689:
entrance vestibule and two side areas possibly to house parishioners or ecciesiastics. This entrance leads into a single nave with a wooden ceiling, covered by an interesting roof, the same length as the entrance enclosures. The nave adjoins two rectangular side areas, also with a wooden ceiling, whose use seems to associated with the liturgical rites of the period. this nave joined with the sanctuary by three semicircular brick arches, each of which leads into its corresponding chapel, of which only the main or central one is covered with a brick barrel vault, the other two with wooden ceilings.
789:, quite low, has a central chamber and another two located on either side. The upper floor is accessed via a double exterior stairway adjoining the facade, leading into an identical layout as the lower floor; a central or noble hall with six blind semicircular arches along the walls, supported by columns built into the wall, and a mirador at each end. These are accessed via three arches, similar to those onto the wall, resting on columns with helicoidal rope moulding, typical of Pre-Romanesque. The barrel vault is made from tufa stone, and is held up by six transverso arches resting on consoles.
823:
768:, involved a significant stylistic, morphological, constructive and decorative renovation of Pre-Romanesque, supplementing it with new, innovative resources, representing a leap forward with respect to immediately previous periods. Built as a recreational palace, it is situated on the southern side of Monte Naranco facing the city, and was originally part of a series of royal buildings located in the outskirts. Its character as a civil building changed in the 12th century when it was converted into a church dedicated to St. Mary.
1012:
31:
425:
1023:) in the central nave, and this from the area devoted to the liturgy by iron grilles, now disappeared. Particular elements of this church include the covered gallery annexed to the southern facade at a later date or Royal Portico, the 50 cm square columns on the central naves arches, the triple-arched window open in the central apse, and the room above it, exclusively accessed from the exterior by a window which here has two openings, compared with the habitual three.
1004:), the place where Alfonso III was detained when he was dispossessed by his sons, and where there used to be an old convent governed by the Benedictine Order, substituted in the 13th century by the Cistercians. The church known as the "Bishops' Chapel" was consecrated on September 16, 893, with seven bishops in attendance, and stands on a classic basilica ground plan with a triple sanctuary, separating the central nave from the side aisles with four semicircular arches.
843:
757:
986:
537:, conserves only the end wall of the apse from its original construction, because it was destroyed by fire in the 16th century. The section remaining shows the original construction in stone blocks, and in the centre, there is the characteristic three-point window of Asturian Pre-Romanesque, with semicircular arches made of brick. The central opening, larger than the side ones, is supported by free-standing columns.
333:
704:
lit by
Windows with stone lattice. The straight sanctuary is divided into three apses with barrel vaults. As a differentiating element, the apses were joined to each other through the dividing walls by semicircular-arched doors. Like all the churches from this period, there was a room over the apse, only accessible from outside through a trefoil window. The bell tower, separate from the church like in
1386:
1038:, the only upper medieval civil construction conserved in Spain, was built on the outside of Oviedo city walls, with stone blocks and an intersecting roof, barrel vault and rectangular ground plan. The intersection of the roof is topped with a triangular pediment, sculpted with the Victory Cross, characteristic of Alfonso III, under which runs the typical inscription of the kingdom of Asturias:
1615:
1057:(a few kilometres from Valdediós), consecrated on September 24, 921, which has the architectural and decorative reference of the model laid down by Santullano, and not subsequent works. In the 17th and 18th centuries, it underwent several reconstructions, altering especially the structures adjoining the vestibule, by communicating them with the side aisles.
947:), who, encouraged by a number of noblemen, dispossessed the king and confined him in the town of Boiges (Boides valley, present-day Valdediós). Even so, they allowed him to lead a final campaign against the Muslims in Zamora, where he was victorious once more. He died on his return, in December of the year 910. Described in the chronicles as
875:, with a single apse, foregoing the traditional Asturian pre-romanesque triple apse, and going back to Visigoth influences. To the north and south respectively, there are two other enclosures through semicircular arches and barrel vaults, whose use was associated with the Hispano-Visigothic liturgy practised in Spain up to the 11th century.
