Located on the northern side of the Pallàrs Sobirà, is Gerri de la Sal, a small medieval village that still retains its enclosure and which is noted for its industrial and architectural heritage: the alfolí, or salt storehouse, and the Monastery of Santa Maria.
The exploitation of the source of the salt, was, until recently, the main economic driving force for this town, which is reflected in its name. As a witness to this industrial past, the Casa de la sal or the Reial Alfolí de Gerri, the Royal warehouse, where the salt was extracted, treated and stored from the Middle Ages, remain. Considered to have the largest floor plan of any civil building in Pallars, it now houses the Museum of Gerri de la Sal.
The cultural interest of the complex is completed with the remains of an example of the Catalan Romanesque in its purest form: the Monastery of Santa Maria, which lies just outside the village.
Dedicated to the Benedictine order in 1149, it soon became an important evangelical centre for the Bishop of Urgell and also one of the richest. But at the end of the 12th century the Counts withdrew support for the monastery, and took its land and properties. The economic problems and the disputes led to the depopulation of its domains and it was finally deconsecrated in 1835. Of the monastery, now only the Church with the atrium or entrance porch remains. Inside you can see up to 30 decorated capitals.
It doesn't matter that it is not a public holiday. Every 23rd April, the streets, ramblas and squares around the country are filled with books, roses and flags to celebrate the Diada de Sant Jordi (the Day of Saint George), a day of participation in which the written and spoken word takes the leading role.
But the Festival of the Book has not always been linked to the patron saint of Catalonia. Driven by the publisher, Vicent Clavel, to promote the book in Catalonia, the first Book Day was on 7th October 1927. Two years later, the booksellers held it on 23rd April, and the success led to the change of date, which coincided with the death of Miguel de Cervantes and William Shakespeare.
Declared a Festa Nacional de Catalunya (National Festival of Catalonia), the Day of Sant Jordi has contributed since its inception to promote the production and marketing of books in Catalan. In addition, readers can interact with their favourite writers. Strolling amongst the book stalls and the tradition of giving roses just adds to the day.
The consolidation of Sant Jordi as the Festa del Llibre, internationally as well, comes with the proclamation by Unesco of 23rd April as World Book and the Rights of the Author Day.
The Christian tradition of the Passion becomes street theatre in this town in Baix Empordà. The Processó de Verges (the Procession of Verges) has more than 300 years of history and is held every Maundy Thursday.
The mystery that it represents is based on a book of verses by Friar Antoni de Sant Jeroni from 1773 that deal with the drama of the last hours of Jesus Christ. The dramatisation of the procession allowed for the ecclesiastical Latin language barrier to be broken and facilitated indoctrination through a common language.
The procession starts from the church at 12 noon. During the tour, the streets of the village, with just the light of the torches, bring to life the scenes of the Passion. Everyone awaits the moment when the "Dansa de la Mort" (Dance of Death) is performed. In this macabre representation with medieval origins, five skeletons organised in the shape of a cross prance and dance to the sound of drums.
Verges is the only town in Catalonia that continues this staging, and for this reason the Processó de Verges was declared a Traditional Festival of National Interest in 1983.
The Passió d'Olesa de Montserrat (the Passion of Olesa de Montserrat), one of the most popular and biggest in Catalonia along with that in Esparraguera, has a predominantly religious origin: the Parish Archive of Olesa preserves the oldest document that mentions the event in an inventory from 1530.
However, since its inception the theatrical performance has always had an urban, civic and popular character. That is why the Church tried to control it during various periods, first moving the presentation inside the temple, and later prohibiting it.
Finally, from 1847 onwards, the show was performed in different locations (the Teatre Principal, the Teatre del Círcol, the Teatre Olesa and the Gran Teatre de la Passió), with the only break brought about by the Civil War. Currently, and since 1987, the modern Teatre de la Passió d’Olesa, a large building, has been the venue for these performances.
Hundreds of Olesans, including nearly 500 extras, selflessly participate every year in the theatrical representation of the Passion, which usually takes place at the weekend in March and April. In 1996 it achieved the world record by simultaneously gathering 729 actors on stage.
The Passió d’Esparraguera (the Passion of Esparraguera) is a great theatrical spectacle capable of conveying the essence of characters from two thousand years ago to nearly 15,000 spectators each year. It shares the honour of being one of the most important Passions in Catalonia with that of Olesa de Montserrat.
This performance is possible thanks to the participation of all the people of Esparraguera. There are a huge number of actors and extras who take part, plus those who work backstage and the members of the orchestra and the choir. In total, close to a thousand people work in the Teatre de la Passió, the setting for this show since 1969.
The result of all this effort is a dozen performances that are noted for their dramatic and technical complexity, with rapid changes of stage sets and special effects.
The first reports of the performance of the Passió d’Esparreguera date back to the beginning of the 17th century. It is a theatrical evolution of the mysteries, dramatic representations of medieval origin. However, the current version of the Passió d’Esparreguera is the one written by the local poet Ramon Torruella in 1960, while the original music is by Josep Borràs. The structure has been maintained, with 4 acts and up to 35 scenes.
As a result of the confiscations in the 19th century, a large part of the artistic heritage of the church was dispersed or privatised.With the Catalan Renaixença (Catalonia's cultural renaissance) efforts were made to recover and protect this entire legacy through initiatives such as the Museu de Lleida Diocesà i Comarcal, (Diocesan and Regional Museum of Lleida), founded in 1893, following the example of the Museu Episcopal de Vic. Today, the museum manages an important artistic legacy from the lands of the West and from the ancient Diocese of Lleida, which covers the period from prehistory to the modern age.
