See and Do
Catedral de Santa María Calahorra
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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.
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.
Monasterio de San José
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This convent was founded in 1598 in Calahorra with barefoot nuns of the Order of Our Lady of Mount Carmel. Many were the people who supported the construction of its church, which was consecrated in the year 1642, among whom we should mention the Bishop of Calahorra y La Calzada, Pedro Manso de Zúñiga and the head of the Patronazgo, José González de Uzqueta.
The monastery church is currently the only part of the convent which can be visited. Consecrated in 1642, it has a Latin cross floor plan, with clearly Carmelite origins, which follows the religious model of the early 17th c. /span>
The façade of the church has a typical Carmelite rectangle crowned by a triangular top with balls. Over the main doorway is a stone image of San José with the infant from 1649 which comes from Madrid, with eagles on either side holding the arms of the González de Uzqueta family.
The main altar is in the classic style from the first half of the 17th century, in the centre of the body, a group of sculptures of the Trinity and Holy Family in the Castilian style of the school of Gregorio Fernández. In the side panels and attic, paintings of the life of Santa Teresa.
In the side altarpiece, on the left you can admire an extraordinary carving of Christ tied to a column, by Gregorio Fernández from 1625 and an oil painting of Jesus Saviour of the World.
In the central nave there are two neo-gothic altarpieces with the images of Saint Teresa de Jesús on the right hand side and the Holy Family on the left.
In the southern arm of the transept a 1644 painting by Bartolomé Román depicting the martyrdom of St. Bartholomew and in the lower choir, a magnificent Romanist crucifix from the late 16th c., by the Portuguese sculptor Manuel Pereira.
The monastery has lodging with a spacious inner patio. The Carmelite nuns who live here make exquisite sweets and confectionery in the monastic tradition.
This convent was founded in 1598 in Calahorra with barefoot nuns of the Order of Our Lady of Mount Carmel. Many were the people who supported the construction of its church, which was consecrated in the year 1642, among whom we should mention the Bishop of Calahorra y La Calzada, Pedro Manso de Zúñiga and the head of the Patronazgo, José González de Uzqueta.
The monastery church is currently the only part of the convent which can be visited. Consecrated in 1642, it has a Latin cross floor plan, with clearly Carmelite origins, which follows the religious model of the early 17th c. /span>
The façade of the church has a typical Carmelite rectangle crowned by a triangular top with balls. Over the main doorway is a stone image of San José with the infant from 1649 which comes from Madrid, with eagles on either side holding the arms of the González de Uzqueta family.
The main altar is in the classic style from the first half of the 17th century, in the centre of the body, a group of sculptures of the Trinity and Holy Family in the Castilian style of the school of Gregorio Fernández. In the side panels and attic, paintings of the life of Santa Teresa.
In the side altarpiece, on the left you can admire an extraordinary carving of Christ tied to a column, by Gregorio Fernández from 1625 and an oil painting of Jesus Saviour of the World.
In the central nave there are two neo-gothic altarpieces with the images of Saint Teresa de Jesús on the right hand side and the Holy Family on the left.
In the southern arm of the transept a 1644 painting by Bartolomé Román depicting the martyrdom of St. Bartholomew and in the lower choir, a magnificent Romanist crucifix from the late 16th c., by the Portuguese sculptor Manuel Pereira.
The monastery has lodging with a spacious inner patio. The Carmelite nuns who live here make exquisite sweets and confectionery in the monastic tradition.
Monasterio de Santa María de San Salvador de Cañas
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The monastery has accommodation with a large inner patio. The Carmelite nuns who live there make delicious monastic cakes and sweets.
This Cistercian Abbey is one of the first to have been founded in Spain. Felipe Díaz de Haro, 9th Lord of Biscay and his wife, doña Aldonza Ruiz de Castro in 1170 gave the towns of Cañas and Canillas to the nuns of the monastery of Hayuela for them to found an Abbey in this spot.
Construction of the monastery was slow and there are three clearly distinguishable phases, the Romanesque of which there are barely any signs remaining, the Gothic, which would correspond to part of the church and chapter house, dating from the second half of the 13th c., and the later part from the 16th c., in which the construction of the central nave continued, with the side naves remaining unfinished. The main door to the monastery dates from 1757, with the part where the nuns live being the latest addition chronologically. Many of the stones used for the church still bear the marks of the mason who made them.>
The monastery church surprises you with its light through the large windows. The great Renaissance altarpiece is the work of Andrés de Melgar and Guillén de Holanda, commissioned by the Abbess, doña Leonor de Osorio around 1523 as a triptych, in which the theme is essentially based on Mary. Until 1975 it was in the presbytery, but is now to be seen at the foot of the church.
The doorway of the chapter house is of note for its unusual beauty, with three pointed arches decorated with plant motifs. Inside, is the early 14th c., gothic style tomb of the sister of charity, Doña Urraca López de Haro, daughter of the founders who took orders at a very early age and became the fourth abbess of the community. She died in 1262, and her body has been preserved incorrupt.
The abbey has been a pioneer of fibre optics, in the two museums it has: the Relics Room, which contains four groups of collections dating from the year the monastery was founded until the 20th c. among the numerous items on display, a Spanish Moorish casket from the 11th and 12th centuries of Cordoban origin is of note; and the museum of the tithe barn or store, in which various altarpieces have been displayed which existed n the churches, carvings, reliefs and paintings of special interest.
