CUEVA DE SALAMANCA
20 minutes
The site known as La Cueva de Salamanca preserves the remains of the medieval church of San Cebrián, built in the 12th century next to the Cerca Vieja. According to legend, the devil taught black magic in the crypt of this church.
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Free visit price
- Individual - 0.00 €
The remains of the Iglesia de San Cebrián (or San Ciprián) are located on Cuesta de Carvajal, on the hillside that descends from Teso de las Catedrales towards Arroyo de Santo Domingo. This temple was situated within the layout of the first medieval wall, forming part of its structure. Its apse stood out as a defensive bastion protecting the city's entrance through the San Ciprián Postern Gate.
The Church was founded by Frankish settlers in the mid-12th century, in the Azogue Viejo area. It is located behind the cathedral, in what eventually became the canons' quarter. It cannot be ruled out that its dedication to San Cipriano indicates the existence of ancient magical rites on the site, prior to Christianity. San Cipriano de Antioquía, a magician and necromancer before converting to Christianity, would eventually be venerated as a protector against all kinds of evil spells.
Isabel la Católica ordered its walls to be sealed off when she learned that occult rites were practiced there. The parish was suppressed in the 16th century, and its stone was used for the construction of the Catedral Nueva. In its memory, a cross with the statue of San Cebrián was placed in the square, accompanied by an inscription that read: "This was the church of San Cebrián." Currently, this cross is in the Cementerio de San Carlos Borromeo. Recently, in 2025, the sculptor Oscar Alvariño has created a reproduction of the cross, which has been placed in its original location. After the destruction of the church, the crypt served as a storage room for a nearby palace; it was later used as a bakery warehouse and even a coal shed.
In the early 1990s, this space was excavated and restored, opening to the public in 1993. Since then, it has consolidated itself as an archaeological site of great interest, housing the emblematic Torre de Villena, a section of the historic Cerca Vieja, and the enigmatic Cueva de Salamanca. Across the street is the Wall Interpretation Center, "Salmantica Castrorum," where important in-situ remains of the hillfort wall and the medieval enclosure can be seen.
THE CUEVA DE SALAMANCA IN LITERATURE
The legendary Cueva de Salamanca has left a profound mark on literature, becoming a source of inspiration for great writers. Cervantes dedicated an interlude to it, Ruiz de Alarcón wrote a comedy about it, and Quevedo mentioned it in his texts, echoing the mysterious adventure of the Marqués de Villena. In 1733, the Portuguese Botello de Moraes imagined a fantastic tale in "Las cuevas de Salamanca," and even Walter Scott included it in his poetry, evoking a magician whose power could make the bells of Nôtre Dame ring when he waved his magic wand. The cave will again feature prominently in "El manuscrito de Piedra" by Luís García Jambrina.
The story of the cave crossed borders. In some parts of Hispanic America, caves inhabited by witches and demonic beings are called "Salamancas." Unamuno captures this when he says: "Of the old necromantic and alchemical legend of this city, of what has made the name Salamanca signify what it signifies in distant corners of that American land – ¡la Salamanca! – of that, what shall I tell you? They still discuss here where the famous caves were located in which the Marquis of Villena engaged in his witchcraft and enchantments."
The Church was founded by Frankish settlers in the mid-12th century, in the Azogue Viejo area. It is located behind the cathedral, in what eventually became the canons' quarter. It cannot be ruled out that its dedication to San Cipriano indicates the existence of ancient magical rites on the site, prior to Christianity. San Cipriano de Antioquía, a magician and necromancer before converting to Christianity, would eventually be venerated as a protector against all kinds of evil spells.
Isabel la Católica ordered its walls to be sealed off when she learned that occult rites were practiced there. The parish was suppressed in the 16th century, and its stone was used for the construction of the Catedral Nueva. In its memory, a cross with the statue of San Cebrián was placed in the square, accompanied by an inscription that read: "This was the church of San Cebrián." Currently, this cross is in the Cementerio de San Carlos Borromeo. Recently, in 2025, the sculptor Oscar Alvariño has created a reproduction of the cross, which has been placed in its original location. After the destruction of the church, the crypt served as a storage room for a nearby palace; it was later used as a bakery warehouse and even a coal shed.
