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facetas

12 results

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Alfaro

In Plaza España, at the top of a series of uninterrupted steps in the shape of a shell, rises the brick façade, a late 17th century Aragon Baroque masterpiece. It is flanked by two 50 m towers. Between the two, a central section. The lower part is divided by two large pillars.

Between them, three large arcades sheltering the monumental doorways corresponding to the main nave and the two side ones. The central part consists of a gallery featuring nine semicircular arches. The whole ensemble is crowned with the imafronte (elaborate main façade) of the main nave.

The towers consist of four sections, the first three square, the fourth octagonal. On each section, three pillars and eight, respectively, which lead to openings topped by semi-circular arches. The towers are finished off by spires.

Inside, a rectangular floorplan, there are three naves of equal height, separated by a series of brick pillars. from these pillars and the walls rise semicircular arches which support the vaults. Among the buttresses there is a long series of chapels dedicated to: Nuestra Señora del Rosario (at the head of the church), San José, de los Desposorios de Nuestra Señora, San Joaquín and Santa Ana, Santo Entierro, San Esteban, San Juan Bautista, Niño Jesús, Amor Hermoso, de las Animas, San Roque (with a beautiful Baroque sculpture of the saint) and Los Araciel (we must highlight the delicately carved and highly expressive sculpture of Our Lady of the Sorrows).

Special mention must also be made of:

Choir: access through a beautiful and monumental Baroque wrought iron railing, work of Sebastián de Medina. It is made of walnut wood and very profusely decorated. Two series of Saints are aligned following the order of the Litany, on two choir stalls, the upper consisting of 18 stalls plus the Abbot's; the lower 13 plus the semanero. It is a magnificent work by the sculptor Rubalcaba.

Main altarpiece of Saint Michael Archangel. Altarpiece-tabernacle in the shape of a large Baroque processional monstrance. The whole ensemble is crowned by a beautiful sculpture by Gregorio Fernández.

Sacristía. Pieces of great value are conserved. For example, a Baroque style, 17th century ivory crucifix, with an ebony base and details in silver.

Alfaro

In Plaza España, at the top of a series of uninterrupted steps in the shape of a shell, rises the brick façade, a late 17th century Aragon Baroque masterpiece. It is flanked by two 50 m towers. Between the two, a central section. The lower part is divided by two large pillars.

Between them, three large arcades sheltering the monumental doorways corresponding to the main nave and the two side ones. The central part consists of a gallery featuring nine semicircular arches. The whole ensemble is crowned with the imafronte (elaborate main façade) of the main nave.

The towers consist of four sections, the first three square, the fourth octagonal. On each section, three pillars and eight, respectively, which lead to openings topped by semi-circular arches. The towers are finished off by spires.

Inside, a rectangular floorplan, there are three naves of equal height, separated by a series of brick pillars. from these pillars and the walls rise semicircular arches which support the vaults. Among the buttresses there is a long series of chapels dedicated to: Nuestra Señora del Rosario (at the head of the church), San José, de los Desposorios de Nuestra Señora, San Joaquín and Santa Ana, Santo Entierro, San Esteban, San Juan Bautista, Niño Jesús, Amor Hermoso, de las Animas, San Roque (with a beautiful Baroque sculpture of the saint) and Los Araciel (we must highlight the delicately carved and highly expressive sculpture of Our Lady of the Sorrows).

Special mention must also be made of:

Choir: access through a beautiful and monumental Baroque wrought iron railing, work of Sebastián de Medina. It is made of walnut wood and very profusely decorated. Two series of Saints are aligned following the order of the Litany, on two choir stalls, the upper consisting of 18 stalls plus the Abbot's; the lower 13 plus the semanero. It is a magnificent work by the sculptor Rubalcaba.

Main altarpiece of Saint Michael Archangel. Altarpiece-tabernacle in the shape of a large Baroque processional monstrance. The whole ensemble is crowned by a beautiful sculpture by Gregorio Fernández.

Sacristía. Pieces of great value are conserved. For example, a Baroque style, 17th century ivory crucifix, with an ebony base and details in silver.

