Located in the heart of the Gothic quarter in Barcelona, the Cathedral building was constructed over a period of 150 years, between the 13th and 15th centuries. The place chosen was the same on which a Romanesque cathedral and, before that, an early paleochristian temple had previously existed. The church is dedicated to the Santa Creu and Santa Eulàlia, the patron saint of the city.
The Cathedral of Barcelona is a beautiful example of Catalan Gothicstyle, far removed from the verticality of the French style. A curiosity of this building is that it has the dome at the foot of the nave, almost in touching distance of the main façade. This was so that the Gallery Royal would be lit equally with the altar.
This dome and façade date from the late 19th century and early 20th century. The façade was built on the occasion of the Universal Exposition of 1888 in the neo-Gothic style.
It is one of the most significant elements of the church along with theGothic cloister (don’t miss the ‘dancing egg' on the day of Corpus Christi, when an empty egg is made to dance on the jet of water in the fountain) and the crypt of Santa Eulalia with the richly sculpted alabaster sarcophagus.
Equally remarkable is the collection of altarpieces, which occupy the inner chapels, among which there is the Altarpiece of the Transfiguration, by Bernat Martorell.
Then there is the choir which is one of the most remarkable sculptural ensembles of the International Gothic style in Catalonia. Begun in the 14th century, in the 16th century it was completed with screens depicting scenes from the Old Testament and the Passion and the heraldic paintings of the choir stall.
Girona has many testimonies to its medieval past, a period of growth in which it became the second largest city in Catalonia with a population of 10,000 inhabitants (15th century). The old Roman walled town remained small and the city spread out on both sides of the Onyar.
Among the monumental heritage that reflects this growth is the Cathedral (11th – 18th century) which, with its large vaulted nave, is the widest vaulted Gothic space in the world. However, the first cathedral in Girona was the Basilica of Sant Feliu, which is currently one of the most representative Gothic buildings of the city, especially its slender bell tower (14th -16th century). Inside it preserves remarkable works of art, such as the eight pagan and Early-Christian sarcophagi (4th century) and the Recumbent Christ (14th century) by Master Aloi.
With regard to the monastery of Sant Daniel it is located in a wide green area close to the city and currently houses a community of Benedictine nuns. The Church contains the tomb of the Saint and the cloister is a beautiful example of Romanesque construction with Gothic additions.
Two kilometres along the River Galligants, stands another monastery: Sant Pere de Galligants, currently the Girona headquarters of the Museu d'Arqueologia de Catalunya (Archaeological Museum of Catalonia). An example of Catalan Romanesque architecture, it is noted for the iconography of the capitals in the central nave and cloister.
Close to Sant Pere de Galligants are the Arab baths, public baths that also bear witness to the demographic growth and development of medieval Girona. They follow the model of the Roman baths, the Islamic baths and the Jewish mikvahs.
However, one of the greatest symbols of medieval Girona is the Call. Its formation began in the 12th century, starting from the Carrer de la Força, when Jewish families, who had previously lived around the Cathedral, were settled there. Major thinkers, such as the poet-philosopher, doctor and exegete Mosse ben Nahman, better known as Bonastruc ça Porta or Nahmanides, lived here. Up to 800 people came to live in the Girona Call and today it is one of the busiest areas of the city.
Right next to Vic Cathedral, the Episcopal Museum is a reference point for medieval Catalan art and exhibits masterpieces of painting and sculpture from the Romanesque to the Gothic (between the 12th and 15th centuries). The centre, with a collection of more than 29,000 pieces, specialises in liturgical art.
The large Romanesque collection allows one to follow the precise stylistic and iconographic evolution of the Catalan Romanesque. One of the star exhibits in the Museum is the sculpture group of the Descent from the Cross from Erill la Vall. Discovered on an expedition by the Institute of Catalan Studies to Vall de Boí in 1907, this work of the Master of Erill is considered to be one of the most important sculptural groups of the 12th-century Romanesque in Europe.
Just as notable is the Baldachin from the parish church of Ribes, one of the masterpieces the Museum holds. Other items to consider are the altar frontal from Sant Andreu de Sagàs, the frontal from Sant Pere de Ripoll and the Mother of God from Santa Maria de Lluçà.
Aside from its collection, the Museum is also noted for its modern and innovative museum project. For this, in 2001 it was awarded the National Prize for Cultural Heritage for its contribution to the dissemination of medieval Catalan art.
In the shadow of the Lleida Pyrenees, the Cathedral of Santa Maria de la Seu d'Urgell is the only Romanesque cathedral that has survived until today and is the best example of the power of the Bishopric of Urgell. Its dimensions and the Italianised style of construction also provide a unique testimony to Romanesque Catalonia.
The current building of the Cathedral of Santa Maria de la Seu d'Urgell is the fourth to be built on the same site. It is a reconstruction commissioned by the Bishop Ot in 1090 and was finished at the end of the 12th century. Even so, for three centuries it was hidden beneath layers of plaster that had been applied during the Baroque period and it was Josep Puig i Cadafalch who, from 1918, began the restoration of its original appearance.
The result is a stone construction devoid of ornamentation. A polychrome carving of the Mare de Déu d’Urgell (Virgin Mary of Urgell), patron Saint of the city, breaks up the austerity of the interior and focuses the viewer’s gaze. It is a wooden figure from the 13th century and is hidden inside a small apsidal. Above, a 15th-century rose window illuminates the altar.
The majestic cloister has more than 50 capitals decorated with vegetative elements, men and common beasts.
Apart from the architecture, the Cathedral of Seu d’Urgell is noted for keeping one of the best copies of the famous Beatus of Liébana and a copy of the Beatus of Urgell, exhibited at the Diocesan Museum.
