MUSEUM OF SALAMANCA (FINE ARTS)
1 hour 30 minutes
The Museum of Salamanca, the oldest in the city, opened its doors in 1848. After occupying various locations, in 1948 it definitively established itself in an early 16th-century palace, known as the Casa de los Doctores de la Reina or Palacio de los Álvarez Abarca. Its most notable collection comprises Castilian painting from the 15th to 18th centuries, mostly originating from convents closed after Mendizábal's Disentailment. Over time, this collection has been enriched with 19th and 20th-century paintings and sculptures from the Prado Museum and the Museo Nacional Reina Sofía. The archaeological collection consists of artifacts recovered from excavations at various sites in the province, as well as Vettonian verracos, Roman milestones, and funerary stelae from the Roman era.
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Free visit price
- Individual - 1.00 €
- Grupos - 0.00 €
- Estudiantes - 0.00 €
- Discapacitados - 0.00 €
- Niños (Edad máxima: 18) - 0.00 €
- Desempleados - 0.00 €
The current Museum of Salamanca is housed in the magnificent Abarca-Alcaraz house-palace, located on a plot between Plaza de Fray Luis de León and Patio de Escuelas. It is also known as Casa de los Doctores de la Reina because several members of this family held the title of physicians to the Catholic Monarchs.
From an architectural perspective, the Casa de los Abarca stands as a prominent example of civil architecture from the time of the Catholic Monarchs. Its design follows the model of a fortified tower-house, organized around a simple trapezoidal courtyard. The courtyard, with two gallery levels, displays the coats of arms of the Abarca-Alcaraz family on the parapets of the upper gallery. Its spectacular façade makes it a jewel of civil architecture of the era. Its façade ornamentation interweaves elements characteristic of late Gothic and early Renaissance styles, creating a unique and harmonious aesthetic. Notable features include the window decoration and the presence of the coats of arms of the Catholic Monarchs and the Abarca-Alcaraz family, which enhance its historic and stately character.
The house passed through different members of the family. In the 17th and part of the 18th centuries, it was inhabited by the students of the Order of Alcántara—whose memory still lingers in the vítores (inscriptions) on the façade—; in the 19th century, the Augustinian friars occupied it while rebuilding their convent after the Peninsular War. By the mid-20th century, it was rented out as a tenement building. In 1946, the Casa de los Abarca was acquired by the State, which established the Museum of Salamanca within it.
The Museum of Salamanca opened its doors in 1848 with a collection of pieces rescued from convents suppressed by Mendizábal's Disentailment. Throughout its extensive history, it has occupied various locations: the cloister of the Convento de San Esteban, the Palacio de Anaya, and, temporarily between 1970 and 1974, the Casa de las Conchas. Finally, in 1948, it found its permanent home in the Casa de los Doctores de la Reina. In the 1980s, the building was expanded to incorporate the space occupied by several adjacent houses. This allowed the museum to be equipped with a temporary exhibition hall, library, study room, restoration workshop, and small storage facilities. Access to the Temporary Exhibition Hall is from Calle Serranos. It is noteworthy that two magnificent coffered ceilings were incorporated into the building, coming from the Convento de las Dueñas in Salamanca and the Monasterio de Santa Isabel in Alba de Tormes.
Its collections are organized into three sections: Fine Arts, Archaeology, and Ethnology. The first consists mainly of works from disentailed convents that were recovered by the Provincial Commission of Monuments; it also holds numerous works on deposit from the Prado Museum and the Museo Nacional Reina Sofía. Archaeological objects have been recovered from excavations and surveys carried out at various points in the province, while the Ethnology section is nourished by acquisitions and donations from private individuals.
Every corner of this museum is a door open to the history, art, and identity of Salamanca, which we invite you to explore.