In the early 1990s, this space was excavated and restored, opening to the public in 1993. Since then, it has consolidated itself as an archaeological site of great interest, housing the emblematic Torre de Villena, a section of the historic Cerca Vieja, and the enigmatic Cueva de Salamanca. Across the street is the Wall Interpretation Center, "Salmantica Castrorum," where important in-situ remains of the hillfort wall and the medieval enclosure can be seen.
THE CUEVA DE SALAMANCA IN LITERATURE
The legendary Cueva de Salamanca has left a profound mark on literature, becoming a source of inspiration for great writers. Cervantes dedicated an interlude to it, Ruiz de Alarcón wrote a comedy about it, and Quevedo mentioned it in his texts, echoing the mysterious adventure of the Marqués de Villena. In 1733, the Portuguese Botello de Moraes imagined a fantastic tale in "Las cuevas de Salamanca," and even Walter Scott included it in his poetry, evoking a magician whose power could make the bells of Nôtre Dame ring when he waved his magic wand. The cave will again feature prominently in "El manuscrito de Piedra" by Luís García Jambrina.
The story of the cave crossed borders. In some parts of Hispanic America, caves inhabited by witches and demonic beings are called "Salamancas." Unamuno captures this when he says: "Of the old necromantic and alchemical legend of this city, of what has made the name Salamanca signify what it signifies in distant corners of that American land – ¡la Salamanca! – of that, what shall I tell you? They still discuss here where the famous caves were located in which the Marquis of Villena engaged in his witchcraft and enchantments."
1.- CHURCH AND CRYPT (Cueva de Salamanca)
What remains today is limited to the church's crypt. On the upper level, excavations and restorations in the 1990s brought to light the church's perimeter walls. It was a small temple, with a rectangular plan and a semicircular apse. A grille currently covers the access to the crypt from the church.
The steep slope of the street was exploited to build a crypt beneath the main chapel. Communication between the crypt and the apse was through a narrow staircase with a slate barrel vault. This space is covered by a barrel vault that starts from a chamfered impost line. The semicircular apse and its thickness can be seen marked on the pavement. The apse also served as a defensive bastion of the wall and protected the immediate San Cebrián Postern Gate.
Here stands an enigmatic bust of Diego de Torres Villarroel, sculpted by Agustín Casillas. Diego de Torres was a multifaceted figure; throughout his life, he was a writer, astrologer, mathematician, priest, exorcist, doctor, and bullfighter. The effigy is steeped in mystery; it is depicted frontally, with demonic eyes and an owl image on the reverse.
This place becomes a "magical setting" at certain times of the year, especially in summer, when a light show is projected onto the cave and the wall; concerts and theatrical performances are held, often featuring the devil himself and Don Enrique de Villena as protagonists.
Along the route, several informative panels explain the history and legends linked to this place to visitors.
2.- WALL
This area preserves the section of the Cerca Vieja that extends between the apse of the Iglesia de San Cebrián and the so-called Torre del Marqués de Villena. This section of medieval wall, built in the 12th century, formed part of the defensive system that protected Teso de las Catedrales.
This section was partially destroyed in 1979 during the demolition works of a palace known as Casa de la Concordia. Subsequent excavations unearthed tombs from the San Cebrián cemetery and, in the lower levels, strata of pre-Roman occupation. The cut made in the wall allows the thickness and construction technique to be seen.
The tower and wall rest on geological strata, and their elevations show different phases of construction and reconstruction.
3.- TORRE DEL MARQUÉS DE VILLENA
From here, visitors can access the Torre del Marqués de Villena, a central character in the cave's legend.
