Uvieo/Oviedo

The city was founded around the Benedictine monastery of Saint Vincent by abbot Fromistanus in AD 761, in a previously colonised place by Maximus (Fromistanus' nephew). It wouldn't take long before King Fruela I (r 757-68) commissioned the construction of several churches, amongst them, the Church of the Holy Saviour. A moorish raid resulted in the total destruction of the settlement in AD 794, King Alfonso II (the Chaste) (r. 791-842) led its reconstruction, as recorded on one of the sides of the altar in the Church of the Holy Saviour dating from AD 821.

HISTORY:

Prior to this foundation record for the city, we should look back in time to locate the first human settlements in the area; and we can find an archaeological site with tools dating from the Middle Palaeolithic period by the creek of Quintes. Prehistoric drawings were discovered in the neighbourhood of Priorio, where the La Lluera I and II caves probably harboured the first Homo sapiens sapiens living in this area. In addition to these primitive samples, there are 16 cairns, hill forts from Iron Age settlements catalogued in the county, alongside Roman villae. The most outstanding of them, the one of Les Muries de Paraxuga, was demolished not long ago in order to make room for the university medical school.

Alfonso II claims to have been born in Uvieo so we can presume the germ of a fledging town, beside both churches. Shortly before, King Silo I (r. 774-83) had brought the court from Cangues d’Onis to Pravia.

At the time the Umayyad Emirate was established in Cordoba when Abd al-Rahmân I came to power in AD 756. This marked the end of a series of weak governors subordinated to Damascus and brought a new age during which Asturies was faced to a powerful enemy. Consequently Alfonso II transferred the Asturian court to Uvieo in AD 812. It was considered a natural fortress, with the rivers Caudal, Nora and Nalon as the moat, and Mounts Aramu, Monsacro and El Naranco providing the perfect rampart. Furthermore, there were good fluvial links to get from the court to the ports.

In AD 821 a Council was held in the city, known as the Council of Uvieo, what highlights the importance of the kingdom at the time, as well as provides further evidence of the good relationship with Charlemagne, who sent an important embassy. This council was organised by Beatus, an influential intellectual, who was the driving force behind the creation of the Asturian national church.

Nevertheless, King Alfonso III, “the Great” (r 866-910) had a wall built around the city, perhaps for fear of a potential Norse invasion, or to protect the court of Asturies as the kingdom extended southwards through the Iberian peninsula. The wall remains revealed in different parts of the city nowadays are part of a different wall commissioned by King Alfonso IX (r 1188-1229) and completed under King Alfonso X “the Wise” (r 1252-1284). Yet some isolated fragments of the original wall can be seen in Xove-Llanos St, Paraisu St and Pesu St.

King Alfonso VI (r 1065-1109) relinquished some goods and privileges to the church founding a pilgrims’ hospital, within what used to be the palace of King Alfonso II. Since then the city has been a mandatory stop on the Pilgrim’s Road to Santiago, initiated by Alfonso II. In AD 1085 the Jurisdiction of Sahagun (Sancti Facundi) was granted, identical to the one granted shortly afterwards to the city of Uvieo, which was confirmed in 1145 by King Alfonso VII (1126-57) and proved to be an incentive to Asturian commercial activity. In 1115 bishop Don Pelayo (1101-1130) led another Concilium or assembly in Uvieo through which he tried to recover a part of the country’s past glory. This has been considered a harbinger of the Xunta Xeneral (Asturian National Parliament) and it provoked an authentic cultural renaissance as can be seen through the works of the Scriptorium Ovetensis whose Liber Testamentorum (Book of Testaments) is an authentic jewel in the archives of the Holy Saviour Cathedral of Uvieo.

The cathedral was the geometric centre of the medieval city, which was still surrounded by a wall by the late 18th century and was limited to ecclesiastic establishments only. On the the north, outside the walls the convent of Saint Claire could be found, to the west that of Saint Francis, to the south-west Saint Dominic's and finally to the east Saint Mary of La Vega. The urban radius was about 200 yds.

The main roads leading into town were: El Postigo following the wall and joining La Ferreria street. La Madalena street joined the southern part of the city together with the New Gate and the Roaf to Castille (planned in the 18th century, although only twenty kilometres, about 13 miles, were built between 1771-1780, from a project to link Uvieo with Central Spain). San Francisco street joining the Franciscan properties to the city was the place chosen to build the University (currently, Historical Building of the University of Uvieo) and Saint Gregory’s School (established by Valdés Salas opposite the University and demolished in 1901).

