell into oblivion for centuries.
Around the year 815, a Spanish hermit named Pelayo had a vision in which
he saw a bright light shining over a spot in a forest. The matter was investi -
gated and a Roman-era tomb containing St. James’ body was found. The
bishop of a nearby town, Theodomir, had a church built on the site of the
tomb. Around this shrine the city of Santiago de Compostela grew (while its
origins are not certain, Compostela may come from the Latin campus stellae,
“field of stars”). The shrine began attracting pilgrims, who steadily increased
in number until by the eleventh and twelfth centuries, a half-million pilgrims
a year were making their way to Santiago.
The pilgrimage drew the devout from across Europe for several reasons. In
the year 1122 Pope Calixtus II granted the city various privileges, including
an indulgence for those who journeyed here on pilgrimage, with special con-
sideration given to those who made the pilgrimage in a year when the Feast
of St. James (July 25) fell on a Sunday. Spanish bishop Diego Gelmirez was
a strong advocate for the city as well, starting a large-scale building program
that included the construction of its immense Romanesque cathedral, as well
as facilities for the many pilgrims who made their way to Santiago. The
kings of the neighboring lands of Aragon, Navarre and Castile contributed to
the route’s popularity by building bridges, hospitals, and other pilgrim ser-
vices, often entrusting the work to the monks of the French order of Cluny.
While many roads led to Santiago from all over Europe, the most traveled
became the French Road, which passes over the Pyrenees Mountains before
entering Galicia
The Way of St. James was difficult, but for many pilgrims it offered a much
easier trip than the journey to Jerusalem or Rome. Monuments, churches,
monasteries, towns, and cities grew up along the network of roads leading to
Santiago, and the city itself benefited greatly from the spiritual, economic
and cultural growth stimulated by the millions of pilgrims. The Way of St.
James became the first great thoroughfare of Christian Europe, a meeting
place for people from a wide variety of backgrounds and nations. On the
road pilgrims from many countries mingled, from Amsterdam and Gdansk to
Lisbon and Zagreb.

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For many centuries, the pilgrimage drew both the wealthy and the poor. A
pilgrimage was seen as an enactment of the spiritual journey to Christ, and
the hardships along the way were welcomed as tests of faith.
As the pilgrimage to Santiago de Compostela grew in popularity, so did the
legends and lore associated with it. The scallop shell became the symbol of
the pilgrimage, in part because the shells were common along the Atlantic
beaches just west of Santiago. Travelers would wear a scallop shell to pro-
claim their status as pilgrims, and the motif was incorporated into many of
the buildings, wells, churches, and monuments along the route. The shell was
also the subject of a legend that said that when the body of St. James was be-
ing returned to Spain, a knight fell from a cliff on shore and drowned as the
body passed by. When the knight miraculously arose alive from the water, he
was covered in scallop shells.
In the seventeenth century, Sir Walter Raleigh immortalized the pilgrimage
with words that remain popular among pilgrims to this day:
Give me my scallop shell of quiet;
My staff of faith to walk upon;
My scrip of joy, immortal diet;
My bottle of salvation;
My gown of glory, hope’s true gauge
And then I’ll take my pilgrimage.

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 PILGRIM TRADITIONS

RITUALS BEFORE LEAVING ON THE PILGRIMAGE

A pilgrimage was said to begin the moment a man crossed the threshold of
his front door. He would have been granted permission to leave by his local
religious authorities and sworn an oath to remain loyal to his monarch.
Dressing in his pilgrim's clothes, he attended mass, where his staff and scrip
were blessed by the priest. Then he set off on his journey to the Shrine of St
James, hundreds of miles away. It would be months before he returned to his
home.

TRADITIONS OF THE CAMINO DE SANTIAGO

Along the Camino de Santiago there were many churches where the pilgrims
worshipped, praying to the particular saint associated with that chapel or to
the Virgin. At Estella, they prayed to the Virgin of El Puy. At Leon Cathe-
dral they rubbed their hands on the column bearing the statue of St James
dressed in pilgrim garb.
For pilgrims treading the route across the Pyrenees, the monks at the
monastery of San Salvador rang the chapel bell to guide the pilgrims across
the mountains when the weather was bad.
At Triacastela, the earliest pilgrims were given a piece of limestone to carry
to Castanola where a lime-making works was based. Lime from there was
used in the building of the basilica at Santiago de Compostela.
Another tradition involving stones was for a pilgrim to add a rock to the
cairns of stones dotted along the wayside. He believed that by placing a stone
on the pile, he would be granted a wish.
On nearing the end of the Camino de Santiago, the pilgrims took part in a
cleansing ritual. At Lavacolla (near Santiago de Compostela's airport today)
they bathed in the river before entering the city, washing away the dust and
grime of their time on the road.
Close by was Mount Gozo. From the top of the mountain, the spires of the
cathedral at Compostela could be seen. The pilgrims raced each other to the
summit; whoever saw the towers first cried out, "Mon Joie!" He was consid-
ered 'king' of the group. Reaching this place was a very emotional experience
for the pilgrims. Many fell to their knees in prayer; others burst into song.
After weeks on the road, their goal was now in sight.

PILGRIM RITUALS OF ARRIVAL AT SANTIAGO

Whatever route one takes to Santiago, the end of the journey is the same to-
day as it has been for a thousand years: the cathedral of Santiago de Com-
postela, where the relics of St. James are kept. Pilgrims complete their long

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journey in the huge square that lies before the church, gazing upward at the
massive structure formed of Galician granite.
What happens next has, over the centuries, become a highly ritualized set of
actions. After climbing the cathedral stairs and entering its doors, the first
sight that greets pilgrims is the spectacular Portico de la Gloria, an entryway
of carved stone that is considered one of the masterpieces of medieval art.
The entryway was created over a twenty-year period by the master sculptor
Mateo, who finished the remarkable frieze in 1188. Carved into its center
column is the figure of St. James, while above him Christ sits surrounded by
his disciples and dozens of other religious figures and motifs, a work one
could easily spend a day contemplating (indeed, in the Middle Ages such
works were said to be the Bible of the poor).
Pilgrims are instructed to place their hand on the pillar where St. James
stands, finding the deep grooves formed by the hands of the millions of trav -
elers who have come here before them. As they touch the pillar, they are to
say the prayer of petition that has brought them on pilgrimage. Then they
walk to the other side of the column where a small statue stands, a figure that
is believed to be the self-portrait of the stonemason Mateo. To receive some
of the master’s wisdom, they must knock their forehead three times gently on
his head.
And then, at last, one can contemplate the interior of the cathedral. At the
end of the long center aisle, a dazzling Baroque altar blazes with gold. It in-
cludes three depictions of St. James: as teacher, pilgrim, and knight. But this
magnificent, overwhelmingly ornate altar welcomes pilgrims in a surpris-
ingly intimate way: visitors are invited to climb the stairs that lead to an area
behind the altar, where they can embrace the gilded statue of St. James from
behind, wrapping their arms around him in a hug. After this familial em-
brace, pilgrims descend into the crypt where the saint’s relics are kept in a
silver casket. The final pilgrim’s task is to attend a mass in the cathedral.
If pilgrims are fortunate, they can time their visit to coincide with a service
during which the cathedral’s botafumeiro, a huge incensory made of silver-
plated brass, is used. During special services at the cathedral, the 170-pound
censer swings like an enormous pendulum through the sanctuary, leaving be-
hind a trail of smoke and the fragrance of incense.
In this hushed sanctuary, an air of holiness is palpable. The cathedral seems
filled with the petitions of the millions of pilgrims who have journeyed here
over the centuries, bringing their prayers, hopes, dreams, and pleadings for
mercy. After traveling so far to arrive here, many people spend hours in con-
templation in the church, clearly reluctant to end their pilgrimage.

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ITINERARY

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 1. SAINT JEAN PIED-DE-PORT

The original town at nearby Saint-Jean-le-Vieux was razed to the ground in

1177 by the troops of Richard the Lionheart after a siege. The Kings of
Navarre refounded the town on its present site shortly afterwards.
The town has traditionally been an important point on the pilgrimage to San-
tiago de Compostela, as it stands at the base of the Roncevaux Pass across
the Pyrenees. Pied-de-Port means 'foot of the pass' in Pyrenean French. The
routes from Paris, Vézelay and Le Puy-en-Velay meet at Saint-Jean-Pied-de-
Port and it was the pilgrims' last stop before the arduous mountain crossing.
The town is split into two parts by the river Nive. On the right bank, below
the citadel is the oldest part of the town, surrounded by its medieval, loop-
holed walls. On the left bank is the newer part of the town, encircled by the
more modern defences put in place by Vauban.
The cobbled rue de la Citadelle runs down hill and over the river from the
fifteenth century Porte St-Jacques to the Porte d'Espagne by the bridge. From
the bridge, there are views of the old houses with balconies overlooking the
Nive. Many of the buildings are very old, of pink and grey schist, and retain
distinctive features, including inscriptions over their doors. One, a bakery,
lists the price of wheat in 1789.

CHURCH OF NOTRE-DAME-DU-BOUT-DU-PONT
The 14th century red schist Gothic church, Notre-Dame-du-Bout-du-Pont,
stands by the Porte d'Espagne. The original was built by Sancho the Strong

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of Navarre to commemorate the 1212 Battle of Las Navas de Tolosa where
Moorish dominance of Spain was undermined.

CITADEL
The town was fortified in the middle ages and was much fought over be-
tween the Spanish, the French and various local parties. It also suffered dur-
ing the wars of religion, and Richelieu decided to modernise the town's de-
fences by building a citadel.
Work began on the citadel in 1628, under Chevalier Deville. In 1680,
Vauban improved the citadel by adding a covered way. He also improved the
defences of the town itself, adding walls south of the Nive, where the town
had expanded over the river. The town walls run up the hill to join the cor-
ners of the citadel, allowing communication between the two during a siege.
The citadel has a square trace of four bastions, with demi-lunes guarding the
two entrances - on the western and eastern fronts.

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 2. RONCESVALLES

Roncesvalles is famous in history and legend for the defeat of Charlemagne

and the death of Roland in 778, during the battle of Roncevaux Pass, when
Charlemagne's rear guard was destroyed by Basque tribes.
The small collegiate church contains several curious relics associated with
Roland. The battle is said to have been fought in the picturesque valley
known as Valcarlos, which is now occupied by a hamlet bearing the same
name, and in the adjoining pass of Ibañeta (Roncevaux Pass). Both of these
are traversed by the main road leading north from Roncesvalles to Saint-
Jean-Pied-de-Port, in the French Basque Country.
Since the Middle Ages, this collegiate church has been a favorite resting
place for Catholic pilgrims along the Way of St. James, since it is the first
place to have a rest after crossing the French Pyrenees. Every year thousands
of pilgrims begin their way to Santiago de Compostela at Roncesvalles.

THE ENCLAVE
Santa Maria de Roncesvalles, an ancient hospital for pilgrims and enclave of
deep epic resonances, is certainly, one of the most emblematic places from
the Western Europe, which was always considered the most outstanding and
beloved landmark in the journey to Santiago de Compostela.
Tradition tell us that Orreaga- Roncesvalles is the location of the most
painful defeat of the French army. There, Charlemagne mourned the death of
the best French knight and his twelve knights, which resulted in a tale thou -
sand times told and sung, as far as the confines of Christendom.

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Both circumstances, the tragic death of Roland and the Jacobean Way, invig-
orated in an extraordinary way, the life of this Pyrenean enclave and gave
European culture two renowned literary works: the famous "Chanson de
Roland" and "Liber Sancti Jacobi" written by Aimerico Picaud in the 12th
century which gives a singular view of the Jacobean Way. Nowadays, there
is a magnificent collection of historic buildings run by a small community of
canons who still bless and take in new generations of pilgrims, who will find
a way the route to Roncesvalles clearly signalled.
Its combination of history and geography have endowed Orreaga- Ronces-
valles with a significant artistic foundation. Its architecture, whose original
function was to shelter walkers and pilgrims, coalesced in buildings of great
quality, especially the Collegiate church from the 13th century. Some, such
as the 14th century cloister and the building known as Itzandeguia, either to -
tally or partially disappeared and were rebuilt. Others, such as the chapels of
San Agustín, Espíritu Santo and Santiago, have resisted the passage of time
or have been refurbished. The Priory house and its extension, which houses
the Museum and Library, the House of the Beneficiados and the Hospital are
more contemporary. The Roncesvalles Museum houses a variety of paintings
and sculptures as well as valuable examples of silverwork.
THE URBAN CENTER
As an urban development, Roncesvalles has three focal points that constitute
the center of a continuous space. The first is the access esplanade which has
the Priory House and Museum-Library as a backdrop. The second nucleus of
the collegiate complex is hidden by this first line of buildings. It is an almost
enclosed space which forms a large rectangular square accessed by a small
tunnel with a depressed vault. Laid out over various levels, the upper part is
occupied by the Houses of the Beneficiados. The third area is another rectan-
gular patio enclosed by houses where the Hospital stands, which was built at
the beginning of the 19th century and today functions as a youth hostel.
Other public buildings include the old mill, built at the end of the 18th cen -
tury and totally renovated as a tourist information office, and the simple
dwellings next to the Beneficiados.
Notable amongst the buildings of an eminently public nature is the hostelry
or inn, which is the first building you come across on arriving from Burguete
and which was built for this purpose in 1612.

CHURCH OF SANTA MARIA

The Collegiate church of Santa María is the most emblematic building in Or-
reaga- Roncesvalles and the one that most clearly alludes to the powerful
community of Augustine canons who lived there from its foundation. It is
also the finest example in Navarre of not only French Gothic, but the very
purest I'Lle de France style, and houses a beautiful image of the Virgin from
the 14th century.

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The hypothesis that there was a church in Orreaga- Roncesvalles before the
existing 13th century one is accepted, although opinions differ as to whether
this was located in the same place or in the location occupied by the chapel
of Espíritu Santo.
The present church was built under the patronage of Sancho VII "The
Strong" (1194-1234), who chose it as his burial site. Researchers give differ-
ent opinions on the exact date of construction, but it is known that it was at
the beginning of the 13th century, sometime between 1215 and 1221.
The Collegiate subsequently suffered serious damage, mainly caused by fires
in 1445, 1468 and 1626. At the beginning of the 17th century its state of de-
terioration and virtual abandonment prompted its reconstruction. The build-
ing initiative involved the entire Collegial site, particularly the church and
cloister. Work entailed covering over the Gothic interior and giving it a
Baroque style, with the exception of the presbytery and the section of nave
before it, where Gothic elements are still visible.
The church, as can be seen in the present day, has three naves, the central
one being double the width of the side naves which are divided into five sec-
tions, in addition to which the central nave has a pentagonal chevet; the side
naves end in a straight line. The support system is provided by cylindrical
pillars of alternating thickness which separate the naves, supported on a
pedestal and topped by a capital decorated with a double girdle of "crochets"
in a very simplified style. These pillars serve as a support for the pointed lon-
gitudinal arches and the small columns on which the roofing rests. The trifo-
rium runs over the longitudinal arches, formed on each section of the central
nave by four small pointed arches over small columns with the same type of
capital; a gallery free from partitions that leads to the "ox-eye" window and
features a sequence of pointed arches as the sole decorative element. This
characteristic Gothic feature translates into the chevet in the opening of large
windows, decorated with modern stained glass.
The central nave is covered by two sections of sexpartite vault with beaded
ribs, except at the crossover which is half-ribbed to thus join on to the roof of
the apse whose radial ribs fan off the single decorative keystone. The ribs of
the roof are supported by slender individual columns which reach to the floor
of the apse and are supported by the cylindrical pillars in the nave. The lat-
eral naves are covered by a simple groin vault set at a lower height than the
central one. On the frontal wall of each of them are two pointed stained glass
windows.
FAÇADE OF THE CHURCH
The only original element of the façade is the door aperture with its three
archivolts. The façade was originally very simple and consisted of a pointed
door flanked by rose windows and a pointed window some way above the
door.