Catedral de Calahorra

tipo de documento Landscapes

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Calahorra

It is in the suburb, on the banks of the Cidacos River, guarded by the Bishop's Palace and Paseo de las Bolas.Origins. Several churches had previously been built on this site before. Renovation started on the former one towards the end of the 15th century and was not completed until 1900 with the placement of the high altarpiece, since the previous one was destroyed in the fire of the 13 June 1900. A large Atrium precedes the Cathedral. In the centre of the floor, the rose of the winds.The façade: Baroque for some, neoclassical for others, built by the Brothers Raón at the end of the 18th century. It is conceived as an altarpiece of three bodies in a triangular pediment.It is original, you must go down a few steps to enter it, perhaps because the previous churches had a doorway at the level of the river. When there was flooding in Cidacos, the Cathedral would be flooded and this, together with the building of the road or bridge, led to protection being built, raising the doors. This would explain these steps.As soon as you enter the Cathedral, you are facing the Retablo de los Reyes, rococo-style. It consists of one body, three sections and a top section. Medallion of the Epiphany, relief of St Jerome and Cristo de la Agonía (which is carried in procession at Easter) are the works of Bazcardo.

Calahorra

It is in the suburb, on the banks of the Cidacos River, guarded by the Bishop's Palace and Paseo de las Bolas.Origins. Several churches had previously been built on this site before. Renovation started on the former one towards the end of the 15th century and was not completed until 1900 with the placement of the high altarpiece, since the previous one was destroyed in the fire of the 13 June 1900. A large Atrium precedes the Cathedral. In the centre of the floor, the rose of the winds.The façade: Baroque for some, neoclassical for others, built by the Brothers Raón at the end of the 18th century. It is conceived as an altarpiece of three bodies in a triangular pediment.It is original, you must go down a few steps to enter it, perhaps because the previous churches had a doorway at the level of the river. When there was flooding in Cidacos, the Cathedral would be flooded and this, together with the building of the road or bridge, led to protection being built, raising the doors. This would explain these steps.As soon as you enter the Cathedral, you are facing the Retablo de los Reyes, rococo-style. It consists of one body, three sections and a top section. Medallion of the Epiphany, relief of St Jerome and Cristo de la Agonía (which is carried in procession at Easter) are the works of Bazcardo.

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Haro

Building in honour of Santo Tomás Apóstol. Listed as a Cultural Interest Asset on 4 June 1931. Situated at the foot of La Mota hill, the primitive city centre, now known as "La Atalaya", built under the protection of the Constables of Castile. It was built on a former ashlar building. The living floor or German 'hallen kirche' is divided into three naves of equal height without transept with fifteen vaults with stellar ribbing and different geometric arches over pointed arches and semi-detached columns and pilasters. The choir and altarpiece are well worth seeing. In the choir, we can see the late 17th century choir stalls, the 1798 organ by Domingo Garagalza and the great altarpiece of the high altar. It is the largest in La Rioja and dates from 1730. It is made of wood painted with great decoration that gives the feeling of filling all the space; the "Horror Vacui". The exterior boasts a main portal under an arch with scenes of the Calvary and imagery of the Apostles and the Eternal Father together with the Velasco coats of arms. It is a work in plateresque style by Felipe Vigarny, one of the most prominent sculptors of the Spanish Renaissance. Decoration with candlesticks, grotesques, and garlands made of stone and restored in 1999, introduces the new sculptural style of the Italian Renaissance Court in La Rioja and structurally represents the transition from the old church to the new church in the manner of triumphal arch. But what is undoubtedly a very special component of this ensemble is the tower, which set the example for many others, such as those of Santa María la Redonda in Logroño (1742) or the towers of the Cathedral of Santo Domingo de la Calzada (1765). The lower part is the work of Juan de Raón 1671, in Gothic style, with a square shape. The upper part is more in the baroque style. It is the work of Agustín Ruiz de Azcárraga and dates to 1720. It has an octagonal body of bells which is crowned by a cupola with a lantern.

Haro

Building in honour of Santo Tomás Apóstol. Listed as a Cultural Interest Asset on 4 June 1931. Situated at the foot of La Mota hill, the primitive city centre, now known as "La Atalaya", built under the protection of the Constables of Castile. It was built on a former ashlar building. The living floor or German 'hallen kirche' is divided into three naves of equal height without transept with fifteen vaults with stellar ribbing and different geometric arches over pointed arches and semi-detached columns and pilasters. The choir and altarpiece are well worth seeing. In the choir, we can see the late 17th century choir stalls, the 1798 organ by Domingo Garagalza and the great altarpiece of the high altar. It is the largest in La Rioja and dates from 1730. It is made of wood painted with great decoration that gives the feeling of filling all the space; the "Horror Vacui". The exterior boasts a main portal under an arch with scenes of the Calvary and imagery of the Apostles and the Eternal Father together with the Velasco coats of arms. It is a work in plateresque style by Felipe Vigarny, one of the most prominent sculptors of the Spanish Renaissance. Decoration with candlesticks, grotesques, and garlands made of stone and restored in 1999, introduces the new sculptural style of the Italian Renaissance Court in La Rioja and structurally represents the transition from the old church to the new church in the manner of triumphal arch. But what is undoubtedly a very special component of this ensemble is the tower, which set the example for many others, such as those of Santa María la Redonda in Logroño (1742) or the towers of the Cathedral of Santo Domingo de la Calzada (1765). The lower part is the work of Juan de Raón 1671, in Gothic style, with a square shape. The upper part is more in the baroque style. It is the work of Agustín Ruiz de Azcárraga and dates to 1720. It has an octagonal body of bells which is crowned by a cupola with a lantern.