It is a 15th-century construction built upon one of the bastions of the city's original wall. It is the only structure remaining from the Palacio Mayorazgo de los Albandea, a palace that was accessed from Calle de San Pablo. On the access door and at the corners of the top of the tower, there are shields of the Sánchez de Palenzuela family, to whom it appears to have belonged. Inside, metal stairs allow ascent to the viewpoint, from which there are unbeatable views of the city's southeast area.
What remains today is limited to the church's crypt. On the upper level, excavations and restorations in the 1990s brought to light the church's perimeter walls. It was a small temple, with a rectangular plan and a semicircular apse. A grille currently covers the access to the crypt from the church.
The steep slope of the street was exploited to build a crypt beneath the main chapel. Communication between the crypt and the apse was through a narrow staircase with a slate barrel vault. This space is covered by a barrel vault that starts from a chamfered impost line. The semicircular apse and its thickness can be seen marked on the pavement. The apse also served as a defensive bastion of the wall and protected the immediate San Cebrián Postern Gate.
Here stands an enigmatic bust of Diego de Torres Villarroel, sculpted by Agustín Casillas. Diego de Torres was a multifaceted figure; throughout his life, he was a writer, astrologer, mathematician, priest, exorcist, doctor, and bullfighter. The effigy is steeped in mystery; it is depicted frontally, with demonic eyes and an owl image on the reverse.
This place becomes a "magical setting" at certain times of the year, especially in summer, when a light show is projected onto the cave and the wall; concerts and theatrical performances are held, often featuring the devil himself and Don Enrique de Villena as protagonists.
Along the route, several informative panels explain the history and legends linked to this place to visitors.
2.- WALL
This area preserves the section of the Cerca Vieja that extends between the apse of the Iglesia de San Cebrián and the so-called Torre del Marqués de Villena. This section of medieval wall, built in the 12th century, formed part of the defensive system that protected Teso de las Catedrales.
This section was partially destroyed in 1979 during the demolition works of a palace known as Casa de la Concordia. Subsequent excavations unearthed tombs from the San Cebrián cemetery and, in the lower levels, strata of pre-Roman occupation. The cut made in the wall allows the thickness and construction technique to be seen.
The tower and wall rest on geological strata, and their elevations show different phases of construction and reconstruction.
3.- TORRE DEL MARQUÉS DE VILLENA
From here, visitors can access the Torre del Marqués de Villena, a central character in the cave's legend.
It is a 15th-century construction built upon one of the bastions of the city's original wall. It is the only structure remaining from the Palacio Mayorazgo de los Albandea, a palace that was accessed from Calle de San Pablo. On the access door and at the corners of the top of the tower, there are shields of the Sánchez de Palenzuela family, to whom it appears to have belonged. Inside, metal stairs allow ascent to the viewpoint, from which there are unbeatable views of the city's southeast area.
EXHIBITION HALL
On the wall, in the space between the church and the Torre del Marqués de Villena, a modern concrete building was constructed to display the archaeological remains recovered during excavations in the 1990s from the necropolis of the Iglesia de San Cebrián.
Here you can see:
• wooden corbels with polychrome faces
• Romanesque mouldings, with checkerboard and palmette decoration
• medieval tombs and discoid stelae from the necropolis of the Iglesia de San Cebrián.
Across the street is the Wall Interpretation Center, "Salmantica Castrorum," where important in-situ remains of the hillfort wall and the medieval enclosure can be seen.
On the wall, in the space between the church and the Torre del Marqués de Villena, a modern concrete building was constructed to display the archaeological remains recovered during excavations in the 1990s from the necropolis of the Iglesia de San Cebrián.
Here you can see:
• wooden corbels with polychrome faces
• Romanesque mouldings, with checkerboard and palmette decoration
• medieval tombs and discoid stelae from the necropolis of the Iglesia de San Cebrián.
Across the street is the Wall Interpretation Center, "Salmantica Castrorum," where important in-situ remains of the hillfort wall and the medieval enclosure can be seen.