SALAMANCA CATHEDRAL

The Old Cathedral of Salamanca constitutes one of the most important monuments of Salamanca's heritage. The initiative of Raymond of Burgundy and Infanta Urraca, supported by Alfonso VI and his successors, allowed the refounding of the diocese in the person of Bishop Jerónimo de Perigord and provided the bishopric of Salamanca with income and privileges that facilitated the construction of the episcopal see. Its construction began in the mid-12th century, at a time when the repopulation of the city was already consolidated and Romanesque art was reaching its maturity. Under the impulse of bishops like Don Berengario and the support of the Leonese kings, the temple was slowly built until the 13th century, incorporating innovations that heralded the arrival of the Gothic style.

Although initially the building was designed following Romanesque canons -a Latin cross plan, with three naves and three semicircular apses-, changes were soon introduced that transformed its structure. The pointed vaults, ogival arches, and early rib vault experiments show how builders experimented with new technical solutions. One of the most striking elements is the Tower of the Rooster, a lantern tower with Byzantine influence characteristic of the Duero region. The solidity of its walls and battlements gave it an almost military appearance, reinforcing its role as a fortress, even being defined as fortis salmanticensi.

The cloister, begun in the 12th century, preserves valuable medieval elements, although a large part of its structure was severely damaged by the Lisbon Earthquake of 1755. The Romanesque galleries were dismantled during the reform undertaken by Jerónimo García de Quiñones in the second half of the 18th century. The elements that made up the original cloister were piled up in the courtyard and finally sold; today they can be seen installed in the garden of a private villa in Palamós (Girona).

Despite its grandeur, the Old Cathedral was visually overshadowed after the construction of the New Cathedral, which stands beside it with monumental proportions. In addition, various reforms carried out in the 17th and 18th centuries altered its exterior appearance, although corners of enormous beauty are still preserved, such as the Romanesque apses visible from the Small Courtyard or the battlements that crown the central nave, evoking the solidity of a medieval castle.

The Old Cathedral of Salamanca is, in short, a living testament to the architectural and spiritual evolution of the city. Its blend of Romanesque tradition and Gothic experimentation, combined with the richness of its sculpture and painting, make it a unique work that continues to fascinate those who come to contemplate it.

The New Cathedral The idea of building a new temple emerged at the end of the 15th century, when Salamanca experienced significant demographic growth driven, above all, by the prestige of its University. The Old Cathedral was then considered «small, dark, and low», and at first, its demolition was proposed; however, it was finally decided to preserve it. Both cathedrals became physically united, and part of the north nave of the Old Cathedral disappeared, encroached upon by the structure of the new cathedral.

The building, conceived as a Gothic temple, began to be erected from its western facade in 1513, during the episcopate of Francisco de Bobadilla. Initial direction fell to Juan Gil de Hontañón, accompanied by Juan de Álava, and, after them, various master builders succeeded one another. Among them, Rodrigo Gil de Hontañón stood out, who between 1538 and 1560 raised and closed the central nave, designed the facade, and reorganized essential parts of the complex, leaving the work practically completed up to the transept. That same year, the temple was provisionally closed with a brick wall, and the already constructed part was opened for worship.

From then on, the pace of the works slowed down due to lack of resources. In addition, a debate arose about whether to maintain the initial Gothic style or adapt to new artistic trends. Finally, it was decided to preserve the Gothic structure, although licenses were allowed in the ornamentation, incorporating Renaissance, Baroque, and Neoclassical elements. One of the most significant changes was modifying the chancel: instead of the planned ambulatory and polygonal apses, a flat end wall was chosen, inspired by Herrerian models like that of Valladolid Cathedral.

From 1714 onwards, the Churriguera family entered the scene, whose Baroque influence is especially noticeable in the central nave. The original lantern tower, designed by Joaquín Churriguera, was heavily damaged after the Lisbon earthquake of 1755 and had to be replaced by the current Neoclassical lantern tower, a work by Juan de Sagarbinaga. Alberto de Churriguera replaced Joaquín upon his death in 1724, with his notable achievements including the choir walls and the tabernacle of the main chapel, now disappeared.