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Logroño

The Church-Cathedral of Santa María de la Redonda is located on one of the city's main streets, Calle Portales, built on the site of a 12th-century oratory. Work began in the 15th century, being extended and reformed until the 18th. The main facade is sculpted like an altarpiece and closed by a large wrought-iron fence. The towers, known as "las gemelas", (The Twins), an example of the Baroque style in La Rioja, are related with others in La Rioja due to their designer, Martín de Beratúa.divided into three naves separated by large cylindrical columns and ambulatory. The most representative elements are: a picture of the Crucifixion of Christ, attributed to Michelangelo; the tomb of General Espartero and his wife, Dña. Jacinta Martínez de Sicilia; the exceptional wrought iron railings closing the side chapels; and the Santo Sepulcro (Holy Sepulchre) in the Chapel of Nuestra Señora de los Ángeles, with splendid details in tortoiseshell, filigree silver and wood. 

Logroño

The Church-Cathedral of Santa María de la Redonda is located on one of the city's main streets, Calle Portales, built on the site of a 12th-century oratory. Work began in the 15th century, being extended and reformed until the 18th. The main facade is sculpted like an altarpiece and closed by a large wrought-iron fence. The towers, known as "las gemelas", (The Twins), an example of the Baroque style in La Rioja, are related with others in La Rioja due to their designer, Martín de Beratúa.divided into three naves separated by large cylindrical columns and ambulatory. The most representative elements are: a picture of the Crucifixion of Christ, attributed to Michelangelo; the tomb of General Espartero and his wife, Dña. Jacinta Martínez de Sicilia; the exceptional wrought iron railings closing the side chapels; and the Santo Sepulcro (Holy Sepulchre) in the Chapel of Nuestra Señora de los Ángeles, with splendid details in tortoiseshell, filigree silver and wood. 

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Logroño

The Church of San Bartolomé is the oldest in Logroño. Built of ashlar stone, its elevation corresponds to the 12th century, conserving the central semicircular apse and the decoration on the capitals typical of the churches along St James' Way. To be especially highlighted is the carefully carved ogival Gothic doorway. Its Tower was part of the city's defensive system, part of the walls that were extended as the town centre grew. Thus, the first two sections of the tower are of ashlar like the Church and the wall, and the next two are of stone decorated with small Mozarabic tiles.

Logroño

The Church of San Bartolomé is the oldest in Logroño. Built of ashlar stone, its elevation corresponds to the 12th century, conserving the central semicircular apse and the decoration on the capitals typical of the churches along St James' Way. To be especially highlighted is the carefully carved ogival Gothic doorway. Its Tower was part of the city's defensive system, part of the walls that were extended as the town centre grew. Thus, the first two sections of the tower are of ashlar like the Church and the wall, and the next two are of stone decorated with small Mozarabic tiles.

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Logroño

The Imperial Church of Santa María de Palacio, located in the heart of the old town, was founded in the 11th century, extended and renovated in the 16th, and rebuilt in the 18th. Divided into three naves, annexed are the cloister and the Chapel of Nuestra Señora de la Antigua. Over the central nave is a lantern popularly known as "la Aguja", (The Needle), the main altarpiece, by Arnao of Brussels, mid 16th century, and the statues of the Virgen del Ebro, Romanesque 12th century, and Virgen de la Antigua.Today its cloister is a part of the Diocesan Museum.

Logroño

The Imperial Church of Santa María de Palacio, located in the heart of the old town, was founded in the 11th century, extended and renovated in the 16th, and rebuilt in the 18th. Divided into three naves, annexed are the cloister and the Chapel of Nuestra Señora de la Antigua. Over the central nave is a lantern popularly known as "la Aguja", (The Needle), the main altarpiece, by Arnao of Brussels, mid 16th century, and the statues of the Virgen del Ebro, Romanesque 12th century, and Virgen de la Antigua.Today its cloister is a part of the Diocesan Museum.

