Úbeda's prehistoric past (Spain)

A mended bowl from Ubeda (~ 1400 BCE; Museo arqueológico de Úbeda).

Úbeda is one of the oldest cities in Spain, with a fascinating history that goes back over 6,000 years! Archaeological finds, especially at the site called Eras del Alcázar, show that people have lived in this area since the Neolithic period (around 3500 BCE). Back then, the folks in Úbeda were busy with farming and raising animals, growing early cereal crops and legumes, and even starting to cultivate olives, which are now a big part of the region’s identity.

Fast forward to the Copper Age (around 2200-2000 BCE), Úbeda became part of the ‘El Argar’ culture and its population started to grow. The settlement became more organized, with circular houses and improved farming techniques. By the Bronze Age (2000-1700 BCE), things really began to change. The community became more complex, with people specializing in different trades, particularly metalworking. This made Úbeda a hub for crafting tools and ornaments.

Between 1500 BCE and 1000 BCE, Úbeda's spot near the Guadalquivir River turned out to be super important. The land was fertile, and there were plenty of natural resources, making it a center for farming and trade. The people of Úbeda focused on olives, which would later help shape the local economy. Their skill in agriculture laid the foundation for what became known as the region’s "green gold": olive oil.

During this time, Úbeda also saw the building of impressive megalithic structures, like burial mounds and stone circles, which served both religious and commemorative purposes. These structures show how spiritually connected the people were, honoring their ancestors and cherishing their bond with nature.

As the 1st millennium BCE approached, Úbeda kept growing and changing. New influences from Phoenician traders brought in exotic goods and ideas, slowly transforming the local culture. This period saw the rise of local chieftains, leading to a more organized society that controlled the production and trade of agricultural products and metals.

By 1000 BCE, Úbeda was on the brink of becoming a key cultural and political center as it transitioned from the Bronze Age to the Iberian Age. Its rich history set the stage for what would become a celebrated cultural landmark, now recognized as a UNESCO World Heritage Site. With its continuous occupation and evolution, Úbeda is one of the most important prehistoric sites in Europe, showcasing the deep-rooted legacy of its ancient inhabitants.

The Cathedral of Vic (Spain)

The Cathedral of Saint Peter (Catedral de Sant Pere), Vic (Spain).

The Cathedral of Saint Peter (Catedral de Sant Pere) in Vic is a remarkable blend of architectural styles, reflecting the city’s long and evolving history. Originally founded in the 11th century as a Romanesque structure, the cathedral has undergone numerous transformations, incorporating Gothic, Baroque, and Neoclassical elements. However, what truly sets it apart is its striking interior.

Unlike most cathedrals, the interior of Vic’s cathedral is dominated by vast murals created in the 20th century by the renowned Catalan artist Josep Maria Sert. These dramatic, large-scale paintings, executed in deep, shadowy tones, replace the traditional stained glass and sculptural decorations found in other churches. Sert’s work, completed in multiple phases between the 1920s and the 1940s, imbues the space with a unique atmosphere, blending religious themes with an almost theatrical intensity. This bold artistic choice makes the Cathedral of Vic one of the most distinctive sacred spaces in Catalonia.

The interior of Cathedral of Saint Peter (Catedral de Sant Pere), Vic (Spain).

Els Gegants de Ripoll (Spain)

Street art in Ripoll (Spain): Wilfred the Hairy (Guifré el Pilós) and his wife Guinidilda of Empúries.

The Gegants de Ripoll are part of the rich Catalan tradition of gegants i capgrossos (giants and big-headed figures), often seen in festivals and processions. These towering figures represent historical or legendary characters linked to the town of Ripoll, a place deeply rooted in Catalonia’s medieval history. Some of these giants symbolize figures such as Wilfred the Hairy (Guifré el Pilós) and his wife Guinidilda of Empúries, key figures in the region’s foundation, or characters from the time of the Reconquista.

The presence of Els Gegants in Ripoll’s public spaces—whether in parades, celebrations, or even as subjects of street art—reflects the town’s commitment to preserving its cultural identity.