A WALK THROUGH TOWN

The Holy Chamber was constructed on the remains of the chapel of Saint Michael built under King Alfonso II. It remained joined to the cathedral following some works undertsaken in the cloister and in the chapels of Cuadonga and Saint Ildefonso. It was constructed on a rectangular ground plan (10 x 3 m) with two floors. The ground floor contains the crypt or Chapel of Saint Locaya, roofed by a half barrel shaped bricked vault, and as it was custom in Roman constructions, the vault raised from the ground. The upper floor contains the Holy Chamber itself. During the 12th century, due to the increasing number of pilgrims on their way to Santiago, it was modified lifting the roof and decorating the interior with the statues of the twelve apostles around the columns. The columns were supported by the three arches of the barrel vault that cover the single nave. The building was badly damaged during the Asturian revolution in 1934 (a prelude to the Spanish Civil War) and was restored by the architect Luis Menéndez Pidal and the sculptor Víctor Hevia between 1938 and 1942. At present, access is through the Church Museum only.

The sculpture of the Asturian Romanesque period includes some technically exceptional works, (the Apostolate —a sculpture group—, the Calvary, the Virgin and the Infant, the Annunciation, etc.) The sculptor, known as the master of Uvieo is considered as a genius of western art.

The Cross of the Angels is the symbol of the city and therefore appears in its crest. It was commissioned by King Alfonso II for the recently founded church of the Holy Saviour in AD 808. It gets its name from a popular legend that claims it was made by some angels. It has been restored numerous times: first after the explosion of a bomb during the above-mentioned revolution in 1934 when the Holy Chamber was blown apart, further to this, following a robbery in August 1977 the central cameo was lost and has never been recovered. There is no relationship between any previous Visigoth art and this cross of 46.5 x 44.5 cm. Made of wood covered in gold leaf and ornamented with pearls and precious stones

Church of San Tiso — Currently only a few traces remain of this church founded by Alfonso II in the 9th century, namely the chevet of the apse and the tower. This was the place where elections to the council officials for the oncoming year were held on Midsummer’s day since 1494. It was one of the first churches of the city, but it was destroyed during the fire that swept the city away during Christmas 1521. In 1574 the reconstruction of Saint Anne's Chapel began with a square ground plan construction opened out onto a central nave. There is no defined style throughout due to numerous reconstructions. Some Visigoth parts with a Pre-Romanesque transept can be identified with part of the original chapel probably remaining buried. The Gospel Chapel dates from the late 16th century and the Epistle Chapel from the 18th. (Singled out by UNESCO World Heritage since 1985).

Santuyano was built by Alfonso II at the beginning of the 9th century. It is considerably larger and more spacious than any other preserved examples of Asturian art. Inside, the walls are decorated with abundant original frescoes, executed in a similar style to those of Roman villae, the high transept extends to the edges. The squared ground layout with three parallel aisles opens into a transversal aisle higher than the central one. Three rectangular apses are roofed with a half barrel vault, the rest is covered with a flat wooden roof. The life-size Crucified Christ, shows an aesthetic mix of Romanesque and Gothic styles.

Saint Mary of Naranco (Santa María de Naranco)— Majestically located on a wooded slope 3 Km above the city, it was originally designed not as a church but as a Summer palace or hunting lodge for King Ramiro I (r. 842-50) with baths and halls on the basement, and an audience chamber above. Commissioned in AD 848 in the middle of a sacred forest. Nowadays only what would have been the royal hall of the palace complex remains.

This magnificent rectangular construction uses elegant round arches and barrel vaulting, well before they were found anywhere else in Europe. The lower level is now the chapel or crypt. The upper level is lit by huge bays, with two arched balconies that open out to wonderful views. Both levels are joined only by an external staircase. The Ramirensis style is not only part of the Alphonsi legacy, but reflects a new artistic sensibility. (Singled out by UNESCO World Heritage since 1985).

The Royal Chapel of Samiguel de Lliño was constructed late in the year 848 during the reign of Ramiro I. It is a shrine devoted to Our Lady, and is the reconstruction of a previous building according to a marble plaque on the altar of Naranco (preserved in the Archaeological Museum). This explains the mixture of works of art and styles; the construction technique no longer presented a problem as shown by the vaults. However nowadays only the portico of the original church with two lateral compartments and the choir remain. The Visigothic decoration sculpted in the base of the capitals is a very interesting example of Byzantine inspiration relief. (Singled out by UNESCO World Heritage since 1985).