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 PRESBYTERY. VIRGIN OF SANTA MARÍA DE RONCESVALLES
A magnificent sculpture of the Virgin of Roncesvalles presides over the
church. This wooden Gothic figure plated in silver dates from the middle of
the 14th century and was made in the French city of Toulouse. The sculpture
perfectly transmits the Gothic spirit, in terms of intimacy, naturalism and fa-
miliarity.
The seat and cushion are also highly ornamental. The latter is decorated with
a dense network of diamond shapes and the chair with a series of trilobe
arches on the front.
CRYPT
The church has a pentagonal crypt which includes the chevet and the
transept, built to accommodate the steep slope of the land. The first section is
covered by a half-barrel pointed vault and the chevet is covered by a hand-
kerchief vault. Semicircular windows open up in the central expanse of the
chevet. Although in a very deteriorated state, the pictorial decoration still
survives, as does the Gothic configuration of ashlar stone. The church and
the crypt are linked by a very steep staircase covered by a pointed barrel
vault without transversal arches. Above this is the sacristy.
CHAPEL OF SANTO CRISTO
This is a small chapel located off the right-hand lateral nave of the church.
Closed by bars since the beginning of the 17th century, the chapel is presided
over by a life-sized crucifixion from the 19th century. At his feet is a bust of
the Dolorosa dating back to the 17th century.
In the same right-hand nave is an arcosolio-type sepulchre decorated with an
inscribed cross inside a circle. In the next niche is the Egüés family sepul-
chre, framed by a pointed gabled arch.

CLOISTER OF THE COLLEGIATE

The cloister (6) [See layout in flash format] has a square layout and adjoins
the church on the Epistle side. It replaced the previous cloister which col-
lapsed under the weight of snow in 1600. The chronicles of Licenciado
Huarte compare its exquisite decoration with the cloister of Pamplona Cathe-
dral. This similarity would appear to be credible given the foundational rela-
tionship between the two churches. Construction of the current cloister is
widely documented as being 1606, the year in which the plans were commis-
sioned, although work did not actually start until 1615 and went on until at
least 1661.
The cloister is square yet irregular in shape, an irregularity which is repli-
cated in the raised part, which is on a single level and features bays of differ -
ent widths, buttresses of different numbers and sizes, and arches with differ-
ent spans. Three of the wings are covered by a flat roof with wooden beams
and strong transversal pointed arches of rectangular section. Stylistically

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speaking, the arches make a reference to previous centuries although their
solidity can be explained by the desire to achieve a structure that would with-
stand any eventuality. The Eastern bay, off which the chapel of San Agustín
opens, is covered by a simple groin vault with semicircular transversal
arches.
Several burial niches with pointed arches have been discovered embedded in
the walls of the cloister, the remains of the original Gothic cloister.

CHAPEL OF ST AUGUSTINE
This chapel is also known as the Tower of San Agustín, the Royal Chapel
and the Capitular Room (7) [See layout in flash format]. The eastern wing
opens up into a triple arcade, a formula very similar to the Barbazana chapel
in Pamplona Cathedral.
It has a square layout covered by a vault of intermediate ribs with much more
styled rib couplings than those in the church, with decorated keystones. The
vault is supported on four large semi-columns which give a rough representa-
tion of angels. The chapel has a small open area in the eastern wall which
acts as the chevet and is at a higher level. This area is rectangular in shape
with a groin vault, the main keystone of which is decorated.
The exterior is made of cubic ashlar stone, giving it a certain fortress-like ap-
pearance, hence the reason that on occasion it was known as the Tower of
San Agustín. Buttresses adjoining the corners and reaching up to the pyrami-
dal roof reinforce the building which dates back to the 14th century.
In the centre of the chapel stands the sepulchre of Sancho VII "The Strong"
which was installed in 1912, the date when the chapel was refurbished to
commemorate the anniversary of the Battle of Navas de Tolosa. Of the origi-
nal funereal tomb of the King, who died in Tudela in 1234, only the slab with
the relief of the reclining monarch remains, surrounded by a delicate decora-
tive frieze of vegetation which is dated at the 13th century, as it was at that
time that Theobald I commissioned his uncle's sepulchre. The rest of the
sepulchral bed, with its trilobe arches, reflects the neo-Gothic fashion that
reigned in 1912.
A small room in the western part of the chapel, a little higher up, with a groin
vault and a keystone featuring Christ blessing, serves as the chevet of the
chapel which, since at least the beginning of the 17th century, has been
closed off by bars. At the beginning of the 20th century, chains and maces
were hung up to commemorate the centenary of the Battle of Navas de
Tolosa (1212), in which Sancho "The Strong" fought. The chapel was re-
stored for this purpose in 1922, resulting in the majority of the modern fea-
tures that are still in place today, including the stained glass windows.
On the floor, at the entrance to the little chapel, is the tombstone of the Prior
Don García Juan de Viguria (1327 - 1346).

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In the chapel of San Agustín it is also worth noting a series of sculptures as-
sociated with works in the cloister of Pamplona Cathedral. These are two
capitals that represent Original Sin and the Expulsion from Paradise, and it is
feasible that these formed part of the Gothic cloister. Also noteworthy are
two praying statues of King Sancho VII and his wife, Lady Clemencia, posi-
tioned in one of the recesses of the tiny chapel.

CHAPEL OF SANTIAGO
This small Gothic chapel from the 13th century stands next to the "Silo of
Charlemagne" and is a simple rectangular building with two sections which
include an upright chevet and a simple groin vault. Simple cylindrical base
columns serve as a support for the roof.
The exterior is also very simple, with walls of irregular ashlar stones, no but -
tresses, and a pointed arched doorway with a crismon (sacred monogram).
Used as a parish church up until the 18th century, this small chapel was left
without worshippers for a long period of time until it was restored by Floren-
cio Ansoleaga in the 20th century, opening up the small ox-eye above the
door and adding the pilgrim's bell.
CHAPEL OF THE HOLY GHOST
This chapel is also known as the "Silo of Charlemagne", as according to tra-
dition it is the burial site that the French monarch ordered to be built for
Roland and the other knights who fell in the Battle of Roncesvalles.
Despite the fact that the chapel has undergone many transformations, it ap-
pears to be the oldest building still preserved in this area. It used to safeguard
the stone that Roland split in two with his sword. Nonetheless, this associa-
tion with the hero's memory did not impede the chapel from carrying out its
sacred functions.
It is believed to date from the 12th century and stands over a well which used
to serve as an ossuary, with masonry walls and a half-barrelled vault in the
same material. The chapel itself was built over the well, square in shape and
with a simple groin vault. This part is at a higher level than the floor, and this
is where at the beginning of the 17th century work began on a tiny cloister
with a stone arcade on three of its four sides and a wall that served as a burial
site for canons. The semicircular arches rest on square pillars with upper im -
posts.

22
 3. LARRASOAÑA

LA RABIA BRIDGE
Gothic, 13th century.
This mediaeval bridge over the Arga River gives its name to the town.
Known as La Rabia Bridge, it was until recently the site of an unusual tradi-
tion: the animals were obliged to pass under its central pillar to avoid rabies
(“la rabia” in Spanish), as according to legend it possesses supernatural pow-
ers.

BAD REPORTS BY RECENT TRAVELLERS…

Larrasoaña was without doubt the worst place I stayed in during my
Camino. There was nowhere open in the town where we could have
dinner or get a meal of any description. The only facilities available
were two vending machines stocked with soft drinks, chocolate bars
and premade sandwiches.
How a town listed as one of the main places to stay in by the guide-
books can have such limited facilities is beyond me and I would rec-
ommend that anyone planning to do the Camino Frances avoids
Larrasoaña at all costs. Stopping in Zubiri would probably be a
much better option or if you do have to stay in Larrasoaña don’t ex-
pect too much.
__________

I was walking with a French pilgrim last year and, deep in conver-
sation we managed to miss that slight turn off the route you have to
do before crossing the bridge into the village. (It's marked by a
massive yellow arrow next to the word 'Larrasoana' on a wall, but
we still managed to miss it.)

23
We ended up lost and confused because we were still following yel-
low arrows but didn't realise we'd already started the next day's
walk! I wouldn't have minded but my companion who had walked
the previous year (and should have known better) kept saying Lar-
rasoana was just around the next corner until I protested and we
went back.
Anyway, after the significant detour we found it. It's fair to say that
the albergue is basic, but the bar/restaurant round the corner was
nice. I hope it's still there for Larrasoana's sake because there's not
much else. I was swayed by John Brierley's guide, which made Zu-
biri sound very industrial and Larrasoana an oasis of tranquility.
I'd rather have been able to get a packet of cigarettes, truth be told.

24
 4. PAMPLONA

HISTORY
FOUNDATION AND ROMAN TIMES
In the winter of 75–74 BC, the area served as a camp for the Roman general
Pompey in the war against Sertorius. He is considered to be the founder of
Pompaelo,[3] which became Pamplona, in modern Spanish. Actually it was
the chief town of the Vascones, and they called it Iruña, 'the city'. Roman
Pompaelo was located in the province of Hispania Tarraconensis, on the Ab
Asturica Burdigalam, the road from Burdigala (modern Bordeaux) to As-
turica (modern Astorga);[4] it was a civitas stipendiaria in the jurisdiction of
the conventus of Caesaraugusta (modern Zaragoza).[5]
EARLY MIDDLE AGES
During the Germanic invasions of 409 and later as a result of Rechiar´s rav-
aging, Pamplona went through much disruption and destruction,[6] starting a
cycle of general decline along with other towns across the Basque territory
but managing to keep some sort of urban life.[7] During the Visigothic pe-
riod (fifth to eighth centuries), Pamplona alternated between self-rule, Visig-
oth domination or Frankish suzerainty in the Duchy of Vasconia (Councils of
Toledo unattended by several Pamplonese bishops between 589 and 684). In
the years 466 to 472, Pamplona was conquered by the Visigoth count Gau-

25
teric,[8] but they seemed to abandon the restless position soon, struggling as
the Visigoth Kingdom was to survive and rearrange its lands after their de-
feats in Gaul. During the beginning of the 6th century, Pamplona probably
stuck to an unstable self-rule, but in 541 Pamplona along with other northern
Iberian cities was raided by the Franks.
Circa 581, the Visigoth king Liuvigild overcame the Basques, seized Pam-
plona and founded in Vasconia the town of Victoriacum.[9] Despite the leg-
end citing Saint Fermin as the first bishop of Pamplona and his baptising of
40,000 pagan inhabitants in just three days, first reliable accounts of a bishop
date from 589, when bishop Liliolus attended the Third Council of Toledo.
After 684 and 693, a bishop called Opilano is mentioned again in 829, fol-
lowed by Wiliesind and a certain Jimenez from 880 to 890. Even in the 10th
century important gaps are found in bishop succession, which is recorded un-
broken only after 1005.[10]
At the time of the Muslim invasion in 711, the Visigothic king Roderic was
fighting the Basques in Pamplona and had to turn his attention to the new en-
emy coming from the south. By 714-16, the Muslims troops reached the
Basque held Pamplona, with the town submitting apparently after a treaty
was brokered between the inhabitants and the Arab military commanders.
[11] During the following years, the Basques south of the Pyrenees don´t
seem to have showed much resistance to the Moorish thrust, and even Pam-
plona may have flourished as a launching point and centre of assembly for
their expeditions to Gascony.[12] However, in 755 the last governor of Al-
Andalus, Yusuf al Fihri, detoured an expedition north to quash Basque unrest
near Pamplona, resulting in the defeat of the Arab army.[13]
During the eighth century, Pamplona and its hinterland oscillated between
two powerful states, Moors and Franks, but they proved unable to perma-
nently secure its rule over the Basque region. That alternation reflected the
internal struggles of the Basque warrior nobility. Although sources are not
clear, it seems apparent that in 778 the town was in hands of a Basque local
or Muslim rebel faction loyal to the Franks at the moment of Charlemagne´s
crossing of the Pyrenees to the south. However, on his way back from the
failed expedition to Saragossa in August, the walls and probably the town
was destroyed by Charlemagne ahead of the Frankish defeat in the famous
Battle of Roncevaux, out of fear that the anti-Frankish party strong in the
town may use the position against them.
After the Frankish defeat in Roncevaux, Pamplona switched again to Cor-
dovan rule, after Abd-al-Rahman's expedition captured the stronghold in 781.
A wali or governor was imposed, Mutarrif ibn-Musa (a Banu-Qasi) up to the
799 rebellion. This year, the Pamplonese maybe led by a certain Velasko
stirred against their governor, but later the inhabitants provided some support
for the Banu Qasi Fortun ibn-Musa's uprising. This regional revolt was
shortly after suppressed by the Cordovan emir Hisham I and order re-es-

