Co-cathedral of Santa María de la Redonda

The Co-cathedral of Santa María de la Redonda, known locally as Concatedral de Santa María de la Redonda, stands as a remarkable testament to the rich history and architectural splendor of Logroño, Spain. This majestic building, with its twin towers and intricate façade, is a must-visit for anyone exploring the region of La Rioja.

A Historical Journey

The origins of the Co-cathedral of Santa María de la Redonda can be traced back to the 10th century, when the Camino de Santiago crossed the Ebro River via a primitive bridge constructed by Santo Domingo de la Calzada and San Juan de Ortega. This crossing encouraged the settlement and growth of a population that would eventually be declared a city in 1431.

King Alfonso VI of León granted the city a special charter in 1095 to encourage the settlement of pilgrims and inhabitants. Over time, the city flourished both civilly and ecclesiastically, leading to the construction of several significant churches, including Santiago el Real, Santa María de Palacio, San Bartolomé, and of course, Santa María de la Redonda. The name La Redonda is derived from an earlier Romanesque church with a round or polygonal plan that once stood on the same site.

In 1435, the church was elevated to the status of a collegiate church through its merger with the Collegiate Church of San Martín de Albelda, known for producing important medieval codices. On March 9, 1959, Pope John XXIII elevated it to the status of a co-cathedral.

Architectural Evolution

The architectural journey of the Co-cathedral of Santa María de la Redonda spans from the 16th to the 19th century. The structure comprises three naves, an ambulatory, and a rear chapel (Capilla de los Ángeles), with a main entrance flanked by two iconic twin towers. The lateral walls are adorned with chapels that complete the construction on the north and south sides of the temple.

Between 1516 and 1538, the central body of the cathedral was constructed in the Gothic style of the Catholic Monarchs. The interior features slender cylindrical columns and ribbed vaults that create a mesmerizing stone canopy, reminiscent of a forest of stone palms.

Throughout the 16th and 17th centuries, the lateral chapels were enriched with religious paintings, sculptures, altarpieces, and ironwork, some of which were salvaged from other disappeared temples or monasteries. The Baroque chapel of Nuestra Señora de los Ángeles, completed in 1756, is particularly noteworthy, situated near the portico and the monumental stone altarpiece on the main façade, flanked by the twin towers designed by Martín de Beratúa. These towers, modeled after the tower of the church of Santo Tomás de Haro, are a defining feature of the Riojan Baroque style and a symbol of the city of Logroño.

The final architectural expansion occurred in the 19th century with the construction of the current ambulatory at the head of the church, continuing the aesthetic and structural design of the Royal Chapel of the Holy Christ of Bishop Pedro González de Castillo. The temple is oriented strictly from east to west, centrally located in the old town of Logroño, and opens onto the historic Plaza del Mercado, adjacent to Calle Portales, which retains its historical charm and remains a hub of social, religious, and cultural activity.

Artistic Treasures

The Calvary of La Rioja by Michelangelo

One of the most intriguing pieces within the co-cathedral is a small oil painting on wood, depicting a Calvary with the living Christ, the Virgin Mary, Saint John the Evangelist, and Mary Magdalene. Attributed to Michelangelo Buonarroti, this work was acquired by Bishop Pedro González del Castillo, although its authenticity remains unproven. The painting's high artistic quality and unique features, such as the altered position of the Virgin's left arm and the inclusion of Mary Magdalene, suggest it could indeed be an original work by the Renaissance master.

Flemish Panels by Gillis de Congnet

Another highlight is a series of Flemish panels painted by Gillis de Congnet in 1584, originally from the chapel of the Lordship of Somalo near Nájera. These panels, now housed in the co-cathedral, depict scenes such as the Annunciation, the Epiphany, and the Assumption of the Virgin, showcasing the artist's meticulous attention to detail and vibrant expressions.

Additional Artistic Marvels

The co-cathedral also boasts a variety of other artistic treasures, including the 15th-century Flemish ensemble of the Assumption-Coronation of Mary, a Romanist altarpiece of the Adoration of the Magi from 1554, and a 17th-century sculpture of the Immaculate Conception by the Galician artist Gregorio Fernández. Additionally, the chapel houses a 1461 silver bust of Saint Prudencio of Armentia, a relic from the Monastery of Monte Laturce, and a Romanist relief of the Washing of the Feet from the 16th century.

In conclusion, the Co-cathedral of Santa María de la Redonda is not just a place of worship but a living museum of art and history. Its walls and chapels tell stories of faith, artistry, and resilience, making it an essential visit for anyone seeking to understand the rich cultural heritage of Logroño and La Rioja. Whether you are a history enthusiast, an art lover, or a spiritual seeker, this co-cathedral offers an enriching experience that will leave a lasting impression.