Monument | Page 2 | Cultural Heritage. Goverment of Catalonia.

Monument

Constructed during the second half of the 11th century under the command of the counts of Pallars, Ramon V and Valença (daughter of Arnau Mir de Tost), the church of Santa Maria de Mur is an exceptional case of Romanesque canonry in the Catalan territories since, unlike others, it conserves its original structure intact, formed by the church, cloister and dependencies of the canons.

We can classify the church with the Romanesque Lombard for the strips and the blind arches that decorate its exterior. It follows the typical Romanesque pattern, with a basilical layout with three naves oriented to the East and covered by a robust barrel vault. The vault is supported by pillars and transverse arches and the north nave, fallen centuries ago, was redone with three Gothic chapels. Along with the church, the cloister –dating to the 12th century, is one of the jewels of the group. It has a rectangular form and its sides are unequal in the number of columns and arcades. The majority of the original capitals have been lost but in the western gallery we can still see some and decipher their symbols.

The church of Santa Maria de Mur was not considered finished (like the majority of Romanesque temples) until the entirety of its walls were painted. In the central apse we find a Pantocrator encircled within a mandorla, seated and surrounded by stars. We also find the symbols of the four evangelists (Tetramorph), some inscriptions of religious texts and seven lamps. On the second level we find the figures of the twelve apostles and two scenes that we can rarely see in Romanesque paintings still in existence today: the atlanteans and two scenes of Abel and Cain. In the lower part or the third register, episodes of the infancy of Jesus are explained, and in one of the lateral apses we also find an infrequent theme: the Ascension, rarely represented in the apses.

The precious paintings of Santa Maria de Mur were removed by means of the strappo technique and sold in 1919 to the North American antiquarian Ignacio Pollak, this action motivated the first intervention of the Junta de Museus de Catalunya (Museum Group of Catalonia) that, in spite of their efforts, couldn't avoid that the paintings went to the United States.

Since the year 2008, however, the church of Santa Maria de Mur shows visitors a faithful copy of these paintings thanks to an innovative impressive technique. This action, along with the restoration of the church's cloister, makes it that the ancient canonry displays an appearance faithful of the original, after years of looting and abandonment.

The church of Santa Maria de Mur is part of the getaways ‘Romanesque weekend: the Pallars and the Alt Urgell’.




Author of the photographs: Josep Giribet.
In the middle of the Vall d’Àger, high on a hill stands the ancient canonry of Sant Pere, one of the most important sites of the Catalan Romanesque. Surrounded by a wall and situated in a strategic point that dominates the entirety of the valley, its stones bear evidence to a part of the history of the Christian conquest

The origin of the site is found in the castle erected by the Arabs. The vall d’Àger, like the majority of the territories in Lleida, was under Islamic control at the beginning of the 8th century. It wasn't until the end of the 11th century that the Christians, commanded by Arnau Mir de Tost, occupied the fortification. Arnau Mir and his wife Arsenda converted the castle into their political centre and residence and ordered the construction of the church of Sant Pere, soon housing a community of canonries.

The building that formed the ancient canonry exemplifies diverse styles, transformations and constructions: the major church, with an older part that shaped the crypt, the Romanesque cloister that in the 14th century was substituted for a Gothic cloister under the orders of Pere I, count of Urgell, and Gothic dependencies, renovated in some cases to match new styles, like the Renaissance refectory.

After a time of splendor, largely due to the privilege of Episcopal exemption, the Sant Pere de Àger went into decline in the 15th century due to the depopulation of the vall d’Àger and the war against Joan II. The 16th century marked the secularisation of the abbey which was later converted into a collegiate church. The canonry didn’t resist the passage of time and was crumbling from the devastation of wars, sieges and pillaging (the Segadors (Harvesters), the war of Sucession and the Peninsular War, among others.)

At the moment you can find mural paintings in the Catalan National Museum of Art, in the Diocesan and Regional Museum of Lleida and in the United States.

