Roman Bridge

Seated on a riverside, and to the shade of their choperas, it rests in sweet eddy of waters, the town of Hospital of Órbigo on whose magnificent Bridge, a gentleman leonés played for the XV century one of the last Medieval Tournaments.

For the coming generations their feats have been recorded on the same place where they happened, that is to say, on the Roman Bridge that seems to ride on the foamy and playful waters of the river Órbigo. For him they happened, and today they still continue passing countless national pilgrims and of outside of our frontiers, with the single illusion of being prostrated before the Apostle’s tomb, in Santiago of Compostela.

It is that on the way to pilgrimage, the one that passes skirting the facade of our beautiful parochial church of Saint John the Baptist, not without before to have greeted, to their skillful one, the reed-mace of the Church of the Bridge that you/they liken a there up and the other one here below, two sentries veiling this onlooker step of stones has more than enough channel of waters.

Cathedral Santa María

The most luminous and colourful cathedral in the region. It is a perfect example of French Gothic architecture, with pure ascending lines and an exquisite series of stained glass windows letting cascades of light into the building. It houses a unique collection: 737 stained glass windows with a total surface of 1,765 m2 made between the 13th and the 20th centuries. The Pulchra Leonina, a Latin appellation that defines the cathedral as beautiful, it was started in the 12th century an intended to be the largest cathedral of the time. This did not happen, but instead it became one of the most beautiful Spanish Gothic churches.

It was built on the site of a previous Roman hot baths of the 2nd century that, 800 years later, the emblematic king Ordoño II converted into a palace. Its doors, its impressive rose window, the choir (one of the oldest in the country) and the delicacy of some figures, like the venerated Virgen Blanca presiding over the constant traffic of visitors, are some of the not-to-be-missed features of this cathedral.

The León cathedral, dedicated to Santa María de la Regla, was declared of Cultural Interest in 1844. It is known as the “Pulchra Leonina” and it is a masterpiece of the Gothic style dominating the mid 13th century, by master architect Enrique. In the late 16th century it was virtually finished. It was erected on the site of Roman hot baths dating from the 2nd century, which were converted into a royal castle by king Ordoño II in the 10th century.

One of the most attractive features is the main front and the three towers (two belfries and one clock tower). The interior represents a beautiful combination of architecture, painting, sculpture and other arts. It must not be forgotten that the Renaissance retrochoir contains alabaster sculptures and that the choir was built by three great artists: Jusquin, Copin of Holland and Juan de Malinas. Particularly noteworthy is the Plateresque screen in the wall behind the sepulchre of king Ordoño. 

It has three portals decorated with sculptures situated in the pointed arches between the two towers. The central section has a large rose window. Particularly outstanding is the image of the Virgen Blanca and the “Locus Apellatiore”, where justice was imparted.

Its almost 1,800 square metres of stained glass windows are regarded as one of the best attained glass window work in the world (13th – 15th centuries).

In the Main Chapel there is an altarpiece by Nicolás Francés (15th century) and a silver urn containing the relics of San Froilán, the town’s patron saint, made by Enrique de Arfe. The 13th-15th century cloister contains singular sculpted details in the capitals, friezes and ledges.

The Cathedral Museum houses a large collection of sacred art. There are almost 1,500 pieces including 50 Romanesque sculptures of the Virgin, dating from pre-historic times to the 18th century (Neoclassicism) with works by Juan de Juni, Gregorio Fernández, Mateo Cerezo, a triptych of the School of Antwerp, a Mozarabic bible and numerous codices.

Sahagún is a town in the province of León, Spain. It is the main town of the Leonese section of the Tierra de Campos comarca.

Sahagún is notable for containing some of the earliest examples of the mudéjar style of architecture. It lies on the Way of St. James.

Benedictine Monastery

The initial town arose due to the adjacent Benedictine Monastery consecrated to the saints Facundus and Primitivus. The name Sahagúnputatively derives from an abbreviation and variation on the name San Fagun (“Saint Facundus”).

The monastery acquired importance during the reign of Alfonso III de Asturias, 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 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.

Church of San Martín

San Martín de Tours is a church in Frómista, province of Palencia, Spain. Built in the 11th century in Romanesque style, it is located across theWay of Santiago.

The church was begun in the second half of the 11th century by will of queen Mayor of Castile, as part of a monastery, which has disappeared. The church is mentioned for the first time in 1066, and is stylistically connected to other Romanesque edifices in the province, such as the Cathedral of Jaca.

