Tower of Hércules: between legends and history

Legends

There are many legends that speculate about the origin of the Tower of Hércules. According to the History of Spain by Alfonso X the Wise, Geryon had his subjects subjugated. He forced them to give them half of their goods and children.

Geryon's subjects went to Hércules, who killed him. Hércules would have buried his head in the place where the Tower of Hércules stands.

Furthermore, the tower has been identified as the mythological Tower of Breogán. It is a construction that appears in the Irish mythological cycle of Lebor Gábala Érenn.

Breogán, according to Irish sources, was king of the Galician city of Brigantia. Brigantia has been associated with the Roman Brigantium, which would have been around A Coruña. The Tower of Breogán would have been renamed Tower of Hércules.

Hércules would have also changed the name of the city. He named it as the first woman to arrive, Crunia, and from there, A Coruña. However, the sources say that it was Alfonso IX who named it so.

History

In historical terms, the origin of the tower is unknown. The Roman construction dates from the 1st century AD. According to the information given by the pottery found, it was built between 40 and 80 AD.

During the Middle Ages, the tower was probably used as a defensive site. Later, abandoned, it was used to build the castle of Santo Antón and the walls.

Already in the 18th century the tower recovers its function as a navigation lighthouse. The commercial activity with America is very intense. This lighthouse made navigation more intense.

What to see in the Tower of Hércules

Analyzing the Tower

The Tower of Hércules is located on a hill to the north of the city of A Coruña. It measures a total of 59 metres high. It is very much restored on the outside, so that its Roman remains are reduced to the interior.

The exterior finish is the work of the 18th century restoration, carried out by Eustaqui Giannini. The architect covered the tower, in a neoclassical model, with granite ashlars. He was also responsible for the interior staircase to communicate the floors. Giannini also dismantled the dome and erected an octagonal body for the lighthouse.

The tower has a square plan with a cross inside. Four vaulted chambers articulate it inside. It is also divided into three floors, which were probably connected by an outside staircase or ramp. The last floor had a dome that housed the lighthouse fire.

Nowadays

Nowadays, from the Tower of Hércules you can observe the different archaeological campaigns carried out. There are also magnificent views of A Coruña and, in the distance, of the estuaries and the Sisargas Islands.

The lighthouse is working every night. The range of the four flashes it emits is 24 miles. In fog, it also emits a sound signal that accompanies the light.

Sculpture park of the Tower of Hércules

The area around the Tower of Hércules also has an open-air sculpture park. More than fifteen works of contemporary sculpture by various artists can be seen.

The theme of the artists is divided into two. Firstly, mythological stories about the foundation of the Tower of Hércules. Secondly, references to the marine world, and the marine vocation of the Galician people.

Some works such as Pentacephalic Menhir, by Ramón Miranda, stand out. Also of great importance is the Rosa de los Vientos, by Correa Corredoira, where the Celtic peoples are represented. In addition, in front of the tower, there is a statue of Xosé Cid, representing Breogán, the mythical king of Brigantia.

Information for your visit to the Tower of Hércules

Location: Avda. de Navarra s/n. 15002 A Coruña.

Telephone: 981 223 730.

Coordinates: 43º 23'N - 8º 24'W

Bus lines: 3, 3A, 5.

Prices of the Tower of Hércules: € 3.09 (general); € 1.55 euros (reduced). Mondays free.

Furthermore, if you wish to stay longer in A Coruña, we recommend the best accommodation. We will also inform you about the best restaurants.

Plan your visit to Alcázar de los Reyes Cristianos

HISTORY OF ALCÁZAR DE LOS REYES CRISTIANOS

The Catholic Monarchs directed from here the campaigns for the conquest of the Nasrid Kingdom of Granada. They stayed in the fortress for eight years. In this complex, too, Christopher Columbus would request funds for his expedition to America.

Once Granada was conquered and peace was restored, the Catholic Monarchs ceded the Alcázar to the Church. It became the site of the Tribune of the Holy Office.

After the abolition of the Court of the Inquisition, it became a prison until the proclamation of the Second Republic. Thus, from then on, it was used for military purposes.

WHAT TO SEE IN ALCÁZAR DE LOS REYES CRISTIANOS

Exterior of Alcázar de los Reyes Cristianos

On the outside, the Alcázar de los Reyes Cristianos is a quadrangular fortress. It is flanked by four towers, which give it a defensive character.

In the northeast corner is the main tower, the Homage Tower. It has an octagonal floor plan, with arrow slits and battlements. 

The Leones Tower is located at the northwest end. This one has a quadrangular floor plan. It is the oldest of the four, and dates back to the 13th century. It is finished off by lion-shaped gargoyles. The reception room and the chapel of San Eustaquio are located inside.

The Paloma Tower occupies the southeast corner. The present tower is a reconstruction of the 20th century, as it was destroyed in the 19th century.

Interior of Alcázar de los Reyes Cristianos

The interior of the Alcázar de los Reyes Cristianos houses some really fascinating rooms. Among them are: the Mosaic Room, the Hall of Mosaics, the Courtyard of the Women, the Reception Hall, or the Doña Leonor Baths.

The Hall of Mosaics is the core of the building. It was made in the 18th century, and its walls are completely filled with Roman mosaics. 

All of them were found in the excavations of the 20th century in the Plaza de la Corredera. The remains of what were probably royal baths in the Muslim era are also preserved under the floor.

The Reception Hall or Ocean Hall is located next to the Mosaic Room. It features a magnificent mosaic dedicated to the god Titan Oceanus, and antique furniture.

In 1328, King Alfonso XI built the Royal Baths of Doña Leonor. The baths are a set of four rooms: dressing room, cold room, warm room and hot room. They follow the pattern of Roman baths, and are named after the king's mistress, Leonor de Guzman.

GARDENS OF ALCÁZAR DE LOS REYES CRISTIANOS

During the 20th century the current Alcázar Gardens were built. It has three terraces on different levels. They have fountains and pools surrounded by palm trees, cypresses, orange and lemon trees. In the gardens you can also see different statues. It is worth mentioning an ensemble that stages the meeting of the Catholic Monarchs with Christopher Columbus.