669:
479:, or Santuyano, was built (approx. between the years (812 and 842), it formed part of a series of royal buildings. The church had a basilica ground plan (central nave and two side aisles), separated by three semicircular arches on impost capitals and square columns. It is worth noting the existence of a
703:
is located beside the River Nora, about twelve kilometres from Oviedo. This church has the construction style established in
Santullano: facing eastwards, vestibule separate from the main structure, basilica-type ground plan, central nave higher than the side aisles, with intersecting wooden roof and
571:
As mentioned above, acting as a royal chapel, the Holy
Chamber was built to house the jewels and relics of the cathedral of San Salvador in Oviedo, a function it continues to have 1,200 years later. Some of these jewels were donated by the Kings Alfonso II and Alfonso III, and represent extraordinary
870:
with
Asturias. The church has a different ground plan to Pre-Romanesque´s traditional basilica. It is a single rectangular space with a barrel vault, with four adjoining structures located in the centre of each facade. The first of these annexes is the typical Asturian Pre-Romanesque vestibule, with
850:
It originally had a basilica ground plan, three aisles with a barrel vault, although part of the original structure has disappeared as the building fell into decay during the 12th or 13th century. Nowadays, it conserves its western half from that period, together with several elements in the rest of
805:
The medallions have decorative bands above them, again framed by rope moulding, inside which four figures are sculpted and arranged symmetrically; the upper two carrying loads on their heads and the lower two representing soldiers on horseback carrying swords. These figures seem to have some kind of
792:
Santa Maria del
Naranco represented a step forward from a decorative point of view by enriching the habitual standards and models with elements from painting, gold work and the textile arts. The rich decoration is concentrated in the hall and miradors of the upper floor, where it is especially worth
632:
or Santa Cruz, a Latin cross (unequal arms) of 92 cm by 72 cm. The core is made of two pieces of oak with circular ends finished in three foils, and joined in the centre by a circular disk. The whole cross is covered with gold leaf and filigree, and richly decorated especially the inverse,
1007:
At the western end, there are three enclosures, the central one used as an access vestibule, and two located on the left and right which may have been used to house pilgrims. The vault over the central nave, like the one over the apses, is barrelled with a brick ceiling and decorated with al fresco
809:
Santa María del
Naranco shows other, equally beautiful and important sculptural elements; for the first time, a Greek cross appears sculpted as emblem of the Asturian monarchy, at the same time protecting the building from all evil, something which was to become habitual in the popular architecture
801:
decoration (from local tradition) in trapezoid and triangular shapes, inside which there are sculpted forms of animals and humans. This kind of motif is repeated on the disks with central medallions located above the blind arches' intersections. The 32 medallions distributed around the building are
157:
who fled from the Muslim conquerors and for others he was an indigenous nobleman associated with the
Visigothic kingdom. Whatever the case, Pelayo joined the local tribes and the refuged Visigoths under his command, with the intention of progressively restoring Gothic Order, based on the kingdom of
1030:
is located on the bank of the River Trubia, next to an old Roman road. Founded on
January 24, 891, it stands on a classic basilica ground plan, although in the 17th and 18th centuries it was extended with a nave structure at the western end, and a bell gable. The al fresco paintings in this church
664:
with a semi-pyramidal shaped lid. It is covered with gold plate, with 99 little arch shaped openings, framed in woven gold thread, containing agates. The most valuable part of this piece is the upper part of the lid, probably re-used from another, smaller reliquary of
Carolingian origin, a hundred
814:
inspiration on the miradors' triple-arched
Windows or the altar stone in the eastern mirador (originally from the neighbouring Church of San Miguel de Liño/Lillo), make this palace the most distinctive building in Pre-Romanesque, a singularity highlighted by being the only palace complex that has
781:
What marvelled the chroniclers for so many centuries were its proportions and slender shapes, its rich, varied decoration and the introduction ofelongated barrel vaults thanks to the transverse arches, allowing support and eliminating wooden ceilings. This solution, timidly advanced in the Holy
688:
valley, and was a donation from King Alfonso III and his wife Jimena to San Salvador cathedral, on January 20, 905. Very similar to Santullano, although the ground plan is not the typical basilica of the Pre-Romanesque churches, but has three enclosures at the western end, the central one as an
544:
was built as a palace chapel for Alfonso II and the church of San Salvador (both demolished in the 14th century to build the present Gothic cathedral). The Chamber, adjoining the pre-Romanesque Tower of San Miguel, also had the function of housing relics brought from Toledo after the fall of the
692:
Above the main chapel is the "typical" chamber, only accessible from outside, through a trefoil window with the standard Pre-Romanesque features; central arch larger than the side ones, resting on two free-standing capitals with rope moulding, and the upper rectangle framed by simple moulding.
878:
One of the most particular elements of Santa Cristina de Lena is the existence of the presbytery elevated above floor level in the last section of the central nave, separated from the area intended for the congregation by three arches on marble columns. This separation, which appears in other
142:. These warriors, together with the rest of the retreating Gothic army, sought refuge in the mountains of Asturias, where they also tried to safeguard some of the sacred relics from Toledo cathedral, the most important of which was the Holy Ark, containing a large number of relics from
452:, in addition to the palace complex in Oviedo, now disappeared, consisting of the churches of San Salvador, Santa María and its adjoining palace and chapel (now the Holy Chamber of Oviedo Cathedral, the only one remaining), containing relies such as the Holy Ark and jewels, like the
247:
As regards its evolution, from its appearance, Asturian Pre-Romanesque followed a "stylistic sequence closely associated with the kingdom's political evolution, its stages clearly outlined". Five stages are distinguished; a first period (737–791) belonging to the reigns of the kings
882:
On the outside of the church, it is worth noting the large number of buttresses (32) which seem in some cases to have a merely aesthetic function. Nearby this church is the Asturian Pre-Romanesque Information Centre, located in the old Norte de la Cobertoria Railway Station.
