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On the outskirts of the ancient city of Tarraco, on the banks of the Francolí River, the Necropolis of Tarraco takes visitors on a journey back in time to the funerary practices and beliefs of the Roman world and to life in the neighbourhoods outside the walls of a Roman city.

This sprawling cemetery includes both tombs of people of the Roman religion and early Christian Romans, from the 3rd-5th centuries AD. With more than 2,000 documented burials, the cemetery is one of the most important surviving burial grounds of the Roman Empire.

As you walk through the necropolis, you can see various types of tombs. The place and method of burial varied according to the deceased's social status. The higher the status, the closer they were buried to a main road, such as the Via Augusta. Therefore, burial sites ranged from simple graves with coffins made of materials such as wood, stone or lead, to more elaborate mausoleums and churches with decorated sarcophagi.

The necropolis was uncovered during the construction of the Tobacco Factory in 1923. Subsequent excavation made it possible to conclude that the bishop of Tarraco St. Fructuosus and his deacons St. Augurius and St. Eulogius were buried in 259 AD. It also revealed the location of the crypts of the Arches and of the Engineers; uncovered details about religious beliefs and life in Roman times; and brought to light pieces such as the tombstone of Optimus, the Lion sarcophagus and the Ivory Doll, which was found inside a sarcophagus with the remains of a six-year-old girl.

Therefore, the necropolis of Tarraco is an essential stop for all those interested in archaeology and Roman history. The complex is part of the Archaeological Ensemble of Tarraco, listed as a UNESCO World Heritage Site since 2000.

The imposing building of the cathedral of Girona hides numerous Romanesque treasures.  Constructed in the Romanesque style, the cathedral was first consecrated in 1038. As was the case with the majority of religious buildings it was overlaid with other styles during different constructive stages.

To find the traits of Romanesque architecture we must visit the cloister and from there, look to the ancient bell tower, also known as the “Tower of Charlemagne”. Nor can we leave the building without taking a look at what is known as the “Treasure of the cathedral”, where we find the magnificent Tapestry of Creation.

Dating to the second half of the 12th century, the cloister of the cathedral of Girona is one of the most interesting of the Catalan Romanesque style given its sculptural richness. We find high-quality sculptures in its 122 capitals and in the decorated friezes that encircle the pillars. The sculpted stone displays historiographical scenes from the Old and New Testament, isolated scenes with humans and animals, and finally, purely decorative flora and geometric motifs. Amongst the most prominent representations, we can take note of the Anastasis or the descent of Christ into Hell, in the southern gallery, or many episodes dedicated to Noah and of the Flood, in the western gallery.

The other Romanesque architectural element found in the cathedral of Girona is the ancient 11th century bell tower. It can be compared in significance to that of Sant Miquel de Cuixà and Sant Pere de Vic. Originally sporting a square floor plan and seven floors in height, it presented all of the elements of Lombard bell towers of the 11th century: pilasters, blind arches, and saw tooth friezes as the decorative elements, along with double windows (two per floor) with semi-circular aches. Built in two phases, the third floor features arches and friezes made of black volcanic rock that distinguishes them.

The Tapestry of Creation is an almost one-of-a-kind piece in the world only equalled in artistic and historic value by the Tapestry of Bayeux (11th century). This medieval "portrait” of Creation illustrates the origin of the sky and of the earth as they were conceived in the end of the 11th century. As the Tapestry of Creation doesn't appear in any cloth inventories that were made in the Cathedral of Girona, its origin is not known for certain. Nevertheless, it seems certain that 12 square meters religious decorative scarf was made in Girona at the end of the 11th century in an embroidery workshop using Needle painting. Nowadays the Tapestry of Creation, together with the Beat of Girona, is one of the most notable elements of the Treasure collection.
 
The Cathedral of Girona is part of the ‘Romanesque weekend: from Montseny to Garrotxa’ getaway.




Authors of the photographs: Bob Masters and Josep Giribet.

The Terrassa Museum explains the evolution of the territory and the human occupation of Terrassa and its region, from its origins to modern times, using a collection of more than 26,000 objects. One of their peculiarities is that not everything is concentrated in a single building. To see the art, archaeological collections and decorative art, you need to visit six historic places in the city.

First stop: the medieval castle of Castell Cartoixa de Vallparadís, turned into a museum in 1959, which hosts the permanent exhibit of the Terrassa Museum. This starts by explaining the natural environment, prehistoric times and the ancient world. You can see a shell bracelet from the late Neolithic era (Cova del Frare), a Roman signaculum (Can Colomer) or a reconstruction of a burial on tegulae. This is precisely how the lead sarcophagus from between the 2nd and 4th centuries was found in Ca n’Anglada, which is also part of the exhibit.