From an architectural perspective, the Casa de los Abarca stands as a prominent example of civil architecture from the time of the Catholic Monarchs. Its design follows the model of a fortified tower-house, organized around a simple trapezoidal courtyard. The courtyard, with two gallery levels, displays the coats of arms of the Abarca-Alcaraz family on the parapets of the upper gallery. Its spectacular façade makes it a jewel of civil architecture of the era. Its façade ornamentation interweaves elements characteristic of late Gothic and early Renaissance styles, creating a unique and harmonious aesthetic. Notable features include the window decoration and the presence of the coats of arms of the Catholic Monarchs and the Abarca-Alcaraz family, which enhance its historic and stately character.
The house passed through different members of the family. In the 17th and part of the 18th centuries, it was inhabited by the students of the Order of Alcántara—whose memory still lingers in the vítores (inscriptions) on the façade—; in the 19th century, the Augustinian friars occupied it while rebuilding their convent after the Peninsular War. By the mid-20th century, it was rented out as a tenement building. In 1946, the Casa de los Abarca was acquired by the State, which established the Museum of Salamanca within it.
The Museum of Salamanca opened its doors in 1848 with a collection of pieces rescued from convents suppressed by Mendizábal's Disentailment. Throughout its extensive history, it has occupied various locations: the cloister of the Convento de San Esteban, the Palacio de Anaya, and, temporarily between 1970 and 1974, the Casa de las Conchas. Finally, in 1948, it found its permanent home in the Casa de los Doctores de la Reina. In the 1980s, the building was expanded to incorporate the space occupied by several adjacent houses. This allowed the museum to be equipped with a temporary exhibition hall, library, study room, restoration workshop, and small storage facilities. Access to the Temporary Exhibition Hall is from Calle Serranos. It is noteworthy that two magnificent coffered ceilings were incorporated into the building, coming from the Convento de las Dueñas in Salamanca and the Monasterio de Santa Isabel in Alba de Tormes.
Its collections are organized into three sections: Fine Arts, Archaeology, and Ethnology. The first consists mainly of works from disentailed convents that were recovered by the Provincial Commission of Monuments; it also holds numerous works on deposit from the Prado Museum and the Museo Nacional Reina Sofía. Archaeological objects have been recovered from excavations and surveys carried out at various points in the province, while the Ethnology section is nourished by acquisitions and donations from private individuals.
Every corner of this museum is a door open to the history, art, and identity of Salamanca, which we invite you to explore.
The Museum of Salamanca consists of two buildings: a historic one and a newly constructed one. The old part corresponds to the 15th-16th century palace, known as the Casa de los Doctores de la Reina, which underwent extensive renovation in the 20th century to adapt it to its new use as a museum. In the 1980s, the premises were expanded with new spaces built over the residential buildings located to the north.
The permanent collections are exhibited in the historic building, while the prehistory and ethnography exhibitions are located in a section of the modern building. The collections are organized into three sections: Fine Arts, Archaeology, and Ethnology.
• GARDEN: The tour begins in the Garden, where several Vettonian verracos, Roman milestones, and funerary stelae have been installed.
• ETHNOGRAPHY HALL: From the garden, access is gained to the modern building. In this area, around an enclosed courtyard, the ethnography collection is displayed. Permanently, the ground floor of the courtyard houses a recreation of a forge, featuring original tools from forges in Tremedal de Tormes and La Tala.
• PREHISTORY HALL: A small transition room between the modern building and the palace houses the prehistory section. Displayed in showcases, in chronological order, are objects from archaeological excavations and surveys carried out at sites in the province. The chronological span ranges from the Paleolithic era almost to the present day.
• FINE ARTS SECTION: The art collection, originating from the Disentailment, with works from the 15th to 18th centuries, is complemented by deposits from the Prado Museum and the Museo Nacional Centro de Arte Reina Sofía, featuring 19th and 20th-century works, mainly paintings and some sculptures. These collections are exhibited in the entrance hall, courtyard galleries, and the rooms surrounding the courtyard (Rooms I to VII):
The permanent collections are exhibited in the historic building, while the prehistory and ethnography exhibitions are located in a section of the modern building. The collections are organized into three sections: Fine Arts, Archaeology, and Ethnology.
