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Church of Santo Tomás de Ollas art Christian kingdoms. Photo: A. M. Felicísimo.

Art of the Christian kingdoms along the Way of Saint James

After the fall of the Western Roman Empire, the Visigoths took control of the Peninsula. The arrival of these Nordic peoples transformed Roman Hispania completely and laid the foundations for the later stages of feudalism.

However, the internal struggles led to a weakening of the kingdom’s power. In 711, the Muslims reached the Iberian Peninsula, and the Visigoths ceded their power to the Caliph of Damascus.

From then on, the territory was divided. The Christian kingdoms, which had just become strong, did not accept the Muslim advance. Christians fled to the northwest of the Peninsula and eventually formed new kingdoms and counties.

The kingdoms of Asturias and Pamplona, the county of Castile, the county of Aragon, and the Catalan counties faced the Muslim advance through alliances and continuous fighting. The Reconquest of al-Andalus began to take hold in the 11th century when the Caliphate of Córdoba was divided into small Taifa kingdoms.

Although now the south of Spain is heavily influenced by Arab culture, the north of the Iberian Peninsula developed its own identity. The most advanced art was that of the Astur kingdom, which remained free of Muslim invasion.

The French side of the Way of Saint James crosses Spain through Aragon, Navarra, La Rioja, and Castilla y León until it reaches Galicia. These territories that make up these Autonomous Communities home great examples of the art of this period.

Asturian art

Asturian art appears as the heir to Visigothic art, although it developed its characteristics. Even though it was initially concentrated in the kingdom of Asturias, with its capital in Oviedo, it eventually spread to other territories.

Around 830, King Alfonso II the Chaste received the news that Theodomir, Bishop of Iria Flavia, had found the remains of the Apostle Saint James. The Asturian king did not hesitate to go to the site and build a small sanctuary to protect the discovery.

However, the temple soon became too small, and between 872 and 899, King Alfonso III the Great built a larger church. These were the first vestiges of the present-day Cathedral of Santiago. Of this second temple, only the foundations and some remains have been preserved.

Torres de Oeste in Catoira.

Towers of the West in Catoira.

In addition to the basilica, another Asturian-style construction is the Towers of the West, in the town of Catoira. They were erected on the coast to protect the territory from Norman incursions that came through the Ría de Arousa.

In present-day Galicia, some rural temples followed the artistic canons of the reign of Alfonso II. These show the Visigothic inspiration of this style and the Mozarabic influence that reached the area.

Pilgrims finishing the Way of Saint James can dedicate a few days to getting to know Galicia in-depth and visit some temples in the Asturian style in La Coruña, such as Santiago de Mens.

Art in the Kingdom of León

In 910, King Alfonso III of Asturias abdicated and divided his kingdom among his three sons. Hence, the kingdom of León was born, which fell to his first-born son, García I. After several raids against the Muslims, the two eldest sons died, and the youngest son inherited his brothers’ lands. That how a new kingdom was formed. It encompassed the former kingdom of Asturias, the kingdom of León and Galicia.

With the arrival of the Muslims, the Hispano-Romans, who decided to stay in the territory and continue to preserve their language and religion, came to be known as Mozarabs. These people ended up adopting some of the customs of the invaders, creating a mixture of styles.

The Mozarabs played a key role in repopulating some of the border areas between the emerging Christian kingdoms and Al-Andalus. The lands along the Duero river are an example of this.

Before their arrival, the kings encouraged the donation and concession of territories, which fostered the architectural creation of monastic foundations. The Way of Saint James crosses the region of El Bierzo from stage 22 onwards, where the church of the monastery of Santiago de Peñalba is located. The use of buttresses denotes Asturian influence, but the presence of horseshoe arches and the use of the “alfiz” are evidence of the roots of Muslim art.

Church of Santo Tomás de Ollas.

Church of Santo Tomás de Ollas.

Near the town of Ponferrada is the church of Santo Tomás de Ollas. It is a temple built with masonry. Despite the simplicity of its exterior, it is richly decorated inside. The layout of the apse and the blind horseshoe arches show the Muslim influence.

One of the jewels of this period is in the far west of the former kingdom of León. In Orense is the oratory of San Miguel de Celanova. The horseshoe arches and the apse under a moulding do honour Muslim art, but the rough exterior and the volumes are typical of Asturian enterprises.

The Mozarabic vestiges of Castilla

In the 10th century, the county of Castilla suffered political changes. The Kingdom of León was responsible for appointing the Castilian counts. However, Count Fernán González revolted against this idea and gained independence for Castilla.

At that time, the predominant art in Castilian lands was Mozarabic, a mixture of Hispano-Roman tradition and Muslim influence. One of the most representative examples is the church of the monastery of San Millán de la Cogolla, in La Rioja.

This church was built in 929 in front of some Visigothic grottoes. The current remains show that it may have consisted of two spaces separated by horseshoe arches and a wooden ceiling.

Architecture in Navarra

In the kingdom of Navarra, as in the kingdom of Aragon and the Catalan counties, Mozarabic art did not become established. The architecture of the period falls within the pre-Romanesque style that would later emerge.

Among the most outstanding remains are those of the sanctuary of San Miguel de Aralar, in the north of Navarra, and the monastery of Leyre, 50 kilometres from Pamplona. The Museum of Navarra conserves some reliefs from the period belonging to the church of San Miguel de Villatuerta. At the end of the third stage, the pilgrim can see a crucified Christ with a beard and short tunic.

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