26
tablihsed, but failed to retain grip on the town, since the Pamplonese returned
to Frankish suzerainty in 806.[14]
Following a failed expedition to the town led by Louis the Pious around 812,
allegiance to the Franks collapsed after Enecco Arista jumped to prominence.
Moreover, he was crowned as king of Pamplona in 824 when himself and the
Banu Qasi gained momentum in the wake of their victorious second battle of
Roncevaux. The new kingdom, inextricably linked to the Banu Qasi of
Tudela, strengthened its independence from the weakened Frankish empire
and Cordoban emirate.
During this period Pamplona was not properly a town but just a kind of
fortress. In 924 Muslim sources describe Pamplona as "not being especially
gifted by nature", with its inhabitants being poor, not eating enough and ded-
icating to banditry. They are reported to speak Basque for the most part,
which "makes them incomprehensible".[15] On the 24 July, in this Cordovan
military campaign, Pamplona's houses and buildings were destroyed and its
celebrated church pulled down by the Muslim army, who found the position
deserted and forsaken.[16] The town´s urban and human shape would only
change after the Vikings' and Muslim raids came to an end and the establish-
ment of new cultures via Way of St James hailing from north of the Pyre-
nees, starting in 1083.
THREE BOROUGHS AND ONE CITY
From the 11th century, reviving economic development allowed Pamplona to
recover its urban life. The bishops of Pamplona recovered their ecclesiastical
leading role; during the previous centuries isolated monasteries, especially
Leyre, had actually held the religious authority. The pilgrimages to Santiago
de Compostela contributed a lot to revive the commercial and cultural ex-
changes with Christian Europe beyond the Pyrenees. In the 12th century, the
city enlarged with two new separate burgos (independent boroughs): San
Cernín (Saint Saturnin) and San Nicolás, in which the population of local
Navarrese was swelled by Occitan merchants and artisans. The boroughs
showed very distinct features both socially and culturally, and were almost
always engaged in quarrels among themselves. The most dramatic episode
was the destruction of the Navarrería by the other two boroughs and the mas-
sacre of its population in 1276. Its site was abandoned for nearly fifty years.
King Charles III decreed the unification of the boroughs in a single city in
1423.
A FORTRESS-CITY
After the annexation of Navarre to Spain (1512), Pamplona remained as cap-
ital of the autonomous kingdom of Navarre, which preserved its own institu-
tions and laws. Pamplona acquired a key role in the military defence of the
Pyrenees. The southern side of the city was the weaker and the Navarrese
king Louis I built a castle in the early 14th century in the site that is known
today as Plaza del Castillo (Castle Square). After the Castilian conquest, king

27
Ferdinand V ordered in 1513 the demolition of the medieval castle and the
building of a new one in a very close place. But the progress of artillery de-
manded a complete renewal of the fortified system. King Philip II ordered
the building of a star fort and the modernization of all the walls in the south-
ern side of the city, mainly to keep locals in check[18] and strengthen the
outpost Pamplona had become on the border with France. The walls that ex-
ist today date from the late 16th to 18th centuries.
Seconds before the beginning of the San Fermín Festival. Town hall Square.
Everybody has its red handkerchief above its head until a firework is ex-
ploded at 12 am; putting it around the neck afterward.
During the eighteenth century, Pamplona was considerably beautified and its
urban services improved. A continuous water supply was established and the
streets were paved, among many other enhancements. Rich aristocrats and
businessmen also built their mansions. In the nineteenth century this fortress-
city played a key role in several wars in which Spain was involved. During
the Napoleonic Wars French troops occupied the city in 1808 and remained
in it until 1813. During the Carlist Wars (1833–1839 and 1872–1876) Pam-
plona was each time controlled by the liberals, not just because the few liber-
als that lived in Navarre were mainly Pamplonese, but because of the govern-
mental control over the fortified city. Although Carlist rebels easily ruled the
countryside, the government army had no problem in dominating the walled
capital of Navarre. Nevertheless, during the last Carlist war, modern artillery
operated by Carlists from surrounding mountains showed that the old walls
would not be enough in the face of a stronger enemy. Thus, the Government
decided to build a fort on the top of mount San Cristóbal, just three kilome-
ters north of Pamplona.
Due to its military role, the city could not grow outside its walled belt. Fur-
thermore, building in the closest area to the walls was banned to avoid any
advantage for a besieger - thus the city could only grow by increasing its
housing density. Higher and narrower houses were built and courtyards grad-
ually disappeared. During the nineteenth century road transportation im-
proved, and the railway came in 1860. Nevertheless, industry in Pamplona as
well as in Navarre as a whole was weak during century of the Industrial Rev-
olution. Anyway, no industrial development was feasible in such a con-
strained fortress-city.
After a slight modification of the star fort allowed an expansion of just six
blocks in 1888, the First World War demonstrated that the fortified system of
Pamplona was already obsolete. In 1915, the Army allowed the destruction
of the walls and abolished the building ban in the city's surroundings. The
southern side of the walls was destroyed and the other three remained as they
did not hinder urban growth. The star fort continued to serve as a military fa-
cility until 1964, but just as a garrison.

28
MONUMENTS
Several notable churches, most of its 16th to 18th century fortified system
and other civil architecture buildings belong to the historic-artistic heritage
of Pamplona.
The most important religious building is the fourteenth century Gothic
Cathedral, with an outstanding cloister and a Neoclassical façade. There are
another two main Gothic churches in the old city: Saint Sernin and Saint
Nicholas, both built during the thirteenth century. Two other Gothic churches
were built during the sixteenth century: Saint Dominic and Saint Augustine.
During the seventeenth and eighteenth century were built the Baroque
chapels of Saint Fermin, in the church of Saint Lawrence, and of the Virgin
of the Road (Virgen del Camino), in the church of Saint Sernin, the convents
of the Augustinian Recollect nuns and the Carmelite friars, and the Saint Ig-
natius of Loyola basilica in the place where he was injured in the battle and
during the subsequent convalescence he decided to be a priest. The most re-
markable twentieth century religious buildings are probably the new dioce-
san seminary (1931) and the classical-revival style memorial church (1942)
to the Navarrese dead in the Nationalist side of the Civil War and that is used
today as temporary exhibitions room.

THE CATHEDRAL OF SANTA MARIA LA REAL

THE TEMPLE
The site of the cathedral is the oldest part of the Roman Pompaelo. Archaeo-
logical excavations in 1994 have revealed streets and buildings from the 1st
century BC. The oldest cathedral was demolished in 924 during the invasion
of Abd-al-Rahman III, Caliph of Cordoba. During the reign of Sancho III
(1004–1035) was reconstructed. That temple was demolished from 1083 to
1097, and the Romanesque cathedral was built from 1100 to 1127. It col-

29
lapsed in 1391, with only the façade remaining. The building of the current
Gothic temple began in 1394 and lasted to 1501. The floorplan is cruciform
with ambulatory, a central nave and four shorter aisles, all covered by par-
tially polycromed rib vault. The style is very influenced by French models.
The sculpture of the interior includes the sepulchre of Charles III of Navarre
and spouse, by Jehan Lome de Tournai (1419), and the image of Royal Saint
Mary, a Romanesque woodcarved silverplated sculpture. The choir, with its
Renaissance choir stalls (1541), is separated from the nave by a Gothic iron
grating (1517). There was a Renaissance retable (1598) in the presbytery,
now in the church of Saint Michael in Pamplona. In the lateral chapels there
are two Gothic retables (c.1500, 1507); one Italian Renaissance retable (16th
century); one late Renaissance retable (1610, polycromed in 1617); and five
Baroque retables (1642, 1683, 1685).
THE CLOISTER
Probably, the most outstanding element of the cathedral is its 13th century
cloister. As the temple, the style followed the French Gothic architecture,
and the sculptural decoration is very rich. The door that gives access from
the temple shows the Dormition of the Virgin, and at the mullion stands a
15th century sculpture of the Virgin Mary. The Barbazan chapel -named af-
ter the Pamplonese bishop buried there- is covered by a Gothic eight-rib
vault. The so-called 'Precious Door' gives access to the ancient canons' dor-
mitory and shows a complete sculptural story of the Virgin Mary's life. There
are several notable burials: Bishop Miguel Sánchez de Asiáin's (14th cen-
tury), Viceroy of Navarre Count of Gages' (Baroque, 18th century) and guer-
rilla fighter Francisco Espoz y Mina's (Neo-classical, 19th century). The
lavatory is closed by a grid whose iron is said to be from the battle of Navas
de Tolosa. Another decorated Gothic door gives access to the old kitchen and
the refectory.
DIOCESAN MUSEUM
The former canons' rooms house the Diocesan Museum. The main room is a
14th century rib-vault covered refectory. The adjacent kitchen is covered by
a pyramidal stone-built chimney. This museum exhibits pieces of religious
art from the cathedral and from many other Navarrese churches, many of
them abandoned today: Romanesque, Gothic, Renaissance and Baroque
sculpture, Gothic and Baroque painting, and 13th to 18th centuries goldsmith
and silversmith.
The most outstanding silversmith pieces are the Gothic Holy Sepulcher reli-
quary, made in 13th century Paris; the 14th century Lignum Crucis reliquary
and the Renaissance 16th century processional monstrance.

MILITARY AND CIVIL ARCHITECTURE

From the prominent military past of Pamplona remain three of the four sides
of the city walls and, with little modifications, the citadel or star fort. All the

30
mediaeval structures were replaced and improved during 16th, 17th and 18th
centuries in order to resist artillery sieges. Completely obsolete for modern
warfare, they are used today as parks.
The oldest civil building today existing is a fourteenth century house that
was used as Cámara de Comptos (the court of auditors of the early modern
autonomous kingdom of Navarre) from the sixteenth to the nineteenth cen-
tury. There are also several medieval bridges on the Arga: Santa Engracia,
Miluce, Magdalena, and San Pedro. The medieval palace of Saint Peter,
which was alternatively used by Navarrese kings and Pamplonese bishops,
was used during the early modern age as the Viceroy's palace and later was
the seat of the military governor of Navarre; from the time of the Civil War it
was in ruins but was recently rebuilt to be used as the General Archive of
Navarre.
The most outstanding Baroque civil architecture is from the eighteenth cen-
tury: town hall, episcopal palace, Saint John the Baptist seminary, and the
Rozalejo's, Ezpeleta's (today music school), Navarro-Tafalla's (today, the lo-
cal office of PNV), and Guenduláin's (today, a hotel) mansions. The provin-
cial government built its own Neoclassical palace, the so-called Palace of
Navarre, during the nineteenth century.
Late nineteenth and early twentieth century Pamplonese architecture shows
the tendencies that are fully developed in other more important Spanish
cities: La Agrícola building (1912), several apartment buildings with some
timid modernist ornamentation, etc. The most notable architect in twentieth
century Pamplona was Víctor Eusa (1894–1979), whose designs were influ-
enced by the European expressionism and other avant-garde movements.

31
 5. CIZUR MENOR

Cizur Menor cuenta con una iglesia románica del siglo XII que está dedicada
a San Miguel Arcángel. Fue un antiguo monasterio y hospital de peregrinos
de la Orden de San Juan de Jerusalén, que en la actualidad es un albergue de
peregrinos regido por la Soberana Orden de Malta. Permanece abierto los
meses de julio a septiembre.
La parroquia de Cizur Menor está dedicada a San Emeterio y San Celedonio,
y está situada en lo alto de la localidad. Es de estilo románico, del siglo XII,
aunque ha sufrido reformas posteriores como la de la torre, que es del siglo
XVII. La portada también es románica, con un arco de medio punto y
crismón en el tímpano.

32
 6. PUENTE LA REINA

It is a town heavily influenced by the Pilgrim's Route to Santiago de Com-

postela, with the remains of walls and several religious buildings. It owes its
foundation to the bridge which Queen Doña Mayor had built over the river
Arga.
Puente La Reina (Queen's Bridge) is a staging post for travellers on the Pil -
grim's Route who come from the Somport pass and Roncesvalles. Outstand-
ing among its legacy of historic buildings is the church of Santiago, built in
the 12th century and later extended. It has a beautiful Romanesque main
front with Moorish influences, a Latin cross plan and star-shaped ogival
vaults. The church of Crucifijo, in the late Romanesque style of the 12th cen-
tury, was extended in the 14th century. Its was founded by the Knights Tem-
plars who settled in the lodgings. Also worth mentioning are its large me-
dieval bridge of five arches, the church of San Pedro, from the 14th century,
and the convent of the Comendadoras de Sancti Spiritus.

33
 7. ESTELLA

The town was founded in 1090 when the place, lying by the fortified settle-
ment of Lizarra, was granted a charter by the Pamplonese king Sancho
Ramirez. The town became a landmark in the Way of St. James pilgrimage
route to Santiago de Compostela, thriving on the privileged location and the
melting pot of Francos called in by Navarrese kings (mainly Occitans from
Auvergne and Limousin), Jews and the original Navarrese inhabitants. The
wealth resulted in a development of Romanesque architecture, well repre-
sented in the town: Church of San Pedro de la Rúa, Palacio de los Reyes de
Navarra, Church of San Miguel, among others.
The town was a major headquarters of the Carlist party in the Carlist Wars of
the mid 19th century, with Tomas Zumalakarregi being appointed Comman-
der in Chief in this Estella-Lizarra.

CHURCH OF SAN MIGUEL

It is built in the Romanesque to Gothic transitional style, apparent in the
combination of elements from both styles inside.
It is a simple church. The richly ornamental northern front is in the Ro-
manesque style and is considered one of the best in Navarre. The most inter-
esting elements are the reliefs on either side of the front, which represent
scenes from the Resurrection and the struggle of the Archangel St. Michael.
The interior houses a Gothic reredos painted on stucco. It serves as the grave
of the marquis of Muruzábal and Eguía. Of note among the sculptures on the
reredos is a 17th century San Crispín.

34
SAN PEDRO DE LA RUA CHURCH
Built in the 12th century, it is the oldest church in Estella. The sanctuary dat-
ing from the end of the 12th century is still standing.It has three naves, dating
from around the 13th century.The chapel of San Andrés is Baroque and has a
Rococo altarpiece.At the foot of the church there are baroque stalls and a
font.The exterior cloister has a square plan and in it there are decorated capi-
tals that narrate the life of Saints and Christ, along with plants and animal re-
liefs.

SANTO SEPULCRO CHURCH

Church with one nave and semicircular apse.The church construction reflects
the transition from Romanesque to Gothic art.It has a noteworthy Gothic fa-
cade.

PALACE OF DUKES OF GRANADA

The building vaunts Romanesque architecture.The palace dates from the 12th
century.Formerly the building was accessed through four big semicircular ar-
cades, on the first floor there are four large windows, with capitals decorated
with plants and animal motifs.The main facade capitals depict scenes of the
battle of Roland against the Ferragut giant.The building was reopened in
1991, after being restored by Miguel A. Alonso del Val. It houses the Gus-
tavo de Maeztu Museum. It contains a large portion of his plastic and graphic
art work, portraits, still life, and landscapes articulated towards the feminine
body.

BASILICA OF OUR LADY OF PUY

It was built on a ridge where, according to legend, an image of the Virgin
was found. Initially a shrine was built, followed by a Baroque church and ul-

35
timately this basilica was built in the form of a star to recreate the intense ef -
fect of light which occurred when the statue was discovered.

CHURCH OF SANTA MARIA JUS DEL CASTILLO

This architectural treasure was closed for decades and has today been de-
clared a historic and artistic monument. It has now been refurbished for use
as a Visitor Centre offering information on Romanesque Art and the Way of
Saint James.

PALACE OF THE KINGS OF NAVARRE

This is the only civil Romanesque building existing in Navarre, and was de-
clared a National Monument in 1931. Built in the last third of the 12th cen -
tury and facing the church of San Pedro de la Rúa, it has a magnificent fa-
cade with two elaborate capitals, one of which depicts the fight between
Roldán and the giant Ferragut.

