Índice general

The construction of the basilica of San Vicente de Ávila began in 1130, beginning with its head, which has an evident Romanesque style. It is dedicated to the saints Vicente, Sabina and Cristeta, martyrs of the beginning of the 4th century whose relics are found on the main altar of the temple. The vaults and the western block of the church were built in protogothic key while the dome already has a Gothic style.

A basilical plan with three naves and three apses, the central one with a nartex and two annexes. It seems it had an external baptistry that was later transferred to the left apse where there is a monolithical, cylindrical baptismal font with the shape of a cross. There was a door to each nave within the portico. No mosaics nor decoration have been found, but the construction is of great quality.

It has a basilical plan with three naves separated by a square central apse. The baptistry, with a four lobed baptismal font, was placed in front of the facade. From the rests of the decoration, the mosaics are remarkable for their quality and motifs: floral and geometrical, most certainly inspired in North African or Tarragona models.

With a basilical plan of 24 x 10 m, with three naves separated by rectangular supports and a square. Most interesting in this monument are the mosaics that have been found: a rectangle around the space of the altar and a krater with a peacock on each side in the presbytery decorated with grapes and birds, two lions confronted with a palm tree in the middle of the shrine and geometrical motifs in the nave.

It consists of a building divided in two parts, each one with two opposed apses, one with three naves and the other one with just one that covers the complete width, where there is also an attached rectangular baptistry on the northern side with attached compartments. Obviously designed and built as an homogeneous ensemble.

Visigoth basilica built at the end of the sixth century inside the Roman amphitheatre of Tarragona, in memory of three martyrs burned there in 259. Discovered in 1953 under the remains of a Romanesque church from the 12th century, its foundations have been excavated and studied and it has been known that it had the shape of a late Romanesque basilica similar to that of Eio in the Tolmo de Minateda, of three naves, an apse and a chamber attached to the east of the north side, but all its sculpted decoration, patched in material of other previous buildings, was already in Visigoth style

Church located in the center of an extensive cemetery (cella memoriae), with tombs also inside the temple and in the portico. It is a basilica construction with a double nave, with an apse that is semicircular on the inside and rectangular on the outside, leaving two small rooms between them. It has not been possible to determine if it is an early Christian basilica or an old building from the Roman period reused later.

Partially buried under the left side of the gothic cathedral, remains of an Early Christian cathedral and an octogonal baptistry have been excavated. From the building that faces northeast we only know a part of its three naves of very irregular shape where two sarcophagus and remnants of paintings in Roman style have been found.

It is a martyrdom church formed by two rectangular superimposed naves, the lower one
corresponds to the original construction and it is covered by a barrel vault.
The upper one consisted of a nave plus an apse although the nave was modified
in the 12th century. It is a clear precedent of the structure of St. María del
Naranco.

The chapel of Marcús (Capella d’en Marcús in Catalan) owes its foundation and its name to the rich banker Bernat Marcùs, although it was dedicated from its beginning (1150) to the Virgin of the Guide (Mare de Déu de la Guia ) due to its location at a crossroads of roads outside the walls of Barcelona. Its function was cemetery but later it became part of a hospital for travelers. It has a unique nave, a barrel vault and a belfry of later time.

Roncesvalles is a milestone on the Camino de Santiago, since three major Central European routes converge: those of Paris, Vezelay and Le Puy. But in addition, it is known for being the place where, in the year 778, the battle of Charlemagne against the Basques took place, narrated in the famous epic poem the “Cantar de Roldán”. The oldest architectural vestige is the funerary chapel of Sancti Spiritus or Charlemagne’s Silo, so named because it is said that the Franks were buried there. It was built in the 12th century, it has a barrel vault and its purpose was and is cemetery. It is also worth visiting the chapter house or chapel of San Agustín, from the 14th century, where the mausoleum of Sancho el Fuerte is located, king who participated in the famous battle of Las Navas de Tolosa (1212) from which he brought the famous chains that inspired the shield of Navarre.

Its origin dates back to the IX and X centuries, by a donation of the King Ordoño to the bishopric of Britonia, from which the rectangular headboard formed by apse and presbytery and the remains of a nave is conserved, also rectangular, so that the current access is a door interlaced in what was the triumphal arch, and under the ground is preserved the trace of the rest of the structure of three naves, cruise and a narthex. We thought it would be very interesting to study in depth of this church to know its origin.

Located in what is now a district of La Coruña, we find this small hermitage, considered of the twelfth century, although some characteristics like its construction in magnificent sillería or modillones, that can be inspired by the originals, make you think of an earlier dating. Currently it is a cruciform church in which of what appears to be its initial construction it preserves an apse of flat testero and part of its only nave, separated by a folded arch of horseshoe? on columns and capitals while the side chapels were built in the seventeenth century, when the nave was also extended and a belfry was added. A thorough study of this chapel could give us very interesting surprises.

Very next Samos’s Monastery we find this small chapel attached to a thousand-year-old cypress that consists of ship and a rectangular apse separated by an arch of access of horse-shoe. Since it is habitual in the Mozarabic churches the door, also of horse-shoe, it is placed in the south side. A bank of stone crosses the interior of the ship, which is covered by flat roof to two waters. The hermitage is illuminated by several windows, possibly not all of the same epoch, some in arch of horse-shoe, being double that of the testero.

Located upon part of the theatre, it is a two nave building separated by a wall that connects each other through a lateral door, and two apses of the same width as the naves. Part of the pavement has been preserved with geometrical drawings and paintings on thw walls with heathen motifs. Apparently it was later turned into two attached churches.

Its construction can be put in relation to the expansion, which undertakes the Kingdom of Asturias, in the middle of the 8th century towards the neighboring lands, as recorded in the chronicles of Alfonso III. He played a role of great relevance in the defense, control and consolidation of the Christian territories, at the beginning of its expansion.

The place was an enclave of Muslim fortress called Abinyuyas, from which it derives its current name and was taken by Sancho III el Mayor. It is accepted as the date of the reconstruction of the tower in 1023, the work of Lombard masters, to attack the Isábena basin. The building of the enclosure and chapel of the castle is later, the work of local teachers.

Arab castle in an area where there are vestiges of Iberian and Roman constructions, conquered in 1184 by Alfonso VIII, who prepared from there in 1211 the battle of Las Navas de Tolosa. It is a great fortress built in masonry with ashlars in the corners on a high promontory, which is formed by three defensive enclosures, with a large rectangular tower, two large buildings and two other towers that defend the access door. At present it is a National Parador.