INFORMATION FOR YOUR VISIT TO THE ALCÁZAR DE LOS REYES CRISTIANOS

Location and ZIP code: C/Caballerizas Reales, s/n. 14014, Córdoba.

Telephone: (+34) 957420151

Bus: Lines 3 and 6.

And if, in addition, you want to plan your visit, here you can check the schedules. We also provide you the price list.

Prices:

General: 4.50 €. Also guided tours: 15 €.

Seniors 65 and children: free.

Young people: 2.50 €.

It must be noted that there’s usually a sense of controversy surrounding the authorship of these works, since the architect himself had his own art school which encouraged the French architectural style. From this art school emerged some of the most recognised architects in Spain, and this is the main reason why there are so many metallic structures that resemble Eiffel’s own style —but are not quite certainly his.

Nevertheless, something we do know for sure is the fact that Eiffel asked for different licences in Spain to create his own designs. Considering all that, in Fascinating Spain we have listed the most iconic pieces in Spain that have been attributed to Eiffel.

Railway bridges in Girona, Cáceres and Granada

A look through the licences and registries of that time will reveal us the intention behind the majority of Eiffel’s projects in Spain: Most of them were designed with a specific usefulness, intended for bearing with difficult weather conditions and heavy weights, as in the case of the railway bridges. The French architect designed many of them throughout the peninsula, following different important train lines such as the ones from Asturias, Galicia and León. His most popular railway bridges are located in Girona, Cáceres and El Hacho, Granada.

The old bridge Pont del Rellotge in Girona was built in 1878 to rescue the Güell river and connect the urban park Parc de la Devesa with the Ramon Folch Avenue. The bridge was operational for 85 years, until 1963. Then it was determined that the structure was too limited to hold the increasingly growing road traffic. After removing it, the bridge was carried in one piece to the town of Palamòs, where one can still walk over it as of today.

Extremadura was also gifted with an Eiffel railway bridge, in fact one of the most distinctive ones: The viaduct of Garrovillas de Alconétar. Unfortunately, this bridge was demolished in 1932. Nowadays, we only have a viaduct just metres away from where the former one used to be, which can only be seen in photographs.

The architect also left the railway bridge of El Hacho, in Granada. This is, indeed, one of the largest metal viaducts created by the Eiffel school in Spain. Founded in 1898, the peculiarity of El Hacho’s bridge is that it doesn’t have any screws; it’s attached by overlaying metal moulds instead. In the past it connected Alamedilla and Guadahortuna, but currently it’s not used for transit. Luckily enough, El Hacho’s citizens secured its preservation.

Other bridges

Apart from the railway bridges, Eiffel also designed other types of bridges and walkways in major cities such as Girona. Even though his works still relied heavily on functionality, sometimes he placed more value on their aesthetic aspect. For this reason, one of Girona’s most iconic pictures encompasses the river topped by a great red metal walkway. This bridge was designed by Eiffel and its construction ended in 1877. It stands seven metres above the river Oñar and, even if it’s been remodelled and paved a couple of times over the years, it still keeps the core essence of the French school.

Nevertheless, Eiffel didn’t just work in the North of Spain; he designed other bridges such as the bridge called Los Tres Ojos (The Three Eyes) in Córdoba, whose name comes from the three metal semicircles in the central walkway. The bridge goes over the river Guadalquivir, next to the city Villa del Río, and it currently passes over the road A-3101 as well.

Train stations

Eiffel’s obsession with trains led him to design some of the most prominent train stations at the time. There are many structures, such as the train station of Atocha in Madrid, that drew inspiration from his work. Among those that really were conceived by the French architect’s mind, the most important ones are the canopy of the train station in Donostia-San Sebastián, and Portbou’s train station.

The train station of Donostia-San Sebastián has the most traffic in the whole North and, even if it wasn’t actually designed by Eiffel, he was commissioned to build the famous red canopy above the rail tracks. This structure, just as any other creation of the engineer, stands out for its composition made of straight lines and metal blocks.

The second station is located in Portbou, a little town in the north-east of Catalonia, just in the border with France. It’s an oval structure that encompasses the whole length of the train station and combines stained glass with metal structures —shocking, I know. This way, the building benefits from having both resistance, strength and natural light.

A market in Las Palmas

It might come as a surprise, but not every piece Eiffel designed in Spain was train-related. It was precisely in Gran Canaria where the architect left one of his most iconic creations. We’re talking here, of course, about El Mercado del Puerto (The Harbour’s Market) in Las Palmas de Gran Canaria.

This building, with a large, long interior space and arcades made of metal bars in the modernist style, was formerly used to sell fresh products. Nowadays, it has been declared a Cultural Heritage site and it’s common to see terraces and sales stands throughout the famous arcades.

La Casa del Cura

Even though Gustave Eiffel’s architecture stood out for its large astounding metal structures, he could also work with other architectural styles. A good example of that is La Casa del Cura (The Priest’s House), located in Ulea, Murcia.

In this case, the building’s greatest peculiarity lies in the story behind its construction. For years, Eiffel visited Ulea’s hot springs as a way to treat his rheumatism. He fell in love with the place, and eventually his close friend José Ríos Torrecillas asked him to design a residence. Currently, it’s better known as La Casa del Cura or Casa Parisina (Parisian House), and it has three floors and an eye-catching modernist pink facade. The priest of Ulea lives there as well. All in all, it’s a fact that Eiffel was capable of anything he set his mind to.

HISTORY OF TERUEL CATHEDRAL

The origins of Teruel Cathedral go back to the church of Santa María de Mediavilla, a 13th century Mudejar church. A series of reforms were carried out until the 14th century, during which the naves were raised. The Gothic buttressing system was used for these alterations.

In the mid-14th century, Santa María underwent another alteration to mark its appointment as a collegiate church. The chevet was enlarged, with the construction of a transept, and the apses were also replaced. The decoration was renewed with Mudejar language.

In the 16th century, Botero designed the new Mudejar dome, which replaced the previous one. In the 17th century, the ambulatory of the chancel was built, and the apses on the sides disappeared. The original roof was replaced by vaults.