36
 8. LOS ARCOS

Located in the foot of a gypsum hill, on the banks of Odrón river, Los Arcos
is the heiress of ancient roman Curnonium.
In addition to Sta. María parish church that is the principal monument, you
will admire the Estanco and Sta. María doorways. This monumental build-
ing is richly decorated and was built and reformed between the 12th and 18th
centuries. It features a range of styles, including late Romanesque and proto-
Gothic through to Renaissance and Baroque. On the interior there is an im-
posing 17th-century altarpiece presided by a Gothic image of Santa María, as
well as other altarpieces in the Rococo and Baroque styles.
Moreover, if you cross Los Arcos streets and squares you will find several
baroque mansions and manor houses dated in S. XVII and XVIII.
Los Arcos has three hermitages: Calvario - a S. XVIII baroque building-, St.
Sebastián and St. Blas.
We recommend you to visit the Concepcionistas convent and its church.

37
 9. VIANA

After being during several centuries Moslem, Viana had become in 1054 the
last locality in Navarre on the way of St. James.
The city was strengthened in 1219 by Sancho VII the Stong to protect the
borders. This year, with the battle of Atapuerca, the Castilian Ferdinand I
overcame his Navarrese brother Garcia de Nájera and took the territories in
the west; their father, Sancho III el Mayor, had been a unifying king of
Spain, but his sons and daughters disputed his lands.
In 1423, Charles III made the principality of Viana the prerogative of the el-
der sons of the kings de Navarre, title which the Dauphins of France took
again after Henri IV, king de France and Navarre.
César Borgia, son of pope Alexander VI, commander in chief of the Navar-
rese armies, was killed in 1507 in an ambush at the time of a Castilian attack:
a flagstone in the pavement in front of the principal door of the church points
it out.

CHURCH OF SANTA MARIA

It was built in the Gothic style between 1250 and 1312. It has three naves –of
which the central nave is wider than the side naves– chapels between the but-
tresses, and a polygonal sanctuary. It is covered with a simple cross vault.
Highlights on the inside include the triforium, a corridor which runs the
length of the church formed by elegant and intricate tracery. The tower and
the doorway are in the Renaissance style. Elements from the 17th and 18th
centuries are the high altar dedicated to Santa María, the ambulatory and its
chapels, the sacristy, the chapter room and the chapel of San Juan del Ramo.

38
This chapel has a vault decorated with tempera painting by Luis Paret y Al-
cázar.

CHURCH OF SAN PEDRO

Gothic, 13th century.
This is the first church to be built in the town and it stands in a strategic place
on the western flank of the walled precinct. Only ruins remain.
Its defensive origins can still be seen in the barbican and in the remains of its
imposing tower.

39
 10. LOGROÑO

Logroño was an old settlement, first of the Romans, under the name of
Vareia, a commercial port, and then of the Celts. From the 10th century, pos-
session of Logroño was disputed between the kings of Navarre and those of
Castile; the region was finally annexed to Castile. Alfonso VI of Castile
granted Logroño in 1095 a charter of rights that served as a model for other
Spanish cities. In 1609 and 1610 Logroño was the main seat of the Basque
witch trials, part of the Spanish Inquisition.

SANTA MARÍA DE LA REDONDA CATHEDRAL CHURCH

The Redonda, situated in the Herat of the old town, with a front facade that
opens onto the Plaza del Mercado and two side facades opened onto calle
Caballerías and calle Portales, is one of the best-known images of our town.
The first records about this church are dated in the 12th century. It looks as if
it was a Romanesque church with polygonal or circular plant of which the
only remain we have today is the nickname of "La Redonda".
In 1453 it becomes collegiate church in union with San Martín de Abelda,
which causes a more extensive re-building. It was rebuilt in the 16th century,
and after that it was transformed several times. It was declared "notable" by a

40
papal bull by Benedicto XII in 1727, and it was promoted to cathedral church
in 1959.
The building has three naves of the same height, divided into five sections. In
the 17th century, the temple was extended in its head, and in the 18th cen -
tury, in its foot. From this age we have the two side facades, built towards
the south and the north, and devoted to the Assumption and to Saint Martin,
as well as the great front facade, opened onto the Plaza del Mercado. It is the
Angels´ facade, a great three-section retable flanked by two towers known as
"the twins", a fine example of the so-called Riojan Baroque.
The towers were projected by Juan Bautista Arbaizar and finished by Martín
Beratúa. The works of the towers and the chapel ended in 1756. Its design
had a great influence on other towers in our region, and there are other simi-
lar towers in Briones or Haro. All of them were built with several superim-
posed sections: The lower ones had a square plan, the top one was octagonal
and they included a spire studded with pinnacles as an ending.

SANTA MARIA DE PALACIO CHURCH

This is one of the four churches in Logroño´s old town, situated between
calle Mayor and calle Ruavieja, very near to the Albergue de Peregrinos. Its
most singular element is an octagonal-plant tower the citizens of Logroño
call "the needle". In the present building, we can see a complex combination
of superimposed constructions that make it very difficult to imagine the orig-
inal structure, as it has been rebuilt and extended on several occasions.
It could have been built around the 12th or 13th centuries, and extended and
reformed during the 16th and 17th centuries. The needle is thought to have
been built in the 13th century.

41
The building is made of masonry and has three naves divided into three sec -
tions, crossing and triple head. It is closed by star cross ribs vaults.
The needle of Santa María de Palacio is one of the identifying symbols of
medieval Logroño. That's why the citizens showed much interest to maintain
it through the 17th and 18th centuries. The needle is an eight-sided pyramid-
shaped spire with several floors. On the lower one there are eight dormer
windows with a pointed window on each.
The front facade is protected by a porch and has the form of a classicist
retable. The whole of it, framed by two pairs of striated column, is presided
by a niche with a curve pediment inside of which we find an image of the
Assumption of the Virgin surrounded by six angels holding instruments, and
completed by two imperial shields.
The tower, made in 1550 by Juan de Acha, is divided into four sections.
The cloister has suffered, as well as the church, several transformations
through the centuries. It has been recently reformed and reopened, being
home to several exhibitions. It has an irregular plan with four spaces of five
sections each and two superimposed galleries. The lower galleries are formed
by middle pointed arches and the higher ones, by Tuscan columns and lintel
cavities.

SANTIAGO EL REAL CHURCH

Santiago el Real church is situated in the old town, in calle Barriocepo,
nearby the square and the fountain of the same name, devoted to the remem-
brance of the road to Santiago and the resting of the pilgrims.
Santiago church has been linked to the council, and some of the documents
of the town council were kept in the inside. It seems that the representatives
of the town used to meet there to take decisions during the 1521 siege.
A three-section nave and a chamfered head form the church. It was originally
built in the 16th century. Afterwards, during the 17th century, the façade, the
chapter house and the three spaces at the foot were added.
The tower is formed by five square-plan sections. On the front façade there
are two images of Santiago.

SAN BARTYOLOME CHURCH

t is one of the four churches of the old town, situated between the following
streets: Rodriguez Paterna, La Cadena, Herrerías and San Bartolomé, the one
which gives name to the church. It is thought that its tower was part of the
town's defensive line, being used to protect one of Logroño´s gates.
It was built in the 13th century, the age in which its monumental façade was
built, and it has elements from other centuries, mainly on the tower's top sec-
tions, from the 16th centuryI.

42
The building has three naves with two sections- the central one is the broad -
est-; line up crossing and three apses.
It is one of the four churches of the old town, situated between the following
streets: Rodriguez Paterna, La Cadena, Herrerías and San Bartolomé, the one
which gives name to the church. It is thought that its tower was part of the
town's defensive line, being used to protect one of Logroño´s gates.
It is very remarkable within this church the Gothic façade from the 13th cen-
tury, with its pointed arch and six moulding archivolts. On the tympanum we
can see the image of The Redeemer standing with the shroud, flanked by the
Virgin and Saint John. We can also see the images of the twelve apostles
talking to each other and choruses of angels. Another part of this beautiful
façade is devoted to the story of Saint Bartholomew's life, the apostle to
which this church is devoted.
The tower has a square plan and four different sections from different ages.
The lower section is made of masonry, the second one is made of masonry
and brick, and the two last ones, from the 16th century and of a clear Mude-
jar inspiration, is entirely made of brick.

43
 11. NAVARRETE

The origin of the name Navarrete is uncertain. Navarrete was founded by the
King of Castile as part of a plan to defend his borders and the name appears
to have some relation to the neighbouring Kingdom of Navarre. One theory
notes that the word "Nafarrate" in Basque means "Door of Navarre"; the later
castellanization of the name would give rise to the present spelling.
Alfonso VIII of Castile proposed to the inhabitants of the old villages of the
zone that they relocate in a defensive place. These villages were known by
the name of Corcuetos and their names were: San Llorente, San Antolín, San
Pedro and Nuestra Señora del Prado. Their population settled around a castle
raised on Tedeón hill, thus founding the new villa of Navarrete. The castle
was fortified and protected with a small wall, that enclosed the settlement
and it defended it from the possible attacks that threatened from the north.
In 1192 important fueros were granted to the inhabitants of the new settle-
ment. These fueros, or charter, gave rise to the use in common of river waters
and the collective exploitation of grass lands and woods to the east of the
town. The charter also allowed for the establishment of local markets and
fairs. Thanks to these privileges, the villa reached a great importance.
In 1367 a battle took place in the locality which is sometimes called the Bat-
tle of Navarrete, but is better known as the Battle of Nájera.

44
BUILDINGS AND MONUMENTS
Parish church of the Assumption (Asunción de María). Construction began in
1553 and finished in 17th century. It consists of three naves and a baroque al-
tarpiece.
Hermitage of Santa Maria del Buen Suceso. Located to the south of the mu-
nicipality, in the direction of Entrena. The facade reliefs make references to
the travellers of the Way of St. James.
The Castle. This is the name given to the highest peak of the Cerro Tedeón
on account of there once being a castle there. No trace of the castle now ex-
ists. There is a viewing point from which can be seen several towns and
mountains

45
 12. NAJERA

The area attracted the Romans, who built the town of Tritium on land which
now falls within the boundaries of Nájera and the neighbouring municipality
of Tricio. Subsequently the area was under Muslim rule and the name Nájera
(Naxara meaning "town between the rocks") is of Arabic origin.
The town was conquered by Ordoño II of Leon for Navarre in 923. Nájera
was the capital city of the kingdom of Navarre before being conquered by
Castile in 1054 after the battle of Atapuerca. However, it continued to be
multi-cultural. For example, in 1142 there was a visit from a French abbot
Peter the Venerable. He used his visit to Spain to commission translations of
important Islamic works, including the first translation of the Qur'an into a
European language, and it has been suggested he met with his four transla -
tors at Nájera. From the tenth century Nájera had a prosperous Jewish com-
munity, which was granted relatively favorable legal status after the Chris-
tian conquest.
Edward, the Black Prince fought in the Battle of Nájera in 1367, intervening
in a Castilian Civil War on behalf of Pedro of Castile.

MONASTERY OF SANTA MARIA LA REAL

Santa María la Real is a monastery in the small town of Nájera in the La Ri-
oja community, Spain. Originally a royal foundation, it was ceded by Al-

46
fonso VI to the Cluniac order. It was an important pilgrimage stop on the
Camino de Santiago. It is particularly well known for the woodwork in the
choir of the church.
The first construction on the site dates back to the 11th century. Santa Maria
la Real and the attached royal pantheon were founded by King García V of
Navarre in 1052. It was later elevated to an episcopal seat and placed under
Papal authority.
In 1076 the kingdom of Navarre passed into the hands of Alfonso VI of
Castile. The Mozarabic Rite (sometimes called the Isidorean or Spanish Rite)
was replaced with the Latin Rite.
In 1079, the see was transferred to Calahorra. Alfonso gave St María la Real
to the Cluniac order and it became one of only two important Cluniac centres
South of the Pyrenees. As a center of Cluniac power, the monastery is associ-
ated with the introduction of the Cluniac reform to Castile. It appears that
this helped Alfonso assert his control over Riojan territory.
In 1142 the Abbot of Cluny Peter the Venerable visited the monastery.[1]
While in Spain he met with translators from the Arabic and he commissioned
the first translation into a European language of the Qur'an. The monastery
remained in Cluniac hands until the 15th century, when it was established
through Papal mandate as an independent abbacy under Rodrigo Borgia
(later Pope Alexander VI) at which time it underwent a major reconstruction.
As the popularity of the Camino de Santiago waned, so did the fortunes of
the monastery, which depended on the wealth generated by traffic of pil-
grims. The monastery fell into a long decay. In the nineteenth century it suf-
fered under the Napoleonic occupation of Spain and subsequent anti-monas-
tic legislation under Juan Álvarez Mendizábal before being declared a na-
tional monument in 1889.[2] The fortunes of the monastery further revived
with the arrival of Franciscans at the end of the 19th century.
The current structure dates back principally to the 15th and 16th centuries,
during which period the monastery was largely rebuilt in the prevailing
gothic style. The high walls of the church indicate a defensive function.
CHURCH
The most notable features of the interior of the church are the choir and the
royal Pantheon of the kings of Navarre and later Castile and Leon.
More than 30 royal family members are buried in the pantheon including
Sancho II of Pamplona. The most famous tomb is that of Blanca of Navarre,
wife of Sancho III of Castile, whose decorated sarcophagus is a remarkable
for its frieze depicting a parade of mourners.[3]
The ornate wood carvings of the choir stalls and misericords are exemplary
of late medieval gothic style. The woodwork dates from shortly after the
1492 expulsion of the Jews from Spain in 1495. A recurring motif in the
stalls is the intertwined letters 'F' and 'I' (for Ferdinand and Isabella, King

47
and Queen of Castile). These are latticed together in the form of a heart, from
which a drop of blood is spilt. This has given rise to the suspicion that the
craftsmen may have been Marranos or Crypto-Jews, and the cleverly con-
cealed image is a symbol depicting the broken heart of Spain.
CLOISTER
The cloister, completed in 1528, is known as the Claustro de los Caballeros
(Cloister of the Knights), so called because of the concentration of Riojan
aristocracy that are buried there, including Diego López de Haro. It is highly
ornamental in the plateresque style.

OTHER SIGHTS
Convent of St. Helena (18th century)
Bridge on the Najerilla river, built in the 12th century and remade in 1880
La Mota Castle, of Islamic origin, built in 923, currently on ruins.
Town Museum
Excavations of the Alcázar, abandoned in the 16th century
Monastery of Valvanera, 16 km from the town, built in the 11th century, but
restored in Gothic style in the 15th century as it became a residence of Is-
abella of Spain.

48
 13. CIRIÑUELA

BAD REPORST FROM RECENT TRAVELLERS…

A area with some hundred new empty houses. I was shocked. A real
horrible ghost town.