Then you can discover Medieval Terrassa with some original objects such as the Romanesque carving of the Virgin Mary from Sant Cugat. The last room explains everything about rural life and the Industrial Revolution in the contemporary city. You can even go into a post-civil war home!

The extensions of the Terrassa Museum bring visitors to the Palace Tower and Cultural Centre of the Medieval Village of Terrassa (12th century), the Cloister of the Convent of Saint Francis (17th century), the Casa Alegre de Sagrera (19th century, but reconverted into a bourgeoisie home during the modernist period) and also the Seu d’Ègara, the most exceptional heritage element of Terrassa.

Textile screen printing is known as the Lyonnaise printing technique and gives its name to the "Lyon Barcelona S.A." factory, the most important of its kind within Spain dedicated to printing and located in Premià de Mar. Since 1983, this municipality in the Maresme region, a pioneer in this textile activity, has hosted the Museu de l’Estampació (Museum of Printing), part of the Regional System of the mNACTEC (Catalan Museum of Science and Technology).

The purpose of the museum is to explain the different periods of textile printing in Catalonia, beginning with the 18th century and indianes or chintz. The production process of these patterned cotton fabrics, printed on just one side, was the gateway to the industrialisation of textiles in Catalonia in the 19th century.

And thus, naturally, the headquarters of the museum (since 2002) has become a symbol of industrial activity in the Maresme region. It is based in the old gas factory of Premià de Mar, built in the modernista and neoclassical style. It is the only remaining coal gas factory still standing in Catalonia. Inside, you can see the permanent exhibition showing the evolution of printing techniques up until the present day. Also on show are some period fabrics and clothing.

At the same time, the Museum of Printing preserves, studies and publicises the archaeological heritage of the town, as well as local history and ethnography.

The gabella was an old tax levied was on certain essential goods and, by extension, was also used to designate the warehouses where these products were kept. The Gabella is exactly what the 18th-century farmhouse, in the centre of Arbúcies, was called and where you will find the Museu Etnològic del Montseny (Ethnological Museum of Montseny, MEMGA) in the Gabella, a name that already marks an historical past linked to the people and the region. And thus MEMGA, opened in 1985, is dedicated to the preservation, dissemination, research and presentation of the cultural heritage of the Montseny massif.

The visit to the museum encompasses three separate areas. The ground floor is devoted to the first settlers and shows the evolution of the way of life in Montseny: the prehistorical, the world of the Iberians, Romanisation and the Middle Ages. The visitor takes a journey through history where representative objects (some original, some reproductions) are found. A room is dedicated to the Castle of Montsoriu (14th century) with a selection of materials recovered during the archaeological excavations. A large model of the fortress dominates the space.

The first floor focuses on the traditional self-sufficient society, which was based on the agriculture, livestock farming and forestry. It was structured around farms, which were the economic pillar of the 19th century Montseny up until the industrial revolution. Indeed, the top floor of the Museum is dedicated to the changes that the arrival of industry brought to the region. Notable among the collections of the Museum are the displays of artisanal crafts and the beginnings of industrialisation.

Strategically located at the top of the mountain of Montjuïc, the castle, which bears the same name, is an imposing defensive construction that follows the model of star-shaped fortifications. Its current appearance is due to the reformations carried out on the old installations by the military engineer, Juan Martín Cermeño, during the 18th century.

But, beyond its architecture, Montjuic Castle has been the scene of numerous bloody episodes and acts of repression throughout its 400 year history. Currently, the site is the property of the city and has become a symbol of Barcelona.

The origins of the castle date back to 1640, during the Catalan Revolt (the Guerra dels Segadors), when a small fort was built around an ancient watchtower. This was the beginning of the militarisation of the mountain, something which marked its history until the middle of the 20th century.

This small initial fortification was completely renovated and modernised by Juan Martín Cermeño. After the war of the Spanish Succession (1701-1714), ownership of the castle passed to the monarchy and a permanent garrison was established. Along with the Citadel, Montjuïc became the guardian of the city of Barcelona.

The renovation led to the demolition of the original fort and the construction of new buildings on an irregular trapezoidal plan adapted to the topography of the mountain, with four bastions at the ends and a covered perimeter path. Cermeño completed the "modernisation" of the facilities with the provision of toilets and water tanks and ordered the construction of the moat.