In 1118 it was assigned to the Benedictine priory of San Zoilo at Carrión de los Condes. The monks abandoned the site in the 13th century, giving it to Don Juan Gómez de Manzanedo. During several changes of ownership in the following centuries, the church received several in the 15th century: a bell tower over the original dome, and other units which acted as sacristy. After the Middle Ages it started to decay, and in the 19th century it was declared no more fit for celebrations.

In 1894 it was declared a National Monument and a restoration was started. This brought the church back to its original state, removing numerous later additions. The church was reopened to the public in 1904.

St. Martin has a typical Romanesque exterior. The three-level façade shows the difference height of the nave and aisles of the interior; at the sides are two cylindrical bell towers, while, in correspondence of the crossing, is an octagonal dome. The nave and the aisle, covered with barrel vaults, end with three apses.

The church has four entrances, one for each of its sides. However, only two are currently opened. The walls have a solid appearance, with few windows enclosed in rounded arches. All the four sides are topped by some 300 modillions with human, animals and fantastic figures, including some erotic scenes.Above the main portal is achrismon with six arms.

The interior is on the basilica plan, with four bays separated by piers. The apses have several medieval sculptures, including a 13th century Christ in the nave. Some of the capitals have motifs of vegetables, human figures or depictions of stories, such as that of Adam and Eve or the Fox and the Grape.

The first monument are located pilgrims walk the Camino de Santiago on entering the village Castrojeriz are the ruins of General Hospital or St Anton San Antonio Abad.

San Anton was the king’s palace and Huerta Pedro I of Castile and later embraced by the order of the Anthony, which was disbanded at the end of the eighteenth century. The problem of the Confiscation of the nineteenth century devoted his ruin final.

This monastery was under the protection real, it is demonstrating the existence of the actual shields portico of the church and the keys to the vaults. Founded by Alfonso VII in 1146 but the leftovers from this impressive building of the XIV century.

The Camino de Santiago passes under the two arches of the portico century high XVI protecting the entrance to the church, ornamented with a cover of archivolts, fully furnished with sculptures in each of its segments. You can still distinguish the two cabinets that were carried out on the porch for food of the pilgrims arriving at odd hours.

In the church, which was three naves, was practiced cure of the “evil of fire or fire of St. Anthony,” a disease widespread in the Middle Ages, caused by eating cereal ergot fungus developed in the Rye.

Considered one of the landmarks of historic interest in the Camino de Santiago, we find the beautiful village of Castrojeriz. Its rich history may take up consideration as castro Visigoth, or perhaps, also, Roman fort, (they say was founded by Julius Caesar) in whose castle was developed important battles between Christians and Moors.

In the year 882 a Foramontanos captain, Nuno Nunez, repopulated the old village destroyed by the Arabs. In the 974 was the first of the Castilian privileges by Count Garcia Fernandez and Alfonso VII in 1131 could annexation to the crown of Castilla.

Its old town, situated in the middle-lower slope, constitutes one of the longest urban routes by which the Camino de Santiago runs nearly a mile long. At a time when he placed monumental churches, three convents, hospitals (had up to seven), guest houses, inns and major shopping outlets in which abundant viands brought from overseas.

This is how one of the most splendid moments of its history, emerged with the rise of the Camino de Santiago. In medieval times Castrojeriz becomes a people-road with a long run at the foot of the castle from which you can see more of the neighboring towns such as Hontanas, Villasilos, Villaveta, Villasandino, Castrillo de Murcia, Castrillo Matajudíos, Hinestrosa or Pedrosa del Príncipe.

Today has a census of 1,105 people, although as in most of our Castilian villages, their population increases significantly in summer and decreases, alas, ostensibly with the rigors of winter.

Its old town has emblazoned houses like the Casa del Cordón or the Palace of the Gutiérrez-Varona, an example of a Renaissance palace. It also has some houses that recall the traditional architecture of the place, among which the former synagogue (now Inn on Winery) and many houses of stone and mud or adobe as the Ethnographic Museum, with an interesting winery, farm implements and machines.

In the so-called “neighborhood” of the Collegiate Church of Santa Maria del Manzano, this impressive temple is built between the ninth and thirteenth centuries, within which is stored Castrojeriz patron, the Virgen del Manzano, beautiful polychrome Gothic carving in stone which was sung by Alfonso X the Wise in one of the miracles of the Cantigas. It also has two separate altars of baroque-rococo style with a Santiago pilgrim and some paintings by Mengs.