During the 18th century, the side chapels were built. In addition, new simple and star-shaped ribbed vaults were added. At the beginning of the 20th century, a neo-Mudéjar doorway was built by Pablo Monguió Segura. During the Civil War, the cathedral suffered a great deal of damage. The 20th and 21st centuries were marked by successive restorations.

WHAT TO SEE IN TERUEL CATHEDRAL

The most characteristic feature of the exterior of Teruel Cathedral is undoubtedly the Mudejar tower. It is a square tower divided into three sections. The first has a vaulted passageway for transit. The rest of the structure is richly decorated with various arches, tiles and enamels.

Construction of the structure began in 1257, but the lantern at the top dates from the 17th century.

The Teruel headquarters has two entrances: north and south. To the north is the Puerta del Obispo (Bishop's Gate), in Classicist Baroque style, built at the end of the 17th century. The south doorway is the main entrance to the cathedral. It dates from the 19th century and is in the neo-Mudejar style. It was built by Pablo Monguió.

One of the most interesting elements of Teruel Cathedral is the coffered ceiling in the central nave. It consists of a pair and knuckle framework, dating from around the second half of the 13th century. It has Linear Gothic paintings with Mudejar language.

Other highlights include the main altarpiece, the work of the Renaissance sculptor Gabriel Joly, dedicated to the Assumption of the Virgin. There are also other Baroque altarpieces in the side chapels, with the Virgin Mary as the protagonist. A 16th-century panel depicting the Virgin and child stands out.

HISTORY OF SANTA MARÍA DEL NARANCO

Santa María del Naranco was built by Ramiro I as the Aula Regia of the palace complex he built in the Naranco. The complex would have been built between 842 and 850. It also had a palace church, San Miguel de Lillo, of which only part remains today. 

When part of San Miguel de Lillo collapsed around the 12th century, Santa María del Naranco became a church. The first testimony preserved where it appears as a temple is the Historia legionensis.

This building is one of the most important pre-Romanesque buildings in Europe. Besides using resources inherited from Roman antiquity, it introduces new ones that will be systematic in later art.

WHAT TO SEE IN SANTA MARÍA DEL NARANCO

The exterior of Santa María del Naranco

Santa María del Naranco has a rectangular floor plan. It is divided into two floors, a lower one with no openings and an upper one that is illuminated on all four sides. On its sides there were two double staircases, of which only the northern one has survived. 

It is built from irregularly sized ashlar. On the long sides, buttresses are raised at the level of the inner fajon arches. The short sides have three floors in the façade. The central one has three semi-circular arches that are pitched, with the central one being slightly larger. This whole generates a sensation of great verticality.

Interior of Santa María del Naranco

The lower floor is very similar to the crypt of Santa Leocadia in the Holy Chamber. Access is through the long sides. It is low in height, and is supported by semicircular fajon arches. It has two side chambers, one of which is probably a bath.

On the upper floor there is an arrangement similar to that of the ground floor. There is a large rectangular central hall, and two rooms on either side. The rooms on the sides are viewpoints.

The central room is again covered with a barrel vault. Its long walls have blind arches supported by paired columns. The columns have twisted shafts.

There are also medallions with geometric motifs and animal decoration. All of the sculptural decoration has a crude late-night character.

INFORMATION FOR YOUR VISIT TO SANTA MARÍA DEL NARANCO

Location: Monte Naranco, s/n, 33012 Oviedo, Asturias.

Telephone: +34 638 260 163

Web: www.santamariadelnaranco.es

HISTORY OF SANTA MARÍA DEL MAR

According to recent studies, Santa María del Mar was built on top of a Roman amphitheatre in the city of Barcino. The arrival of the first Christians in the Roman city established a place of worship to Santa María de las Arenas. Around the 7th century, there was already a temple to Santa María del Mar.

The 13th century was a century of prosperity for the city of Barcelona. At this time, the palaces on Montcada Street were built. They were destined to be the residence of the nobility and the merchant bourgeoisie.

The prosperity and growth led to the construction of a larger temple than the previous one. Pere III gave permission to use the stone from the quarries. In addition, the merchants paid a large part of the expenses.

On the other hand, people were the main protagonists in the construction of the basilica of Santa María del Mar. The Bastaixos -workers for loading and unloading-, and normal people of the city were in charge of transporting the stones from Montjuic.

Work was carried out by Berenger de Montagut and Ramón Despuig. The work began in 1329 and lasted until 1383, and was completed the following year. Later, at the end of the 17th century, the basilica was connected to the viceregal palace by an elevated passage.

In 1936, Santa María del Mar burned for eleven days in a row. During this tragedy all the archives were destroyed. In addition, the baroque high altar was also destroyed. The subsequent restorations have emphasised its Mediterranean Gothic style.

WHAT TO SEE IN SANTA MARÍA DEL MAR

The exterior of the Basilica of Santa María del Mar stands out for the sobriety and horizontality typical of Mediterranean Gothic. It is one of the best examples of 14th century Catalan Gothic architecture.

It has three entrances. The main façade, framed by two towers, is the most beautiful. In the centre, it has a large rose window between buttresses. The tympanum on the façade houses the sculptures of Christ in Majesty, the Virgin and Saint John the Evangelist.

The side façades are even more sober, with flat, undecorated walls. The side doors are known as: Puerta de los Sombrereros and Puerta de las Moreras. Another one was also opened in the apse: the Puerta del Born.

The robustness of the exterior contrasts with the interior of the basilica. It is a church with a hall floor plan, without a transept. A whole row of octagonal columns separate the main nave from the side naves and the ambulatory. The space is covered with ribbed vaults, which have beautiful keystones.

Opposite to the division of the classic French Gothic, in Santa María del Mar we find a unique and homogeneous space.

Of all the stained glass windows, the rose window, made by Pere Joan and Andreu Escuder in 1459, stands out. Others also stand out, made later such as the stained glass window of the Last Judgement, from 1474. In 1995, José Fernández Castrillo made one, next to the sacristy, on the occasion of the 1992 Olympic Games.