The Altarpiece of Sant Joanipol

The Altarpiece of Sant Joanipol, currently at the Episcopal Museum of Vic (Spain).

This stunning 14th-century alabaster altarpiece tells the story of Christ’s Passion, Death, Resurrection, and Ascension. It was created between 1341 and 1342 for the church of Sant Joan i Sant Pau, also known as Sant Joanipol, in Sant Joan de les Abadesses.

At that time, the town was home to skilled sculptors specializing in alabaster. One of them, Bernat Saulet, was commissioned to carve this masterpiece. The altarpiece originally featured bright colors and glass details, making the scenes even more lifelike.

For centuries, it was an important part of the church’s religious heritage. In 1889, it was moved to the Episcopal Museum of Vic, where it remains today. The altarpiece is displayed in the state that it was when it arrived, allowing visitors to appreciate its beauty and craftsmanship as it was originally intended.

Columbus and the Catholic Monarchs: A Meeting That Changed History

The statue of Isabella I of Castile, Ferdinand II of Aragon, and Christopher Columbus in the gardens of the Alcázar de los Reyes Cristianos in Córdoba (Spain).

In the lush gardens of the Alcázar de los Reyes Cristianos in Córdoba (Spain) stands a striking statue of Isabella I of Castile, Ferdinand II of Aragon, and Christopher Columbus. This monument commemorates Columbus’ efforts to gain royal support for his ambitious journey westward—an idea that would eventually lead to the discovery of the New World.

While Columbus did spend time in Córdoba seeking an audience, history records that his first official meeting with the monarchs took place in Alcalá de Henares (near Madrid) in 1486. There, his proposal was met with skepticism and referred to a royal commission. Years later, in 1491, at the military camp of Santa Fe near Granada, the tide turned. With the Reconquista nearly complete, Isabella and Ferdinand finally agreed to fund Columbus’ voyage, sealing the deal with the Capitulations of Santa Fe in April 1492.

Though Córdoba was not the decisive location, the statue here symbolizes the broader context of Spain’s age of exploration and the pivotal role of the Catholic Monarchs. Today, it remains a powerful reminder of the momentous decisions that shaped world history.

San Pedro de la Nave

San Pedro de la Nave, El Campillo, Zamora (Spain).

In Spain, near Zamora, where history and landscape intertwine, stands the extraordinary Visigothic church of San Pedro de la Nave. This architectural marvel is a testament to the ingenuity and artistry of a bygone era.

Constructed during the 7th century, the church epitomizes the unique blend of Roman and Germanic influences that characterized the Visigothic period. Its survival through centuries of upheaval, including the Muslim conquest, is a testament to its resilience and historical significance. The church's distinctive horseshoe-shaped apse, robust walls, and functional interior design are hallmarks of Visigothic architecture.

A defining chapter in the church's history unfolded in the 1930s when the looming threat of submersion due to the construction of the Ricobayo reservoir necessitated a daring rescue. Through meticulous planning and execution, the entire church was dismantled and meticulously reassembled at a safer location, ensuring its preservation for posterity.

Today, San Pedro de la Nave stands as a beacon for history and architecture enthusiasts. Its journey, from its Visigothic origins to its modern-day preservation, is a captivating narrative that invites exploration and contemplation. This architectural gem offers a tangible connection to a past that continues to shape the present, making it an indispensable stop for those seeking to delve into the depths of Spain's rich cultural heritage.

The dolmens of Viera and Menga, Antequera (Spain)

The dolmen of Menga, Antequera (Spain).

The dolmens of Viera and Menga in Antequera, Spain, are awe-inspiring relics from the Neolithic and Bronze Age, standing as silent sentinels of a long-lost world. These ancient stone monuments, among the best-preserved in Europe, date back around 5,000 years and are now honored as a UNESCO World Heritage Site.

Dolmens are ancient megalithic structures typically built as burial chambers during the Neolithic period. Constructed using massive upright stones (orthostats) capped with one or more horizontal slabs (capstones), dolmens often served as ceremonial or funerary monuments. They were usually covered by earth or smaller stones to form a mound, though the covering has often eroded away over time. Found across Europe, Asia, and parts of Africa, dolmens are remarkable feats of engineering, reflecting the spiritual beliefs and social organization of early human communities.