• GARDEN: The tour begins in the Garden, where several Vettonian verracos, Roman milestones, and funerary stelae have been installed.
• ETHNOGRAPHY HALL: From the garden, access is gained to the modern building. In this area, around an enclosed courtyard, the ethnography collection is displayed. Permanently, the ground floor of the courtyard houses a recreation of a forge, featuring original tools from forges in Tremedal de Tormes and La Tala.
• PREHISTORY HALL: A small transition room between the modern building and the palace houses the prehistory section. Displayed in showcases, in chronological order, are objects from archaeological excavations and surveys carried out at sites in the province. The chronological span ranges from the Paleolithic era almost to the present day.
• FINE ARTS SECTION: The art collection, originating from the Disentailment, with works from the 15th to 18th centuries, is complemented by deposits from the Prado Museum and the Museo Nacional Centro de Arte Reina Sofía, featuring 19th and 20th-century works, mainly paintings and some sculptures. These collections are exhibited in the entrance hall, courtyard galleries, and the rooms surrounding the courtyard (Rooms I to VII):
Access is from the Patio de Escuelas. Once past the entrance hall where the ticket offices are located, the museum tour begins in the garden:
GARDEN
In the garden of the Casa de los Abarca, visitors can see several Iberian verracos and Roman stelae from various towns in the western part of the province.
ETHNOLOGY COLLECTION.
• On the ground floor of the extension, a recreation of a forge is displayed, featuring original elements from two forges in Tremedal and La Tala.
ARCHAEOLOGY SECTION
• Displayed in showcases, in chronological order, are objects from archaeological excavations and surveys carried out at sites in the province. The chronological span ranges from the Paleolithic era almost to the present day.
From this small room, we will proceed to the old building, where the permanent art exhibition is installed. Descending the staircase, we will reach the courtyard, from where we will head to the entrance hall, or the building's main entrance, to begin the visit to the permanent collection:
ENTRANCE HALL
• In the entrance hall, a Churrigueresque Baroque altarpiece created between 1697 and 1704 by Bernardo de Carbajal has been placed. The original panels are missing, and in their stead, several panel paintings by a Castilian painter from the mid-16th century have been installed.
• An altar canvas depicting Saint Rose of Viterbo, a late 17th-century work signed by Sebastián Gómez.
LOWER COURTYARD GALLERY
Around the lower courtyard gallery are arranged interesting sculptures and architectural elements from demolished buildings in the city.
• A marble fragment that was part of the altarpiece of the chapel of the disappeared Colegio Mayor de Oviedo, which was destroyed by the French in the early 19th century during the Peninsular War. This marble fragment depicts Saint Toribio de Mogrovejo and was carved in 1756 by Luis Salvador Carmona.
• Magnificent 16th-century lintel with the coat of arms of the Catholic Monarchs.
• Fragments of a late 14th-century alabaster tomb adorned with scenes from the life of Saint Francis of Assisi.
• Under the staircase is displayed a monumental door with Plateresque decoration attributed to Juan de Álava.
ROOM I
This courtyard provides access to Room I, dedicated to the 15th and 16th centuries.
• Adapted within it is a 14th-century Mudejar coffered ceiling with polychrome truss work, originating from the houses that Juan Sánchez de Sevilla owned in Salamanca, where the Convento de las Dueñas de Salamanca would later be erected.
• A small late 15th-century Hispano-Flemish altarpiece dedicated to Mary Magdalene presides over the room.
• A piece of unique value is the panel of Saint Andrew, attributed to Juan de Flandes.
• "Lamentation over the Dead Christ," a remarkable oil on canvas by Luis de Morales.
• Among the works in this room, a serge painting on panel depicting Christ's appearance to Mary Magdalene stands out.