The Benedictine Abbey of Sant Quirze stands in the old county of Empúries. Isolated from the population, the building survived within the Albera Natural Area of National Interest. After a long process of restoration, Sant Quirze still conveys what its builders set down in the 10th century, with solid stone architecture in the Romanesque style bearing influences from Roussillon and Lombard decoration.
The monastery church is the best preserved part of the architectural complex. Its construction is very austere and ornamentation is scarce. Only the main apse is decorated: a high podium holds 5 small arches supported by semi-columns with plain capitals. But one must focus one’s view on the south apse of the Church. it was here that, during the restoration in 2006, the remains of wall paintings were discovered. Even though they are in a state of degradation, a mandorla, two angels, the sun and the moon have been discerned.
Only a part of the cloister has been preserved but, given that it is a very primitive (10th century) construction, it has great value. From here one can reach a large chamber, which could have been the refectory or the dormitory, and the Abbot's Palace. The monastery, fortified in the 14th century, retains a defence tower and the remains of the ramparts.
Outside the monastery enclosure there is the the parish church of Santa Maria, dating from the 12th century, open to the inhabitants of the area.
The ‘cradle’ of Catalonia. This is how the monastery of Santa Maria de Ripoll is known and no wonder. Founded by Comte Guifré el Pelós (Count Wilfred the Hairy) in the year 879, under the direction of the Abbot Oliba, it became a major religious and cultural centre, with a large and majestic Romanesque church and a scriptorium with great literary production, on a level with other abbeys in Europe during this period
The monastery’s 12th century portalada is the most outstanding feature of the complex. This doorway that welcomed the faithful and curious, is one of the great sculptures of European Romanesque. It is completely sculpted with scenes from the Old Testament and allegories. This is why it became known as "the Bible of stone". Its monumentality bears witness to Ripoll’s years of splendor. It is with good reason that for many years the monastery was also the pantheon of the counts of Besalú and Girona.
The building underwent several stages of enlargement and reconstruction due to the lack of space, fires, an earthquake and plunder.In 1886, the Bishop of Vic, Josep Morgades, commissioned the reconstruction of the monastery to the architect Elies Rogent. Ripoll recovered the church and the cloister of the 11th century monastery with a Romanesque Revival interpretation.
Today, you can visit Santa Maria de Ripoll and a Visitors’ Information Centre has been opened as well as a permanent exhibition focusing on the scriptorium, in which its importance is explained.
The history of Sant Feliu de Guíxols can be summarised based on this Benedictine monastery, which combines architectural styles from the 5th to the 18th century. The first monastery built here on top of former Roman structures dates back to the 10th century and retains the Porta Ferrada, which was integrated as a portico entrance. Later, other elements and constructions were incorporated, including the Gothic church and the new convent from the 18th century.
Today you can visit part of the building along with the Torre del Fum" (Smoke Tower) and the "Torre del Corn" (The Horn tower), located on each side of the church. In its day, these acted as defense towers. From the first of them, smoke signals were emitted using wet straw. From the second, a shell horn was sounded in times of danger.
The municipality of Sant Feliu de Guixols was established and grew up around the monastic complex. For this reason, this significant building was chosen to house the Museu d’Història de la Ciutat, the town’s history museum along with the permanent exhibition on health and the rural doctor.
Today, the history of the monastery is still being written. And in the rooms of the old Palau de l’Abat (Abbot's Palace) you will now find the Espai Carmen Thyssen dedicated to temporary exhibitions.
Is it possible to feel like a bourgeois of the early 20th century by visiting a Romanesque monastery? Sant Benet de Bages shows how heritage adapts to new uses over time. In this case, a medieval monastery that became the summer residence of Ramon Casas’s family and finally the tourist and cultural centre that it is today.
The first church (pre-Romanesque) was consecrated in 972 with a community of twelve monks. However, it was not until the 12th century that the abbey would experience its period of splendor, with the construction of a new church and the cloister. The latter of these is the true Romanesque star of the group. Between the pillars there are semi-circular arches that rest on double columns with sculpted capitals, all of them original.
As a result of the confiscation by Mendizábal, the monastery was abandoned. It was in the year 1907, that Elisa Carbó i Ferrer, mother of the painter Ramon Casas, bought the land of Sant Benet and adapted the quarters of the monastic community to create a residence. The renovation was designed by another illustrious name: Josep Puig i Cadafalch. Particularly outstanding is the modernista (Art Nouveau) terrace, which occupies part of the old cells of the monks.
Today, through the use of new technologies, the visitor can delve into the building’s monastic history and modernista past. Moreover, in 2007 in the surroundings of the monastery, a complex known as Món Sant Benet was opened, which in addition to disseminating heritage, also focuses on gastronomy and the landscape.
The temples of Sant Pere, Sant Miquel and Santa María, which originally formed the Paleolithic "cathedral" in Egara, have undergone multiple stages of construction that have left their mark in a variety of styles, -from late Roman to Gothic styles- and artistic disciplines. It is, therefore, a monument unique to Catalonia.
The first building is a paleochristian complex that served as the bishopric of Egara, of which there are still vestiges of the temples of Santa Maria and Sant Miquel. The fact that there are three churches has historically been interpreted as a "copy" of the ancient Byzantine model -two churches and a baptistery- but after recent excavations (2000-2007), scholars think that the church of Sant Miquel was not used as a baptistery, but rather that it had a funerary use. Therefore, we find ourselves in a paleochristian cathedral, set out as a miniature city with several outbuildings and temples.
The second stage of construction dates back to the ninth and tenth centuries following the Christian conquest of the territory dominated by the Muslims. Therefore, the style is Pre-Romanesque; there are many signs of this era in the churches that were eventually finished in the third and final stage, by this time the Romanesque (11th-12th centuries).