The Collegiate church of Sant Pere de Àger is part of the ‘Discovering Àger’ getaway.




Authors of the photographs: Galazan, Rotatebot and Josep Renalias.
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 Castle-Palace of la Bisbal d’Empordà, a construction that was at the same time castle, palace and prison, is one of the few examples of Romanesque civil architecture conserved in Catalan territory.

Located in the middle of a Medieval village, it was occupied for centuries by the lords of the region, the Bishops of Girona. The clergy obtained absolute control of la Bisbal (hence the name's origin) thanks to King Jaume I who granted them civil and criminal jurisdiction of the city. The castle became the site of spiritual and terrestrial power of its Lords. From its vantage point in the centre of the village, the bishops controlled the lands bathed by the river Daró and also administered justice which spurred the need for a prison.

The first thing that draws attention in the castle-palace is its sheer grandness. Boasting a rectangular layout, the original Romanesque building has been modified numerous times with structures of other styles (like the door and some Renaissance windows in the façade). As characteristic elements of Romanesque architecture we find semicircular voussoired windows in the North East and North West façade of the castle. In the latter area, there is also a basement constructed with inclined bricks, known as opus spicatum, a commonly utilised technique during antiquity and the first Middle Ages. Once inside the castle, we pass through a clearly Romanesque corridor, covered by a quarter circle vault and, descending the stairs we find the famous castle prison, a rectangular room covered with a semicircular arch.

The doors of the five rooms on the first floor are also crowned by these arches. If the bottom-most part is the prison, the highest part is the location of the chapel of Sant Miquel, also in the Romanesque style. The chapel is located in a rectangular space that, seen from the outside, is the most outstanding of the entire complex. With only a single nave the church is covered by a slightly pointed barrel vault.
 
The Castle-Palace of la Bisbal d’Empordà is part of the ‘Romanesque weekend: L'Empordà’ getaway.




Authors of the photographs: Toniher and PMRMaeyaert.
The cathedral of Vic is a compendium of styles that span from the pre-Romanesque crypt to the neoclassical façade, passing to a Gothic cloister and a Baroque chapel.

To discover the “hidden” Romanesque it is necessary that we move along to the left of the building to find one of the two constructions of the 11th century: the bell tower and the crypt. Both come from the ancient pre-Romanesque cathedral reformed by the Abbot Oliba, grandson of Guifré el Pelós (Wilfred the Hairy) and promoter of numerous buildings (the monasteries of Ripoll and Cuixà, amongst others).

The bell tower of the cathedral of Vic is a good example of Romanesque Lombard architecture in Catalan lands. Consisting of square floor, it is made with small and regular ashlar blocks. It measures eight meters in length and its six floors and 46 meters in height display a solid and svelte construction for the time.

The architectural ornamentation is a compendium of the Romanesque Lombard style: blind arches, pilasters and saw tooth friezes adorn the different floors of the bell tower. The windows increase in size and number as the tower gains height. The loopholes on the first floor, we pass the bifocal openings of the fourth floor and trifocal openings of the two upper floors.

The other Romanesque element that we find “hidden” within the building: the crypt, just below the presbytery, with pre-Romanesque capitals from the ancient church of Santa Maria. The crypt consists of three naves covered by ridge vaults. Eight cylindrical columns support the vaults and we know that the capitals that crown the vaults are the most ancient of the entire cathedral.
Its decoration is simple, based upon floral motifs, and is strongly influenced by Califate art. The crypt was untouched in the 18th century and was discovered once again in 1943 thanks to the excavations by Eduard Junyent.

The cathedral of Vic is part of the ‘Romanesque weekend: from Barcelona to Vic’ getaway.




Authors of the photographs: Mutari, Bocachet and Vilaró Health.
T
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.
T
Some experts swear that it was called Aquis Voconis. Others say that it was called Aquae Calidae. Regardless, the fact is that the current Caldes de Malavella became an important thermal bath resort with the Romanisation in the 1st century AD. Located close to the Via Augusta, many travellers stopped here to relax and benefit from the healing properties of the hot water (which emerges at 60 ° C). The town grew up around it.