• Panel of "Saint Ursula with the Eleven Thousand Virgins."
ROOMS II, III, IV and V: The remaining rooms on the ground floor and mezzanine are dedicated to 17th-century Baroque painting.
ROOM II: 17th-century Baroque works
• Two large canvases of the Immaculate Conception stand out, one by Andrea Vaccaro and another attributed to José Jiménez Donoso.
• The Martyrdom of Saint Bartholomew, a high-quality copy of another work on the same theme by Ribera.
• Two interesting paintings attributed to Pedro Orrente belong to the Jacob and Abraham series.
• In the center of the room is exhibited the recumbent effigy of a knight of the Order of Saint John of Jerusalem, possibly dating from the early 16th century and originating from the church of San Juan Bautista de Bárbalos.
ROOM III
Portraits and stories of saints are exhibited. These are 17th-century works by an anonymous artist of unknown origin:
• Four head studies depicting the Doctors of the Latin Church, following Ribera-esque Tenebrist models.
• The most prominent work is a painting showing the blessed and Carthusian martyr Nicolás Albergato, painted by Francisco Camilo in the 17th century.
• A canvas depicting Saint Peter of Alcántara in a praying posture, signed by Alonso de Mesa, stands out.
• Sculpture of "Christ of Humility and Patience,"
• Canvas of "Christ Presenting the World to the Father."
ROOM IV
• Works by Flemish and Dutch masters, and paintings from the Italian school (copies of Correggio and Sassoferrato) from the 16th and 17th centuries, have been arranged. Most of them are deposits from the Prado Museum, and many were part of Isabel Farnese's private collection.
ROOM V:
• The carving of Saint John the Baptist, attributed to Esteban de Rueda, and which may have belonged to the disappeared altarpiece of the church of San Martín de Salamanca, executed between 1621 and 1633, stands out.
• A canvas depicting Fray Íñigo de Brizuela, originating from the chapter house of the Convento de San Esteban, which he commissioned.
• An anonymous canvas of Saint Barbara, a copy of Zurbarán's work housed in the Museum of Fine Arts of Seville.
• Judith with the Head of Holofernes, a copy of Guido Reni.
UPPER GALLERY,
• Paintings and sculptures by contemporary artists are displayed along the upper galleries.
ROOM VI: Art from the 18th to 20th Centuries
The first part of the room houses 18th and 19th-century works, among which two canvases attributed to Luca Giordano stand out.
A space has been reserved for local painters Antonio Alonso Villamor and Simón Peti, who represent the modest artistic scene of the era.
Among the most notable pieces are:
• A magnificent Hispano-Philippine ivory crucifix.
• A sculptural group of the Holy Family, crafted in alabaster, identical to another preserved in the convent of the Salesas Reales in Madrid.
• A silver statuette of Saint Michael, a work by Antonio Vaccaro.
• Saint John of Sahagún dressed as a collegian, painted by Francisco Gutiérrez.
• A set of 18th-century painted leather jamuga chairs, from the Colegio Mayor Fonseca.
• A portrait of Saint Francis de Sales, painted by Francisco Bayeu.
• Five Cuzco-style "angel-hunters", which lend a singular atmosphere to the collection.
The room also exhibits important works from the late 19th and early 20th centuries, including:
• Two portraits of the Marchioness of Pazo de la Merced, one by Federico de Madrazo and another by José Moreno Carbonero.
• Several landscapes by Carlos Haes.
• Works by local painters Antonio Carnero and Vidal González Arenal.
• A portrait of Miguel de Unamuno by Juan de Echevarría.
• "A las Doce" (At Twelve O'Clock), a painting by Valentín de Zubiaurre.
• Landscapes by Aurelio García Lesmes, Timoteo Pérez Rubio, and the Salamancan artist Francisco Núñez Losada, which reflect the pictorial character of their time.