As we have already mentioned, the Baroque high altar was lost in 1936. Therefore, in 1965, the remains of the altar were removed and a new one was made. The new altar followed the aesthetics of the Gothic sculpture of the Virgin. In addition, a boat was added at the foot, coming from one of the side doors.

At this time, a series of archaeological excavations were also carried out. The remains of a Roman necropolis were found. A crypt was built to take advantage of the empty space left by the excavations. The crypt pays homage to Sant Cugat del Rec.

Finally, it is worth mentioning the chapel of the Holy Sacrament, destined to the communion. It was built by Francesc Vila in 1790, and has a neoclassical style.

INFORMATION FOR YOUR VISIT TO SANTA MARÍA DEL MAR

Location: Plaza de Santa Maria, 1, 08003 Barcelona.

Phone: +34933 102 390

E-mail: parroquia@santamariadelmarbarcelona.org

Website: http://www.santamariadelmarbarcelona.org

How to get there: Metro: L4 parada Jaume I. | Bus: 17, 19, 40 y 45. | Barcelona Bus Turístic: Pla de Palau stop.

You can check the updated timetable of the Basilica of Santa María del Mar here.

History of the Palau de la Música Catalana

The Palau de la Música Catalana was commissioned by the Orfeón Catalán to Luis Domènech i Montaner to be its headquarters. It was built between 1905 and 1908. Very advanced construction solutions were applied in the project. In addition, great harmony was achieved between architecture, sculpture, stained glass and ironwork.

The construction was carried out by Catalan patrons and investors, all of whom were music lovers. Years before, this Catalan bourgeoisie had already participated in the construction of the Liceu. The aim of the Orfeo Catalán Association is to promote Catalan culture, and specifically Catalan music.

What to see in this modernist monument

The Palau de la Música Catalana has a central metal structure, covered by glass. This combination creates an environment in which all the applied arts are intermingled.

On the outside, the building's original façade stands out, as it is now accessed by a more modern one. It is arranged at an angle to two narrow streets. Here the red of the exposed brick and the white of the stone contrast.

It is presided over by the sculptural group of La canción popular catalana, by Miguel Blay. It is conceived as a prow, on which are St. George, a sailor, a child, and an old man. A female figure is represented as a figurehead. Everything symbolises a space for the whole village.

The rest of the façade is arranged on three floors. The first floor has a balcony with seven groups of two columns decorated with mosaics. On the first floor, on the columns, the busts of illustrious musicians such as Bach, Beethoven and Wagner, made by Eusebio Arnau.

The façade is topped by a pediment with a mosaic of the senyera by Lluís Bru. In the centre, a queen with a distaff presides over a party. This scene would be inspired by La Balanguera, a Mallorcan poem.

The large columns that supported the arches leading to the building also served as ticket offices. They had a small arch as a window and were decorated with trencadís.

Without doubt, the other great attraction of the Palau de la Música Catalana is the Concert Hall. Its walls are full of large stained glass windows, and in the centre of the ceiling there is a large skylight, made by Antoni Rigalt i Blanch. The golden windows in the centre form a sun. On the edges, blue and green glass accompany female busts.

This whole set of stained glass windows filters the light, which illuminates the columns decorated with glazed ceramic mosaics. At the intersections of the arches there are fans in the form of peacock tails. All these colour and light effects give the ensemble a great deal of theatricality.

A new group of sculptures separates the stage from the stands. This is a work by Diego Massana, completed by Pablo Gargallo. On the right is a bust of Beethoven. Above, a representation of the Ride of the Valkyries by Wagner, paying homage to the music of Central Europe.

On the opposite side, the world of Catalan music is represented. At the height of Beethoven's bust, that of José Anselmo Clavé. Above it, a large tree covers both the Catalan composer and a group of singers.

In the semicircle of the stage, eighteen muses are represented, made in mosaic and relief. They are the work of Eusebio Arnau, Mario Maragliano and Lluís Bru. Each of them carries a musical instrument.

However, Mudejar art in Spain did not have a homogeneous style throughout the peninsula, but its peculiarities changed according to the historical characteristics that occurred in each of the territories. The variety of Aragon, declared a World Heritage Site, is one of the best known. Will you join us to learn more about Mudejar art in Spain?

Alcázares of Seville

Palace of Pedro I and the Hall of Ambassadors, a must

The so-called Salón de Embajadores (Ambassadors' Hall) of this palace is especially noteworthy, as it still preserves the original doors with Arabic inscriptions on the exterior and Castilian ones on the interior, which were carved in wood by Toledan craftsmen. Also striking is the beautiful dome with geometric motifs that covers the room. Do not forget to visit the gardens of this palatial complex, an incredible extension of palm trees, orange trees and fountains that constitute the best refuge from the hustle and bustle of the city that you will find in Seville.

Santa María de Teruel Cathedral

Discover the Sistine Chapel of Mudejar art in Spain

The other great attraction of this temple is its majestic tower, one of the oldest Mudejar towers in Spain. It was from its construction, with a rich decoration of tiles and glazed ceramics, when a reform of the building was undertaken to incorporate elements of this style in all the structure.

Collegiate Church of Santa María de Calatayud

Outstanding example of Mudejar art conservation

The brick decoration of this series of elements contrasts sharply with the Renaissance elements of which the rest of the collegiate church is composed, in a mixture that gives a unique and surprising character to the decoration.

Synagogue of El Tránsito

A synagogue that defied a ban

Inside, however, we find a vast decoration that makes use of almost all the resources of Mudejar art. For example, plasterwork, epigraphy, geometric decoration or poly-lobed arches. On its walls you can read inscriptions in Hebrew that praise God and the promoter of the construction. The ostentatious ornamentation reaches its culmination in the coffered ceiling, a fascinating work of craftsmanship made with coniferous wood and ivory inlays. An authentic treasure of Mudejar art in Spain.

Seo of Zaragoza

The unknown temple of Aragon

On the exterior walls and in the so-called "parroquieta", destined for the tomb of Lope de Luna, is where you can appreciate the Aragonese Mudejar in its purest form, with brick grids, glazed ceramics and even the use of muqarnas on the roof of the tomb.