In 2007 the new branch was opened that set out the criteria of the site.There are certain outstanding exhibits that must not be missed during the tour of the museum. These include the head of a Roman satyr, altar frontals from the 13th century and sculptural fragments of the Seu Vella. From the Renaissance and Baroque, works by the painter Pere Nunyes, sculptures by Gabriel Joly and Damià Forment and several works by the painter Antonio Viladomat.
Highlights of the permanent collection include two unique pieces: the chess game of 10th -11th century by Sant Pere d’Àger and the Mare de Déu de Bellpuig de les Avellanes, one of the most important examples of Catalan Gothic heritage
Montserrat is a symbol for Catalonia and a point of pilgrimage for believers. The main attraction is the Mare de Déu (the mother of God), the patron saint of Catalonia. This Romanesque Virgin is popularly known as La Moreneta, due to the colour of the face and hands, darkened by the smoke of lighted candles.
The monastery was founded in 1025 on the orders of the Abbot Oliba, on top of a small chapel that Guifré el Pilós had donated to the Monastery of Ripoll.
The visit to Montserrat starts at the 16th-century basilica with Romanesque remains and a Gothic structure. Starting from here, the Plaça de Santa Maria, the epicentre, you can go over the whole complex, thanks to the great 19th-century renovation led by Josep Puig i Cadafalch.
Unmissable is the Museum of Montserrat. Its collection began with the materials of the biblical East brought back from his travels by Father Buenaventura Ubach. Since then, the collection has expanded with outstanding works from painters such as Caravaggio, Rusiñol, Casas, Nonell, Picasso, Monet, Sisley, Degas, Pissarro and Dali.
The museum being here is no coincidence. From the 17th century, Montserrat has been a cultural centre of the highest order as demonstrated by the exceptional library with more than 250,000 volumes from the monastery. Notable among the suggested activities is as visit to the Escolania, which is one of the oldest boys' choir schools in Europe, documented since the 14th century.
Near the Abbey, the neighbouring Monestir de Santa Cecília, is still preserved, which currently functions as the Sean Scully Art Space. Notable as well is the Romanesque church, also renovated in the 1930s by Puig i Cadafalch. Few know that this monastery was Abat Oliba’s first choice to extend his domains to Montserrat, but met with refusal of the community.
The Seu Vella is formed by a set of buildings strategically located on Turó de Lleida(Lleida Hill), which dominates the city and the surrounding plain. It is one of the most important cathedrals of Catalonia, especially noted for its sculptural work and for the cloister, one of the largest and most spectacular in Europe.
As is usual in these types of works, the Seu Vella was built and extended over the centuries, combining different architectural styles. The first Christian Cathedral began to be built in 1193 with the aim of catering for the growing population of the city. Of the Romanesque construction, the portals currently stand out.
At the end of the 13th century elements of new Gothic style were introduced. During this period the most important works of the church were completed and the chapels, the cloister, the bell-tower and the Portal of the Apostles, were built, which carried on during the 14th and 15th centuries.
The cloister is right in front of the main façade of the Church; an unusual position in Christian constructions, which recalls the entrance courtyards of Arabic mosques. The richly ornamented capitals deserve special attention, as do the splendid views over the city of Lleida which can be had from there.
During the transformation of the Cathedral of Barcelona in the 14th century, the parishes in the district of Ribera decided to erect a new church that would become one of the major benchmarks of Catalan Gothic.
Alfonso V of Aragon, ‘the benign’, laid the first stone of the temple in March 1329 to crown the conquest of Sardinia and the expansion of the Catalan dominion of the Mediterranean. The Cathedral of the Sea was built in record time: only 54 years. The whole district of Ribera participated with money and by taking, one-by-one, the stones from La Foixarda, the quarry of Montjuïc.
Observed from the outside, Santa Maria del Mar is compact, smooth, without large openings or ornaments. On the other hand, the arrangement is far from the typical configuration of the time, making room for a single open space. And the naves are built in such a way that they seem to be of a single piece.
One must pay special attention to the light. Its structure of a compact block makes it enter precisely on all four sides of the Church, without creating shadows and plays of light typical of Gothic churches. The rose window in the flamboyant style is especially remarkable.
The beauty of Santa Maria del Mar is rational and abstract and has come to captivate great architects such as Le Corbusier.
When she was just a little over 30 years old, the Queen Elisenda de Montcada withdrew from the world, remaining a widow. And she did it in the Monastery of Pedralbes, which she had founded in 1326 in the mountains of Sant Pere Màrtir (Barcelona). She lived there 37 years, with only the claretian nuns and the Gothic architecture for company.
The Monastery of Santa Maria de Pedralbes was built in just 13 months and is noted for its great architectural homogeneity in the Gothic style. The white stones (petras albas), used to build the complex, gave their name to the area: Pedralbes.
Among the jewels of the monastery there is the small chapel of Sant Miquel, which is noted for the fresco and oil paintings (14th century), an exceptional testimony of the Catalan Gothic painting; the Gothic stained-glass windows of the interior of the church (considered the most important in Catalonia both for their antiquity and their good state of preservation) and the cloister. This is one of the largest and most impressive in the world.
Also noteworthy is the tomb of Queen Elisenda. Located between the Church and the cloister, it is a bi-frontal tomb representing her two sides: from the Church she is seen dressed and crowned as a Queen and, from the cloister, she appears as a widow and nun, with the simple Franciscan habit.