517:
imitation, rectangles, bands, weaving, squares, imitation channeling and columns, medallions decorated with plant motifs, architectural designs, curtains, though totally lacking in any portrayal of biblical or religious scenes, with the single exception of the
493:
As elements outside the ground plan, there was a vestibule (to the east) and two sacristies adjoining the north and south facades, communicating directly with the transept. The Church of San Julián de los Prados is the largest of the pre-romanesque churches.
737:. Paradoxically, he enjoyed a time of peace with his traditional enemies, the Muslims, which from an artistic point of view allowed him to substantially renew Pre-Romanesque's architecture and decorative style, giving rise to the so-called Ramirian style.
740:
Ramiro I was succeeded by his son Ordoño I, who inherited a very solid kingdom from a military perspective, a condition that let him use subjects from the kingdom of Asturias to re-populate abandoned cities on the other side of the mountains, such as
512:
still wet), arranged in three well-defined areas. Decorative designs show clear influence of mural painting from the Roman period, recreating a certain atmosphere typical of the "theatrical style" (1st century B.C.). Decorative elements are numerous;
1693:
1634:
924:. The idea of the Asturian kingdom as a continuation of the Visigoths in Toledo was fully assumed, involving the obligation to re-conquer all the territory occupied by Muslims. This idea was reflected in the historical chronicles, such as the
1072:, is the last of the Pre-Romanesque churches, and like the previous one, follows the Santullano construction model. In the 17th and 18th centuries, it underwent significant reform, altering the entrance, facade, main and side chapels.
127:, where supporters of Witiza's heir, backed by Tarik's Muslim army, killed King Roderic and destroyed the Visigothic army. Tarik and his troops then took advantage of their military superiority, and marched on the Visigothic capital,
407:
Alfonso II, known as "the Chaste" (maybe for this reason he had no descendants), was a decisive king in the Asturian monarchy. From a military point of view, he definitively established the kingdom against the Muslims (in the famous
720:
This period corresponds with the reigns of Ramiro I and Ordoño I. The first, son of Vermudo I, succeeded Alfonso II when he died without descendants, taking charge of a rapidly expanding kingdom. He was described by chroniclers as
802:
similar in size and shape, varying the decorative designs and the interior figures (quadrupeds, birds, bunches of grapes, fantastic animáis), a style inherited from the Visigoth period, in turn descended from Byzantine tradition.
309:(737) at the court's original location, Cangas de Onís, of which we only have written references, because it was destroyed in 1936. The present-day one dates from 1950 and, like the original, is built over a barrow covering a
624:) of great beauty. The reverse is covered with fine sheet of gold held by silver nails. Decoration on this side shows, mounted on the central disk, a large elliptical agate cameo, and a large stone at the end of each arm.
490:, and over the main one, only accessible from outside, there was a room whose function is still open to conjecture. As for the roof, the church had an interesting oaken ceiling carved with a variety of geometric designs.
838:
until, as mentioned above (and shown by the altar located in the eastern mirador of santa María del Naranco), this worship passed to the nearby palace in the 12th century, leaving this church dedicated to St. Michael.
603:
wood and in the centre there is a circular disk acting as connection for the four arms. The inverse is covered with a filigreed mesh of gold thread and bands of geometric decoration with a total of 48 precious stones
777:"(...)he built many constructions, two miles away from Oviedo, with sandstone and marble in a vaulted work: (...) He also made (...), a palace without wood, of admirable construction and vaulted below and above,...".
568:. From an architectural point of view, the Holy Chamber's construction solved one of the greatest problems of Asturian Pre-Romanesque: the vaulting of two overlapping spaces, later used in the buildings of Ramiro I.
420:... the emperor (Charlemagne) was so closely united with Alfonso, king of Asturias and Galicia, that each time he sent a letter or ambassador, he ordered that he be given no treatment other than that of his client.
753:(year 859) he easily defeated them, though six years later, at Hoz de la Morcuera, his army, led by one of his generals, suffered a defeat, halting the intense re-population work of the first part of his reign.
891:
This comprises the reign of Alfonso III, who came to the throne at the age of 18, on the death of his father, Ordoño I, marking the zenith of the kingdom of Asturias. Expansion against Islam led him to conquer
951:(Magnus Imperatore ImpemtorNoster),the king who had achieved the kingdom's greatest expansion and consolidation since it was founded by Pelayo, could not prevent his since from splitting it into three parts,
725:(baton of justice) because he had to face two internal rebellions by noblemen and due to his enthusiasm in hunting down magic and the black arts, very widespread in Asturias at the time. He also fought the
627:
Exactly one century later, in 908, to commemorate a hundred years of the Asturían kingdom's victories and conquests, Alfonso III donated Pre-Romanesque most important gold artifact to Oviedo Cathedral: the
879:
Asturian churches, is not repeated in any other with a similar structure. Both the lattices over the arches and the wall enclosing the central arch were re-used from Visigothic origins in the 7th century.