The earthquake also affected the bell tower, which was so damaged that its demolition was considered. Finally, the engineer Baltasar Devreton proposed an innovative solution: reinforcing it with eight large metal chains and cladding it with a stone talus up to the bell chamber. Thanks to this, the tower still stands, although it retains its characteristic inclination. Every October 31st, the Mariquelo tradition commemorates that event.

The cathedral was finally consecrated in 1733, after 220 years of work. Although its structure corresponds to the Late Gothic model, the prolonged nature of the work and the intervention of numerous architects meant that the building incorporated Renaissance, Baroque, and Neoclassical elements. In 1887 it was declared a National Monument and, in 1999, its surroundings were also protected.

The New Cathedral of Salamanca was built parallel to the Old Cathedral, occupying part of its north nave. Although it was conceived in Gothic style, the long duration of the works—more than two centuries—led to the incorporation of Renaissance and Baroque elements. Its plan is a hall church, with three naves and two lines of niche chapels located between the buttresses. The interior, 105 meters long by 50 meters wide, is supported by thirty-eight pillars and features a notable height progression between the central and side naves.

Among its most prominent elements is the lantern tower. The damage caused by the Lisbon earthquake led to the replacement of the dome built by Joaquín de Churriguera with another in neoclassical style, which rests on the drum also made by Churriguera, decorated with large reliefs alluding to the life of the Virgin.

The construction of the bell tower began in the Middle Ages as part of the Old Cathedral's structure; it was one of the two towers flanking its main facade. Later, its height was doubled by adding a Baroque body that housed the belfry and the dome. It was severely damaged by the Lisbon earthquake, requiring reinforcement with a stone “lining” that concealed the medieval structure. From this episode arose the tradition of the Mariquelo, who ascends the tower every October 31st to give thanks that no one died in the city.

The facades display rich iconography: the main one, on the western gable, is organized like a large altarpiece with scenes of the Nativity and Epiphany located above the main door. The Puerta de Ramos, on the north facade, represents Jesus' entry into Jerusalem. In the restoration carried out in 1992, figures that powerfully attract the attention of observers were added, such as an astronaut, a lynx, a bull, or a dragon with an ice cream.

Inside, the choir, designed by Joaquín de Churriguera, stands out. It consists of two tiers of seats: the lower tier, with 41 stalls, features reliefs and medallions carved with images of virgins and saints; the upper tier, with 57 seats, decorates its panels with representations of apostles and saints. The bishop's chair is ornamented with the figure of the Savior. It preserves two organs of exceptional historical value: one from the 16th century and another from the 18th century. In the back choir, the sculptures of Saint John the Baptist and Saint Anne teaching the Virgin to read, works by the sculptor Juan de Juni, are prominent.

The main chapel was originally presided over by a monumental Churrigueresque tabernacle that has not been preserved. It is covered by a magnificent star-vaulted ceiling, polychromed in blue and gold tones. Currently, it is presided over by an image of the Assumption, a work by Esteban de Rueda, and eight figures of the Church Fathers from Churriguera's old tabernacle. On the altar rest silver urns containing the relics of Saint John of Sahagún and Saint Thomas of Villanueva.

SIDE CHAPELS OF THE NEW CATHEDRAL The inner perimeter of the New Cathedral is marked by numerous niche chapels, some of which were once acquired by individuals and converted into private funerary spaces. Given the temple's magnitude, the number of chapels and altars is very high; therefore, we will focus on those most notable for their history, artistic value, or devotional relevance.

Chapel of San Lorenzo It is the first chapel on the south side and also the current access point to the Old Cathedral. Founded in 1630 by Lorenzo Sánchez de Acebes, it is presided over by a single-bodied altarpiece with the relief of the martyrdom of San Lorenzo, attributed to Antonio de Paz. Its strategic location makes it a transit space between both cathedrals.

