Saint Hieronymus façade and bell tower of Calahorra Cathedral

© RicardMN Photography

© RicardMN Photography

The Cathedral of Santa María is a catholic cathedral located in Calahorra, La Rioja, Spain.

Calahorra’s Cathedral is located outside the city, in its lowest part, close to the Cidacos’s riverbank. Its main façade is baroque. The tower is furnished with six bodies. Saint Hieronymus front, fusing both gothic and renaissance styles, breaks the austerity of the northern façade. Built in dressed stone, the style of the Cathedral is mainly Gothic, though the chancel displays certain influence from the Renaissance. Within the interior of the temple there are sixteen chapels contaning important pieces of art, among which their altarpieces, accomplished between the 16th and 18th century, can be highlighted.

The front of Saint Hieronymus breaks the artistic austerity of the northern façade by displaying a combination of great artistic quality fusing Gothic and Renaissance styles, including its Plateresque and Mannierist phases.

The front consists of two bodies which correspond to two different styles and periods, the upper one being the most ancient (gothic, 1520), while the lower one is of Renaissance style (year 1559).

The tympanum presides the door with a scene of the Coronation of the Virgin shielded by the images of Saint Emeterius and Saint Celedonius.

The door is also called “Graveyard Door”, for it gave entrance to the cemetery of the Cathedral in previous times. This explains the two Angels playing the trumpet which are there represented announcing the Resurrection of the Dead.

The second body, the oldest, is furnished with a series of slightly pointed archs which act as four archivolts shielding the tympanum and which lay directly over the entablature capping the first body. A rich decoration in relief is arranged between the archivolts and the tympanum, though the iconographic program of the front is mainly gathered in the figures of the exterior archivolt and the tympanum.

In the tympanum, over a neutral background, there is a ronde-bosse group forming a single scene (as was characteristic in hte last period of the Gothic) related to the Glory of the Virgin, who has the Martyr Saints, Emeterius and Celedonius, on Her side. The figures, simetrically ordered, are adapted to the gothic architecture of the frame. The Virgin, in the centre, being of greater size than the images of the Saints, stands out among the rest, thus emphasising She is the most important figure. This sculptoric convention was still a clear medieval reminiscence which influenced the lay-out of the composition.

The Virgin is sitting on Her throne, with the Child over Her left knee and an open book on the right, which She also holds with one hand, while the Child points at it with one of His fingers. Both images direct Their gazestowards the book. The Virgin is crowned by two adolescent angels whose tunics indicate their flying posture.

A scallop shell of Renaissance fashion, serving both as canony and as base for the music angel, is placed over the Virgin, thus reinforcing the idea of Glory conveyed by the group.

In the pointing keystone of the arch, just in the central axe of the composition, rests the image representing the Resurrection of Christ, who is standing, superimposed to the two archivolts in a radial direction, in front of the shrine. Apart from this figure, and as decreed by the canons of traditional gothic, there are six further Saints in the direction marked by the archs, three on each side of Christ, alternating with an equal number of angels.

The Saints are, from bottom to top and from left to right, Marguerite of Antioch, Catherine of Alexandria, Lucy, Elizabeth of Hungary, Perpetua and Felicity. (Description from

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Cruceiro In Galicia

© RicardMN Photography

© RicardMN Photography

Cruceiro (stone crucifix) in Combarro, Galicia, Spain. 

Cruceiros (stone crosses) are placed at crossroads or near chapels, churches and cemeteries. Castelao said that a stone cross is a “pardon from heaven”, because according to the great Galician writer, stone crosses are built to obtain forgiveness for a sin. Since in Galicia there are around 12,000 stone crosses, our flaws must be many. But it is also said that the stone crosses protect travellers, so for those who journey through these lands their protection is guaranteed. 

Combarro is an unmatched example of Galician folk architecture and it’s considered one of the best preserved villages in Galicia. Its remarkable urban cluster was declared set of artistic interest due to its unique charm. It feels like stepping into a magical and genuine Galician folk architecture village. A traditional fishing village where it seems time has stopped and one of the most beautiful and charming of the Galician coast. 

Its name come from comb which means hollow, valley, camber of the coast. The village is placed on a crescent-shaped bedrock cambered in its ends by the beaches of Padron and the now missing beach of Chousa. 
The old town was built to adapt to the lifestyle of its residents: sailors and farmers. The traveler can contemplate how its more than 30 granaries are aligned on the granite base that shapes the coast and reach the shoreline. 
It is in the wall surrounding the old town where these granaries are embedded. Besides this, and due to its singular mix of farming and fishing activities, in Combarro these granaries are used as dryer places for anchovies, sardines and other kind of fish typical of the R�a. That is why these granaries built by the sea are so exceptional in comparison with those typical Galician granaries built to save farmer’s crops. Also, because of the Galician belief of protection, we can find in Combarro many peculiar architectural elements called ‘cruceiros’, located in squares and crossroads.

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