1257:
341:
1817:
213:
and local traditions), created and developed its own personality and characteristics, reaching a considerable level of refinement, not only as regards construction, but also in terms of decoration and
352:, an old Roman settlement (Flavium Navia) and crossroads. The church, built between the years 774 and 783, already showed a number of elements anticipating Asturian Pre-Romanesque; eastward-facing,
391:
Several sculptural decorative elements showing floral and geometric designs (something habitual in what were to be the characteristics of subsequent Pre-Romanesque), are on public display in the
1645:
1567:
177:), a process which finally required the court to be moved south, to León, for its strategic position in the struggle that culminated 800 years after it had started (1492) with the taking of
1519:
591:, who donated the precious stones necessary to make it from his personal treasury. The Cross of the Angels takes its name from the legend that it was made and given to Alfonso II by
432:
As regards patronage of art, Alfonso II promoted the largest number of Pre-Romanesque buildings defining what were to be this style's characteristics. With the royal architect,
660:(son of Alfonso II), and his wife Nunilo, in the year 910, when he was still a prince. This extraordinary gold artifact in mozarabic style is a rectangular reliquary made from
564:, was extended in the 12th century, elongating the central section to six metres, a reconstruction that also provided it with its current decoration, a masterpiece of Spanish
1655:
806:
symbolic social meaning; the warriors who defend and support the men of prayer (here offerers),or alternatively, the royal and ecclesiastic orders complementing each other.
412:
he gained a significant victory), in administration he moved the court to its final site in Oviedo, and in politics he set up cordial, stable relationships with the emperor
329:, and emblem of the Asturian flag. Chronicles state that the Church of Santa Cruz was built in stone masonry, one nave with a barrel vault and a main chapel on one side.
1053:
With Alfonso III dead and the kingdom of Asturias divided among his sons, Asturian Pre-Romanesque entered its last stage with two constructions. The first of them is the
1860:
932:). The kingdom's moment of expansion and maturity was also reflected in a cultural revitalisation promoted from the court, involving architectural and artistic renewal.
165:, who died in December of the year 910. In barely two hundred years, the 12 kings of the dynasty founded by Pelayo were to gradually recover territory from the Muslims (
217:
ornamentation. This last aspect can be seen in such relevant works as the Cross of the Angels, the Victory Cross, the agate Box (housed in the Holy Chamber of
708:, does not belong to the original construction, and stems from an initiative in the seventies by the architect and great restorer of Asturian Pre-Romanesque,
2216:
197:(With this sign the pious is protected, With this sign you shall defeat the enemy), sums up the unified character that Christianity gave the armed struggle.
1990:
1890:
1785:
1660:
1512:
1756:
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2089:
2083:
2077:
1910:
1843:
1685:
1626:
1553:
1505:
1355:
1350:
1210:
1027:
997:
928:, written in Oviedo in the year 881, which tells the history of the Gothic kingdom (Ordo Gentis gothorum), followed by the Asturian monarchy (
549:
kingdom. It consists of two overlapping aisles with a barrel vault; the crypt or lower floor has a height of 2.30 metres, and is dedicated to
232:, the situation of Pre-Romanesque monuments followed in the wake of the various locations of the kingdom's capital; from its original site in
1543:
1146:
1766:
1293:
705:
677:
445:
288:(850–866); a fourth belongs to the reign of Alfonso III (866–910) and a fifth and last which coincides with the transfer of the court to
1231:
Pre-Romanesque art in Asturias is framed between the years 711 and 925, the period of the rise and extension of the Kingdom of Asturias.
1165:
218:
1371:
1183:
1117:
1054:
1650:
1278:
696:
Independent from the church structure, though close to its southern facade, stands the bell tower, on a rectangular ground plan.
149:
The kingdom of Asturias arose exactly seven years later, in 718, when the Astur tribes, rallied in assembly, decided to appoint
1303:
1252:
1061:
501:
covering the walls and ceilings of this church are the best-conserved upper medieval paintings in Spain. the technique used is
306:
2211:
2201:
1777:
871:
a royal tribune on the upper part, accessed via a stairway joined to one of the walls. To the east is the enclosure with the
1865:
641:, precious stones and gold thread. The reverse shows an inscription in soldered gold letters, mentioning the donors to the
2206:
2058:
1966:
1947:
305:
From this period, of the young kingdom's rise and consolidation, the existence of two churches have been registered. The
96:. The young heir sought support to recover the throne, and apart from local backing, he approached the Muslim Kingdom in
2191:
2186:
665:
years older than the rest. This plaque is decorated with panels of enamel, in turn surrounded by 655 encrusted garnets.