Plaza Mayor, which appears in an arcaded sides, noting, in one of its ends, the council with a curious clock tower. In the ancient church of San Esteban is just some remains of which recently built a new shelter for pilgrims. 

Towards the end of the village and along the longitudinal path of the main street, we find the church-fortress of San Juan Bautista, gothic design, built between the thirteenth and sixteenth centuries, which has a splendid Gothic cloister with a beautiful Mudejar.  

Among other monuments that Castrojeriz account, we will also highlight the Santa Clara Monastery, founded by Alfonso X the Wise, which has a fourteenth-century Gothic church and some baroque tables. Today it is inhabited by the Poor Clares, whose tasks, besides the mystical, highlights the interesting task of life just a little taste with delicious pastries and cakes. 

Cathedral

The Lady of Burgos (Virgin Mary) was begun in the 13th century at the same time as the great cathedrals of the Ile-de-France and was completed in the 15th and 16th centuries. The entire history of Gothic art is summed up in its superb architecture and its unique collection of works of art, including paintings, choir stalls, reredos, tombs and stained-glass windows.

Burgos Cathedral, an outstanding example of an integral Gothic cathedral, with church, cloister and annexes. has exerted, at different times, a considerable influence on the evolution of architecture and the plastic arts. It bears witness to the creative genius of many architects, sculptors, and craftsmen. It is sufficient to call to mind its role in the diffusion in Spain of the forms of French Gothic art of the 13th century, and the international importance of the workshop in the 15th and 16th centuries where artists from the Rhineland, Burgundy and Flanders trained Spanish architects and sculptors, thus creating one of the most flourishing schools of the end of the Middle Ages.

Begun in 1221 and completed in 1567, Santa María de Burgos is a striking summary of the evolution of Gothic architecture. The body of the work, undertaken through the initiative of Bishop Mauricio in the reign of Ferdinand III ‘the Holy’, was rapidly carried out: a first campaign, the most important, was completed in 1293. The plan of the cathedral is based on a Latin cross of pleasing proportions. The three-storey elevation, the vaulting, and the tracery of the windows are closely related to contemporary models of the north of France. The portals of the transept (the Puerta del Sarmental to the south and the Puerta de la Coronería to the north) may also be compared with the great sculpted ensembles of the French royal domain, while the enamelled brass tomb of Bishop Mauricio resembles the so-called Limoges goldsmith work. Undertaken after the cathedral, the two-storeyed cloister that was completed towards 1280 still fits within the framework of ‘French’ High Gothic.

After a hiatus of some 200 years, work was resumed on the Cathedral of Burgos in the mid-15th century and continued over more than 100 years. These were embellishments of a profuse splendour which have, ever since, assured the world renown of this edifice. The workshop was composed of an international team. Among the most famous architects were Juan de Colonia, soon relieved by his son Simon (towers and open spires of the facade, the Constable’s chapel, the Chapel of Santa Ana) and Felipe de Borgoña, assisted by numerous collaborators (choir, cupola and lantern tower over the transept crossing).

When in 1567 two of these architects, Juan de Vallejo and Juan de Castaneda, completed the prodigious cupola with its starred vaulting, the cathedral of Burgos incorporated one of the greatest concentrations of masterpieces of this last phase of the Gothic: the Puerta della Pellejería (1516) of Francesco de Colonia, the ornamental grill and choir stalls, the grill of the chapel of the Presentation (1519), the retablo of Gil de Siloé in the Constable’s chapel, the retablo of Gil de Siloé and Diego de La Cruz in the chapen of Santa Ana, the staircase of Diego de Siloé in the north transept arm, the tombs of Bishop Alonso de Cartagena, of Bishop Acuña, of Abbot Juan Ortega de Velasco, of the Condestable Pedro Hernández de Velasco and of his wife Doña Mencia de Mendoza, etc. Thereafter, the cathedral continued to be a monument favoured by the arts – the Renaissance retablo of the Capilla Mayor by Rodrigo and Martín de la Haya, Domingo de Berríz and Juan de Anchieta, the tomb of Enrique de Peralta y Cardenas in the chapel of San Enrique, the chapel of Santa Tecla and the trascoro of the 18th century.

The cathedral was declared a World Heritage Site by UNESCO on October 31, 1984. 