All of these are fascinating examples of Mudejar art in Spain.

"The Mosque of Cordoba is, without doubt, the first monument in Spain, the most original and the most beautiful," wrote the Englishman Gerald Brenan. It is a magnificent example of the union between architecture and gardening, a place where the rows of trees outside are the visual extension of the immense forest of columns inside. Its refinement reflects the sophistication of the culture of Al-Andalus and Caliphal Córdoba, which around the year 1000 was the most populated city in the world, with one million inhabitants, and a very important political, economic and cultural centre.

Until the Christian era, the mosque was open to the courtyard, which allowed the total fusion between the interior and exterior, forming a single continuous space with the columns and tree trunks, which were initially palms, cypresses and olive trees (the latter supplied the temple's oil lamps). The orange trees that give their name to the patio arrived in the 10th century, when, along with many other species (lemon trees, apricots, bananas, rice, cotton, sugar cane, date palms, aubergines...) they were introduced to Europe by the Arabs. They are bitter oranges (Citrus aurantium) originating from Southeast Asia, whose fruits were used for perfumes, jams and medicines. Thanks to their great aesthetic appeal, these trees became the protagonists of Spanish and Islamic gardening and were present in the streets, gardens and patios.

During the Muslim era, the Court of Oranges was used for ablutions (the ritual washing that precedes prayer in the mosque), but it was also a place of rest and social gathering for the people of Córdoba. We could even consider it as the most important public garden in the city, open to everyone to delight in it, evoking the one who awaits the faithful in paradise, as announced by the quotation from the Koran in one of the inscriptions inside the temple: "Do not be afraid, do not be sad, but rejoice in the garden that was promised to you". Once again we find the timeless idea of the garden linked to the longing for paradise, an idyllic place, brimming with peace; that is to say, a true spiritual garden.

Plan your visit to the Cádiz Cathedral

HISTORY OF THE CÁDIZ CATHEDRAL

Work on the cathedral began in 1722 under the orders of the architect Vicente Acero. His project shows the influence of his work on the Cathedral of Granada, as well as that of Guadix. 

With the resignation of Acero, different architects like Gaspar Cayón, Miguel Olivares or Manuel Machuca directed the works. In 1838 the construction is finished by Juan Daura.

The extensive construction period, 116 years, made visible the changes in taste and style. Thus, we find ourselves with baroque, rococo and neoclassical features.

WHAT TO SEE IN CÁDIZ CATHEDRAL

It has three doors. The central door is made up of two bodies. The first one has four Corinthian columns. As for the second one, it has a window finished off by a triangular pediment. On both sides are the patron saints, St. German and St. Servando.

The whole body is inscribed in a large splayed arch, topped by a classicist pediment.

The side doors are finished off by very baroque pediments. In addition, they are flanked by two octagonal towers that house the bells.

The facades of the sides follow the same pattern as the main façade. One is dedicated to Saint Germain, and the other to Saint Servando.

The Clock Tower of Cádiz Cathedral is one of its most popular attractions. From the top you can enjoy wonderful views of the city and the Bay of Cádiz.

It is a neoclassical structure that bears witness to the most prosperous period of the city of Cádiz. 

Around the middle of the 19th century a clock made by José Miguel de Zugasti was added, giving it its name. 

In its interior, the beautiful vaults with classical decoration stand out. In the transept there is a fascinating hemispherical dome covered with yellow ceramics and sculptures by Cosme Velázquez.

It is worth mentioning the intervention of the sculptor Luisa Roldán, known as "La Roldana" in some of them. One of them is the Chapel of San Sebastián, where there is an image of Ecce Homo made by the artist in 1684. 

Another of the most important chapels in Cádiz Cathedral is the Chapel of La Asunción. It has a marble altarpiece in Italian Baroque style, with Solomonic columns, and a magnificent sculpture of the Virgin.

Other admirable elements of the choir are the two monumental organs, and the grille made in Manuel Grosso's workshop.

Crypt of the Cádiz Cathedral

It has an almost flat vault, recreating a completely circular space. You can even hear a certain amount of sound because of its proximity to the sea.

A marble image of the Our Lady of the Rosary presides over the central room of the Crypt. The relics of Santa Victoria can also be found here. Her face is covered by a wax mask.

The crypt of the Cádiz Cathedral also serves as a mausoleum for two distinguished personalities from Cádiz: the musician Manuel de Falla (1876-1946) and the poet José María Pemán (1898-1981).

INFORMATION FOR YOUR VISIT TO THE CÁDIZ CATHEDRAL

Telephone:  956 28 66 20.

The schedules vary according to the time of year, but you can check them updated here.

If you want to enjoy the capital of Cádiz for longer, we recommend restaurants and places to stay.

BRIEF HISTORY OF THE ALCAZABA OF ALMERÍA

The construction of the fortified complex began in 955 by order of Abd ar-Rahman III, the first Umayyad Caliph of Córdoba. The Alcazaba was built on the remains of a pre-existing fortress.

It was completed in the 11th century by the first Taifa monarch of Almería, Jairán. Already with the Christian conquest of Almeria, the Catholic Monarchs and King Charles I reformed it.

There are, therefore, three different stages of construction: two Muslims, and one Christian.

WHAT TO SEE IN THE ALCAZABA OF ALMERÍA

The Alcazaba of Almería has only one door, which leads to Almanzor Street. This door gives access to a staircase that leads to the Puerta de la Justicia. Through this door you enter the first enclosure of the Muslim fortification.

This area corresponded to the military camp of the Alcazaba. It also had the function of receiving the population in the event of a siege.

The first enclosure of the Alcazaba had important cisterns (today in ruins) for storing water. At the eastern end is the Baluarte del Saliente.

During the 20th century, a series of gardens were built imitating the restoration work that had already been carried out on the Alhambra in Granada.

In this enclosure there was the Palace of Al-Mutasin. It was built in the 11th century, and is currently preserved with all its rooms.

The Catholic Monarchs replaced the old mosque with the church of San Juan Evangelista.