The remains of the ancient Roman baths have been preserved as a testimony to this time, the excavation of which began in 1897-1902. The complex is composed of a central pool surrounded by rooms given over to curative treatments. There are three spaces at the back, which may have been bath tubs, where oils were applied.

The site is very well preserved. The mechanisms that operated the water can be seen almost intact! During the excavations, objects have been found such as a dog made of bronze and coins from various periods, which can be seen in the Museu d’Arqueologia de Catalunya-Girona (Girona branch of the Archaeology Museum of Catalonia).
T
The Romans soon realised the benefits of the hot water that flowed naturally into what is now Caldes de Montbui. Which is why they founded a spa resort here that, even today, remains an exceptional testament, with the baths located right in the heart of the town. They are the most well preserved in the Iberian Peninsula.
The restored section – where you can see a pool, 13.5 metres by 6.9 metres, made with opus signium and covered by a vault - is just one of the wings of the large thermal bathing facilities built in the Imperial era. The town of Aquae Calidae grew up around it (although there is controversy about whether this name refers to the current Caldes de Montbui or to Caldes de Malavella), which was a major power in the 1st century AD. The remains of villas have also been found, dotted around the outskirts.

After the Romans, the town of Caldes went into decline, although it remained populated into the Visigothic era. Thermal bathing was brought back in the 19th century, when Caldes de Montbui became the second spa resort in Spain.
T
In 1882, when the Romanesque castle of Montcada in the old town of Vic was demolished, the remains of a Roman temple appeared among the ruins. This was the ancient Roman temple of Ausa which had been preserved in excellent condition. The building dates from the 2nd century, after the Roman conquest of Hispania. The reconstruction lasted for 77 years (1883-1959), but it is currently one of only two Roman temples throughout Spain to have been preserved practically complete.

The temple, built on a podium, consists of a cella (small chamber) and an atrium with 8 columns. Two of the walls of the cella were found almost intact. A capital, a section of the shaft of the column and the original fragments of the pediment were found amongst the rubble which allowed the exterior of the monument to be reconstructed.

The castle which occupied the temple area was built in 897 by Guifré el Pilós (Wilfred the Hairy) and, from the 11th century, was the property and residence of the Montcada family who reused the four walls of the temple to construct the castle’s central courtyard. Afterwards, the building was used as a residence of the veguer (feudal administrator), headquarters of the Royal Curia, the city’s granary and, finally, a prison and quarry. By the 19th century, it had lost its fortified appearance completely and had been converted into a rather forbidding mansion. Still preserved today are part of the vaults and walls of the north and west sections of the castle.
T
At Plaça Gran in Granollers, on a stone platform, fifteen columns rise up, covered by a four-sided roof with the edges covered with green glazed tiles. This Porxada or Portico, the most emblematic monument of Granollers, was built between 1586 and 1587 as a corn exchange. Today it has become the nerve centre of the city.

The initial project has been attributed to the master builder, Bartomeu Brufalt, and cost 520 Barcelonan pounds, according to the contract with the university of Granollers. Initially it was used during the agricultural market to protect the wheat that was sold here. In 1872, it was enclosed with grilles and stalls were built inside. It served its function as a general market until 1938, when a bombardment by the Francoist air force left the Porxada in ruins. After the war, in 1939, it was rebuilt without grilles or the stalls, leaving the columns open as they would have been when it was designed.

On the south-western corner of the Porxada, opposite the Granollers Town Hall, we find the Pedra de l’Encant (Stone of the Auction), a block of red sandstone which was undoubtedly used for conducting public sales (encants or auctions) of agriculture products and livestock. Legend says that this stone was carried to the Porxada by a flood and that there will be another flood that will carry it away.