The Dolmen of Menga is a colossal marvel, stretching 27.5 meters, with massive stones forming its walls and ceiling. Its wide corridor leads to a grand burial chamber, supported by towering stone pillars. Unlike typical dolmens, Menga faces not the rising sun but La Peña de los Enamorados, a mountain with a striking human face profile, hinting at a deep connection between the land and its ancient builders.

The Dolmen of Viera is more modest in size, measuring 21 meters. Its narrow corridor points directly at the equinox sunrise, tying it to the celestial rhythms of the sun. This alignment, common in megalithic structures, underscores its possible role in solar worship and agricultural cycles.

Unearthed in the 19th and early 20th centuries, these dolmens have since become cherished windows into the spiritual and architectural prowess of prehistoric societies. They stand as eternal markers of a people whose lives were deeply intertwined with the heavens and the earth.

The dolmen of Viera, Antequear (Spain).

The interior of the dolmen of Menga, Antequera (Spain).

Bathing and Morality in Medieval Art

The depiction of a couple bathing, Cathedral of Toledo (Spain).

Tucked among the elaborate carved seats of Toledo Cathedral’s choir, a rather cheeky wooden relief by Rodrigo Alemán catches the eye. It portrays a couple enjoying a soak in a wooden tub, a sight more expected in a medieval bathhouse than in a place of worship. But this wasn’t just an artist having a laugh—such playful yet pointed imagery was a hallmark of the time, blending humor with a moral lesson. Similar bawdy themes appear in the Book of Hours for Use in Maastricht (now in the British Library), a manuscript overflowing with mischievous marginalia—the kind of decorative flourishes Alemán himself would have thoroughly appreciated.

The idea of shared bathing was already making church officials sweat. Don Juan Manuel sternly advised that men should cleanse themselves “for hygiene, not hedonism”, while the Penitential of Burchard of Worms went so far as to catalog the many sinful temptations that could arise from mixed bathing. By the late 15th century—just as Alemán was carving his saucy scenes—the Church had seen enough. Mixed baths were banned, and public bathhouses, once the center of both hygiene and social life, were shut down under suspicion of encouraging a little too much relaxation.

Yet, centuries later, Alemán’s irreverent tub-dwellers are still making mischief, a testament to medieval humor, shifting moral tides, and the enduring appeal of a good soak.

Honoring the Exiles of Medina Antaqira (Antequera, Spain)

Homenaje a los antiqiries, Antequera (Spain).

In 1410, a pivotal moment in Andalusian history unfolded with the conquest of Antequera by the forces of Fernando I of Aragón, known as Fernando de Antequera. This event was part of the larger Reconquista, the Christian campaign to reclaim the Iberian Peninsula from Muslim rule. For the people of the Islamic medina of Antaqira, the conquest marked a turning point. Many were expelled and sought refuge in Granada, then still under Muslim rule. There, they established a new neighborhood, which became known as La Antequeruela—a lasting testament to their origins.

Six centuries later, in 2010, Antequera honored this chapter of its past by placing a statue in memory of those who were forced to leave.

The Rascal at IKEA (Murcia, Spain)

At Murcia’s gridlock garden, a van holds court,
a scruffy king of last resort.
Its doors don’t shut, its paintwork peels,
but oh, the charm! It spins its wheels.
 
Between the shiny cars in line,
it slouches, smug — "This spot is mine!"
No showroom gloss, no modern tech,
just quirks, some rust, and lots of specks.
 
At dawn it shakes, it groans, it grins,
"Time to roll — adventure wins!"
With a puff of smoke and a wobbly roar,
the rascal is gone — to the LIDL next door.

Roman Sagunto (Spain) and the Mystery of the Marble Relief

Marble relief from the 2nd or 3rd century AD, found in Sagunto (Spain).

Sagunto, a historic town in eastern Spain, played a crucial role in the Second Punic War and later became a thriving Roman city. Among its many archaeological finds, one stands out: a marble relief depicting a boat and a hippopotamus, discovered in the Plaza de la Moreria excavations.

