SALAMANCA CATHEDRAL

The Old Cathedral of Salamanca is 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 diocese to be refounded in the person of Bishop Jerónimo de Perigord and to provide the Bishopric of Salamanca with revenues 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 barrel vaults, ogival arches, and the first attempts at rib vaulting show how the builders experimented with new technical solutions. One of the most striking elements is the Tower of the Rooster (Torre del Gallo), a dome of 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 much 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 rises beside it with monumental proportions. Furthermore, 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 Patio Chico or the battlements crowning the central nave, which evoke the solidity of a medieval castle.

The Old Cathedral of Salamanca is, in short, a living testament to the city's architectural and spiritual evolution. 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 remarkable 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 considered; 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. The 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. Additionally, a debate arose about whether to maintain the initial Gothic style or adapt to new artistic currents. Finally, it was decided to preserve the Gothic structure, although licenses were allowed in the ornamentation to incorporate Renaissance, Baroque, and Neoclassical elements. One of the most significant changes was to modify the apse: instead of the planned ambulatory and polygonal apses, a flat chancel was chosen, inspired by Herrerian models like that of Valladolid Cathedral.

From 1714, the Churriguera family entered the scene, whose Baroque influence is especially noticeable in the central nave. The original dome, designed by Joaquín Churriguera, was severely damaged after the Lisbon earthquake of 1755 and was replaced by the current Neoclassical dome, a work by Juan de Sagarbinaga. Alberto de Churriguera replaced Joaquín when he died 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: to reinforce it with eight large metal chains and clad it with a stone talus up to the belfry. 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 extended duration 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 Historic 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— meant that it incorporated Renaissance and Baroque elements. Its plan is a hall church, with three naves and two rows of niche chapels located between the buttresses. The interior, 105 meters long by 50 meters wide, is supported by thirty-eight pillars and presents a notable height staggering between the central and side naves.

Among its most notable elements is the dome. The damage caused by the Lisbon earthquake led to the replacement of the dome created 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 structure of the Old Cathedral; it was one of the two towers that flanked its main facade. Later, its height was doubled by adding a Baroque body that housed the bell tower and the dome. It was severely damaged by the Lisbon earthquake, so it had to be reinforced with a stone “lining” that concealed the medieval structure. From this episode, the tradition of the Mariquelo was born, who ascends the tower every October 31 to thank the Virgin that no one died in the city.

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

Inside, the choir stands out, designed by Joaquín de Churriguera. It consists of two tiers of seats: the lower tier -with 41 stalls- features reliefs with holy images; the upper tier, with 57 seats, decorates its panels with representations of apostles and saints. The bishop's chair shows 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 trascoro (behind the 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-ribbed vault, 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 the silver urns holding 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 Epistle side and, moreover, 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 Saint Lawrence, attributed to Antonio de Paz. Its strategic location makes it a transit space between both cathedrals.

Golden Chapel or Chapel of All Saints One of the most important 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 by 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 beneath the pavement. It also houses the tombs of the founder and other members of his family.

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

The altarpiece of the Chapel of Saint Bartholomew has a beautiful painting of the Virgin with the Child Jesus and Saint John the Baptist in the attic, attributed to Luis de Morales. Here, the Recumbent Christ of Mercy, a work by Enrique Orejudo, of great devotion during Salamanca's Holy Week, is venerated.

The altarpiece of the Chapel of Saint Joseph safeguards an image of Saint Joseph with the Child by José de Larra, brother-in-law of the Churriguera family. Inside, the chapel located beneath the tower houses one of the cathedral's most relevant images, La Piedad (The Pietà), a work 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 El Cid Campeador and Bishop Jerónimo de Perigord 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 Redemptive Agony, one of the most impressive images in 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 the Redemptive Agony.

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

From the Patio Chico (Small Courtyard), one of the most beautiful panoramas of Spanish Romanesque art can be seen: the three original apses and the famous Torre del Gallo (Tower of the Rooster), a dome that combines Byzantine and French influences, topped by a metal rooster symbolizing spiritual vigilance and the arrival of Christ.

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 (Mutilated Tower), was raised in height at the end of the 18th century.

Access to the temple is usually from the New Cathedral, descending a staircase that bridges the unevenness between the two buildings. The interior has a Latin cross plan, with three naves and three semicircular apses covered with oven vaults. Although the temple was initially planned to be finished with barrel vaults, the presbyteries were finally covered with pointed barrel vaults, and the central nave adopted a system of simple rib vaults. The arches were made ogival, and the cruciform pillars were adapted by adding small columns and imposts disguised with monstrous heads to receive the ribs. The side naves and part of the transept employed cupoliform vaults reinforced with ribs, following Aquitaine models.

The Chapel of San Martín, located beneath the bell tower, houses the tombs of the founder, Don Pedro Pérez, who died in 1262, and of Bishop Don Rodrigo Díaz, from 1339, in the form of an arcosolium, with a sarcophagus featuring a relief scene of a burial, upon which the recumbent figure in long robes rests, and an Epiphany painted on the tympanum.

