El Museo de los Concilios y de la Cultura Visigoda, filial del Museo de Santa Cruz de Toledo, fue creado en 1969 con la misión de exhibir en él cuantos testimonios histórico-artísticos puedan recogerse relativos a dicha cultura de cuyo reino fue capital, centro político, religioso y artístico la ciudad de Toledo.

It is the most conflictive monument in all Spanish Pre Romanesque since though its structure is clearly that of a cruciform church -even the facades recall those of Montelios- its covering system and, above all, its decoration, lead to the Mozarabic period. There are many reasons from the historical point of view as well as from the architectural one that suggest us to include it in the Visigothic period.

The deposit of Los Hitos, next Arisgotas’s locality, Toledo, is composed by the remains of a building constructed in masonry and sillarejo with stirrups or external buttresses, divided in three areas, with the central of major extent that the wings. His singular structure and the appearance of a sarchofagus of marble surrounded with other graves speak to us about a possible court or funeral function of the building, raised in the 7th century.

Cruciform church built upon the same plans of St. Comba de Bande and St. María de Melque, though through the remnants that have been found we know it had a much richer decoration, connected with courtier Toledan art. Unfortunately only rests of the walls have survived maybe due to flaws in the laying of foundations upon flat granite soil.

La necrópolis de Cacera de las Ranas, compuesta por cerca de 200 sepulturas, se encuentra en el término de Aranjuez, próximo al río Tajo, en las inmediaciones de la vía romana que unía Tarraconenses con Lusitania. Su cronología, entre el siglo V y VII, y ubicación, el centro de La Meseta, responde a las características de ocupación del pueblo visigodo.

Remains of the largest Visigothic church ever known have been found in the ruins of the Roman city of Segóbriga It was of basilical type with an elongated pseudo crossing with the shape of “tau”. It was dismantled during the restoration of the Monastey of Uclés and only the studies of the excavation in the 18th century and a few remnants of the decoration have survived.