Throughout the 19th century, the castle once again had a military importance in the repression of insurrectionist movements in the city. Up to 3 times (1842-1843 and 1856) Barcelona was bombarded from the fortress, which was also used to imprison unionists, anarchists and revolutionaries, as well as during the Setmana Tràgica (Tragic Week) of 1909. With the Spanish Civil War the Republican government used the area for similar purposes. Later, the castle instead became a War Memorial to the victors, a military prison and the scene of councils of war (its most political significance was as the site of execution of the president, Lluís Companys).

It became a military museum in 1963. Finally, the Castle passed to municipal ownership in 2007, definitively closing the doors of the museum and taking back the space for the city.

In the 17th century, the Papiol family settled in Vilanova de Cubelles, what is now Vilanova i la Geltrú. Their power and their properties increased until they became one of the most influential families of the time. A good demonstration of this can be seen in the house: a 5-storied mansion right on the main street, something which few families could afford.

The house was built in 1790 for Francesc de Papiol i Padró and it took 11 years to finish. An austere neo-classical façade hides opulent lounges in which, right up until the 1950s, the local high society would gather. In 1961, it was opened to the public as the Museum of Romanticism, following in the footsteps of the Can Llopis in Sitges. It has kept the original structure, layout and decoration.

The piano nobile (main floor), the main residence of the family, reflects a refined nineteenth century taste in which the grisailles on the walls stand out. During the visit you can see the music room, the billiards room, and in particular the large ballroom, where the family received guests. The tour also takes in the private rooms of the master of the house and the bathrooms and dressing rooms. The house also has a small private chapel, in the neo-classical style, and a library of about 6,000 volumes dating from between the 16th and 19th centuries.

The mansion is further divided into two areas: the servants area (which includes a kitchen, a bread oven and pantry) and farm labourer’s area (barn, cellar and stable). At the rear of the residence there is a romantic garden that houses carriages and bicycles from the time.

What was the process of industrialisation like around the Ter River, one of the axes of the Industrial Revolution in Catalonia? How did the landscape and human activity coexist? The Museu del Ter, or Museum of the Ter, which forms part of the Territorial System of the mNACTEC (Science and Technology Museum of Catalonia), was created in Manlleu in 2004 specifically to promote the industrial and natural heritage of the central basin of the river Ter.

The Museum of the Ter is based at Can Sanglas, a former cotton spinning factory, located in the last section of the industrial canal of Manlleu. It dates from 1841 and is one of the oldest examples of the factories that were set up on the banks of the canal to take advantage of the hydraulic power.

Thanks to the first of the permanent exhibitions, The River Factory, Can Sanglas looks back at its period of industrial activity. This exhibition highlights the historical aspects of the industrialisation process of the central section of the Ter: from manufacturing jobs to mechanisation. Several experimental machines help to understand how the process of transforming cotton thread has evolved historically.

During the tour we find ourselves in the two power rooms that Can Sanglas had in order to take advantage of the hydraulic energy: the Francis turbine, which allows one to see how electricity is generated; and the Fontaine turbine, one of the first hydraulic motors installed on the Ter.  You can even see how the mechanical system operated the spinning machines!
This first section of the route connects with the second of the permanent exhibitions, The Industrial Society, which explains all the social changes caused by industrialisation.

Finally, the exhibition The Mediterranean Rivers takes a journey through the landscapes, hydrology, ecology, the natural heritage, the socio-environmental aspects and the sustainable management of Mediterranean fluvial courses. And the Ter Museum also houses the Centre d’Estudis dels Rius Mediterranis (Centre for the Study of Mediterranean Rivers, CERM) dedicated to environmental education and awareness-raising.

The Museu del Suro (Cork Museum), situated in Palafrugell, interprets and promotes the heritage that surrounds the world of cork in Catalonia, both before and after the industrial revolution.

Beyond its importance from an industrial point of view (the manufacture of cork and corks was consolidated during the 19th century and had a major impact on the Alt Empordà and Baix Empordà regions), the museum highlights aspects such as the shaping of a landscape, a way of life and an identity around this product. The centre explains the process of both artisanal and industrial cork production, from the ecological environment, the bark of the cork,  transportation, manufacture of bottle corks and their marketing.

The former Can Mario factory, symbol of the power of the Catalan cork sector, is currently the headquarters of the Museum. With ashlar walls with brick decoration, enamelled ceramics and wrought iron, this modernista style building is home to the permanent and temporary exhibition spaces, the workshops and an auditorium with the capacity for a hundred people.