The third enclosure corresponds to the Christian stage of the Alcazaba. In it, after the capture of Almería, the Catholic Monarchs ordered the construction of a castle in the highest area.

This construction is formed by different semicircular towers, like the Tower of Homage, the Tower of La Noria del Viento or the Tower of La Pólvora. It also had a moat and a drawbridge.

The interior has a parade ground, in the centre of which there is a cistern and a silo, which also served as a dungeon. The Homage Tower, which presides over the courtyard, is the largest in the enclosure. On its façade appears the coat of arms of King Charles I.

The Tower of La Pólvora also stands out, where the gunpowder for the firearms of the fortress was stored.

Finally, the walls of Jairán should be noted. They form a wide wall that connects the Alcazaba of Almería with the castle on the Cerro de San Cristobal. This wall canvas is all that remains of the extensive wall that surrounded the city of Almería.

INFORMATION FOR YOUR VISIT TO THE ALCAZABA OF ALMERÍA

If you are going to spend several days in Almería, we suggest you the best restaurants where to eat. In addition, you can also see places where to sleep.

Location: Calle Almanzor s/n.

Phone: 950801008

email: alcazabaalmeria.ccul@juntadeandalucia.es

web: www.museosdeandalucia.es/cult...

Price: free entrance.

Schedule of the Alcazaba of Almería: 

From January 1st to March 31 and from September 16 to December 31

Tuesday to Saturday 9 am. to 6 pm.

Sundays and holidays from 9 am. to 3 pm.

From April 1st to June 30:

From Tuesday to Saturday from 9 am. to 9 pm.

Sundays and holidays from 9: am. to 3 pm.

From July 1st to September 15:

From Tuesday to Saturday from 9 am. to 3 pm. and from 7 pm. to 10 pm.

Sundays and holidays from 9 am. to 3 pm.

Closed working Mondays.

History of the cathedral of Palma de Mallorca

The cathedral of Palma de Mallorca was built during the reign of James I on the site of the former mosque.

The first chapel was consecrated in 1269 and work continued until 1587. Since then, the cathedral of Palma de Mallorca has undergone several modifications. The most significant was the one carried out by Gaudí in 1904.

Built in the Mediterranean Gothic style, the cathedral of Palma de Mallorca follows the pattern of the Barcelona cathedral. It differs from the Castilian ones, which are characterized by their classic Gothic style. The cathedral of Palma de Mallorca has a basilica or hall plan. It has three naves divided into eight sections by octagonal pillars. The building has three chapels at the head and several side chapels between the buttresses.

What to see in the cathedral

On the outside you can appreciate the strong horizontality of the Mediterranean Gothic. We can find three facades in the cathedral of Palma de Mallorca. The Portada Mayor, in the Plateresque style and dedicated to the Virgin. The Portada de la Almoina, where the Immaculate Conception appears. Finally, there is also the Portada del Mirador or Portada de los Apostoles. This one stands out for its ornamentation based on geometric and vegetable motifs.

The western façade is not the original one, but a neo-Gothic restoration from the 19th century. It was intended to solve a problem of inclination present since previous centuries.

The main decorative element that can be seen in the cathedral of Palma de Mallorca with attention is its enormous rose window. It is the largest in Europe, with the same diameter as the one in Strasbourg Cathedral. It is decorated with plant and geometric motifs that form a star of David.

In addition, the wrought iron baldachin stands out. Also the ceramic decorations of the walls. They show the coats of arms of the Mallorcan bishops, all of which are the work of Gaudí.

Currently the most famous attraction of the Cathedral of Palma de Mallorca is the intervention of Miquel Barcelò between 2001 and 2006 in the Chapel of El Santísimo. There the artist made a large ceramic altarpiece. In it he reinterprets the miracle of the loaves and fishes. His particular language and the combination of his painting and ceramic skills stand out.

BRIEF HISTORY OF THE MONASTERY OF SAN JUAN DE LOS REYES

The architect in charge of the works was Juan Guas, who also built the Infantado Palace in Guadalajara. This building combines elements of the Hispanic tradition, along with others that were incorporated by foreign architects.

During the invasion of the French troops in the nineteenth century, the monastery burned down. The altarpiece, the library, and a second cloister with its rooms were destroyed. Later, with the disentailments, the building was expropriated. In 1954 it was returned to the Franciscans, and the monastic life of the complex was restored.

WHAT TO SEE IN THE MONASTERY OF SAN JUAN DE LOS REYES

The Exterior of the Monastery of San Juan de los Reyes

It has two entrances on the outside: one to the church and the other to the cloister. The main facade is located on the side of the church. It is quite simple, and was designed by Covarrubias, already in the Renaissance period. Here we find elements typical of the Gothic period of the Catholic Monarchs, with statues, blind arches, Isabelline balls and pinnacles.

In the blind arches, it is worth mentioning the chains of the Christians who were freed after the seizure of Málaga and Baeza. In addition, we find several sculptures of Franciscan saints. They keep the image of Saint John the Evangelist, which is inscribed in an ogee arch of the door. On its sides, at a lower height, two Roman soldiers watch over the entrance.

The Interior of the Monastery of San Juan de los Reyes

Inside, we see purely Gothic decoration. Among the different motifs, we can find, several times repeated, the coats of arms of the Catholic Monarchs. The church has a Latin cross plan, with a slightly marked transept. 

It consists of a single nave covered with ribbed vaults. Eight chapels open to the sides. Some of the most outstanding are the Cristo de la Buena Muerte chapel, and the Inmaculada chapel.

The church's choir is located under a segmental arch. It has a ribbed vault and a beautiful balustrade, with choir stalls.

USEFUL INFORMATION

Phone: (+34) 925 22 38 02

Here you will get information about your tickets, as well as the updated schedule of the monastery of San Juan de los Reyes.

A BRIEF HISTORY OF THE ROMAN THEATRE OF MÉRIDA

As time went by it suffered several reforms. Throughout the 1st century A.D., the stage was raised, as we see it today. Around the 4th century A.D. it underwent a further remodelling.