The community of Cistercian nuns who have lived uninterruptedly in the abbey since its foundation devote their time to handicrafts and prayer. They decorate china, make sweets, rosaries and have a small hospice.
The monastery has accommodation with a large inner patio. The Carmelite nuns who live there make delicious monastic cakes and sweets.
This Cistercian Abbey is one of the first to have been founded in Spain. Felipe Díaz de Haro, 9th Lord of Biscay and his wife, doña Aldonza Ruiz de Castro in 1170 gave the towns of Cañas and Canillas to the nuns of the monastery of Hayuela for them to found an Abbey in this spot.
Construction of the monastery was slow and there are three clearly distinguishable phases, the Romanesque of which there are barely any signs remaining, the Gothic, which would correspond to part of the church and chapter house, dating from the second half of the 13th c., and the later part from the 16th c., in which the construction of the central nave continued, with the side naves remaining unfinished. The main door to the monastery dates from 1757, with the part where the nuns live being the latest addition chronologically. Many of the stones used for the church still bear the marks of the mason who made them.>
The monastery church surprises you with its light through the large windows. The great Renaissance altarpiece is the work of Andrés de Melgar and Guillén de Holanda, commissioned by the Abbess, doña Leonor de Osorio around 1523 as a triptych, in which the theme is essentially based on Mary. Until 1975 it was in the presbytery, but is now to be seen at the foot of the church.
The doorway of the chapter house is of note for its unusual beauty, with three pointed arches decorated with plant motifs. Inside, is the early 14th c., gothic style tomb of the sister of charity, Doña Urraca López de Haro, daughter of the founders who took orders at a very early age and became the fourth abbess of the community. She died in 1262, and her body has been preserved incorrupt.
The abbey has been a pioneer of fibre optics, in the two museums it has: the Relics Room, which contains four groups of collections dating from the year the monastery was founded until the 20th c. among the numerous items on display, a Spanish Moorish casket from the 11th and 12th centuries of Cordoban origin is of note; and the museum of the tithe barn or store, in which various altarpieces have been displayed which existed n the churches, carvings, reliefs and paintings of special interest.
The community of Cistercian nuns who have lived uninterruptedly in the abbey since its foundation devote their time to handicrafts and prayer. They decorate china, make sweets, rosaries and have a small hospice.
Monasterio de Nuestra Señora de La Piedad
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The Bishop of Calahorra y La Calzada, Don Juan Fernández de Velasco and his niece, Doña Isabel Alonso de Guzmán y Fernández de Velasco were its founders. The young girl entered the monastery taking the name Sister María de La Piedad and her uncorrupted body is still kept there.
Cardinal Adriano Florenz was asked to bless and inaugurate the monastery in 1522 on the occasion of his visit to the “Casa de la Reina”, the town's old name, on his way to Rome where he was going to be confirmed and enthroned as Pope under the name of Adrian VI.
The sisters of the Dominican Order took possession of the monastery in 1523, although during the war of Independence they had to move to Burgos as the monastery had become a Field Hospital.
The monastery took ten years to be completed (1514-1524), using materials of the highest quality, thus obtaining great uniformity of style.
The monastery church is in "Catholic Monarch" style, with a big main chapel and octagonal transept and apse. In the centre of the nave is the tomb of the founder, a smooth reddish jasper mound with no other decoration except the inscription. The reredos is dedicated to the Passion of Our Lord and particularly the Pity. >The main cloister has two levels, the lower covered with tierceron cross vaulting. The central keystones of the vaults depict allegories of the Passion with various symbols and attributes. The upper cloister, covered with a flat wooden roof, and with stretches of balusters between the columns, is one of the parts with the richest ornamental decoration.
The main door of the church is conceived in the late Gothic style in the form of a big altarpiece mad of stone.
The Bishop of Calahorra y La Calzada, Don Juan Fernández de Velasco and his niece, Doña Isabel Alonso de Guzmán y Fernández de Velasco were its founders. The young girl entered the monastery taking the name Sister María de La Piedad and her uncorrupted body is still kept there.
Cardinal Adriano Florenz was asked to bless and inaugurate the monastery in 1522 on the occasion of his visit to the “Casa de la Reina”, the town's old name, on his way to Rome where he was going to be confirmed and enthroned as Pope under the name of Adrian VI.
The sisters of the Dominican Order took possession of the monastery in 1523, although during the war of Independence they had to move to Burgos as the monastery had become a Field Hospital.
The monastery took ten years to be completed (1514-1524), using materials of the highest quality, thus obtaining great uniformity of style.
The monastery church is in "Catholic Monarch" style, with a big main chapel and octagonal transept and apse. In the centre of the nave is the tomb of the founder, a smooth reddish jasper mound with no other decoration except the inscription. The reredos is dedicated to the Passion of Our Lord and particularly the Pity. >The main cloister has two levels, the lower covered with tierceron cross vaulting. The central keystones of the vaults depict allegories of the Passion with various symbols and attributes. The upper cloister, covered with a flat wooden roof, and with stretches of balusters between the columns, is one of the parts with the richest ornamental decoration.
The main door of the church is conceived in the late Gothic style in the form of a big altarpiece mad of stone.
Parroquia de Santo Tomás Apostol
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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.
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.
Concatedral de Santa María de la Redonda
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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.
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.
Iglesia de San Bartolomé
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Iglesia de Santiago el Real
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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.
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.
Iglesia Imperial de Santa María de Palacio
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Today its cloister is a part of the Diocesan Museum.
Today its cloister is a part of the Diocesan Museum.
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