49
 14. SANTO DOMINGO DE LA CALZADA

Saint Dominic de la Calzada (or Dominic of the Causeway) (Spanish: Santo

Domingo de la Calzada) (May 12, 1019–1109) was a saint from a cottage in
Burgos very close to La Rioja. Born Domingo García in Viloria de Rioja, he
was the son of a peasant named Ximeno García. His mother was named Oro-
dulce.
He repeatedly tried to join the Benedictine order at Valvanera and San Mil-
lán de la Cogolla, but was turned away. He then became a hermit in the
forests near Ayuela, near the present-day town of Santo Domingo de la
Calzada, until 1039. In 1039, he began working with Gregory IV of Ostia
(Gregorio), bishop of Ostia, who had been sent to Calahorra as a papal envoy
to combat a plague of locusts that afflicted Navarre and La Rioja.
Gregory ordained Dominic a priest. They built together a wooden bridge
over the Oja River to help pilgrims on the Way of St. James. Gregory died in
1044, and Dominic returned to Ayuela, where he began developing the area.
He cleared trees, cultivated the earth, and began to build a paved causeway
(in Spanish, calzada), which served as an alternate route to the traditional
Roman causeway between Logroño and Burgos. Dominic’s causeway be-
came the principal route between Nájera and Redecilla del Camino.

50
To better the conditions of the pilgrims that began to use his new causeway,
he replaced the wooden bridge that he had built with Gregory with one made
of stone, and constructed a building that was at once hospital, well, and
church, which attended to the needs of the travelers. Today, it is the Casa del
Santo, which is a used as a hostel by modern day pilgrims. Due to the devel-
opment of these public works he is the Patron Saint of the Spanish Civil En-
gineers.
Alfonso VI of Castile annexed La Rioja in 1076 and seeing that Dominic’s
efforts contributed to the Castilianization of the region, decided to support
him and his projects. He visited Dominic in 1090 and thereafter Dominic, as-
sisted by his follower Juan de Ortega, began construction on a church dedi-
cated to Christ and the Virgin Mary. This was consecrated by the bishop of
Calahorra in 1106.
The town of Santo Domingo de la Calzada began as a few houses built
around the hermitage of the saint in his lifetime. At this death in 1109, the
village had grown in population. Dominic's church, later the Cathedral of
Santo Domingo de la Calzada, was where he was buried, and it was elevated
to the rank of cathedral after being placed in the jurisdiction of the Diocese
of Calahorra in the 1230s.

MIRACLES
Miracles are attributed to Dominic, among them the healing of a French
knight who had been possessed by the devil and who was freed of his afflic-
tion by visiting the sepulcher of the saint. Another concerns the healing of a
German pilgrim named Bernard in the fifteenth century, who was cured of an
affliction of the eyes by visiting the saint’s tomb. Another concerns the heal-
ing of a blind Norman who was cured when he visited the cathedral.
The most famous miracle, however, concerns that of the rooster and the
chicken, which is said to have taken place at Santo Domingo de la Calzada.
The story goes that in the 14th century, a German 18-year old named
Hugonell, from Xanten, goes on pilgrimage to Santiago de Compostela with
his parents. A Spanish girl at the hostel where they were staying makes sex-
ual advances toward Hugonell; Hugonell rejects her advances. Angry at this,
the girl hides a silver cup in the German’s bag and then informs the authori-
ties that the youth had taken it. Hugonell is sentenced to the gallows, in ac-
cordance with the laws of Alfonso X of Castile.
The parents sadly decide to examine their son’s body, still hanging on the
gallows, but suddenly hear his voice –he tells them that Saint Dominic has
saved his life. His parents quickly make their way to Santiago de Compostela
to see the magistrate. The magistrate, who is at the time eating dinner, re-
marks: “Your son is as alive as this rooster and chicken that I was feasting on
before you interrupted me.” And in that moment, the two birds jump from
the plate and begin to sing and crow happily.

51
In memory of Dominic's miracle, a rooster and chicken, with white feathers,
are kept alive at the cathedral all year round (they are called descendants of
the original birds who miraculously danced even though roasted); they are
maintained by means of donations and a different rooster and chicken are
switched each month. The pairs of roosters and chickens, when they are not
at the cathedral, are kept in a chicken coop maintained by the Cofradía de
Santo Domingo (Confraternity of Santo Domingo), called the Gallinero de
Santo Domingo de la Calzada. A wayside shrine (hornacina) built in 1445
holds a relic associated with the miracle: a piece of wood from the gallows
from which Hugonell was hanged.
The pilgrims gathered the feathers of these favored birds, or they got them
from the priest, and they would affix them to their hats. It was also said that
if the birds ate breadcrumbs directly from the end of the pilgrim’s staff that
the pilgrim would arrive safely in Compostela.
The German pilgrim Hermann Künig (15th century) claims to have seen the
room where the roasted birds began to sing and dance; other documents writ-
ten by pilgrims state that Hugonell’s shirt had been conserved by the church
of Santo Domingo and that the gallows themselves were conserved there as
well. These artifacts are now lost.
A verse commemorating this miracle runs: “Santo Domingo de la Calzada /
Donde cantó la gallina después de asada.

CATHEDRAL
The construction of the Cathedral began in 1158. Designed by Garsion the
Cathedral has a Latin cross shaped floor plan (cruciform), including in the
design three naves, the transept (the centre of the cruciform), ambulatory,
three apses (the arched semi circle recesses) and a gallery.
The east end is what remains of the original construction. During the XVth
and XVIth centuries, San Andres’ chapel was constructed and San Bartolomé
and Santiago´s chapels were remodified. In the central Romanic apse, one
notices the prominence of the capitals and pillars around the presbytery. On
the left side of the first capital of the ambulatory El Salvador (Pantocrator) is
represented and on the right side, The Assumption. The cathedral is conse-
crated to them. On the right side of the presbytery, on the third pillar we can
see a representation of The Holy Trinity devoted to the Parish Church. On
the fifth pillar King David is represented.
At the beginnings of the XIVth century three naves were built, covered with
simple quadripartite rib vaults at the laterals and eight ribs in the central
vault, the cathedral was finished with its main western door void of the usual
decorations or sculptures owing to a lack of economic resources. At that time
the cathedral was a fortified building, due to the fact that a war was taking
place between the kingdoms of Castilla and Navarra. This is also the reason
why a western vestibule and passages were constructed, to defend the inte-

52
rior and exterior of the building. There are still remains at the left nave,
above the chapels and the cloister access door. The cloister was also remod-
eled at this time.
In the XVth century a phase of extensive constructive work took place in the
Cathedral, which actually extended into the following century. This work in-
cluded the enlargement of the south transept, owing to the collapse of a south
occident pillar, the raising of the main altar, the construction of Santo
Domingo´s Mausoleum and of the chapels of San Andres, Rosario, Inmacu-
lada, Hermosilla, Santa Teresa and Magdalena, all of them built at the later-
als which break up the initial perimeters, as well as the two apses previously
mentioned. During the XVIIth century the Martyrs Chapel was also con-
structed.
Between 1761 and 1765 the current façade was built, dominated by the dio-
ceses´ patron-saints: San Emeterio, San Celedonio and Santo Domingo, and
the separated tower.
In 1958 a crypt as built downstairs in order to safeguard the relics of Santo
Domingo.
THE ALTARPIECE
Up until 1994, when it was taken apart for restoration, the altarpiece had
been stored in the place which had been constructed for this exact purpose;
the main altar. Damian Forment was the sculptor chosen to make the altar-
piece. He began to build it in 1537 and continued until his death in 1540. The
task was then undertaken by his apprentices. The sculpture itself is made of
walnut and the structure of pine. The lower part of the piece is made from al -
abaster. It is devoted to El Salvador and The Assumption; their sculptures are
in the middle of the altarpiece. Above them, purposefully highlighted, is the
Sanctuary - a space dedicated to the permanent display and storage of the
Holy Sacrament. Damian Forment was born in Valencia where he carried out
all his work and so the finished works were brought from there and presented
by the artist to the Aragon church in the XIVth century
Damian Forment added to the habitual Christian’s scenes profane mythology
such as, sirens, centaurs, newts etc; images which since ancient times, had
been connected with resurrection and salvation. Since 1545 the Trento Coun-
cil forbade such representation in Christian Art and as such this is an excep -
tional piece.
Andres de Melgar was the person in charge of the golden and polychrome el-
ements in the altarpiece. He worked on it from 1539 to 1553. He added
Grotesques, decorations based on hybrid beings distributed evenly over axis’
of symmetry within the sculpture, and Moorish designs, based on images and
the designs found on embroidered Arabic cloths.
TOMB OF ST. DOMINIC

53
Santo Domingo prepared his own sepulcher in the middle of the road he him-
self constructed outside the church. Many years later, with the building of the
new temple the tomb became part of the interior of the Cathedral, in the
south transept to be precise.
The Mausoleum is the result of three consecutive interventions. In the first
quarter of the XIIIth century the construction of the burial laude of Santo
Domingo took place, represented by a two meter long, high relief sculpture,
an unusual piece when compared with other funerary art in Europe at that
time, on which we can see Santo Domingo on his deathbed crossing his
hands on his chest and six angels around him. It was restored in 2009 and
most of the polychrome was recovered.
The tombstone is supported by an alabaster table, into which is set the coat of
arms of Bishop Diego López de Zúñiga, who initiated the project. This al-
lows us to apply a date to the work – around about the first half in the XVth
century. Santo Domingo´s life and miracles are represented in twelve differ-
ent scenes. In 1508 the structure was in part damaged by the collapse of
some pillars. An alabaster baldachin covers the tomb; the design was attrib-
uted to Felipe de Vigarny and was made by Juan de Rasines in 1513.
The silver used to create the arch surrounding the structure is Mexican and
was donated in 1763. The sculpture of Santo Domingo below the silver arch
was created by Julián de San Martín in 1789, and is the first in which Santo
Domingo is represented as an older saintly figure.
The Mausoleum is surrounded by a gold and polychrome plated iron grille,
supported by a black marble plinth, made in 1708 by Sebastián de Medina.
In 1958 a crypt was built below the mausoleum where now lie the relics of
Santo Domingo. A high relief statue of him, dating back to the beginning of
the XIIIth century, dominates this space, depicting him as a slave liberator.
THE TOWER
The separated tower is the fourth tower built in the cathedral. The first one
was built at the end of XIIth century, it was originally located where nowa-
days is situated the henhouse, and in 1450 it was destroyed by lightning. This
tower was replaced by a second one, whose construction ended in 1560 and
the collapse of which took place in the XVIIIth century. Around 1759 or
1760 Bishop Andrés de Porras y Temes initiated the construction of the third
tower which was built as a portico-tower, with one of its sides resting against
the south wall of the cathedral and the remainder supported by arches which
ran along the exterior. One year later it had to be dismantled because the con-
struction was unstable owing to underground water flow, and the south
façade was affected as well. The bishop tried again with the façade and the
construction of a forth tower. The architect chosen was Martin de Beratua
who looked for the best quality site, eight meters away from the cathedral.
The façade was built in 1761 and the current tower around 1762-5. The bell
ringer’s house was designed by the same architect.

54
The present tower is 69 meters tall and is divided into three parts. The first
two floors are square, and the upper part (the bell tower) has an octagonal
formation. It is baroque style like others in La Rioja, such as Briones tower,
and the twin towers of Santa Maria la Redonda in Logroño, also created by
Martin de Beratúa. This tower was used for a religious custom, now seldom
practiced called invoking (for example a priest may have performed rituals to
invoke storms or the blessing of crops etc) and for that reason the lower part
of the structure has many windows.
It was made in sandstone and the foundations were made with a mass of
lime, sand, small stones and crushed cattle horns, this was to counteract the
instability of the terrain and the effects of excess underground water.
132 stairs take us up to the bell tower. In many stairs there are holes which
were used to let through ropes which were thrown down to allow the bells to
be played from the bell ringer´s house.
The clock installed in 1780 by the blacksmith Martin Pasco still remains and
continues working with the original mechanism.
THE CLOISTER
The cloister that we can view today is the result of reformation carried out in
1340 by Bishop Juan del Pino. Formed in stone and brick, it is covered with
eight quadripartite rib vaults, one in each gallery. During the XVth and
XVIth centuries, many chapels were added to its walls and even its interior
patio. Many of these constructions were aesthetically unpleasing and all but
four of them were demolished during the reformation which took place be-
tween 1984 and 1987. Today it houses the Cathedral Museum.
Nowadays the museum exhibits a permanent display centered around three
Flemish triptych paintings: “The Annunciation,” by Joos Van Cleve, painted
between 1515 and 1520; “The Adoration of The Magi,” an anonymous work
created at the end of the XVth century and “Mass of Saint Gregory the
Great” painted in 1530 by Adrian Isenbrant.
Among the sculptures on display in the cloister, we find “The Apostles Altar-
piece”, two later Romanic sculptures in relief, made in polychrome stone,
which may have originally been part of the group of statues of apostles
placed in the Romanic south façade including Saint Peter and Saint John
whose statues now reside in the crypt. Also on display is a wooden altar front
dating from 1300 which includes elements made from gold and polychrome
and is of course of great value. In its centre The Mercy Throne is repre-
sented, bordered by a tetramorph. An exceptional piece is La Verónica, a
Spanish-Flemish sculpture from the end of the XVth century. The sculptural
collection displayed in the cloister also includes many polychrome wooden
sculptures most of them dating from around the XVIth and XVIIth centuries
and two polychrome reliefs, Mass of Saint Gregory and Saint Jerónimo Peni-
tent by Andrés de Melgar in 1553.

55
Leading off the oriental gallery we find the Chapter room, built by order of
Bishop Juan Del Pino, and rebuilt by Pedro González de Mendoza at the sec-
ond half of the XVth century. At that time the ceiling was covered with
Moorish style paintings with decorative floral motifs and the developer´s
coat of arms. This painted ceiling was uncovered during restoration in 1992;
it had been hidden under a layer of plaster. This room also houses a gothic
style statue of Santo Domingo, which was frequently venerated and taken out
for procession until the end of the XVIIIth century.
The Cathedral Treasure is distributed between the cloister and the chapter
rooms. The most important parts of this collection are the silver Mexican
pieces donated to Santo Domingo by Calceatense (name of the inhabitants of
Santo Domingo de la Calzada) emigrants.

56
 15. BELORADO

CHURCH OF SAN PEDRO

Its origins are mediaeval, although it was thoroughly reformed in the 18th
century. The nave is divided into five sections which open onto various
chapels. On the main facade there is a stone image which represents the Sa -
cred Heart of Jesus and on the interior it contains valuable works such as the
main altarpiece, the frescoes on the vault in the presbytery, several altar-
pieces and an organ in the Rococo style.

57
 16. VILLAFRANCA MONTES DE OCA

PARISH CHURCH OF SANTIAGO

Baroque, 18th century.
Highlights of the interior include the Romanesque altarpiece depicting the
Ascension and an enormous shell which is used for holy water.