Once Christianity became the official religion of the Empire, theatrical performances were considered immoral. Therefore, the theatre was abandoned and, later on, mostly collapsed. Only the 'seven chairs', i.e., the highest part of the grandstands, stood out on the ground.

The excavations that led to the rediscovery of the theatre began in 1910, under the direction of José Ramón Mélida. Today it is the jewel of Roman monuments in Mérida, and one of the best preserved theatres of antiquity.

POINTS OF INTEREST IN THE ROMAN THEATRE OF MÉRIDA

The ima cavea was the closest sector to the stage, just behind the seats reserved to authorities. The media and summa cavea, also separated from each other, have five rows of seats. Access and transit to the stands were made through the so-called vomitoriums.

At the lintel placed in the access to these passages, there is an inscription confirming Marcus Agrippa as the promoter of the theatre construction.

At the scaena, the frons scaenae, the construction that serves as a backdrop, stands out. It has two floors upon which stand Corinthian columns. The main door for actors was called valva regia. Besides, the lateral doors were the valva hospitalia.

At the back, a rectangular room has been preserved. It has been identified with an imperial worship place. There were also portraits of Augustus as Pontifex Maximus and of Tiberius.

USEFUL INFORMATION

Telephone: (+34) 924 00 49 08

Here you will find information about your tickets as well as the updated schedule of the Roman Theatre in Merida.

A BRIEF HISTORY OF EL CAPRICHO BY GAUDÍ

Antoni Gaudí built this structure between 1883 and 1885. Therefore, it is a contemporary of Casa Vicens, which the Catalan architect built between 1883 and 1888.

The works were directed by Cristóbal Cascante, Gaudí's partner. Cascante used models and plans by Gaudí. The owner was not able to enjoy his new house for long, as he died months later. The building passed to his sister, whose son carried out a number of reforms.

After the Civil War, the house was abandoned. In 1975, there was an attempt to move the building to Reus, but at the end it was not carried out. The building was sold in 1977 and passed through the hands of several owners, turned into a restaurant. Finally, in 2010 it was made a museum and opened its doors to the public.

POINTS OF INTEREST IN EL CAPRICHO BY GAUDÍ

Exteriors of El Capricho by Gaudí.

Gaudí, in this first work, managed to adapt with brilliance to the requirements of the owner. Máximo Díaz de Quijano was fond of music and botanics.

El Capricho in Comillas has a U-shaped floor plan. Thus, it adapts to the chestnut tree forest where it was located. In addition, it also allowed the great greenhouse to be protected from the northern wind. In this greenhouse, Díaz de Quijano kept all kinds of exotic plants.

The exteriors of the building are made up of stone ashlars in the lower part, and exposed brick with ceramic glaze in the other parts. Curved forms prevail over straight lines. 

In addition, Gaudí knew how to portray the personality of the client. His passion for music and plants is perfectly reflected. The borders of the exterior recreate a pentagram. These strips are decorated with sunflowers.

The main access is in the northern façade. In it, the tower of the building stands out especially. It stands on a small temple formed by four cast columns.

It is completely covered with ceramic glaze, combining green tones and sunflower motifs. The iron railings on the upper part are treble clefs. The tower is inspired on the Persian minarets.

From the outside, other elements stand out, such as the original balconies, whose iron railings serve as a bench. In addition, a system of counterweights for the sliding system was used in the windows.

Tubular bells of different sizes were used. This allowed different sounds to be made when opening and closing.

Interiors of El Capricho by Gaudí.

The house, in its interior, is designed to be a holiday house. It has three floors: semi-basement, main floor and upper floor. In the semi-basement are the kitchen and the storage areas. 

On the main floor, the hall, the bathroom, the main living room and the greenhouses stand out. It is worth to stop to contemplate the stained glass windows with geometric and ornamental motifs.

The main living room has a double height. It is very luminous, and it was probably meant to have a glazed cover. Next to it, there is a playroom, designed with a recreational purpose.

USEFUL INFORMATION

Telephone: (+34) 942 720 365.

Web: https://www.elcaprichodegaudi.com

You can check the updated schedule and prices of El Capricho by Gaudí here.

Furthermore, if you wish to stay longer in Comillas, here you have some recommendations on where to sleep, as well as the best restaurants.

BRIEF HISTORY OF THE PALACIO DE CRISTAL

Its architect was Ricardo Velázquez Bosco. He got the idea from the Crystal Palace in Hyde Park, London, which was built for the Great Exhibition of 1851. On the other hand, Velázquez Bosco designed it as a kind of greenhouse that would house different tropical plants.

In 1936 it was used exceptionally as the inauguration setting of Manuel Azaña as president of the Second Republic. It took place there as the Spanish Parliament was too small for that many deputies.

At present, you can visit temporary exhibitions managed by the Reina Sofia Museum.

POINTS OF INTEREST OF THE PALACIO DE CRISTAL

It is surrounded by chestnut and bald cypress trees. Just in front of it there is an artificial lake, with a staircase that emerges from it. When it comes to the building plan, it is organized as a central nave, from which two arms emerge at the sides. The centre is covered with a dome made entirely of glass and iron.

The Palacio de Cristal has two levels of actual openings. The lower one is based on an arcade of round arches, supported by small columns. On the upper floor, the scheme is repeated, but with a lower height.

In 1975 a restoration was carried out to give the Palacio de Cristal its original appearance.

USEFUL INFORMATION ABOUT THE PALACIO DE CRISTAL

Phone: 917 74 10 00.

Here you will obtain information about your tickets, as well as the updated schedule of the Palacio de Cristal.

Moreover, if you want to stay longer in Madrid, we recommend you the best restaurants.

Plan your cultural visit to the Aljafería

A BRIEF HISTORY OF THE ALJAFERÍA

The Aljafería has been used for different purposes through history. It was an islamic alcázar from the Hudid first. Then, it was a mudejar medieval palace and the residence of the Catholic Monarchs in Zaragoza. It was a prison for the Inquisition. Furthermore, it housed the see of the Cortes de Aragón (the Parliament of Aragon).

The architecture reflects the different usages of the building. Extensions, destructions and restorations have been carried out through the years.