Foncalada fountain, (787 x 324 inches or 20 x 8 m) is the only remaining public work preserved in town from the Middle Ages although it was part of a collection of monuments fiding their roots in traditional ancient Roman aquatic monuments. It is made up of three parts: a canal, one meter wide, from which only the last three meters are visible, it was covered with slabs, nowadays only three are left; a little quadrilateral temple five meters wide, covered with a half barrel shaped vault with pitched roof. There is a religious inscription in Latin near the Cross of Victory. Finally, the reservoir, part of which is found under the surrounding houses, allows us to imagine that this ensemble was somewhat more than a fountain commissioned by King Alfonso III in the 9th century for the use of the public; though it will be necessary to wait for future archaeological studies to demonstrate the symbolic content of this construction, it was still used as a washing place not long ago.

Alfonso III enriched the Court with generous gifts, as shown by the Cross of Victory which he commissioned to a craftsman from nearby Gozon in AD 908. It is currently found in the Holy Chamber. It is the symbol of Asturies and because of this it appears in the Asturian national flag as well as in the crest of the Principality, but during his reign it was already being used as a national symbol. It was chosen as symbol of the kingdom and appears on numerous constructions. A cross made of gold, and encrusted with precious stones, supposes an important progress by its aesthetic refinement.

The Holy Saviour Cathedral of Uvieo was erected on the foundations of a chapel built by King Fruela I in the 8th century but completely destroyed by the Moors, was subsequently rebuilt by Alfonso II. The first reconstruction was the Chapel of Saint Locaya on which was built the Chapel of Saint Michael or Holy Chamber. Both were built in the proximity of the tower of Saint Michael, which forms part of the remains of what was the former palace of Fruela, although only the works accomplished in the Minster of the Holy Saviour during the 11th and 12th centuries remain to be seen.

The current cathedral is almost pure product of the flamboyant High Gothic era. Made of a mustardy yellow stone, it owes its rather lopsided appearance to the fact that it was never completed. There are three portals, all of different heights, work of Pedro de Bruyeres in 1512. While there are six 14th-century figures of the Transfiguration over the central door, most of the sculptures niches are empty. The beautifuly carved doors date to the 18th century. Construction of the 70 m high South tower, with its delicate spire, began in 1508 under the direction of Juan de Badajoz, but was only completed in 1556. The last part of the tower was struck by lightning in 1575, and had to be reconstructed. The North tower has never been built.

Inside, the plan of the church in the so-called Latin Cross, lined on both sides by numerous small Baroque chapels. Unusually however, the line of the nave has been left open, giving it a light and airy feel, and a clear view through to the vast wooden altarpiece on the High Altar. The work of Gerald of Brussels and Juan de Balmaseda in 1525, its panels telling stories from the life of Christ.

A door in the South transept leads though to the cloister. Just on your right is a 12th century tower, built onto the former palace of Alfonso II. The lower level of the cloister, shows some fine capitals, is the oldest part of the current cathedral, built from the late 14th to mid-15th centuries, displays some uniform style, it was build under Xuan de Candamu’s leadership. The arcaded upper storey is an 18th-century addition. The Chapterhouse in the East wall now houses the recently restored 15th-century choirstalls

La Rua Palace It is the only Gothic civil construction conserved in town, and also the only built previously to the destructive fire that took place on Christmas Eve in 1521. Although its construction took place mainly in the 15th century (the foundations date from 1474), the asymmetry shown by the six traditional windows contrasts with a Renaissance creation. There is a courtyard inside where the familiar life used to be take place and accessed through two large doors. Three exterior floors reflected by the windows distribution: two floors and a loft. The heraldic coat of arms on the door with pointed arch gives an Isabelline style to the ensemble. Declared Monument 24th October 1982.

The geographical centre of the city is taken up by this park, El Campo San Francisco (90,000 sq. metres), on what were the grounds of an old monastic hospital, and according to tradition, Saint Francis of Assisi arrived in the beginning of the 12th century, following the pilgrim’s road to Santiago, disease forced him to stay some time as a hermit in the forest. There is a document in the cathedral archives dated from 1243, according to which a meadow and a source are donated to the friars community so that they could establish a house in what was then known as Saint Francis Park. Saint Francis church would substitute the ancient hermitage of Saint Francis Park from King Alfonso XI times. In the 15th century, the governor of the Principality rebuild the church that will be converted into a place very appreciated by the carbayones (popular nickname for the inhabitants of Uvieo), and it was declared public from 1534 and gradually enlarged with new trees. In 1701 more than five hundred oaks and six hundred poplars were added. From 1858 the trend would reverse and the loss of acreage will be continuous until 1917. In 1875 the structure of the park is altered, and several fountains are added: “the large Fountain”, and “the Frogs’ Fountain”. Little after, in 1879, “The Big Old Oak” (el Carbayon after what locals are named, carbayones) will be demolished as the price paid to “progress” when Uria street was broadened.