SHRINE OF THE VIRGEN DE LA OCA

Romanesque, 13th century.
Although its origins are thought to date from the 12th century, it also shows
evidence of earlier buildings. This church houses the figure of the Virgin de
Oca, and nearby is the well of San Indalecio, where according to tradition the
saint worked a miracle.

MONASTERY OF SAN FELIX DE OCA

Visigothic, 6th century.
This old Episcopal monastery is built on a Roman villa, and its remains date
from between the 6th and 9th centuries. According to tradition, this is the
burial site of Diego Porcelos, founder of Burgos.

HOSPITAL DE SAN ANTONIO ABAD

Gothic, 14th century.
Behind the facade dating from the 15th and 16th century is the courtyard,
which contains remnants from the 15th century. It is today a pilgrims’ hostel.

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 17. SAN JUAN DE ORTEGA

Saint John the Hermit (or Juan de Ortega) (c. 1050–1143) was born near
Burgos, Spain, and became a priest at a young age. As he was returning by
sea from a pilgrimage to Jerusalem, his ship encountered a dangerous storm
that threatened to sink it.
After safely arriving in Spain, John sought a place of solitude where he could
devote himself to contemplation. He may have founded the monastery of San
Juan de Ortega, named after him. He erected a hermitage for himself at a
forested site known as Urteca or Ortega (meaning nettle in English), situated
on the pilgrim road to Spain’s most popular shrine, Santiago de Compostela.
He also built a church in honor of Saint Nicholas, to whose intercession he
attributed his deliverance from the storm at sea. In addition, John established
at Urteca a hospice for lodging pilgrims and other travelers. He devoted his
manual labors to the construction and repair of bridges and roads for the pil-
grim route to Compostela. Shortly before his death, John offered special
prayers for the peace of the Church and for the faithful departed.

MONASTERY
Romanesque, 12th century.
The monastery belonged to the Order of Los Jerónimos from 1432 until the
19th century, and has a church with three apses dating from the 12th and
13th centuries. It was restored in 1964. Highlights include the windows in

59
the central apse, the vaults, the transverse arches, the capitals, the Gothic
mausoleum, the Romanesque tomb and its two cloisters. There is also a 15th-
century canopy with six reliefs alluding to the life of the Saint.

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 18. BURGOS

Burgos, a city in Castilla-Leon situated in the Pilgrim's Road to Santiago de

Compostela, still preserves important vestiges of its medieval splendour. The
city, which was the capital of the unified kingdom of Castilla-Leon for five
centuries, boasts a masterpiece of Spanish Gothic architecture: the cathedral
of Burgos, declared World Heritage. Aside from a visit to the historic quar-
ter, you can take a quite interesting walk along the banks of the Duero and
Arlanza rivers. Great places to approach a delicious, varied cuisine.
The city of Burgos, crossed by the Arlanzón River, is a few kilometres away
from the prehistoric site of Atapuerca. A military hamlet in its origins, the
city slowly became a powerful commercial city in the Middle Ages. A criti-
cal factor in this development was that Burgos was the capital of the unified
kingdom of Castilla-Leon between the 10th and 15th centuries, its privileged
location on the Pilgrim's Road to Santiago de Compostela and the monopoly
it held over the trade of merino wool, also contributed. All that splendour left
a profound mark on present-day Burgos.
On the foothill of the fortified Castle Hill, which has the best views of the
city, the medieval quarter unfolds. Some of the remarkable buildings of this
place include the Mudejar Arch of San Esteban and the Gothic church by the
same name, which houses the Reredos Museum. Another important temple is
the one devoted to San Nicolás, where you can see a magnificent polychro-
matic alabaster reredos.

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CATHEDRAL
But beyond all doubt, the architectural masterpiece of Burgos is the cathe-
dral. Erected on top a Romanesque temple, the cathedral was built following
a Norman French Gothic model. The filigree work in the spires of the towers
and in the exterior of the High Constable Chapel, are some of the master-
pieces found in this cathedral. Such beauty and incredible genius lead to a
long list of exceptional works of art in its interior. These include the starry
dome that covers the tombs of El Cid and Doña Jimena, the choir, the sar-
cophagi and the Golden Staircase, built by Spanish architect and sculptor
Diego de Siloé, a prominent figure during the Spanish Renaissance.

OTHER MONUMENTS
Beautiful examples of civil architecture include Casa de Miranda, which
houses the Burgos Museum, with an important collection of archaeologic
artefacts and Casa de Angulo, which houses the Museum of Fine Arts. The
most remarkable house, however, is Casa del Cordón, where the Catholic
Monarchs received Christopher Columbus after he returned from his second
trip to the New World.
To both ends of the historic quarter of Burgos you will find important build-
ings. In the west end lays the Royal Monastery of Huelgas Reales, with an
impressive Gothic cloister and the famous Chapel of Saint James the Apos-
tle. Next to it is the Museo de Ricas Telas, a textile museum that exhibits,
among other things, the historic banner that was snatched from the Arabs in
the Battle of Navas de Tolosa, in 1212. East of the capital, in the Carthusian

62
monastery of Miraflores, is an amazing polychromatic reredos, among other
works of art. The legend is that this reredos was plated with the first ship-
ment of gold that arrived after the Discovery of America.

BURGOS IN FULL
The privileged location of the capital of Burgos lets visitors cover the whole
province by following interesting routes to the heart of Castilla-Leon. One of
these routes goes from Burgos along the bank of the Arlanza River, unveiling
medieval churches and convents, feudal castles and Renaissance palaces.
These authentic gems of the architecture of Burgos are located in towns such
as Lerma, Santo Domingo de Silos and Quintanilla de las Viñas.
The Pilgrim's Road to Santiago de Compostela goes across the province of
Burgos. It consists of an artistic and cultural route lined with churches, her-
mitages and pilgrim hospitals, along the towns of Belorado, Villafranca
Montes de Oca and Castrogeriz.
Ribera del Duero, the birthplace of one of the most acclaimed Designations
of Origin for wine, surprises visitors with beautiful historic towns. Aranda,
Peñaranda and Roa (all within the region of Duero) exhibit Gothic relieves,
Renaissance coffered ceilings and interesting cellars.
Popular architecture spreads around thick valleys, high plateaux and bleak
lands. There are lots of towns where, in addition to admiring their artistic and
cultural patrimony, one can play environmentally-sound, outdoor sports.
These include Miranda del Ebro, Treviño and Villasana de Mena.
Something that all these places have in common is their cuisine. Burgos cui-
sine is enriched by a great variety of local products, like pulses, cured
sausages, game meat, etc. Suckling lamb baked in a wood-fired oven, soused
trout and cod stew are some of its best main courses. For dessert, try the deli -
cious "yemas" (a sweet made with egg yolks and sugar), fresh cheese with
honey and walnuts, or caramel almonds. All this should be had with some of
the famous wines that hold the label Designation of Origin - Ribera del
Duero.

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 19. HORNILLOS DEL CAMINO

MEDIEVAL BRIDGES.
Romanesque. There are two, one over the Hormazuelas River and another
spanning the Molinar riverbed.

PARISH CHURCH OF SAN ROMAN.

This 16th century Gothic-style church has an open floor plan.

HOSPITAL OF SANCTI SPIRITUS.

Renaissance, 16th century.
The image of the chalice with the crossed keys in relief over the lintel of the
door serves as a reminder of its function as a place of service and assistance
to pilgrims.

SHRINE OF SANTA MARIA.

Gothic, 14th century.
These are the remains of the old church of the Priory of Nuestra Señora de
Rocamador.

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 20. CASTROJERIZ

CONVENT OF SAN ANTON

Gothic, 16th century.
This was formerly the residence of the Antonianos order which was devoted
to tending to the pilgrims. The remains of this church stand at the entrance to
this village which welcomes the pilgrims through its famous arch. The two
arches on a raised portico built in the 16th century protected the entrance to
the church, which has a facade with archivolts decorated with sculptures.

WALLS
Romanesque. Stones from Roman times.

CASTLE
Romanesque, 9th century.
The first mention of this castle dates from the 9th century during the skir-
mishes with the Muslim forces. There are three clearly differentiated sec-
tions: the Roman part which is today reduced to an almost hidden square
tower; the Visigoth part comprising the extension to the castle with different
masonry work from in the Roman part; and the mediaeval part.

TOWER
Gothic, 13th century.

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 21. FROMISTA

The capital of Palencia's Romanesque legacy, the town of Frómista is a ma-

jor communications hub and a staging post on the Pilgrim's Road to Santiago
de Compostela.
Churches such as San Pedro and Santa María form one of the main cultural
attractions of the town, along with the hermitage of Santiago and its image of
the Virgen del Otero. But Frómista's most prized gem is the church of San
Martín, a work of art conceived as an image. This temple, which was
founded in 1035, stands out because of the simplicity of its lines and the per-
fect balance struck between the architecture and the incredible wealth of dec-
oration. A magnificent display of light, colours and lines which represents a
milestone in the Romanesque style linked to the Pilgrim's Road to Santiago
de Compostela. Two kilometres from town is the Pozomingo fountain, where
remains have been uncovered of what could have been Frómista in the Ro-
man age, before Arab occupation.

CHURCH OF SAN MARTIN

Romanesque, 11th century.
This is one of the purest examples of Spanish Romanesque. It was built by
Doña Mayor, the widow of Sancho Mayor, King of Navarre, and has been
the spiritual resting place of the pilgrims on the road to Santiago.
The building features three naves, all with barrel vaults and rib arches. There
are three circular apses in the sanctuary, and the transept has a polygonal
dome. The capitals of the columns are exceptionally lovely and are profusely
decorated with vegetation and iconographic motifs. The two circular towers

66
flanking the entrance door on the facade are a new development reminiscent
of the German style. Inside, a Crucified Christ of exceptional value.

CHURCH OF SAN PEDRO

Renaissance, 15th century.
It has a tower with four sections and a Renaissance facade designed by Juan
de Escalante in 1560. On the interior, the church is divided into five sections
and three naves. Its main altarpiece was designed by Francisco Trejo en
1636. Highlights include the depiction of the Descent from the Cross by the
Castilian School of Valmaseda, and two sculpted figures of Saint Peter and
Saint Paul. It houses the Frómista Museum.

CHURCH OF NUESTRA SENORA DEL CASTILLO

Gothic, 15th century.
The church is in the late Gothic style and has three naves separated by pillars
and vaults. It also has a Renaissance facade and a particularly interesting
main altarpiece with painted panels dating from the 15th century.

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 22. CARRION DE LOS CONDES

A town of great importance at the time of the old pilgrimages to Santiago de

Compostela. Its medieval origins can be seen in some of the historic build-
ings and in the old town.
Carrión de los Condes was taken from the Moors by Alonso Carreño around
791–842. Don Carreño took the name Carrión at this time.
Carrión de los Condes was the home of Diego and Fernán González, ficti-
tious sons-in-law of El Cid in the poem El Cantar de Mio Cid (English: The
Song of My Cid).
In 1209, Hospital de la Herrada was established by Gonzalo Rodríguez
Girón, a Palencia tycoon who became steward of the king, to provide assis-
tance to the Jacobean pilgrims and other travelers.[1][2] It had considerable
influence and power in the area in the 13th and 14th centuries.
The most characteristic building of Carrión de los Condes is the church of
Santiago, famous for its splendid Panthocrator. Also significant are the frieze
in the church of Santa María del Camino, embellished by an Adoración de
los Magos; and the convent of Santa Clara, founded in the 13th century, with
an adjoining church and museum which displays sculpture and ornaments, as
well as a Piedad by Gregorio Fernández. On the outskirts of the city, near the
medieval bridge, is the monastery of San Zoilo, a former pilgrims' shelter
started in the 10th century. Its Renaissance cloister is outstanding, a genuine
ornamental and technical wonder which is the work of Juan de Badajoz.

SANTA MARIA CHURCH

A XII century, Romanesque church.Reforms were carried out in Baroque
style during the XVI century.Of note on the site is a very ornate facade.The

68
church forms part of the Road to Santiago de Compostela on the lands of Pa -
lencia.

SAN ZOILO MONASTERY

This Benedictine monastery is located on the Road to Santiago de Com-
postela.The most outstanding of this building is its Plateresque cloister (XVI
century) adorned with med8allions and busts.

SANTIAGO CHURCH
This monument is an obligatory stop for the pilgrim on the Road to Santiago
de Compostela.Its XII century, Romanesque doorway has important sculp-
tures.Its intermediate archivolt especially interesting as well as the frieze that
crowns the facade.

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 23. TERRADILLOS DE LOS TEMPLARIOS

PARISH CHURCH OF SAN PEDRO

This simple brick church has a single nave and a presbytery framed by tri -
umphal semicircular arch. Highlights include a 14th-century Gothic image of
the crucified Christ.

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 24. SAHAGUN

Sixty-seven kilometres to the south-east of Leon we find Sahagún, a historic

city that stretches on top of a smooth mound, whose nerve centre is the main
square, or Plaza Mayor, which still has its original porches.
Sahagún is notable for containing some of the earliest examples of the mudé-
jar style of architecture. It lies on the Way of St. James.
The initial town arose due to the adjacent Benedictine monastery consecrated
to the saints Facundus and Primitivus. The name Sahagún putatively derives
from an abbreviation and variation on the name San Fagun ("Saint Facun-
dus").
In the streets we can see some houses with brick and wooden structures, and
some others that were built with clay and straw. The local artistic heritage,
the legacy of a booming past, includes remarkable buildings such as the
monastery of San Benito el Real, from which only a Neoclassical arch still
stands; the Mudejar churches of San Tirso and San Lorenzo, from the 12th
and 13th centuries, respectively; the convent of the Benedictines, presently
the site of the Sahagún Museum; and the sanctuary of Peregrina, in the out-
skirts.

MONASTERY OF SAN BENITO EL REAL

The monastery acquired importance during the reign of Alfonso III de As-
turias, and reached its greatest splendor during the reign of Alfonso VI of
Castile. On November 25, 1085, this latter king promulgated the edicts
known as the Fuero de Sahagún, which gave a number of privileges to the

71
Monastery and town, fomenting its growth. The king favoured the Cluniac
order and the monastery was known as the "Spanish Cluny".
Friction often erupted into disputes between the townsfolk and the monastery
in the mid-12th century, as recorded in the Crónicas anónimas de Sahagún.
The monastery was very important on the pilgrimage route to Santiago de
Compostela, and in the 14th century housed a University (see also List of
early modern universities in Europe). In the 19th century, the monastery was
disbanded and the structure nearly completely razed.
The so-called San Benito Arch is the southern facade of the church. De-
signed by Don Eduardo Saavedra, and dating from 1662, it has profuse
Gothic decoration.