POINTS OF INTEREST IN THE ALJAFERÍA

It is a defensive tower with a square plan. It has five floors and it is surrounded by a moat.

The Islamic Palace dates back to the second half of the 11th century. Perimeter is walled and it has semi-circular towers and the tower of el Trovador. Entrance is through a horseshoe arch.

It also holds a private mosque for the monarch’s private use. Inside it, the oratory has a false octogonal plan with chambered corners.

Coffered ceilings and the decoration with yeserias of arabesques are of great importance. The entrance porch has a fascinating mixtilinear cross-linked arches. This kind of arch is first used here.

In this complex we can also find buildings such as the Church of San Martín, in a Gothic-mudejar style.

The Throne Room is famous because of its stunning roof. It is a coffered ceiling richly decorated with caissons and octagonal shapes. In the middle of the caissons, there are small gold pine cones. The mixture of these elements makes an incredible result.

USEFUL INFORMATION

Contact phone: 976 28 96 83

Opening times and admission fee: check them updated here.

If you would like to visit the city, here you have the best things to do and the best places to eat there.

Plan your cultural visit to the Holy Chapel

A BRIEF HISTORY OF THE HOLY CHAPEL

The project began in 1536. There worked well-known artists. A first design was entrusted to Diego de Siloé and then to Andrés de Vandelvira.

Construction works finished in 1559 and then it was consecrated. It is one of the most important examples of religious architecture of the Spanish Renaissance.

POINTS OF INTEREST IN THE HOLY CHAPEL

The coats of arms of the Cobos and Mendoza families appear on the main facade

It is distributed in three bodies. In the first one, the entrance door has a representation of the gods of the Roman pantheon such as Aeolus, Neptune, Venus or Jupiter in the intrados

Scenes of the Book of Exodus are represented on the frieze. On both sides are the coat of arms of the Cobos and Mendoza families.  

Scenes of the Hercules’ works starred in the second body. There is also a relief of the Transfiguración de Jesús en el Monte Tabor. 

Finally, the third body has an opening included in a round arch and crowned by a triangular pediment.

The entrance door will call your attention because of its location on a corner.

Some caryatids with flower basket on their head decorate the entablature. Under the canopy is the Virgen de la Paz.

USEFUL INFORMATION

Opening times:

• May - September: Monday to Thursday from 9.30 am to 2.00 pm and from 4.30 pm to 7.30 pm
• Friday and Saturday from 9.30 am to 3.00 pm and 4.30 pm to 7.30 pm.
• Sunday: from 11.30 am to 3.00 pm and 4.30 pm to 7.30 pm

Admission fee:

• General: 5€
• Reduced (> 65 years old and groups > 4 pp): 4,50€
• Super reduced (8-15 years old and groups > 20 pp): 2,50€
• Students: 2€
• Inhabitants: 1€

If you are thinking about staying longer, we recommend you to overnight in Úbeda or Baeza.

Plan your cultural visit to the Patio de la Infanta

A BRIEF HISTORY OF THE PATIO DE LA INFANTA

Its name dates back to 1785, when the princess María Teresa de Villabriga moved to the palace.

It burst into flames in several occasions and collapsed in 1903. Nevertheless, the Gothic facade and the courtyard were preserved.

Ibercaja bought the courtyard in 1957 in order to set up its main headquarters there.

POINTS OF INTEREST IN THE PATIO DE LA INFANTA

Decoration is mainly concentrated in the lintel and in the continuous frieze as a balustrade of the second floor. The iconographic programme is a reflection of the Humanism at that time. Several interpretations have been given in order to explain them.

Many of them are related to the figure of Charles V, the marriage of Zaporta and Sabina Santángel.

Mythological beings such as griffins and amorettos appear in the iconographic repertory. There are also represented scenes of Heracles’ work (the Nemean lion, the Lernaean Hydra, fighting with Antaeus…).

This iconographic programme makes one think of a space dedicated to love and power. This would fit with the interpretations offered above.

In addition to this repertory, there are representation of civil nature. A series of medallions with the portraits of Augustus, Trajan, Marcus Aurelius, Hadrian, Constantine, Justinian I, Philip III of France, Francis I of France and Ferdinand II of Aragon.

Lastly, it is the portrait of Gabriel Zaporta. The banker is therefore identified with all these illustrious characters.

USEFUL INFORMATION

Phone: +34 976 97 19 26.

Opening times: 

• Monday to Saturday: 11.00 am to 2.00 pm - 5.00 pm to 8.00 pm
• Sunday and bank holidays: 11.00 am to 2.00 pm

Admission fee: general entrance is 2 euros. There is also a reduced fee of 1 euro for people under 18, seniors and Ibercaja clients. Moreover, it is free for children under 12.

Finally, you cannot leave the city without trying its delightful local cuisine.

A brief history of the Monastery

The first historic news about the monastery date from 1246 and mention a chapel. Already at that time it was considered a holy place and it was the pilgrimage centre par excellence in the island. The current monastery was erected in the 17th century, but it was remodeled during the 20th century under the direction of Antonio Guadí. Some remodellings included the main facade, which was decorated with Baroque themes. 

The church of the monastery has received some honours such as the Royal Chapel by King Charles III in 1707 and the minor Basilica by Pope John XXIII in 1962.

Points of interest in the Monastery

The church was built between 1622 and 1691. It has a Latin cross plan with a nave and three lateral chapels. The dome of the crossing is decorated with all apostles. Furthermore, “Hail Mary”can be read in its central part.

It is also interesting the major altarpiece of Baroque style, made by Jaume Blanquer. In its central part is the image of the Virgen de Lluc, carved in stone in the 14th century and completely decorated. The image was restored in 1884 and some of its elements, such as the dress, were replaced.

Annexed to the basilica of the monastery is the Nueva Hostelería. It has an impressive modernist facade and eighty one rooms or cells. In this area you will also be able to visit the museum of the monastery, that has a varied endowment fund. Here it is also the historic archive that preserves the most important documentary evidence in Mallorca.

Lastly, we recommend you to walk around its botanic garden, where there are numerous native plants from Mallorca. For further information to make plans in Mallorca visit this website.