ROOM VII
The room, located on the main floor of the Casa de los Abarca, offers a privileged view of Plaza de Fray Luis de León and is dedicated to contemporary art. It exhibits works by prominent contemporary artists, with a significant representation of Salamancan creators.
Among the most outstanding pieces are:
• The sculpture "Hipopótamo" (Hippopotamus) by Mateo Hernández from Béjar.
• "El Fuerte de la Concepción" (The Conception Fort) by Florencio Maíllo.
• "Maternidad" (Maternity) by Venancio Blanco.
• As a tribute to Miguel de Unamuno, the room houses a canvas depicting him walking on the Zamora road by Cecilia Martín, and a small sculpture of his head, a work by artist Moisés Huerta.
GARDEN
In the garden of the Casa de los Abarca, visitors can see several Iberian verracos and Roman stelae from various towns in the western part of the province.
ETHNOLOGY COLLECTION.
• On the ground floor of the extension, a recreation of a forge is displayed, featuring original elements from two forges in Tremedal and La Tala.
ARCHAEOLOGY SECTION
• Displayed in showcases, in chronological order, are objects from archaeological excavations and surveys carried out at sites in the province. The chronological span ranges from the Paleolithic era almost to the present day.
From this small room, we will proceed to the old building, where the permanent art exhibition is installed. Descending the staircase, we will reach the courtyard, from where we will head to the entrance hall, or the building's main entrance, to begin the visit to the permanent collection:
ENTRANCE HALL
• In the entrance hall, a Churrigueresque Baroque altarpiece created between 1697 and 1704 by Bernardo de Carbajal has been placed. The original panels are missing, and in their stead, several panel paintings by a Castilian painter from the mid-16th century have been installed.
• An altar canvas depicting Saint Rose of Viterbo, a late 17th-century work signed by Sebastián Gómez.
LOWER COURTYARD GALLERY
Around the lower courtyard gallery are arranged interesting sculptures and architectural elements from demolished buildings in the city.
• A marble fragment that was part of the altarpiece of the chapel of the disappeared Colegio Mayor de Oviedo, which was destroyed by the French in the early 19th century during the Peninsular War. This marble fragment depicts Saint Toribio de Mogrovejo and was carved in 1756 by Luis Salvador Carmona.
• Magnificent 16th-century lintel with the coat of arms of the Catholic Monarchs.
• Fragments of a late 14th-century alabaster tomb adorned with scenes from the life of Saint Francis of Assisi.
• Under the staircase is displayed a monumental door with Plateresque decoration attributed to Juan de Álava.
ROOM I
This courtyard provides access to Room I, dedicated to the 15th and 16th centuries.
• Adapted within it is a 14th-century Mudejar coffered ceiling with polychrome truss work, originating from the houses that Juan Sánchez de Sevilla owned in Salamanca, where the Convento de las Dueñas de Salamanca would later be erected.
• A small late 15th-century Hispano-Flemish altarpiece dedicated to Mary Magdalene presides over the room.
• A piece of unique value is the panel of Saint Andrew, attributed to Juan de Flandes.
• "Lamentation over the Dead Christ," a remarkable oil on canvas by Luis de Morales.
• Among the works in this room, a serge painting on panel depicting Christ's appearance to Mary Magdalene stands out.
• Panel of "Saint Ursula with the Eleven Thousand Virgins."
ROOMS II, III, IV and V: The remaining rooms on the ground floor and mezzanine are dedicated to 17th-century Baroque painting.
ROOM II: 17th-century Baroque works
• Two large canvases of the Immaculate Conception stand out, one by Andrea Vaccaro and another attributed to José Jiménez Donoso.
• The Martyrdom of Saint Bartholomew, a high-quality copy of another work on the same theme by Ribera.
• Two interesting paintings attributed to Pedro Orrente belong to the Jacob and Abraham series.