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Logroño

The Church of Santiago el Real is one of the pilgrims' stops. Dated in the 16th century, it is the church most related to the city, where the City Council would meet and the archives were kept. The façade, designed as a triumphal arch (17th century), is decorated with two statues of Saint James (Santiago), one wearing the pilgrim's habit and another Santiago "Matamoros" (St James the Moor-slayer).Next to the Church is the Fuente de Santiago, also known as the "pilgrims' fountain" since here they would stop to rest and cool down.

Logroño

The Church of Santiago el Real is one of the pilgrims' stops. Dated in the 16th century, it is the church most related to the city, where the City Council would meet and the archives were kept. The façade, designed as a triumphal arch (17th century), is decorated with two statues of Saint James (Santiago), one wearing the pilgrim's habit and another Santiago "Matamoros" (St James the Moor-slayer).Next to the Church is the Fuente de Santiago, also known as the "pilgrims' fountain" since here they would stop to rest and cool down.

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San Vicente de la Sonsierra

The archaeological ensemble consists of the shrine of Santa María de la Piscina, a Repoblación necropolis, a village of partial cave dwellings and remains of fortifications and watchtowers. After the restoration of the shrine (1976, 1977 and 1978) excavations were undertaken around it, revealing the existence of a medieval village from the 10th to the 14th centuries. Some tombs are from the second half of the 10th century, which suggests a population prior to the foundation by the Infante Don Ramiro Sánchez, perhaps dating to the Repoblación period. Towards the 14th century it was depopulated because of the Castilian civil war and its inhabitants would later create the nearby village of Peciña, whose name derives from Piscina. The shrine of Santa María de la Piscina is the most complete and beautiful romanesque building preserved in La Rioja. It belongs to the full romanesque period, as the building work was started in the mid-12th century and there are no further additions (except for the coat of arms placed above the south portal around 1537). Its interest lies in that it is the only romanesque chapel in the region that remains in a fairly pure condition and in its early date, as almost all the romanesque in La Rioja is from a later period. It is an ashlar construction consisting of a nave with four aisles with a barrel vault ceiling and three round transverse arches, a rectangular presbytery with a similar ceiling and a semicircular apse covered by a semi-dome. Attached to the north wall of the nave, there is a rectangular chamber covered with quarter vault (possibly a meeting room for landowners) and in the west gable end, there is a square bell tower.

San Vicente de la Sonsierra

The archaeological ensemble consists of the shrine of Santa María de la Piscina, a Repoblación necropolis, a village of partial cave dwellings and remains of fortifications and watchtowers. After the restoration of the shrine (1976, 1977 and 1978) excavations were undertaken around it, revealing the existence of a medieval village from the 10th to the 14th centuries. Some tombs are from the second half of the 10th century, which suggests a population prior to the foundation by the Infante Don Ramiro Sánchez, perhaps dating to the Repoblación period. Towards the 14th century it was depopulated because of the Castilian civil war and its inhabitants would later create the nearby village of Peciña, whose name derives from Piscina. The shrine of Santa María de la Piscina is the most complete and beautiful romanesque building preserved in La Rioja. It belongs to the full romanesque period, as the building work was started in the mid-12th century and there are no further additions (except for the coat of arms placed above the south portal around 1537). Its interest lies in that it is the only romanesque chapel in the region that remains in a fairly pure condition and in its early date, as almost all the romanesque in La Rioja is from a later period. It is an ashlar construction consisting of a nave with four aisles with a barrel vault ceiling and three round transverse arches, a rectangular presbytery with a similar ceiling and a semicircular apse covered by a semi-dome. Attached to the north wall of the nave, there is a rectangular chamber covered with quarter vault (possibly a meeting room for landowners) and in the west gable end, there is a square bell tower.

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San Vicente de la Sonsierra

The parish church of San Vicente de la Sonsierra was built at the beginning of the 16th century within the fortified enclosure of the castle. The architectural style — variously called Late Gothic, Flamboyant Gothic or Catholic Monarchs style— displaced the romanesque and full gothic styles. It is listed as a national monument since 1933. It consists of a nave with four aisles with shallow chapels between the buttresses, and an octagonal or polygonal somewhat narrower east end with seven sides. To the north, the sacristy has a 16th century section and another section which is baroque from the early 18th century. The high choir is on top of vaults with stellar ribbing on vaults of star-shaped vaults. It is is located at the west end, together with as seven-sided Tower. The entrance, located in the second-last section to the south, is flamboyant gothic and it is protected by a baroque portico.

