The most beautiful religious buildings Spain

The church was christened Zurbarán on 7 November 1598. From the original chapel of the th century only the huge tower, known as the vieja torre, surrounds the main chapel. The th century saw the construction of the chore, the th century of the lateral doors and it was reorganized in the th century. The interior houses a major main altarpiece, also of the th century, made by Manuel García of Santiago, even though the image of the Virgen of Granada, ancient patron of the city, dates back to the th century. The baptismal fonts of white marble, of the th century, are also the baptism of Zurbarán.

Located at the exit of Calzadilla de Los Barros, this is a fine example of religious architecture and sacred art in this village. Built in the th century, this hermitage houses a statue of the Holy Patron, Señora Señora de la Encarnación, a th century polychrome sculpture made of walnut by an anonymous author.

More than for its architecture, this th century convent convent deserves a visit for its rich collection of Italian art. Works by Luca Giordano, Andrea Vaccaro and Guido Reni, great Italian painters of the th Century, are exhibited in the church.

Austerity and simplicity define this Cistercian monastery built in the th century in a style of transition between the novel and Gothic. Between his walls passed the kings Charles Quint, Philippe II and Philippe IV before he fell away. Today, the monastery only remains its restored church - too late - after the collapse of its Gothic wall wall in the 1990 s. 

The construction of the San Miguel collegiate church dates back to the th century, but it ended only in the th century. In Gothic-Renaissance style, it maintains a huge 60 metre high bell tower known as the Giralda de Campos. Inside, the major altarpiece, baroque organ and chapels San Idelfonso and Santa Ana are worthy of mention.

It is one of the most beautiful churches in the region of La Vera. Built on a thirteenth century temple, it forms part of a transition style between Romanesque art and late Gothic. We will notice the churriwous churriwery of Sainte-Marie-de-Grace, which dates from the eighteenth century.

Built in the th century, the "new" cathedral is a Baroque building with a certain tendency to French classicism. The temple houses a representation of the Virgin of Montserrat, patron saint of Catalonia, a work signed by Josep Obiols.

This little chapel was originally dedicated to the Virgin of Snow. Built in the Muslim era in what was the Christian quarter, at the corner of Carrer Major and Carrer Cavallers, it is now dedicated to the worship of Saint James (Sant Jaume in Catalan), which is why it is frequented by many pilgrims on their route to Compostelle.

This Mudéjare church occupies the location of the ancient mosque of Alagón. Built at the end of the th century, it has a single nave divided into two travées, finished by a semicircular apse and surmounted by voûtes voûtes of simple warheads. The interior was changed in the following centuries, with the construction of several chapels. Its steeple is a fine example of almohades minarets, with its very refined decoration.

This church has one of the most remarkable towers in Aragon. Known as the «Torre de los Espejos» (the mirror tower) because of the reflection of the 8 000 azulejos, this mudéjar tower dates back to the th century. Its interior structure recalls the typology of Arab minarets, while the exterior decoration presents a complex association of brick and mosaic.

Built by the Jesuits in the first half of the th century at the location of a former college, this Baroque church offers a beautiful testimony of the rococo style in Aragon. The dome of the main staircase is decorated with a fresco painted by Goya in 1771, while one can see two altarpieces of the th century representing Saint Francis-Xavier and the Holy Family.

Gothic work of the sixteenth century, it was probably built on a previous construction of the xiiith century. The Maestro Pedro de Ybarra, one of the most famous architects of the Renaissance, has worked on this book. Inside, you will notice a retable of the late sixteenth century, declared well of cultural interest, the star vault of the abside, and the sacristy, on the plateresque grounds. On the outside, you will notice its square balloon tower and its roofs with close to forty stork nests.

Founded in the th century by the Velasco in order to establish the family pantheon, this monastic ensemble consists of a church, a cloister, a chapter hall and other dependencies which welcome a hospedería (hostel). The most remarkable part is that of the Gothic church, with its nave adorned with ogives voûtes, its choir and chapels on the lower sides, in particular the Concepción Chapel (th century). The tomb in Alabaster d'Aro Fernández de Velasco and his wife María de Tovar is in Renaissance style.

Dedicated to the patron saint of Cantabria, this church built in the seventeenth century has a simple and austere aspect. On the other hand, it retains a magnificent set of regimental styles of the eighteenth century - the most important of the entire region. The statue of the Virgin, probably dating from the beginning of the sixteenth century, lies at the level of the master altar.

Located at the location of a former monastery, its construction dates back to the sixteenth century. Chapels were added later, forming a three-nef construction today. Behind a facade of herre style, we discover the master altar and its eighteenth century retable. But the importance of this church lies in the presence of the Santo Cristo of the Agonía, a statue of the agonizing Christ who chairs the master altar. The legend tells us that during the Holy Week of 1919, the faithful saw his eyes move and watched them with tenderness.

The construction of the convent began in 1507 on the order of Ramon Folc of Cardona-Anglesola, seigneur de Bellpuig and vice-king of Sicily and Naples. Influenced by the customs of Neapolitan nobility, he wanted to install his tomb as a sign of power. As construction progresses, the Gothic structure of the whole leaves the Renaissance elements. The tomb, a true jewel of the convent, will finally be moved to the parish church to protect it from attacks during the war of Independence. The convent retains two beautiful cloisters of the th century.