Golden Chapel or All Saints Chapel One of the most spectacular chapels in the temple. It was commissioned in 1515 by Archdeacon Francisco Sánchez de Palenzuela and designed by Juan de Álava. Its walls are covered with more than 110 figures from the Old and New Testaments. A magnificent Calvary and an altar decorated with Talavera tiles preside over the space. It was consecrated as a church, so it has a pulpit, choir, and sacristy under the pavement. It also houses the tombs of the founder and other members of his family.

President's Chapel Founded in 1577 by Francisco Fernández de Liébana, president of the Royal Audiencia and Chancillería of Valladolid. Its main altarpiece features two tiers: in the upper one, the Appearance of the Resurrected Christ to the Virgin; in the lower one, a Burial of Christ by Fernández Navarrete.

The altarpiece of the Chapel of San Bartolomé has in the attic a beautiful painting of the Virgin with the Child Jesus and Saint John the Baptist (as a child), attributed to Luis de Morales. Here, the Recumbent Christ of Mercy, a work by Enrique Orejudo, which is greatly venerated during Salamanca's Holy Week, is worshipped.

The altarpiece of the Chapel of San José houses an image of Saint Joseph with the Child by José de Larra, brother-in-law of the Churriguera family. Inside, the chapel located under the tower holds one of the most relevant images of the cathedral, La Piedad by Luis Salvador Carmona.

Chapel of the Christ of Battles Here is preserved the Christ of Battles, a Romanesque carving of Christ with four nails. According to tradition, it was the image that accompanied Bishop Jerónimo and El Cid Campeador in their campaigns against the Muslims. The altarpiece that houses it is a work by Alberto de Churriguera (1734).

Chapel of Solitude Presided over by an image of Our Lady of Solitude, a work by Mariano Benlliure.

In the north transept is the Christ of the Redemptive Agony, one of the most impressive images of the cathedral: an anonymous 15th-century Crucified Christ, of extraordinary anatomical realism. It processes every Holy Thursday with the Royal Confraternity of the Recumbent Christ and of the Redemptive Agony.

The Sacristies Located south of the chancel, they are among the last dependencies to be built. Started by Manuel de Larra Churriguera and completed by Juan de Sagarbinaga in the 18th century, they include the Chaplains' Sacristy, the Canons' Sacristy, the Chapter House, and the sacristan's house. Their Rococo decoration stands out for its mirrors with rockeries and the altar at the end wall with a semicircular pediment.

The Old Cathedral, although visually overshadowed today by the magnitude of the New Cathedral, retains exceptional historical and artistic value.

Its exterior has undergone numerous transformations that have altered its original appearance: the main Romanesque facade was replaced in 1679 by another in neoclassical style without special artistic relevance. Its towers also changed: one was integrated as the bell tower of the New Cathedral, and the other, the Torre Mocha, was heightened at the end of the 18th century. From the Patio Chico, one can contemplate one of the most beautiful panoramas of Spanish Romanesque: the three original apses and the famous Torre del Gallo (Rooster Tower), a lantern tower that combines Byzantine and French influences, topped by a metal rooster symbolizing spiritual vigilance and the arrival of Christ.

Current access to the temple is from the New Cathedral, descending a staircase that bridges the height difference between both buildings. The interior has a Latin cross plan with three naves and three semicircular apses. Although the temple was initially planned to be covered with barrel vaults, the presbyteries were finally covered with pointed vaults, and the central nave adopted a system of simple ribbed vaults. The arches were made ogival, and the cruciform pillars were adapted by adding slender columns and imposts disguised with monstrous heads to receive the ribs. The side naves and part of the transept used domical vaults reinforced with ribs, following Aquitaine models.