• In the center of the room is exhibited the recumbent effigy of a knight of the Order of Saint John of Jerusalem, possibly dating from the early 16th century and originating from the church of San Juan Bautista de Bárbalos.
ROOM III
Portraits and stories of saints are exhibited. These are 17th-century works by an anonymous artist of unknown origin:
• Four head studies depicting the Doctors of the Latin Church, following Ribera-esque Tenebrist models.
• The most prominent work is a painting showing the blessed and Carthusian martyr Nicolás Albergato, painted by Francisco Camilo in the 17th century.
• A canvas depicting Saint Peter of Alcántara in a praying posture, signed by Alonso de Mesa, stands out.
• Sculpture of "Christ of Humility and Patience,"
• Canvas of "Christ Presenting the World to the Father."
ROOM IV
• Works by Flemish and Dutch masters, and paintings from the Italian school (copies of Correggio and Sassoferrato) from the 16th and 17th centuries, have been arranged. Most of them are deposits from the Prado Museum, and many were part of Isabel Farnese's private collection.
ROOM V:
• The carving of Saint John the Baptist, attributed to Esteban de Rueda, and which may have belonged to the disappeared altarpiece of the church of San Martín de Salamanca, executed between 1621 and 1633, stands out.
• A canvas depicting Fray Íñigo de Brizuela, originating from the chapter house of the Convento de San Esteban, which he commissioned.
• An anonymous canvas of Saint Barbara, a copy of Zurbarán's work housed in the Museum of Fine Arts of Seville.
• Judith with the Head of Holofernes, a copy of Guido Reni.
UPPER GALLERY,
• Paintings and sculptures by contemporary artists are displayed along the upper galleries.
ROOM VI: Art from the 18th to 20th Centuries
The first part of the room houses 18th and 19th-century works, among which two canvases attributed to Luca Giordano stand out.
A space has been reserved for local painters Antonio Alonso Villamor and Simón Peti, who represent the modest artistic scene of the era.
Among the most notable pieces are:
• A magnificent Hispano-Philippine ivory crucifix.
• A sculptural group of the Holy Family, crafted in alabaster, identical to another preserved in the convent of the Salesas Reales in Madrid.
• A silver statuette of Saint Michael, a work by Antonio Vaccaro.
• Saint John of Sahagún dressed as a collegian, painted by Francisco Gutiérrez.
• A set of 18th-century painted leather jamuga chairs, from the Colegio Mayor Fonseca.
• A portrait of Saint Francis de Sales, painted by Francisco Bayeu.
• Five Cuzco-style "angel-hunters", which lend a singular atmosphere to the collection.
The room also exhibits important works from the late 19th and early 20th centuries, including:
• Two portraits of the Marchioness of Pazo de la Merced, one by Federico de Madrazo and another by José Moreno Carbonero.
• Several landscapes by Carlos Haes.
• Works by local painters Antonio Carnero and Vidal González Arenal.
• A portrait of Miguel de Unamuno by Juan de Echevarría.
• "A las Doce" (At Twelve O'Clock), a painting by Valentín de Zubiaurre.
• Landscapes by Aurelio García Lesmes, Timoteo Pérez Rubio, and the Salamancan artist Francisco Núñez Losada, which reflect the pictorial character of their time.
ROOM VII
The room, located on the main floor of the Casa de los Abarca, offers a privileged view of Plaza de Fray Luis de León and is dedicated to contemporary art. It exhibits works by prominent contemporary artists, with a significant representation of Salamancan creators.
Among the most outstanding pieces are:
• The sculpture "Hipopótamo" (Hippopotamus) by Mateo Hernández from Béjar.
• "El Fuerte de la Concepción" (The Conception Fort) by Florencio Maíllo.
• "Maternidad" (Maternity) by Venancio Blanco.
• As a tribute to Miguel de Unamuno, the room houses a canvas depicting him walking on the Zamora road by Cecilia Martín, and a small sculpture of his head, a work by artist Moisés Huerta.