1178:
775:, written around the year 1015, about 300 years after its construction, and which, on describing Ramiro I, states that
138:
mercenaries, who had already been recruited by the Romans for their courage and fighting spirit, fought alongside King
1298:
822:
700:
681:
530:
449:
437:
1288:
685:
676:
Continuing with the architectural works of the second period of Pre-Romanesque art, the last two are the churches of
476:
441:
966:
San Salvador de Valdediós and Santo Adriano de Tuñón are the two churches built by this monarch, in addition to the
1900:
1324:
1203:
765:
709:
313:. The legend goes that the name Santa Cruz ("Holy Cross") comes from the oaken cross carried by King Pelayo in the
34:
935:
The kingdom's progressive expansion and increasing power also kindled the ambition of Alfonso III's three sons (
381:
205:
Asturian Pre-Romanesque is a singular feature in all Spain, which, while combining elements from other styles (
70:
2048:
1961:
541:
285:
2113:
1956:
1735:
1596:
1447:
1334:
1069:
1001:
859:
794:
771:
This palace's innovations amazed chroniclers, who repeatedly mention it over time. A case in point is the
588:
469:
277:
210:
162:
936:
483:
or transversal aisle located between the aisles and the sanctuary, exceeding the central nave in height.
1196:
1019:
The royal tribune is located above the vestibule, separate from the area intended for the congregation (
1011:
657:
461:
273:
253:
30:
1941:
2196:
1871:
1833:
1416:
1086:
684:. The first is located just fíve kilometres from the capital, in a south-east direction, towards the
519:
281:
261:
150:
921:
424:
2063:
2011:
1812:
1714:
1586:
1528:
1481:
1442:
1329:
1220:
831:
649:
645:, King Alfonso III and Queen Jimena, and the place (Gauzón Castle again) and the year it was made.
642:
576:
534:
457:
453:
314:
120:
50:
522:(alpha and omega), as a symbol of royal power. This lack of figurative representation is known as
193:, a golden cross (significantly called "La Victoria"), and a blue background with the Latin motto
1790:
1665:
1614:
1591:
1463:
834:
was consecrated by Ramiro I and his wife Paterna in the year 848. It was originally dedicated to
249:
174:
1188:
772:
292:, the disappearance of the kingdom of Asturias, and simultaneously, of Asturian Pre-Romanesque.
166:
2027:
1937:
1880:
1604:
1283:
1142:
1113:
1107:
866:
district, about 25 km south of Oviedo, on an old Roman road that joined the lands of the
750:
345:
233:
186:
153:
as their leader, a person of uncertain origin, since for some chroniclers he was a Visigothic
66:
1173:
2000:
1971:
1895:
1730:
1639:
1561:
1273:
811:
190:
73:, and dominated most of the territory, attempting to continue Roman order by the so-called
2141:
1771:
1706:
956:
925:
842:
634:
409:
322:
170:
135:
97:
1308:
960:
49:
is framed between the years 711 and 910, the period of the creation and expansion of the
756:
749:
and León. He measured his military might against the Arabs with varying results; in the
2125:
2053:
2040:
1761:
1675:
985:
909:
863:
746:
565:
344:, located in Santianes. Its construction results from the move of the royal court from
289:
280:(791–842), entering a stage of stylistic definition, and third comprises the reigns of
222:
40:
2180:
1825:
1743:
1468:
1437:
1135:
1081:
975:
905:
629:
128:
1985:
1885:
1400:
1035:
967:
917:
742:
550:
332:
229:
940:
2161:
1928:
1751:
1497:
852:
816:
734:
561:
413:
1385:
1922:
1031:
are the only remains of Mozarabic painters' work in an Asturian art workshop.
785:
The palace, on a rectangular ground plan, has two floors; the lower level, or
206:
855:
on the window of the southern wall, sculpted from one single piece of stone.
851:
the church such as the fantastic jambs in the vestibule or the extraordinary
1798:
990:
979:
944:
661:
653:
613:
546:
523:
269:
143:
124:
108:
governor in Tangier, received permission to offer his army and disembark in
17:
974:) in the centre of Oviedo, and the already-mentioned gold artefacts of the
584:
580:
810:
of towns and villages. Other sculptural elements, such as the capitals of
472:), Alfonso II had the first church built in the saints honour (year 892).