The Chapel of San Martín, located under the bell tower, preserves one of the most notable 13th-century frescoes, organized as a painted altar around a niche and surrounded by angels, prophets, and saints under simulated architectures. On the adjacent wall, a 14th-century Last Judgment of lesser quality is preserved, and in the same chapel rest the tombs of Bishops Rodrigo Díaz and Pedro Pérez.

The interior of the Old Cathedral is an authentic museum of Romanesque sculpture. Its capitals narrate biblical and moral episodes with great vividness: Samson and the lion, Adam and Eve, or knights in conflict while a young man tries to impose peace, alluding to the Truce of God. Beneath the lantern tower, three trumpeting angels of the Last Judgment are preserved, and in the right transept appear figures of Saint Michael, a bishop, and a king with a square nimbus.

The Main Altarpiece of the Old Cathedral of Salamanca is one of the most outstanding works of Spanish Gothic painting from the mid-15th century. Its authorship is attributed to the Florentine brothers Dello, Sansón, and Nicolás Delli, although stylistic analysis reveals the intervention of other collaborators from their workshop.

The altarpiece consists of 53 panels distributed in five rows and eleven streets. The scenes narrate the life of Christ following the New Testament, ordered from bottom to top and from left to right. Today, the altarpiece is presided over by the Virgin of La Vega, patroness of Salamanca, from the old Augustinian monastery of La Vega, located next to the Tormes river. It is a Romanesque image from the late 12th century, Byzantine in type, rigid and frontal, with the Child on her lap and rich decoration of enamels and cabochons. It is one of the most valuable pieces of Spanish Romanesque art.

The ensemble is crowned by the painting representing the Last Judgment, commissioned in 1445 from Nicolás Florentino. The scene is presided over by the figure of Christ-Judge, located in the center of the image. The Romanesque mandorla has been replaced by a choir of angels bearing the symbols of the Passion, and it is flanked by the kneeling figures of the Virgin and Saint John the Baptist. In the lower part is the Resurrection of the Dead, where the condemned are separated from the chosen, with the former led to hell by horrible demons, to be devoured in the jaws of an enormous dragon located on the right side of the image.

The presbytery and the south arm of the transept preserve an exceptional series of tombs of relevant figures in Salamanca's history, such as that of Don Fernando Alonso, natural son of Alfonso IX, or those of Bishops Sancho de Castilla and Gonzalo de Vivero. In the south transept, notable tombs include that of Archdeacon of Ledesma Diego Garci López, with the Cavalcade of the Magi; that of Doña Elena, with mourners and the ascent of her soul to heaven carried by angels; and that of Dean Alonso Vidal, richly decorated with Mudejar motifs, scenes of the Epiphany and the Presentation of Jesus in the Temple. Added to this ensemble are mural paintings discovered in the 20th century, related to the Resurrection and the Last Judgment.

Finally, two 16th-century positive organs, restored in the 20th century, complete the temple's richness. The most notable is the Salinas Organ, decorated with carved and polychromed panels, among them a magnificent Tree of Jesse.

THE CLOISTER OF THE OLD CATHEDRAL The cloister of the Old Cathedral suffered severe damage as a result of the Lisbon earthquake of 1755, which necessitated a thorough reconstruction in 1785 directed by Jerónimo García de Quiñones. During that intervention, numerous medieval arches and tombs were walled up, significantly altering its original appearance. In 1902, the architect Repullés y Vargas attempted to restore, as much as possible, its primitive physiognomy. Around the cloister, several chapels of great historical and artistic interest open, among which the following stand out:

Talavera Chapel It is the oldest chapel in the complex and the first chapter house. Its octagonal vault, supported by squinches and traversed by ribs that form an eight-pointed star, constitutes one of the most unique structures of the cathedral.

In 1510, Dr. Rodrigo Arias Maldonado endowed the chapel for the celebration of the Mozarabic rite, a privilege it shared only with the chapel founded by Cisneros in Toledo. The altarpiece combines a refined 14th-century Marian image with Mannerist paintings from the circle of Alonso Berruguete. In a display case, the banner of the Comuneros, a descendant of the founder, is preserved.