SAN TIRSO CHURCH

This is one of the oldest Mudejar churches in the province of Leon.
It has a triple apse and sanctuary. It is made up of a tower above the straight
section of the central apse, a compartmentalised transept and 3 naves, with a
wooden roof. Both the church and the apse were begun in stone slabs, but
continued in Mudejar style, as the boxed semicircular arches remind us.

CHURCH OF SAN JUAN

Neo-classical, 17rth century.
It conserves on its interior the remains of Saints Facundo and Primitivo. Its
main altarpiece is by Matías de Arriba and those in the transept are by Lucas
González.

MUSEUM OF MADRES BENEDICTINAS

The tour includes a visit to the museum and the monastery chapel, with the
tombs of Alfonso VI and his wives. Of particular interest are the 16th-cen-
tury silver monstrance attributed to Enrique de Arfe, and the Pilgrim Virgin
by the sculptress Luisa Roldán.

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 25. MANSILLA DE LAS MULAS

CONVENT OF SAN AGUSTIN

Plateresque, 16th century.
It was founded in 1500 by Admiral Fadrique Enríquez. Although it was de-
stroyed during the French invasion, it still conserves its Renaissance facade
with the semicircular arch and the chapel of the Villafañe family, in the
Plateresque style and built in stone by Juan de Badajoz. This is today the site
of the Provincial Ethnographic Museum of the León Regional Government.

CHURCH OF SAN MARTIN

Romanesque, 13th century.
This church has a single nave and a presbytery framed by a pointed tri-
umphal arch. Highlights include the remains of a Mudéjar-style coffered ceil-
ing and a simple transitional Gothic facade on the main phase, flanked by
capitals with pairs of lions, each with a single head.

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SHRINE OF THE VIRGEN DE GRACIA
Romanesque, 13th century.
It houses the image of the patron saint of Mansilla, who is much venerated
throughout the area. This is a particularly lovely figure of the Virgin with
Child which was restored by the sculptor Víctor de los Ríos after it was dam-
aged in a fire in the late 19th century.

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 26. LEON

The Pulchra Leonina, the Sistine Chapel; of Spanish Romanesque architec-

ture and the old Hospital de San Marcos are the key points of this former Ro -
man encampment. Over the course of time, León became the capital of the
kingdom in the Middle Ages, a historic enclave on the Pilgrim's Road to San-
tiago de Compostela and a city perfectly suited to its inhabitants. The incred-
ible natural landscape of this province will take take us to the Picos de Eu-
ropa National Park, the area of Las Médulas (a World Heritage Site) and the
winter resort of San Isidro. A cultural and leisure offer which is only sur-
passed by the quality and variety of León's gastronomy.
What was the Roman Legio VII Gemina Pia Felix preserves an interesting
Romanesque, Gothic and Renaissance legacy, the result of its splendour dur-
ing the Middle Ages. The Plaza Mayor forms the centre of this city, crossed
by the river Bernesga. Among this baroque collection of buildings stands the
City Hall, popularly known as the "Balcony of the City", since from its gal-
leries the nobles observed the town's activities taking place.

AROUND THE “HÚMEDO”

Next to the City Hall is the neighbourhood of San Martín, built around the
square and the church of the same name. In this area, there are small palaces
and large houses such as the Casa de las Carnicerías and the Palace of Count
Luna. The institution which once supplied meat to the city is a 17th-century
building which today houses an exhibition hall. The palace has a 14th-cen-
tury Gothic façade with Arab influences and a large dressed tower. Also

75
worth a visit is the church of San Salvador de Palat del Rey, dating from the
10th century and the oldest in the city.
Dotted around these streets are bars and restaurants where we can sample the
best of the region's gastronomy and which have made it worthy of the nick-
name El Húmedo. We can continue our route on to the Palace of los Guz-
manes and the Casa de los Botines. The main façade of the palace, site of the
County Council, dates back to the 16th century and featuring prominently on
the building are the lattice balconies and the lateral façade. The Casa de los
Botines, meanwhile, is the work of the architect Antonio Gaudí, who
launched the modernist style in the city. León has more examples of this
artistic trend in the square of Santo Domingo.
From here, we can enter the area surrounded by the Roman walls, with the
city's two jewels located at either end: the Cathedral and Basilica of San
Isidro. The “Pulcra Leonina”, one of the most striking Gothic temples in
Spain, stands on the site of an old Roman baths and a Romanesque church.
Approaching it face on offers us, on its main front, a view of one of the most
significant series of Gothic sculptures, a richly-coloured rose window and
two towers, curiously free-standing from the main façade. But perhaps what
most captures the visitor's attention are the 1,800 square metres of stained-
glass windows. Once inside, stopping by at the choir, the Romanesque tombs
in the transept and the chapels of the ambulatory is a must. A visit to the
Cathedral Museum, one of the most complete of its kind, takes us to see the
cloister and a plateresque stairway, as well as major paintings and sculptures.

76
One of the most significant sites in the whole of Europe is the Basilica de
San Isidoro. Its thick walls jealously guard what is known as the "Sistine
Chapel" of the Spanish Romanesque style. It is a series of frescoes from the
12th century which decorate the underground crypt of the Royal Pantheon
and which still preserve their original colour. We can find scenes from the
Old and New Testament, floral motifs and a calendar of agricultural tasks.
But the exceptional condition and quality of the paintings mustn't distract us
from viewing the architectural features. The sculptures on the main fronts are
a true Bible in images. The museum is housed in its cloisters and conserves
an archive of codices, incunabula and a Visigothic Bible, among other
works. Its prestigious collection of medieval art is enriched by the San Isidro
Chest, the Ivory Chest or the Chalice of Doña Urruca.
Walking around the city, you can discover churches of all ages and styles. In
San Marcelo there is a reredos created in part by Gregorio Fernández, one of
the most significant sculptors of the Spanish baroque style. Meanwhile, a
church which recalls the splendour of the Pilgrim's Route to Santiago de
Compostela as it passed through Léon is the Virgen del Camino, a highly
venerated figure in the city.

PILGRIM’S ROUTE TO SANTIAGO DE COMPOSTELA

And also linked to the Pilgrim's Route to Santiago de Compostela is the
Hostal de San Marcos. One of the earliest expressions of the Spanish
plateresque style was a pilgrims' hospital and shelter and the seat of the Or -
der of Santiago. It currently houses the city's Parador, on the banks of the
river Bernesga. An exceptional place to stay during your time in the city and
to sit at a table well-stocked with the region's delicacies. Maragato stew,
frog's legs, beef sweetbreads and mountain meats are just some of the sug-
gestions. The vegetables, meat products and fish can be washed down with
Designation of Origin wines from El Bierzo. Rice pudding or Astorga man-
tecadas (made with sugar, flour and egg) round off any gastronomic occa-
sion.

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 27. LA VIRGEN DEL CAMINO

SHRINE
Built in 1961 on an old 17th-century church, it was designed by the Domini-
can architect Fray Francisco Coelho of Portugal.
The temple and the thirteen bronze statues on the façade are all equally im-
pressive. The work was done by sculptor Joseph Maria Subirachs, represent-
ing the Virgin and the twelve apostles. In the interior, we can see a Baroque
altarpiece (1730) from the old sanctuary with the Pieta in the center. It was
constructed because of the Virgin’s appearance to shepherd Alvar Simón on
the edge of the road in 1502 and her order to construct a hermitage in her
honor. The construction site was chosen by the very Virgin by throwing a
stone as an indicator. It also has a museum of natural science.

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 28. HOSPITAL DE ORBIGO

OLD BRIDGE
13th century.
The legend of Don Suero and his duel attracts lovers of the Middle Ages to
this bridge. It is a 13th-century bridge which served and still serves as part of
the Pilgrim's Road to Santiago de Compostela. The legend says that on this
bridge a knight from Leon confronted some foreigners who wanted to cross
it in a duel in order to undo a pledge of slavery to his beloved Lady Leonor,
under which he would have to fast every Thursday and wear a heavy iron
ring around his neck. He must have broken 300 lances. He did not succeed,
but the judges of the contest repaid Don Suero by freeing him from the ring.
For this reason, the bridge is known as Passo Honroso (Honourable Cross-
ing).

CHURCH OF SAN JUAN BAUTISTA

Neo-classical, 18th century.
This church is a reminder of the presence of the Hospitaller Knights. It has a
floor plan in the shape of a cross and has been rebuilt; its entrance facade
features a cross of the Order.

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 29. ASTORGA

The capital of the county of Maragatería in the province of León offers a rich
medieval legacy, the result of its location at the crossroads of: the Pilgrim's
Road to Santiago de Compostela and the Ruta de la Plata (Silver Road). Its
walled town preserves churches, convents and hospitals which take travellers
back to the purest tradition of the Pilgrim's Road. Another outstanding fea-
ture in the town's streets is a culminating work by the Modernist architect
Antoni Gaudí: the Bishop's Palace. Astorga is, also, a good opportunity for
enjoying the rich cuisine of this area.
Astorga appears at the junction of two important Spanish routes which used
to be pilgrimage roads. The origin of the older of the two, the Vía de la Plata,
goes back to Roman times. Following this route, (Gijón-Sevilla) the metal
extracted from the mines in the north of the peninsula was transported to the
trading ports in the south. During the Middle Ages, it was used by Arab and
Christian troops in times of conquest and reconquest. An excellent communi-
cation route, it became a pilgrimage route to Santiago de Compostela.
Astorga, the former Asturica Augustea, was born under the Roman empire.
The majority of archaeological remains belonging to this historical period
have been brought together in a theme park, where you can see interesting
Roman relics: sections of a basilica, baths, mansions and part of the sewer-
age system, among others.
The Puerta del Sol leads into the fortified area, where the Cathedral is the
outstanding feature. Construction work on the current building began in the
15th century, although work continued until the 17th C. So, its layout pre-
serves Gothic, Renaissance and Baroque elements and works by masters
from all the periods. Its initial plans were by Gil de Hontañón, while the

80
High Altar was the work of Gaspar Becerra. The Baroque carving of La In-
maculada is the work of the sculptural genius Gregorio Fernández, although
a Romanesque sculpture of La Virgen de la Antigua is also preserved. You
can also admire the exemplary craftsmanship of a silver chest that belonged
to Alfonso III el Magno (the Great). Other important churches with Baroque
plasterwork are those of San Andrés, Santa Clara and San Bartolomé.
In the past, as well as this group of buildings, there were pilgrim hospitals.
Today, travellers can approach this tradition through the Pilgrimage Mu-
seum, housed in the Bishop's Palace. This is a Neogothic work by the Mod-
ernist master Antoni Gaudí.

Another notable monument is the City Hall, which is Baroque, from the 17th
century. This work by Manuel de la Lastra has its beautiful façade in the
Plaza Mayor. Two towers flank a beautiful balcony with railings running
round it and a steeple supported by flying buttresses. Colasa and Perico, the
most popular Maragatos (as the local people are known) in Astorga sound
the hours on a great bronze bell.
The tour of this León city can continue in the Gardens of La Sinagoga, in the
Aljibe Park or in the Chocolate Museum. Another excellent option is to stop
at one of the restaurants in the city centre to try some of the traditional
recipes from the county. The high quality of vegetables from León is shown
in dishes like "cocido maragato", (a kind of stew) which here is eaten in re-
verse order to the traditional cocidos. The meal begins with the meat, chorizo
and stuffing and ends with the chickpeas, cabbage and soup. "Cecina" (cured,
dried and smoked beef), "botillo" (sausage made of cooked pork products),
berciana pies, cod and trout are the most mouth-watering options. Reineta
apples, cherries, pears, peppers and chestnuts form part of the region's cook-

81
book. Among desserts, Astorga lardy cakes are the most popular. Wines
must be from the Bierzo Denomination of Origin.

ROMAN MUSEUM
All the exhibits in the museum come from the city and from the archaeologi-
cal excavations in Astorga. Its facilities include particularly the Roman
prison known as an ergastula measuring 49 metres long by 5 metres wide,
screening rooms and exhibitions.

SANTA MARIA CATHEDRAL

The Cathedral was built on top of a Romanesque church and was not finished
until the 18th century, when its two towers were completed.
Its structure is late Gothic with some Baroque and Plateresque elements,
such as the main entrance and two of its towers. The main altarpiece is octag-
onal, a solution by its architect, Gaspar Becerra, to adapt it to the shape of
the apse. The main entrance is in the flamboyant Gothic style and is excep-
tionally beautiful, abundantly decorated with plants and cherubs. The doors
of the vestry are by Gil de Hontañón. Of particular interest is the walnut-
wood pulpit with bas-relief attributed to the master Becerra. There are sculp-
tures of great value such as an Inmaculada by Gregorio Fernández on the in-
terior. The Diocesan Museum is located in a room off the cloister.

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 30. RABANAL DEL CAMINO

This tiny town (57 inhabitants) used to be a real important stop on the
Camino de Santiago, as evidenced the town's 3 churches and monastery.

PARISH CHURCH OF THE ASSUMPTION.

Romanesque, 13th century.
The only elements remaining today from the 12th century are the Ro-
manesque apse with three splayed windows. It was built using slate and
sandstone blocks, and is an example of the rural Romanesque style.

SHRINE OF THE BENDITO CRISTO DE LA VERA CRUZ – 18th century.

CHAPEL OF SAN JOSE – 18th century.

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 31. MOLINASECA

PARISH CHURCH OF SAN NICOLAS DE BARI

Neo-classical, 17th century.
This church is set on a small hill and is notable for its Baroque stairway at
the entrance which gives onto a church with three naves. These are separated
by pillars and have a vaulted ceiling.

SHRINE OF NUESTRA SENORA DE LA QUINTA ANGUSTIA

Baroque, 18th century.
This church bears the genuine imprint of the passage of the pilgrims, and is
located beside an area of fertile farmlands which were cultivated by the in-
habitants of Molinaseca.

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 32. VILLAFRANCA DEL BIERZO

It is the last important town in Leon that is crossed by the Pilgrim's Road to
Santiago de Compostela. Its rich monumental heritage, and the influence of
the St. James pilgrims, have made it an important tourist center.
The main square, or Plaza Mayor, the City Hall, calle del Agua (Water
Street), the arch at which it ends, the mansions, such as a 15th-century Moor-
ish one, the convent of Agustinas Recoletas, and other palaces, make up the
tourist circuit.
At the entrance of the village, you can find the 12th-century Romanesque
church of Santiago. The Puerta del Perdón gate is at one of the sides. Pil-
grims who could not make it to Santiago de Compostela because they were
ill were given the jubilee blessing here. The Castle-Palace of the Marquises
of Villafranca is near this church. However, the best place to see palaces is
Calle del Agua: amid coats of arms some emblematic buildings appear, such
as Torquemada Palace, Casa Morisca or the birthplace of the writer Gil y
Carrasco. Other monuments that are worth visiting are, amongst others, the
Gothic Collegiate Church of Santa María, built by Gil de Hontañón, the
Baroque convent of San Nicolás el Real, the convents of la Anunciada and
San José, founded in the 17th century, and the Church of San Francisco,
which has a beautiful Mudejar coffered ceiling. We should also visit the Nat-
ural Science Museum.