2157:
2153:
2117:
1979:
1918:
1722:
1698:
952:
913:
901:
835:
730:
609:
480:
392:
369:
353:
257:
154:
105:
85:
45:
2165:
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2133:
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385:
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facing the central nave with the same length as the width of the three
178:
139:
113:
93:
89:
81:
84:
died, and instead of being succeeded by the eldest of his three sons,
2145:
2129:
1575:
893:
638:
600:
554:
514:
504:
487:
396:
349:
310:
241:
237:
182:
648:
The last of the Pre-Romanesque jewels on in the Holy Chamber of the
460:. Outside Asturias, with the legend of the discovery of the apostle
416:, as demonstrated by the following quote by Eginardo (Vita caroli):
65:, a Christianized tribe of Eastern Germanic origin, arrived in the
2137:
2016:
1532:
1421:
1010:
984:
872:
841:
821:
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667:
605:
592:
498:
433:
423:
373:
361:
331:
226:
109:
101:
62:
29:
798:
621:
617:
377:
365:
357:
265:
214:
1501:
1192:
342:
Church of San Juan Apóstol y Evangelista, Santianes de Pravia
321:
against the Arabs, which was later to be covered in gold and
201:
Pre-Romanesque as the Asturian monarchy's artistic expression
1613:
486:
Finally, there was a straight sanctuary, divided into three
1008:
wall painting, alternating a variety of geometric designs.
904:, and he pushed the borders of the kingdom as far as the
526:
and was not maintained in later Pre-Romanesque churches.
963:, meaning the disappearance of the kingdom of Asturias.
764:
The first of the works from this period, the Palace of
815:
lasted until the present day with both Visigothic and
240:(west of the central coast), to its final location in
2039:
1999:
1909:
1842:
1684:
1625:
1552:
1456:
1430:
1409:
1393:
1364:
1343:
1317:
1266:
1245:
1238:
1166:
World Cultural Heritage described on Postage Stamps
782:Chamber, fully matured in Santa Maria del Naranco.
195:
Hoc signo, tvetvr pivs, Hoc signo vincitvr inimicvs
1134:
1043:Hoc signo tvetvr pivs, hoc signo vincitvr inimicvs
1542:For official site names, see each article or the
1109:The Archaeology of Iberia: The Dynamics of Change
1106:S. J. Keay, Margarita Díaz-Andreu García (1997).
1040:
418:
1861:Catalan Romanesque Churches of the Vall de Boí
161:The kingdom of Asturias disappeared with King
27:Architectural style of the Kingdom of Asturias
1513:
1204:
858:The last of the churches from this period is
797:influence), decorated with reliefs framed by
599:. The Greek cross (equal arms) has a core of
8:
325:(reign of Alfonso III), coming to be called
112:, ready to face the Visigothic army of King
1991:Rock art of the Iberian Mediterranean Basin
1891:Rock art of the Iberian Mediterranean Basin
1786:Rock art of the Iberian Mediterranean Basin
1661:Rock art of the Iberian Mediterranean Basin
1279:Pilgrimage church of Santiago de Compostela
572:gold artefacts of Asturian Pre-Romanesque.
1520:
1506:
1498:
1242:
1211:
1197:
1189:
1258:Church of San Juan Apóstol y Evangelista
340:The second of these constructions is the
793:noting the cubic-prismatic capitals (of
276:. A second stage comprises the reign of
225:Cathedral and the Cross of Santiago. As
88:, the throne was usurped by the duke of
1757:Heritage of Mercury. Almadén and Idrija
1098:
464:' tomb in Galicia, in a place known as
131:, taking it almost without opposition.
1646:Paleolithic Cave Art of Northern Spain
1568:Paleolithic Cave Art of Northern Spain
497:From an ornamental point of view, the
1544:List of World Heritage Sites in Spain
595:, who appeared to him in the form of
376:. It also had a single, semicircular
80:In the year 710, the Visigothic king
7:
2054:Risco Caído and the Sacred Mountains
1767:Monastery of Saint Mary of Guadalupe
1671:San Millán Yuso and Suso Monasteries
553:, containing several tombs of other
244:, the region's geographical centre.