Monasterio de San Juan de Ortega

In the 12th century, San Juan de Ortega (Juan de Quintanaortuño), a disciple of Santo Domingo de la Calzada, devoted himself to repairing the path for pilgrims and founded the monastery to provide accommodation for them in the Montes de Oca (De Oca mountains). He established a community of Canon Regulars and he is buried in the monastery, in a beautiful Romanesque tomb, to which Isabel la Católica added a mausoleum.  

The monastery, occupied by Hieronymites from 1432 up to the 19th century “Desamortización” (state appropriation of Church lands), contains a three-apse church from the 12th and 13th centuries, finished in the 15th century. Restored in 1964. 

Admire windows in the central apse, vaults, transverse arches, capitals (Capitel de la Anunciación), a Gothic mausoleum in the church, a Romanesque tomb, two cloisters, one Neoclassical almost in ruins and the other from the 15th century with flattened arches in red stone. 

The baldachin from the 15th century has 6 paintings depicting scenes of the Saint’s life. At the centre of the crypt is the sarcophagus with the remains of San Juan, and on one side the Romanesque tomb. 

The set is complete with the Capilla de San Nicolás, the lattice work from the 16th century with remains of altarpieces and the guesthouse, with a 16th century yard.  

Monastery of Santa María La Real

The monastery was founded by king García Sánchez III “the one from Nájera” and his wife Doña Estafanía de Foix who commissioned its construction in 1052. The origin of its foundation are misted in the legend which tells how the king was out hunting and chased his prey into a cave where he found a mysterious image of the Virgin and a jar of lilies, a bell and a lantern. Some time later the king reconquered the Lower Rioja city of Calahorra from the Moors and built the monastery of Santa María La Real as an offering to the Virgin for her help. At the same time he set up a Military Order of the Knights of the Terrace or of the Jug, one of the most ancient orders in Spain.

In 1079 Alfonso VI of Castile incorporated the monastery into the Benedictine order of Cluny together with the group of clergy who lived in it from its creation and who remained until the disendowment of Mendizábal in 1835. Since 1895 a community of Franciscan friars have run the monastery.

The altarpiece of the main chapel dates from the late 17th c. and is Baroque in style.In the centre the Romanesque carving of Santa María La Real holding the infant Christ on her left knee is of outstanding interest.

The early 16th c. choir is in “Catholic Monarch” style and here you can see the influence of the late Gothic and early Renaissance era. The carved choirstalls in walnut are a masterpiece of florid Gothic. In the abbot’s throne we can admire the polychrome figure of King Don García.

The cloister was begun in the early 16th c., known as the Cloister of the Knights, was for centuries the burial place of many nobles. Among them we should mention Diego López de Haro with a recumbent sculpture from the 13th c. and at his feet, the Gothic tomb of his wife, Doña Toda Pérez de Azagra. The harmonious mixture of styles such as the florid Gothic of the vaulting and the Plateresque of the tracery arches have created a surprising work of architecture well worth a visit.

Monastery of Santa Elena

Doña Aldonza Manrique de Lara, daughter of the Dukes of Nájera founded the monastery in the mid 16th c., outside the city. Nothing remains of this building and the current complex consists in church, cloister and other monastery buildings inside the cloister.

The monastery church is the only part open to visitors. It dates from the 17 th century and is the work of the stonemasons Pedro Ezquerra de Rozas and José de la Puente Liermo. Strung along the nave you can see various altarpieces of great beauty, two of them in Rococo style in the arms of the transept, one of them with the image of the Conception from the mid 17th c., and the other with that of Santa Clara. The main altarpiece in baroque style is made up of a base, a single block of three vertical series of panels and top piece, the work of Mateo Rubalcaba, in the centre of the body is a fine carving of Santa Elena.

Wrought iron railings at the foot of the church composed of two parts dating from 1660 separate the part open to the public from the closed order where nowadays the Franciscan Clarisa nuns live.

Cathedral

The cathedral is a stupendous model of proto-gothic architecture. Organised like a typical pilgrims’ church, it has three naves, the central one of double width and higher, crossed by the transept and with a girola which originally would have had three apse chapels. In the early 12th century it was enlarged to convert the temple into a fortified church, the only example of this type we can see in La Rioja. The main altarpiece is a gem of Spanish Renaissance sculpture and a work by Damián Forment. The cathedral has a Romanesque end with 12th century reliefs and capitals, including a rigorous relief of David, as the psalmist king.

Inside, what most catches your attention is the hen house in which a rooster and a hen live as a reminder of the miracle of the hanged pilgrim.