CHURCH OF SANTIAGO
This example of the transitional Romanesque style has a floor plan with a
single nave, covered with a barrel vault. Its most interesting element is the

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southern facade known as the “Puerta del Perdón”, or “the door of forgive-
ness”. Its origins date from 1186, as this was the time at which the Bishop of
Astorga obtained a papal bull which authorised the building of a church.

LOS MARQUESES CASTLE

This building is located in a town of great importance on the pilgrims’ route
to Santiago. It has the form of a large square with a rounded turrets at the
corners, with the rooms of the palace arranged around a central interior
courtyard.

CONVENT OF LA ANUNCIADA
Founded in 1606 by Doña María de Toledo-Osorio, the Baroque church and
altarpiece are the work of the School of Becerra, from the 17th century. The
building was raised on the ruins of an old Pilgrims’ Hospital, and the Pan-
theon of the Marquises is of particular interest.

CONVENT OF SAN JOSE

It was founded by Don Luis de Castro, the canon of the Cathedral of Santi-
ago de Compostela, and highlights of the interior include the Baroque altar-
piece which was the work of José Ovalle, Andrés de Benavente and Isidro
Valcarce.

CALLE DEL AGUA

This was the route which saw the greatest commercial and crafts activity and
the most traffic, once the Way of Saint James became established. It is also
the location of the Torquemada and Álvarez de Toledo palaces, and the
chapel of Omañas. Fray Martín Sarmiento and the novelist Gil y Carrasco
were both born in houses along this street.

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 33. PONFERRADA

Ponferrada, capital of the region of El Bierzo, is one of the major staging

posts on the Pilgrim's Road to Santiago de Compostela as it passes through
the province of León. The historic quarter of this town sits below an impos -
ing castle built by the Knights Templar.
The first records of Ponferrada are as a former citadel in Roman times. From
the 11th century, the rise in pilgrimages to Santiago de Compostela spurred
the appearance of the hamlet of Pons Ferrata, located on the Pilgrim's Route
to Santiago de Compostela and named in this way because of the building of
a bridge reinforced with iron.
In 1178, the King Fernando II of León placed this flourishing settlement un-
der the custody of the Order of the Temple. The Knights Templar used the
site of a primitive Roman fortress to build a castle in which they settled and
which, at the same time, protected the passing pilgrims. This favoured demo-
graphic growth and led to the commercial development of the area.

THE CASTLE
The Castle rises above the river Sil, dominating the city's historic quarter.
Construction began on this medieval fortress with a polygonal structure to-
wards the end of the 12th century. The entrance is on the south side, over a
drawbridge spanning the moat. The main façade, meanwhile, is flanked by
two large towers joined by a double semicircular arch. Standing off a large

87
interior courtyard are various rooms, such as the Armoury or the Stables, not
forgetting its Keep and others like the Malpica, Cabrera, Malvecino, etc.
At the foot of the Castle is the historic quarter of the city, with entry along
Calle del Reloj. It is on this street where the Clock Tower stands, built during
the reign of Carlos I in the 16th century, on the site of one of the gates of the
former walled enclosure.
Next to the Clock Tower is the Convent of the Conceptionist Mothers. The
building, on two floors, was erected in masonry by Francisco Samper, begin-
ning in 1565. Particularly noteworthy is its façade, which features a vaulted
niche with the image of the Purísima Concepción.
The end of this streets leads into the Plaza de la Encina, a traditional site of
commercial activity. The Basilica de la Encina stands on the square and is
one of the most outstanding religious buildings in the city. The church was
built in the Renaissance style in 1573, while its baroque tower dates from
later, from 1614. Inside, as well as the carving of the Virgen de la Encina,
some reredos can be seen, among which the high altar is outstanding, the
work of Mateo Flores in the 17th century.
At the bottom end of the historic quarter is the Hospital de la Reina, Renais-
sance in style, and the baroque church of San Andrés, which houses a Christ
of the Knights Templar.

MUSEUM OF EL BIERZO
It is worth visiting the Museum of El Bierzo, located in Calle del Reloj, in
the building which was the former prison. Its facilities provide an introduc-
tion to the historic legacy of Ponferrada and the surrounding area displaying
objects, tools and various works of art. The ground floor of the museum,
dedicated to primitive settlements from the Lower Paleolithic age to the end
of the Roman period, has a collection of stone tools, ceramics and other
pieces. Outstanding from this period is a room devoted to the hill-forts, small
pre-Roman settlements which were established in large numbers all over the
area.
From the Middle Ages, the Museum preserves a valuable collection of sculp-
ture, paintings and precious metalwork. The socio-economic changes experi-
enced in El Bierzo in recent centuries, and especially the development of the
mining industry, are also featured in this exhibition. The tour of the mu-
seum's premises ends in rooms relating to different aspects of the region such
as the landscape, the fauna and the flora.

SURROUNDING AREA
On the outskirts of Ponferrada is another of its architectural gems. This is the
Church of Santo Tomás de las Ollas, a Mozarab temple built in the 10th cen-
tury, rectangular in shape and with a Romanesque main front (12th century).

88
Particularly noteworthy inside is the Main Chapel, an original work formed
by nine horseshoe arches crowned by an irregular polygon of eleven sides.
The surrounding area of Ponferrada has other places of interest to visit. One
of them is the Monastery of San Pedro de Montes, whose construction dates
from the 7th century, although it was remodelled on several occasions. Out-
standing is the monastic church, which is Romanesque with subsequent 18th-
century additions. It has a basilica plan, with three naves and houses several
reredos and images inside.
Several kilometers to the south is the church of Santiago de Peñalba, belong-
ing to the monastery founded by San Genadio in the 9th century. The temple,
built in the Mozarab style, has a single nave with two adjoining chapels con-
nected by horseshoe arches.
Ponferrada is on the route of the Pilgrim's Route to Santiago de Compostela,
which crosses the province of León and passes places such as Hospital de
Órbigo, Astorga, Cacabelos, the Monastery of San Miguel de las Dueñas or
Villafranca del Bierzo. This last place provides the option of staying in the
Parador de Turismo.
The province of León has in its territory one of the main natural attractions
of the entire Cantabrian mountain range: the Picos de Europa National Park,
a space which is shared with Asturias and Cantabria. The walk through the
Cares gorge or the Naranco de Bulnes mountain offer some of the most spec-
tacular landscapes in the Picos de Europa.
Las Médulas form a singular landscape of reddish earth which is a reminder
of the extraction of gold carried out in the area by the Romans from the 9st
century AD.
As the capital of El Bierzo, Ponferrada is a magnificent shop window for the
region's main recipes. Outstanding is the botillo, thick pork sausage mari-
nated and smoked and served with "cachelos" (boiled potatoes) and vegeta-
bles. This dish must be washed down with Bierzo wines, which have their
own Designation of Origin standard.

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 34. SAMOS

Samos is another obligatory staging post on the Pilgrim's Route to Santiago

de Compostela. The history of the town is closely linked to that of the
monastery; since the peacefulness of these lands made it an ideal place for
prayer and retreat.

SAMOS MONASTERY
The monastery of San Xian de Samos, built on the banks of the river Sarriá -
also called the Ouribio- was the site of a community of hermits favoured by
the religious hierarchy and who gradually built the monastery which eclipses
the rest of the town. The monastery, which has been Benedictine since the
12th century, is a compendium of styles, combining Romanesque, Gothic,
Renaissance and baroque structures. Samos was where Father Feijoo, a na-
tive of Ourense who died in the 18th century and whose memory forms part
of the history of Galicia, lived and taught.
The monastery was almost burnt to the ground by fire at the beginning of the
20th century. But fortunately it was rebuilt and visitors can still stroll through
the cloisters: one named after Feijoo and other called Nereidas (sea nymphs).
You will also find several churches, chapels and Galician country houses in
the area.

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 35. PORTOMARIN

The reservoir of Belesar, on the river Miño, flooded the old village of Por-
tomarín. Its main historic buildings were rescued stone by stone: they are the
Romanesque church of San Pedro and the monumental church fortress of San
Nicolás.
Some of the old medieval palaces were also placed in the main square of the
new town of Portomarín, located on top of a hill. The medieval bridge stayed
underwater and all that remains is the base and one of its arches at the en-
trance to the new bridge.
The old Portomarín was formed by the medieval hamlets of San Pedro and
San Nicolás (today San Xoán). The church of San Xoán or San Nicolao was
built at the end of the 12th century by followers of the Maestro Mateo, -the
façade is influenced by the Portico of Glory at the Cathedral of Santiago-,
and has been declared a Historic-Artistic Site. The nearby church of San Pe-
dro, which is Romanesque, dates from the 10th century. Close to the church
of San Pedro are the palaces of Berbetoros and of the Marquis of Paredes.
Out of town and away from the main group of historic buildings, it is worth
mentioning other Romanesque churches: Cortapezas and Castromaior.
Prominent among the popular architecture are the old slate houses and the
traditional wine cellars, very common in this wine-growing region. But in
Portomarín it is not the wine which is famous, but rather the local liquor, so
renowed that they dedicate the Festa da Augardente to it on Easter Sunday.

SAN JUAN CHURCH

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The church of San Juan, today the parish church of San Nicolás, is a fortress-
monument that belonged to the Order of Saint John of Jerusalem. It has a sin-
gle nave in five sections, covered by a pointed barrel vault and finished with
a semicircular apse with an oven vault. Inside, the two side chapels of the
apse, with canopies, where mural paintings are preserved, are outstanding.

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 36. PALAS DE REI

The history of Palas de Rei appears closely linked to military culture, which
retains many of the archaeological remains (dolmens and forts) from from a
remote settlement. According to tradition, the city owes its name "Pallatium
regis" to the palace of the Visigothic king Witiza, who reigned between 702
and 710. In Palas, Witiza would have killed the Duke of Galicia, Favila, fa-
ther of Don Pelayo.

SAN SALVADOR CHURCH

It is a Romanesque church, built in the 12th century. The outstanding fea-
tures inside are the 14th-century mural paintings. In 1184, the Knights of the
Military Order of Santiago established themselves here.

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 37. MELIDE

The history of this village, since its foundation in the 10th century, is deeply
linked with the pilgrimage to Santiago de Compostela as it is on the path of
the Camino de Santiago.
In 1320 Melide obtained from the Archbishop of Santiago, Berenguel de
Landoira, the privilege of building up a castle, fortressing the village, and
charging taxes. In 1467 "os irmandiños" opposed the Archbishop Alonso II
Fonseca and started a series of fights against its power. During this riot the
walls of the village were destroyed as well as the castle. After this, the
Catholic Monarchs banned the construction of any fortress in the village.
During the last few centuries, like many villages in inner Galicia, it has suf-
fered from a vast emigration of its people to Cuba and Argentina up to
1950s, and then to Switzerland, the United Kingdom, and to other cities of
Spain such as Barcelona, Bilbao and A Coruña.

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 38. SANTIAGO

CATHEDRAL
The Cathedral of Santiago is the end of the pilgrim's journey and its monu-
mentality is worthy of such a deed. It is a key Romanesque work in which
numerous architectonic styles converge.
The construction of the cathedral began in the year 1075, during the reign of
Alfonso VI and was promoted by Bishop Diego Peláez. Work was carried
out under the orders of maestro Esteban on the remains of old temples raised
in devotion to the saint. It was built with three naves and a Latin cross plan,
on a surface area of around 8,300 square metres. Its multiple extensions have
increased the different architectonic styles in the building (Romanesque,
Gothic, Baroque, Plateresque and Neoclassical). The Portico de la Gloria is
the main entrance. It was constructed by Maestro Mateo in 1188 and houses
hundreds of figures representing the Apocalypse. In it, the figure of the
Apostle St. James appears to welcome the pilgrims from the Mullion, sus-
tained on a column. The Obradoiro façade of the Cathedral was the work of
Fernando de Casas y Novoa, and it is considered one of the greatest expres -
sions of the Spanish Baroque period. The Main Altar is also in the Baroque
style and the crypt of the Apostle St. James is located beneath it.

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COLLEGIATE CHURCH OF SANTA MARIA LA REAL DE SAR
It is of particular interest for its slanting columns.
It was built in the 12th century on the outskirts of the city. Interesting ele -
ments on the exterior are the small tower on the façade and the sturdy flying
buttresses built between the 17th and 18th centuries. It has a basilical floor
plan with three naves, separated by composite pillars decorated with plant
motifs. It is covered with barrel vaults reinforced by rib arches. The sanctu-
ary of the collegiate church has three apses; the central one is polygonal and
the two side ones are semicircular. The interior lighting comes from the side
openings and the rose window on the façade. Elements worth noting in the
cloister include the decoration on the capitals, made by the workshop of
Master Mateo.

HOSTAL DE LOS REYES CATOLICOS

Founded by the Catholic Monarchs as a hostel for pilgrims who had ended
the Way of Saint James, it is today one of the most outstanding monuments
in the famous Obradoiro square in Santiago de Compostela.
It was founded in 1499, and was used as lodgings for the pilgrims who had
completed their long journey along the Way of Saint James and had finally
reached their destination. This beautiful Gothic building has today been con-
verted into a Parador hotel. One of the highlights is the beautiful Plateresque
façade with its grilles which dates from the 16th century. Either side of the
doorway there are two medallions bearing likenesses of the Catholic Mon-
archs. It has four interior courtyards. One of its most outstanding features is
the lovely chapel of Enrique de Egas.

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 39. FINISTERRE

Cape Finisterre (Galician: Cabo Fisterra) is a rock-bound peninsula on the

west coast of Galicia, Spain.[1]
Cape Finisterre is sometimes said to be the westernmost point of the Iberian
Peninsula. However, this is not true, since Cabo da Roca, in Portugal, actu-
ally the westernmost point of Continental Europe, is about 16.5 km farther
west. The name of Cape Finisterre, like that of Finistère in France, derives
from the Latin name Finisterrae, which literally means "Land's End".
Monte Facho is the name of the mountain on Cape Finisterre, which has a
peak that is 238 meters above sea level. A prominent lighthouse is at the top
of Monte Facho. The seaside town of Fisterra is nearby.
Cape Finisterre is the final destination for many pilgrims on the Way of St.
James. Cape Finisterre is about a 90-km walk from Santiago de Compostela.
It is a recent tradition for pilgrims to burn their clothes or boots at the end of
their journey at Cape Finisterre.
The origin of the pilgrimage to Finisterre is not certain. However, it is be-
lieved to date from pre-Christian times and was possibly associated with Fin-
isterre's status as the "edge of the world". The tradition continued in me-
dieval times, when "hospitals" were established to cater to pilgrims along the
route from Santiago de Compostela to Finisterre.
Some pilgrims continue on to Muxia, which is a day's walk away.

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LDVM

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