Chapel of Santa Bárbara Founded in the 14th century by Bishop Juan Lucero, it features an altarpiece presided over by a 16th-century image of the saint, accompanied by panels narrating her martyrdom and various scenes of the Passion. The altar front is a notable piece of Talavera ceramics. The founding bishop lies in the center of the chapel, surrounded by period mural paintings that complete its iconographic program.

This space played a fundamental role in university life: here, exams for obtaining degrees were held, with professors seated in perimeter stalls and the applicant in a friar's armchair located at the foot of the bishop's tomb. If approved, they would exit triumphantly through the cathedral; if not, they had to leave the premises through the so-called “gate of the carts.” For centuries, it was also the place where the university's rector was elected and proclaimed.

Adjacent to this chapel are the New Chapter Houses, built in 1526. Their door stands out for its fine grotesques and reliefs of saints carved by Juan de Angers. Since 1953, they have housed the Diocesan Museum, which brings together part of the artistic heritage of the diocese.

Chapel of Santa Catalina It was enlarged and renovated over the centuries. Originally, it consisted only of the first section, with a polygonal chancel oriented to the east and sepulchral recesses at the foot. In the 15th century, it was expanded to house the magnificent library of Bishop Gonzalo de Vivero. Subsequently, it was used as a university classroom, a theater for sacred performances, a music classroom, and a space for graduation ceremonies and refreshments.

It is covered by a beautiful and original star-ribbed vault whose polychromed bosses represent angels and the images of the Resurrected Christ, the Assumption of the Virgin, and Saint Catherine. In the 19th century, several funerary arcosolia from the disappeared church of San Isidoro were relocated to the western wall.

Anaya Chapel or Chapel of San Bartolomé Conceived in 1422 by Archbishop Diego de Anaya as a family pantheon, it is a Gothic space with a rectangular plan, an octagonal end wall, and ribbed vaults. Along its walls are several arcosolia housing the tombs of various family members.

The central tomb, that of Diego de Anaya himself, is the most outstanding piece of the ensemble. Made of alabaster and supported by lions, it presents rich iconography: Christ and the Apostles on one side, the Virgin with twelve female saints on the other, a Calvary at the head, and angels bearing his arms at the feet. The recumbent figure appears with a miter, chasuble, crozier, and an open book, surrounded by symbols of vigilance, energy, and fidelity. This work, attributed to the so-called Master of the Anayas, is one of the finest examples of Hispano-Gothic with Italo-Burgundian influences. The tumulus is protected by a magnificent Gothic grille with incipient Plateresque details, though its authorship remains debated.

The Gothic organ, now without its metal pipes, is considered one of the oldest in Europe. It rests on a Mudejar carpentry tribune decorated with interlacing patterns and mocárabes.

The Salamanca Cathedral Museum has been installed since 1953 in the New Chapter Rooms (1526). The access doors are decorated with beautiful Renaissance reliefs by Juan de Angers. Most of its pieces come from the Cathedral itself, although it also preserves works from different parishes in the diocese. It brings together sculptures and paintings whose chronology extends from the 13th to the 18th century.

FIRST ROOM: The visit begins with a selection of works from the 13th to the 15th centuries. The exhibited pieces show how the visual languages of Christian spirituality changed from late Romanesque to the full Renaissance.

First, we find the sculpture of Saint Nicholas of Bari (15th century), probably from the chapel of Saint Nicholas in the Old Cathedral. Saint Nicholas was a highly venerated figure in Europe and is considered the remote origin of the character of Santa Claus. Next, four panels dedicated to the life of Saint Barnabas are presented.

An especially interesting piece is an anonymous triptych, from the late 14th or early 15th century, featuring Saint Ivo, Saint Anthony of Padua, and Saint Clement. Each represents a model of medieval sanctity - the jurist, the preacher, and the high ecclesiastic - which would serve as a reference for professors and clerics of the University.