But what most attracts attention are the mural paintings. On the east end wall, around a niche that surely housed an image of the Virgin, we distinguish, among others, representations of Jeremiah, Isaiah, and Daniel, and of Saint Joachim and Saint Anne, as well as the coats of arms of Castile and León. On the adjoining wall, a 14th-century Last Judgment, of lesser quality, is preserved.

The interior of the Old Cathedral is an authentic museum of Romanesque sculpture. Its capitals display vegetal elements, monsters, biblical episodes, or knights in combat while a young man tries to impose peace, alluding to the Truce of God. Beneath the dome, three trumpet-blowing angels of the Last Judgment are preserved, and in the right transept appear the figures of Saint Michael, a bishop, and a king.

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 corresponds to the Florentine brothers Dello, Sansone, 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 (vertical sections). The scenes narrate the life of Christ following the New Testament, ordered from bottom to top and left to right. Today, the altarpiece is presided over by the Virgin of La Vega, patron saint of Salamanca, from the old Augustinian monastery of La Vega, located next to the Tormes river. It is a late 12th-century Romanesque image, Byzantine in style, rigid and frontal, with Jesus on her knees 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 Nicoló Delli (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, the Resurrection of the Dead is depicted, where the condemned are separated from the chosen, the former being led to hell by horrible demons, to be swallowed in the jaws of an enormous dragon located on the right side of the image.

The chancel 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 Mudéjar 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, it is worth highlighting the presence of two 16th-century positive organs, restored in the 20th century. The most notable is the Salinas Organ, decorated with carved and polychromed panels, among them a magnificent Tree of Jesse. The other comes from the Golden Chapel of the New Cathedral.

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. Already in 1902, the architect Repullés y Vargas attempted to restore, as far as possible, its primitive physiognomy. Around the cloister open several chapels of great historical and artistic interest, 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 forming an eight-pointed star, constitutes one of the cathedral's most unique structures.

In 1510, Doctor Rodrigo Arias Maldonado endowed the chapel for the celebration of the Mozarabic rite, a privilege it only shared with the chapel founded by Cisneros in Toledo. The altarpiece combines a refined Gothic image of the Virgin with Mannerist paintings from the circle of Alonso Berruguete. In a display case, the Pendón de los Comuneros (Banner of the Comuneros) is preserved, two of whom were grandsons of the chapel's founder.

Chapel of Saint Barbara 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 prominent piece of Talavera ceramic. The founding bishop lies in the center of the chapel.

This space played a fundamental role in university life: here, exams for obtaining degrees were held, with professors seated in perimeter stalls and the candidate in a friar's armchair located at the foot of the bishop's tomb. If successful, 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.

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

Chapel of Saint Catherine It was enlarged and reformed over the centuries. Originally, it consisted only of the first section, with an east-oriented polygonal apse and sepulchral recesses at the foot. In the 15th century, it was extended to house Bishop Gonzalo de Vivero's magnificent library. Later, it was used as a university classroom, a theater for sacred performances, a music classroom, and a space for degree collations and refreshments.

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

Chapel of Anaya or Saint Bartholomew Founded 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 rib vaults. Several arcosolia line its walls, housing the tombs of various family members.

The tomb of Diego de Anaya, located in the center of the chapel, 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 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. This work, attributed to the so-called Master of the Anaya, is one of the best examples of Hispanic Gothic art, with Italo-Burgundian influences. The tomb is protected by a magnificent Gothic grille with Plateresque basketry.

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

The Cathedral Museum of Salamanca has been housed since 1953 in the New Chapter Houses (1526). The access doors are decorated with beautiful Renaissance reliefs by Juan de Angers. Most of the pieces on display come from the Cathedral itself, although it also preserves works from various 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.

A particularly 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 university professors and clerics.

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

The tour culminates with the Virgin of the Seo (14th century), a sandstone sculpture of clear French influence that originally occupied the place where the Virgin of the Vega is found today in the altarpiece of the Old Cathedral. The Child carries a book and a bird, symbols of the Gospel and of 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 Archangel conquering 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 Nursing Madonna, from the second half of the 16th century, shows Mary breastfeeding the Child accompanied by two angels playing a lute and a tambourine.

The museum brings together 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 Fernando Gallego's signature on the central panel, depicting Mary handing a white rose to her son. The lateral panels feature Saint Andrew and Saint Christopher. This is one of Gallego's most important works, in which Flemish influences are evident in the multiple details and Marian symbolism—pearls, crystal, white rose—alluding 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 detail, symbolism, and recreation of the fashion of the era. The predella shows the figures of Saint Peter, Saint Paul, Saint Gregory, and Saint Jerome.

On the side walls hang eight paintings on serge that Pedro Bello, a disciple of Gallego, made for the side doors of the Triptych of Saint Catherine.

This room exhibits the Virgin of the Popolo (1533), a copy of a Roman icon, which 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 designed in 1790 by Manuel Martín Rodríguez for the main chapel of the New Cathedral that was never built. The model shows a monumental classicist 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.