Monastery of Saint Vincent was completely reconstructed in the 16th century. The church of Saint Mary the Royal of the Court is located where the cloister of the ancient monastery was, completely lost today. Works start in 1493, even though what the most important part dates from the 16th century, probably the architect may have been Juan del Ribero Rada around 1560-1580, by the similarity with other of his works. The greater altarpiece was produced by Luis Fernandez de la Vega in 1638-1640.

The Asturian Archaeological Museum is housed in the cloisters of the former Monastery of San Vicente (1775), a Benedictine institution dating back to the early days of the city in AD 761. Nowadays, no remains of the original building survived. It was reconstructed completely during the 11th and 12th centuries following a Romanesque standard. The low cloister was rebuilt in 1493 with Gothic tracery, The Baroque high cloister was finished in 1775 by Manel Reguera González. Somehow, both works preserve certain uniformity.

Any visit to the museum will have to be conditioned by the construction itself which would be the first piece of the collection. Beginning by the high cloister where are exhibited materials about the first inhabitants of Asturies over there by the inferior Palaeolithic (500 000 to 90 000 years BC) being worth especially, the space reserved to the Asturiensis culture (8000 to 7000 BC). Material collections from the Metal Ages, a complete ethnographic and numismatics sample, lead the visitor to the space devoted to Roman culture, before arriving into the low cloister that harbours medieval archaeology with the Asturian monarchy and art as protagonists. [The Museum has recently been revamped and this description predates those works.]

Royal Monastery of Saint Pelayo established by King Alfonso II the Chaste, lists over three thousand documents in its archive (the oldest dating from the 11th century). In the 16th century became an important expansion centre for the Benedictine community into Asturies, consequently, Gregorio de la Roza is asked to expand the monastery in 1694 becoming the largest in town. Noteworthy the construction of the church in 1592, whilst the tower and the rest of the building will have to wait until late 17th century. A church with a unique nave separated in almost three square sections. The main façade of the “Vicary”, work of the Benedictine architect friar Pedro Martínez de Cardeña puts the colophon in the 18th century.

An austere set but well terminated, façade located at the end of some elegant stairs with a round window in the upper part and a niche to locate to the saint. During the revolution of Asturies and then the Spanish Civil war, there was to face its reconstruction with the addition of new elements, only had been saved the archives and the relics of Saint Pelayo. Xuan de Villanueva was the author of the monument to Xove-Llanos by assignment of the Xunta Xeneral in 1798, in 1941 it is moved to the current location adjacent to the monastery in Xove-Llanos street.

Convent Church of Saint Dominic established in 1518 by friar Pablo de Leon as Convent of Our Lady of the Rosary from the Order of Saint Dominic, though the works do not begin until later of 1535 conduced by Xuan de Cerecedo Senior following a design from friar Martin de Santiago. A building with a single nave separated in five sections with a Gothic vault, a rectangular chevet and five chapels to each side. Nowadays the Plateresque façade is hidden by a Neo-classical porch from Ventura Rodríguez developed by Manel Reguera with huge four Doric columns. Declared Monument since the 10th August 1944.

Church of Saint Isidoro formerly Saint Mathias, forming part of the ensemble built in 1578 to harbour a Jesuits association, hence it follows their rule of construction. After their expulsion in 1770 it was converted into the current parish. A Baroque style building with rectangular ground plan in single nave with four sections which meet the lateral chapels in an aligned transept. Design by Juan de Tolosa, from the exterior three parts are appreciated, in the central part is located the main door with semicolumns, planking and split façade. Declared monument since the 13th August 1983.

Historical Building of the University of Uvieo by Rodrigo Gil d’Ontañon. Starts its educational function in the 17th century, having been founded by the endowment of the Archbishop, General Inquirer and President of the Royal Council, Fernando de Valdés Salas following his death in Madrid in 1568. In 1574, Pope Gregory XIII urges to obey the desire of the deceased, that had donated money to support the construction of this building, and following this request, works start that same year, althought they won't conclude until 1590, being inaugurated the 21st September 1608. In addition to different faculties and schools, it harbours the most important library of Asturies, work of Manel Reguera. The Count of Campumanes was aware of importance of libraries and archives for the modernisation of the country, even taking advantage from the expulsion of the Jesuits in 1767, to increase the funds with their books. In 1835 becomes of public ownership. As for the style, classicism prevails, especially in the porches. The historical building was destroyed in October 1934, only the tower was saved; but the loss of libraries and the Portrait Gallery of illustrious Asturians, still missed today in the quest of the recovery of the Asturian national identity.