The relief, dated to the 2nd–3rd century CE, shows a boat with a square sail, a bearded figure onboard, and a hippopotamus in the water. Though Roman in style, it has strong Egyptian influences—suggesting a fascination with Nilotic (Nile-inspired) themes. The boat resembles Egyptian papyrus vessels, and the hippopotamus, a powerful symbol in Egyptian culture, could reference mythological or decorative motifs.

Carved from Buixcarró marble, a local material, the relief was probably made for a Sagunto resident, while other scholars suggest it was part of a decorative frieze or panel, possibly linked to a temple of Hercules, given the hero’s mythical connection to the city. Originally, it may have been brightly painted and displayed in a public space or an elite home.

While its exact meaning remains uncertain, the relief highlights Sagunto’s blend of Roman, Greek, and Egyptian artistic influences, revealing the city’s rich cultural connections within the empire.

El hombre, la mujer, y la moza (by Rafael Zabaleta, 1957)

El hombre, la mujer, y la moza (by Rafael Zabaleta, 1957).

Rafael Zabaleta (1907–1960) was a renowned Spanish painter, born in Quesada, Jaén. His work is characterized by vivid colors and a distinctive style that often depicted rural Andalusian life, focusing on landscapes, peasants, and traditional scenes. Zabaleta's paintings reflect a deep connection to his native land, portraying the daily struggles and beauty of Andalusian rural communities.

Zabaleta's art shares a thematic resonance with the poetry of Miguel Hernández, as both artists were deeply inspired by the Spanish countryside, the lives of its people and the Spanish Civil War (1936-1939). Hernández's poetry, much like Zabaleta's paintings, captures the hardships and the enduring spirit of the working class. Their works convey a profound sense of empathy for the rural poor and a commitment to social justice. The two artists, though working in different mediums, created poignant representations of the same cultural and social landscapes, making their works complementary in capturing the essence of early 20th-century Spain.

On the back of the painting ‘El hombre, la mujer, y la moza’ by Rafael Zabaleta is inscribed the poem ‘Todas las casas son ojos’ by Miguel Hernández.

Christ Crowned with Thorns

Christ Crowned with Thorns, by a follower of Hieronymus Bosch (Monasterio de San Lorenzo de El Escorial).

Christ Crowned with Thorns, housed in the Monasterio de San Lorenzo de El Escorial, is an emotionally powerful painting attributed to a follower of Hieronymus Bosch, created during the first half of the 16th century. The artwork depicts Jesus surrounded by four tormentors in a moment of impending violence, capturing the dramatic tension just before they press the crown of thorns onto his head. A nearly identical composition exists as the central panel of a Passion Triptych in the Museu de Belles Arts de València. The paintings suggest that the works were likely produced by someone very familiar with Bosch's style and themes.

The four tormentors embody different aspects of human cruelty—anger, mockery, cruelty, and indifference. Their faces and symbolic attributes reflect both spiritual suffering and humanity's darker traits, making this painting a profound meditation on sin, redemption, and human nature, mockery, and indifference.

Unique to this composition is a sixth figure positioned behind the tormentors. His expression is calm and introspective, contrasting with the hostility around him. He could represent a detached observer, a symbol of humanity’s passive complicity, or even a contemplative stand-in for the viewer.

The painting’s stark background intensifies its emotional gravity, while the intimate grouping of figures emphasizes psychological tension. The follower of Bosch skillfully conveys themes of suffering, redemption, and moral reflection, transforming this religious narrative into a universal meditation on human nature and spiritual endurance​.

Urraca de Zamora (Spain)

Siege of Zamora (1072), street art in Zamora (Spain).

Urraca of Zamora was a prominent figure in the tumultuous history of medieval Spain. Born around 1050, she was the daughter of King Ferdinand I of León and Castile and sister to the famous kings Alfonso VI of León and Castile and Sancho II of León. The 11th century was a time of political fragmentation and military conquest in the Iberian Peninsula, with Christian kingdoms vying for control amidst the ongoing Reconquista against Muslim forces in the south. Urraca's life was shaped by the intense power struggles within her family and her own efforts to navigate the shifting political landscape, making her one of the most intriguing women in medieval Spanish history.