2217:Romanesque architecture in Asturias
1831:University and Historic Precinct of
1351:Church of San Salvador de Valdediós
998:Church of San Salvador de Valdediós
364:), separated by three semicircular
200:
1852:Archaeological Ensemble of Tarraco
1781:, a landscape of Arts and Sciences
1694:Ancient and Primeval Beech Forests
1635:Ancient and Primeval Beech Forests
1289:Church of San Julián de los Prados
1274:Cathedral Basilica of San Salvador
456:, which he donated himself to the
25:
1707:Archaeological Ensemble of Mérida
1372:Church of San Salvador de Priesca
1325:Church of Santa María del Naranco
1294:Church of Santa María de Bendones
1055:Church of San Salvador de Priesca
583:(the left bank of the estuary of
1384:
1356:Church of Santo Adriano de Tuñón
1335:Church of Santa Cristina de Lena
1028:Church of Santo Adriano de Tuñón
930:Ordo Gothorum Obetensium fíegnum
729:successfully, defeating them in
1791:Route of Santiago de Compostela
1666:Route of Santiago de Compostela
1592:Route of Santiago de Compostela
1304:Church of Santiago de Gobiendes
1062:Church of Santiago de Gobiendes
1651:Mudéjar Architecture of Aragon
560:The upper floor, dedicated to
181:and the expulsion of the last
1:
1948:General Archive of the Indies
1726:with its Extra-mural Churches
1482:Kingdom of Asturias (718–925)
1330:Church of San Miguel de Lillo
1174:Arte Prerrománico en Asturias
1000:stands in the Boides valley (
710:Luis Menéndez Pidal y Alvarez
134:According to the chronicles,
1253:Santa Cruz de Cangas de Onís
920:and the whole area known as
236:(Eastern Asturias), through
1866:Palau de la Música Catalana
1299:Church of San Pedro de Nora
1137:The Oxford Companion to Art
701:Church of San Pedro de Nora
656:, donated to the church by
508:painting (applied with the
438:Church of San Tirso, Oviedo
436:, he built the churches of
380:, and an external entrance
2233:
2059:San Cristóbal de La Laguna
2020:, Biodiversity and Culture
1967:Historic Centre of Córdoba
1219:Pre-romanesque art in the
1133:Harold W. Osborne (1970).
1112:. Routledge. p. 236.
1068:, next to the sea and the
989:San Salvador de Valdediós
887:Fourth period (866 to 910)
403:Second Period (791 to 842)
158:Toledo's political model.
2072:
2009:Cultural Landscape of the
1957:Dolmens Site of Antequera
1896:Silk Exchange in Valencia
1611:
1539:
1477:
1382:
1227:
1049:Fifth period (910 to 925)
716:Third period (842 to 866)
587:) on the instructions of
575:The first of them is the
301:First Period (737 to 791)
1977:Renaissance Monuments of
1656:Pirineos - Monte Perdido
1184:Pre-Romanesque in Oviedo
949:"Great King and Emperor"
477:San Julián de los Prados
442:San Julián de los Prados
428:St Juliàn Prados, Oviedo
71:fall of the Roman empire
61:In the 5th century, the
1741:Historic Walled Town of
1582:Kingdom of the Asturias
1365:5th period (910 to 925)
1344:4th period (866 to 910)
1318:3rd period (842 to 866)
1267:2nd period (791 to 842)
1246:1st period (737 to 791)
766:Santa María del Naranco
760:Santa María del Naranco
706:Santa Maria de Bendones
678:Santa Maria de Bendones
446:Santa María de Bendones
35:Santa María del Naranco
2114:Bosnia and Herzegovina
1712:Archaeological Site of
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1597:Santiago de Compostela
1309:Cámara Santa of Oviedo
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860:Santa Cristina de Lena
847:
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643:Church of San Salvador
633:covered with coloured
589:Alfonso II of Asturias
458:Church of San Salvador
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2212:Architecture in Spain
2202:Medieval architecture
1901:Works of Antoni Gaudí
1749:Monastery and Site of
1617:
1487:Asturian architecture
1015:Valdediós ground plan
1014:
988:
845:
825:
759:
671:
658:Fruela II of Asturias
533:, located beside the
427:
356:ground plan (central
335:
296:Monuments of interest
119:On July 19, 711, the
33:
2207:Architectural styles
2025:Prehistoric Sites of
1962:Doñana National Park
1872:Hospital de Sant Pau
1529:World Heritage Sites
1070:Sueve mountain range
579:, created in 808 in
319:"little-big victory"
307:Church of Santa Cruz
221:), the Reliquary in
189:. The symbol of the
2192:Kingdom of Asturias
2187:Culture of Asturias
2064:Teide National Park
2012:Serra de Tramuntana
1736:Old Town of Cáceres
1587:Roman walls of Lugo
1443:Cruz de los Angeles
1438:Cruz de la Victoria
1284:Church of San Tirso
1221:Kingdom of Asturias
832:San Miguel de Lillo
826:San Miguel de Lillo
650:Cathedral of Oviedo
577:Cross of the Angels
535:Cathedral of Oviedo
531:church of San Tirso
475:When the Church of
454:Cross of the Angels
395:, where there is a
336:Santianes de Pravia
315:battle of Covadonga
121:battle of Guadalete
51:kingdom of Asturias
2076:Shared with other
1702:Cultural Landscape
1620:
1464:Camino de Santiago
1036:Foncalada fountain
1017:
994:
968:Foncalada fountain
926:Crónica Albeldense
848:
828:
819:court structures.
