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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.

...

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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