When Ferdinand I died in 1065, he divided his vast kingdom among his three sons—Alfonso, Sancho, and García—leaving the region fractured and setting the stage for future conflict. Urraca, though not a direct heir to the throne, played a crucial role as the governor of the city of Zamora, a strategic and wealthy stronghold. This position made her a key player in the dynastic struggles that followed her father’s death. Sancho II, who ruled León, sought to consolidate control over all of the kingdom, including Zamora, and to eliminate any challenges to his authority.

This resulted in the most defining chapter of Urraca's life. It became a bitter conflict with Sancho II. As Sancho II sought to expand his influence, Urraca resisted his attempts to subjugate her city. The tension between the two escalated into a violent rivalry, with Sancho II laying siege to Zamora in 1072. Urraca’s defense of the city became a symbol of her resilience and determination, though her brother’s forces eventually succeeded in surrounding it. The siege ended dramatically with Sancho II’s assassination under mysterious circumstances, possibly orchestrated by his own allies, which left his territories to Alfonso VI.

Though the death of Sancho II marked a turning point, it did not end Urraca's challenges. Her loyalty to her surviving brother, Alfonso VI, remained strong, and she continued to govern Zamora as an influential figure in the political affairs of the realm. However, her position and role within the broader kingdom of León and Castile remained complex, as she navigated the ongoing power struggles of the time.

Urraca’s story is one of political intrigue, family conflict, and personal struggle for power. Her defiance of Sancho II and her steadfast defense of Zamora stand out in the broader history of medieval Spain, where women often found themselves excluded from the direct exercise of power. Urraca's ability to maneuver within this male-dominated world, fiercely protecting her city and her influence, makes her an enduring symbol of determination and resilience in the face of dynastic and personal conflict.

Street art in Zamorra, Urraca de Zamora and her brother Sancho II. (Zamora, Spain)

Mantas de Bocairent (Spain)

Plaça de l’Ajuntament, Bocairent, on the firts night of the ‘Moros y Cristianos’ festival.

If you want to see the iconic ‘Mantas de Bocairent’, one of the best times to do so is during the informal opening parade of the ‘Moros y Cristianos’ festival in Bocairent. Held every year in early February, this festival kicks off with a fun and lively first night where groups of friends and family gather, many of them proudly wearing the famous Bocairent blankets. It’s a unique chance to see these beautiful textiles in action, wrapped around the locals in a joyous display of tradition and camaraderie.

The blankets themselves are made from high-quality wool sourced from local sheep, and each one reflects generations of craftsmanship. The artisans of Bocairent have perfected these weaving techniques over centuries, passing down their skills to ensure the quality and beauty of each piece. Historically, the textile trade has been at the heart of Bocairent’s economy. For centuries, the town has been a key center of wool production in the region, and the tradition continues to this day.

If you visit Bocairent during the festival, you’ll not only get to see these beautiful blankets, you also get a chance to enjoy the vibrant atmosphere and the colorful parades. You will learn that the ‘Mantas de Bocairent’ are more than just blankets – they are a symbol of local pride, craftsmanship, and a connection to the past.

La Peña de los Enamorados (The Lover's Rock), Antequera (Spain)

- La Peña de los Enamorados, Chromolithography on tim (ca. 1915)

- Illustration from a German publication from the 16th century on ‘La Peña de los Enamorados’

- La Peña de los Enamorados as can be seen from Antequera.

The story of "La Peña de los Enamorados" (The Lovers' Rock) in Antequera, Spain, is a famous legend rooted in love and tragedy. The rock, resembling the profile of a reclining man, serves as the backdrop for this romantic tale.

The story is set during the time of the Reconquista, the period when Christian kingdoms were fighting to reclaim territory from the Moors. It revolves around a young Christian man named Tello and a Moorish princess named Tazgona (or Tagzona).

Tello, captured by the Moors, is imprisoned in the fortress of Archidona. During his captivity, he meets Tazgona, the daughter of the Moorish leader. They fall deeply in love despite their different backgrounds and the political tensions between their people.