Built in the th century, the Sant Nicolau church is a construction of late Gothic style, with a beautiful baroque staircase from the late th century. On the left side of the church is the famous tomb of Ramon Folc of Cardona-Anglesola, a superb Carrara marble construction made by the Italian sculptor Giovanni Merliano da Nola between 1522 and 1525. He is considered one of the masterpieces of the Catalan sculpture of the th century.

Its structure and quality make it a jewel of art and one of the most important churches in Badajoz province, since it has preserved its first form. Built on a former church of the xve century, which only remains the polygonal abbey, it was raised in the sixteenth century in a Gothic and Renaissance style. The Forgiveness gate (Puerta del Perdón) testifying to a purist purist style of the first time, also the largest in the region. Inside, it is the main table that draws attention. From the Seventeenth century Seville school, its central figure represents the Señora de Los Ángeles (Gothic of the fifteenth century). The church also houses four figures (pasos) that parade during Holy Week: Jesús Nazareño, (realized by Antonio Ruiz de Gijón, at the end of the seventeenth century and restored in 2004), the Virgen de los Dolores, realized in 1945 by the sculptor Mauricio Tinoco, Jesús amarrado has la Cruz (attached to the cross) and rarer, Cristo de las Misericordias. Brought from Peru in the middle of the sixteenth century, it was made in corn paste according to indigenous techniques and responded to the ancient name of Cristo de Indias.

The church Santa María is a Gothic temple completed in the th century, although it retains certain elements of Romanesque origin. The large windows designed by Colí de Maraia in 1413 and the bell tower between the church and Casa de la Hundreds (city Hall) will be noted. A octagonal plane, it houses six bells that have the particularity of being manually sonnées. The altar of the church is presided over by the Virgin del Coll de las Sabinas, patron of the city. It is a th century Romanesque sculpture carved in wood, representing the Virgin with the child Jesus on his knees.

In this Victorian-Mudéjar style church dating back to the end of the th century, it will be noted in particular its main altarpiece, one of the most beautiful examples of Sevillian Gothic, whose tables and sculptures were carried out by Taormina and Jorge Fernández, also authors of the main altarpiece of Seville Cathedral. The chore contains a series of baroque paintings by the painter Zurbarán.

Completed by the guided tour of Puente Genil's cuarteles (3 €). Information at the Tourist Office.

This beautiful church overlooking the valley dates from the th century but was built on a previous pre-Romanesque church which itself had to occupy the place of a former pagan site. The interior contains a series of interesting frescoes and a votive plate dedicated to Jupiter. 

Founded by a papal bull in 1460, it was one of the very first convents in the city. With elements built from the 15th to the 18th century, the complex has a wide range of architectural styles. Of particular note are the cloisters, with their delightful atmosphere, and the church, emblematic of Andalusian Mudejar art, the latter exhibiting several paintings by Valdés Leal and a collection of women's portraits. You can also enjoy the beautiful view from the mirador tower overlooking the church tower and the sweets made by the sisters.

The church and, above all, its place are intimately linked to the history of the city, since it was built in the middle of the th century, the monastery San Salvador, which was the origin of the current location of La Bañeza. It is on the remains of the monastery destroyed by the troops of Almanzor that the present church was built, deeply modified in the th and th centuries but of Romanesque style originally (th century). Part of the apse retains this first style. Inside, we will note the main altarpiece, the baroque work of the sculptor Francisco de Rivera, with the image of the Good Shepherd or the Savior, el Salvador, carried out by Lucas Gutiérrez in 1659, as well as various frescoes of the th century.

Its silhouette dominates the Plaza Mayor. In the 1532 th century church (), the church of the th century was changed between the late Gothic and the Renaissance. Inside, we admire its magnificent baroque altarpiece, the work of the sculptor Francisco de Rivera, originally from the city, on which we can see the first representation, in the form of sculpture, of Saint John of the Cross. The chapel of the Piedad houses the most important artistic work of the city, a sculpture depicting Piety and carried out in 1628 by Gregorio Fernández.

Built in the 3rd century, at the initiative of Doña Eldoncia, daughter of Counts Osorio y Teresa, it is a Romanesque style building with naves and a transept. The latter is not on the plane but behind curved apses. In the north, the portal that corresponded to the cloister is characterized by three archivolts and that of the south, by a warhead arch and several archivolts resting on three pairs of columns, with sculpted capitals. The upper area presents the figures of six prophets. Also note the interior decoration of the archivolts and the eardrum.

On the north road of Santiago de Compostela, this baroque mansion is located in Huergas. On the first Sunday of September there is an extremely busy romería, since the Virgin of the Buen Suceso is the patron of the commune. 

It's a Gothic-Mudejar building. Inside, it houses a magnificent 16th-century altarpiece in Renaissance style, whose central subject is the mystery of the Incarnation and which, despite the disappearance of many sculptures, is of great value, including the sculpture of the Crucified Christ. It also houses the Vélez-Málaga Semana Santa (Holy Week) Museum, which recounts its history in the city and how it is celebrated today.