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1881:Palmeral of Elche
1834:Alcalá de Henares
1640:Caves of Altamira
1605:Tower of Hercules
1562:Caves of Altamira
1495:
1494:
1417:Beatus of Liébana
1380:
1379:
1148:978-0-19-866107-8
1087:Beatus of Liébana
862:, located in the
751:battle of Clavijo
682:San Pedro de Nora
450:San Pedro de Nora
187:Iberian Peninsula
67:Iberian Peninsula
16:(Redirected from
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2001:Balearic Islands
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1972:Madinat al-Zahra
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384:, with a wooden
219:Oviedo Cathedral
191:flag of Asturias
123:took place near
104:, the caliph of
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723:Virga justitiae
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520:Anastasis Cross
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1160:External links
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972:fonte incalata
922:Campos Góticos
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830:The church of
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466:campus stellae
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346:Cangas de Onís
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234:Cangas de Onís
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1082:La Cava Bible
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1813:its Aqueduct
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961:Castile-León
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934:
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881:
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849:
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551:St. Leocadia
542:Holy Chamber
539:
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317:, the first
304:
246:
230:architecture
204:
194:
160:
148:
133:
118:
79:
74:
60:
43:
39:
18:Asturian art
2197:Spanish art
2162:Switzerland
1818:Siega Verde
1804:Old Town of
1796:Old City of
1778:Buen Retiro
1762:Las Médulas
1752:El Escorial
1720:Old Town of
846:Ground plan
817:Carolingian
562:St. Michael
414:Charlemagne
327:La Victoria
163:Alfonso III
2181:Categories
1923:Generalife
1627:North East
1600:(Old Town)
1554:North West
1431:Minor arts
1093:References
812:Corinthian
672:Santullano
566:Romanesque
547:Visigothic
470:Compostela
278:Alfonso II
207:Visigothic
69:after the
2049:Garajonay
2028:Talayotic
1938:Cathedral
1876:Barcelona
1856:Tarragona
1799:Salamanca
1715:Atapuerca
1448:Agate box
991:monastery
980:Agate box
945:Fruela II
941:Ordoño II
795:Byzantine
654:Agate box
614:amethysts
610:sapphires
524:aniconism
462:St. James
382:vestibule
274:Vermudo I
270:Mauregato
254:Alfonso I
211:Mozarabic
144:Jerusalem
125:Gibraltar
2158:Slovenia
2154:Slovakia
2118:Bulgaria
2096:Portugal
2090:Slovenia
2078:region/s
1929:Albaicín
1919:Alhambra
1699:Aranjuez
1076:See also
978:and the
953:Asturias
937:García I
914:Simancas
902:Portugal
836:St. Mary
735:A Coruña
597:pilgrims
481:transept
393:sacristy
370:transept
354:basilica
286:Ordoño I
282:Ramiro I
258:Fruela I
155:nobleman
136:Asturian
106:Damascus
46:Asturias
2166:Ukraine
2150:Romania
2134:Germany
2122:Croatia
2110:Belgium
2106:Austria
2102:Albania
2031:Menorca
1952:Seville
1942:Alcázar
1933:Granada
1807:Segovia
1579:and the
1066:Colunga
957:Galicia
906:Mondego
898:Coimbra
868:plateau
853:lattice
747:Astorga
727:Normans
662:cypress
652:is the
555:martyrs
510:plaster
488:chapels
386:ceiling
262:Aurelio
223:Astorga
179:Granada
175:Castile
171:Galicia
140:Roderic
114:Roderic
94:Roderic
90:Baetica
82:Wittiza
57:History
2146:Poland
2130:France
2084:France
1826:Toledo
1744:Cuenca
1686:Centre
1576:Oviedo
1145:
1116:
910:Zamora
894:Oporto
639:pearls
635:enamel
618:rubies
606:agates
601:cherry
593:angels
585:Avilés
581:Gauzón
515:marble
505:fresco
499:murals
397:museum
374:aisles
366:arches
362:aisles
350:Pravia
311:dolmen
250:Fáfila
242:Oviedo
238:Pravia
183:Arabic
151:Pelayo
129:Toledo
2138:Italy
2017:Ibiza
1986:Baeza
1980:Úbeda
1911:South
1723:Ávila
1533:Spain
1422:Tioda
873:altar
787:crypt
731:Gijón
686:Nalón
622:opals
434:Tioda
227:court
110:Spain
102:Tarik
86:Agila
63:Goths
2164:and
1844:East
1143:ISBN
1114:ISBN
1060:The
1026:The
996:The
959:and
943:and
918:Toro
896:and
864:Lena
799:cord
733:and
699:The
680:and
620:and
540:The
529:The
448:and
378:apse
358:nave
290:León
272:and
266:Silo
215:gold
173:and
167:León
1983:and
1945:and
1926:and
1869:and
1810:and
1775:and
1643:and
1565:and
1531:in
743:Tui
503:al
348:to
2183::
2160:,
2156:,
2152:,
2148:,
2144:,
2140:,
2136:,
2132:,
2128:,
2124:,
2120:,
2116:,
2112:,
2108:,
2104:,
1950:,
1940:,
1931:,
1921:,
1874:,
1854:,
982:.
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