Knowing that their love is forbidden, they decide to escape together. They flee to the nearby mountains, pursued by the Moorish soldiers. Eventually, they reach the top of the Peña de los Enamorados, realizing they cannot escape their fate.

Rather than face separation or punishment, Tello and Tazgona choose to leap from the rock, preferring to die together than live apart. Their tragic end seals their love in legend, and the Peña de los Enamorados becomes a symbol of eternal love and sacrifice.

This romantic and tragic tale adds a layer of mysticism and allure to the striking landscape of Antequera, making the rock a significant cultural and historical landmark.

La vella, Vic (Spain)

La Vella is one of the iconic big-headed figures (capgrossos) featured in the Festa Major of Vic, symbolizing the city’s deep-rooted festive traditions. Created in 1864, she represents one of the three historic groups that animate the celebrations alongside the Merma and the Nen. Known for her distinctive appearance and her playful role in the festivities, she holds whips traditionally used to scare children during parades, adding a touch of mischievous fun to the event.

To honor her 150th anniversary in 2014, a bronze monument was erected, depicting her seated on a stone pedestal with her characteristic whips in hand. The inscription reads La vella més vella de totes les velles de la ciutat (“The oldest old woman of all the old women in the city”), reflecting her lasting cultural significance. This enduring symbol of Vic's heritage was crafted by renowned artist Manel Casserras i Solé (1957-2015).

The Church of Sant Pere in Besalú (Spain)

The Church of Sant Pere in Besalú (Spain).

The Church of Sant Pere in Besalú is a landmark deeply tied to the town’s medieval history. Originally founded in 977 as part of a Benedictine monastery, the church we see today was completed in the 12th century and stands as a remarkable example of Romanesque architecture. Situated in the heart of the old town, it features a single nave with a semicircular apse and a striking bell tower that dominates the skyline.

Sant Pere was once part of a thriving monastic complex that played a vital role in the spiritual and cultural life of the region. Its architectural simplicity is balanced by its precise craftsmanship, reflecting the aesthetic values of the Romanesque period. The church’s enduring presence makes it an important site for understanding the religious and artistic legacy of Besalú and Catalonia as a whole.

The interior of the Church of Sant Pere in Besalú (Spain).

Are Gen-Z Girls Connecting with Córdoba’s Past?

Four Gen-Z girls visiting Córdoba. (Temporary image)

Four Gen-Z girls visiting Córdoba, posing for selfies in front of the city’s iconic Mezquita. However, in an era where social media often takes precedence over history, I can’t help but wonder if they’re missing out on the deeper stories behind the great buildings they’re seeing—if they’re so caught up in selfies and likes that the rich past of Córdoba fades into the background. Anyway, it are great confident girls enjoying themselves.

La Seu Vella, LLeida (Spain)

La Seu Vella, LLeida (Spain).

After the conquest of the Muslim city of Larida in 1149 by the Catalan counts Ramon Berenguer IV of Barcelona and Ermengol VI of Urgell, the need arose to build a cathedral. In 1203 the first stone was placed, though construction continued into the 15th century, resulting in the church, cloister, bell tower, and Canonical House. The Gothic period and early 16th century marked its peak of splendor.

The following centuries brought challenges. During the Catalan Revolt of 1640, La Seu Vella was used as a hospital and armory. In 1707, during the War of the Spanish Succession, it was closed for worship by order of Philip V and converted into military barracks. Its interiors were altered, and much of its heritage was lost or damaged.

Further destruction occurred during the Peninsular War in 1810. Although declared a historic-artistic monument in 1918, it suffered again during the Civil War in 1936 when it became a concentration camp and remained military barracks until 1948. Only then did restoration efforts begin.

Today, La Seu Vella stands as a symbol of Catalonia's enduring history. Its bell tower, cloister, and preserved interiors reflect centuries of architectural and cultural evolution, serving as a powerful testament to resilience and artistic legacy.

Siege of Lleida (Lerida) in 1707, by Gabriel Bodenehr (1720).