San Vicente de la Sonsierra

The parish church of San Vicente de la Sonsierra was built at the beginning of the 16th century within the fortified enclosure of the castle. The architectural style — variously called Late Gothic, Flamboyant Gothic or Catholic Monarchs style— displaced the romanesque and full gothic styles. It is listed as a national monument since 1933. It consists of a nave with four aisles with shallow chapels between the buttresses, and an octagonal or polygonal somewhat narrower east end with seven sides. To the north, the sacristy has a 16th century section and another section which is baroque from the early 18th century. The high choir is on top of vaults with stellar ribbing on vaults of star-shaped vaults. It is is located at the west end, together with as seven-sided Tower. The entrance, located in the second-last section to the south, is flamboyant gothic and it is protected by a baroque portico.

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Santo Domingo de la Calzada

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.

Santo Domingo de la Calzada

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.

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Tricio

It is the most ancient religious monument of La Rioja. Its origin was a 3rd century Roman mausoleum, which was transformed into a Christian basilica in the 5th century, reusing architectural elements from the ancient Roman city of Tritium Megallum, Tritium the Great, which comprised the current towns of Tricio, Nájera and others.Under the basilica floor 5th and 6th century early Christian tombs were found, as well as some reused Roman sarcophaguses belonging to I to III centuries AD, and other medieval ones; in addition to Roman funerary stelae and another Paleo-Christian one. At the top remains of late 12th century Romanesque paintings can be seen, repainted over the original 5th century early Christian ones.The building has a basilical structure with longitudinal floor plan with three naves and a quadrangular head. The side naves are separated from the central one by arches supported by Corinthian columns made up of fragments of 1st century Roman columns. In the 18th century the interior of the basilica was covered with Baroque plasterwork. The original carving of the Virgen de Arcos, a pre-Romanesque black Virgin, from the 11th century, is now in the parish church of Tricio.

Tricio

It is the most ancient religious monument of La Rioja. Its origin was a 3rd century Roman mausoleum, which was transformed into a Christian basilica in the 5th century, reusing architectural elements from the ancient Roman city of Tritium Megallum, Tritium the Great, which comprised the current towns of Tricio, Nájera and others.Under the basilica floor 5th and 6th century early Christian tombs were found, as well as some reused Roman sarcophaguses belonging to I to III centuries AD, and other medieval ones; in addition to Roman funerary stelae and another Paleo-Christian one. At the top remains of late 12th century Romanesque paintings can be seen, repainted over the original 5th century early Christian ones.The building has a basilical structure with longitudinal floor plan with three naves and a quadrangular head. The side naves are separated from the central one by arches supported by Corinthian columns made up of fragments of 1st century Roman columns. In the 18th century the interior of the basilica was covered with Baroque plasterwork. The original carving of the Virgen de Arcos, a pre-Romanesque black Virgin, from the 11th century, is now in the parish church of Tricio.

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Ventosa

The Church of San Saturnino de Ventosa is on the top of a hill where the village centre is concentrated. Built in ashlar with a Latin cross plan and a rectangular head facing east, it has a single nave. At the foot, attached to the North façade, it has a square tower crowned with an eight facet pyramid, which was built in the 17th century in brick, on the previous ashlar stone base. Its main altarpiece consists of a predella and two sections divided in five vertical parts, completed in the early 17th century, work of the architect Martín de Nalda and the sculptor from Arnedo Antonio de Zárraga, dedicating mainly the first section to San Saturnino and the second to the Virgin Mary; we must also highlight the representation of the Holy Trinity at the top and the Four Evangelists on the base. Among the religious images of worship, we can highlight: the 14th-century statue of recumbent Christ, Saint Roque (16th century) and St John the Baptist (18th century).

Ventosa

The Church of San Saturnino de Ventosa is on the top of a hill where the village centre is concentrated. Built in ashlar with a Latin cross plan and a rectangular head facing east, it has a single nave. At the foot, attached to the North façade, it has a square tower crowned with an eight facet pyramid, which was built in the 17th century in brick, on the previous ashlar stone base. Its main altarpiece consists of a predella and two sections divided in five vertical parts, completed in the early 17th century, work of the architect Martín de Nalda and the sculptor from Arnedo Antonio de Zárraga, dedicating mainly the first section to San Saturnino and the second to the Virgin Mary; we must also highlight the representation of the Holy Trinity at the top and the Four Evangelists on the base. Among the religious images of worship, we can highlight: the 14th-century statue of recumbent Christ, Saint Roque (16th century) and St John the Baptist (18th century).