The room also gathers sculptures of great delicacy, such as the alabaster Pilgrim Saint James (15th century), closely linked to Salamanca's Jacobean tradition, or the Opening Virgin from the mid-13th century. It is one of the museum's most unique pieces. An image carved in pear wood that opens like a small triptych to display scenes from the life of Mary made in ivory. It is believed to be of French origin and represents an exceptional example of medieval private devotion.

The tour culminates with the Virgin of La Seo (14th century), a sandstone sculpture of clear French influence that originally occupied the place where the Virgin of la Vega is now found in the altarpiece of the Old Cathedral. The Child carries a book and a bird, symbols of the Gospel and the resurrection, which reinforce the profound theological character of the work.

IN SONNO PACIS: ART TO ACCOMPANY THE DECEASED The second part of the museum, In sonno pacis (“In the sleep of peace”), is dedicated to the funerary art of the Old Cathedral. The room features a magnificent 16th-century coffered ceiling and brings together works created to decorate the old funerary arcosolia of the cloister:

• The Lamentation over the Dead Christ shows the moment when Jesus is taken down from the cross, surrounded by Joseph of Arimathea, Nicodemus, and the holy women.
• The Triptych by Juan de Flandes (1504–1506), one of the great jewels of Hispano-Flemish painting, presents Saint Michael the Archangel vanquishing the dragon in the central panel. On both sides, in the lateral wings, the figures of Saint James and Saint Francis of Assisi are represented. The predella shows an emotional scene of the Pietà, accompanied by the images of Saint Peter and Saint Paul.
• The Virgin of the Milk, from the second half of the 16th century, shows Mary breastfeeding the Child accompanied by two angels playing the lute and tambourine.

The museum gathers a magnificent selection of works by Fernando Gallego and his school, created in the second half of the 15th century. Considered one of the foremost representatives of Hispano-Flemish art in Castile, Gallego is also recognized as the author of the celebrated Sky of Salamanca.

• The Triptych of the Virgin of the Rose bears the signature of Fernando Gallego on the central panel, in which Mary is depicted handing a white rose to her son. The lateral panels feature Saint Andrew and Saint Christopher. It is one of Gallego's most important works, where Flemish influences are evident in the multiple details and Marian symbolisms —pearls, crystal, white rose— that allude to purity, the incarnation, and the passion of Christ.

• The Nativity, also by Fernando Gallego, from the altarpiece of Campo de Peñaranda.
• The panels of the Epiphany and Saint Andrew have been attributed to Francisco Gallego.

The last room on the ground floor is presided over by the large Triptych of Saint Catherine, commissioned for her chapel in 1499. The work narrates in parallel the martyrdom of the saint and the passion of Christ, and stands out for its detailed artistry, its symbolism, and the recreation of the fashion of the time. The predella shows the figures of Saint Peter, Saint Paul, Saint Gregory, and Saint Jerome.

On the side walls hang eight paintings on serge fabric that Pedro Bello, Gallego's disciple, created for the doors of the Triptych of Saint Catherine.

In this room, the Virgin of the Popolo (1533), a copy of a Roman icon, is exhibited. It was commissioned for the tomb of Pedro Imperial, located in the Chapel of Saint Catherine.

UPPER ROOM The Upper Room preserves the spectacular model of the tabernacle projected in 1790 by Manuel Martín Rodríguez for the main chapel of the New Cathedral, which was never built. The model shows a monumental classical temple, with Corinthian columns, tabernacles, steps, and a dome crowned by the figure of Faith.

The room also gathers portraits of bishops who marked key moments in the history of the New Cathedral:

• Sancho Granados, who consecrated it in 1733.
• Father Cámara, promoter of important restorations.
• Barbado Viejo, who guided the diocese during the Second Vatican Council.