Archbishop’s Palace in Corrada del Obispu, a construction contemporary to the historic building for the university, with linteled door which open access to an interior courtyard; it is a two floors construction within squared ground plant. In spite of the multiple reconstructions, it preserves still the whole classicism from the original design.

Pilares Aqueduct contracted in 1537 to master Xuan de Cerecedo Senior for the conduction of water from the sources of the South hillside of El Naranco for the supply to the city, finished by Xuan Ruiz de Carrandi in 1602. With 41 arches throughout and 390 m of length, featured an arch 10 m of height in the moment of its inauguration in 1599 (black year in the history of town due to the plague which supposed the stop of all the public works under way, with the exception of ecclesiastic projects). Demolished in 1915 as the city was growing to let place to Cervantes street. We should nor forget that El Picu Paisano with its 630m had been the water supplier during centuries, this would change in 1875 when water pipes made it obsolete.

At present only five arches lifted on square pillars are preserved. It has been declared monument since the 26th November 1915.

Town Hall and Plaza Mayor, commissioned in 1622 to Juan de Naveda, supposed a problem the construction of the town hall, because of its location adjacent to the city wall and the need to preseve the Gate located in Cimavilla street through which the road to Castille was acceded. On the other hand he was commissioned to draw a Great square, however Francisco Pruneda was the author of these works in 1778-1780.

Asturian Fine Arts Museum, opened in 1980 and housed in two adjoining buildings: Velarde Palace and House of the Oviedo-Portal family. It may display the best and most interesting public art collection in Asturies. In its 4.000 sq m of useful surface.

Velarde Palace by Manel Reguera Gonzalez in 1767, shortly after finishing his studies in Madrid. In his work Baroque features are still seen in decoration, emphasised by the coats of arms without losing the order of the construction. Squared ground plan with 30 x 27 m in a structure of three floors around a squared courtyard with Tuscan columns. Considered the most important urban palace from the Asturian Baroque. The façade on San Antonio street in a Rococo style gives access to a garden. Monument since the 12th July 1983.

House of the Oviedo-Portal family. Built in 1660 by Melchor de Velasco Aguero for the alderman in town. The façade gives to La Rua street and has three floors. Close and deep plan that compelled to build a courtyard well terminated with Tuscan columns so that the space was heighten. The paved courtyard is very well preserved.

With respect to the works held in the museum, several public collections scattered in different institutions were gathered in order to enrich the national art gallery with Asturian authors such as Orlando Pelayo, Evaristo Valle or Barjola. Chronologically this exhibition goes from a Gothic Asturian Christ, 14th century until the most current art; with over 5,000 catalogued works.

The distribution apart from temporary expositions, harbours the foreign and Spanish work from the 14th and 19th centuries in Velarde Palace, near the most important Asturian authors such as Carreño de Miranda, Piñole, Darío de Regoyos... In the house of the Oviedo-Portal family Asturian authors from the 19th and 20th can be found on display. [Again some improvements have been done to the Museum since this review was written in 1995]

Plaza d'El Fontan. The conception of this market started in 1587, by 1792 the actual construction was approved in the shape of arcades designed by Francisco de Pruneda y Cañal, this clever design would harbour shops in the basement and a store in the loft.

"Manor house" of Regla also designated the “House of the three pennies” built by Antón López de Dóriga near a factory to which it was directly linked. This is one of the scarce examples of industrial architecture from the 1800s. It could well be another design from Manel Reguera. It was declared monument in 1984.

Malleza Palace built by Gregorio de la Roza in the 17th century (toward 1673) a rectangular ground plan within a courtyard, two floors, the ground floor bordered with Tuscan columns and the upper one, closed with large windows, to which is acceded through a decorated stone staircase. The asymmetrical façade, inclined as the slope of the street with linteled frontispiece and split façade, it is the first civilian building adorned with columns, with two coat of arms on each side of the balcony. For the rear part there is a little garden. At present it is the location for the RIDEA (Royal Institute for Asturian Studies), declared a monument in 1983.

Campusagrau Palacebuilt in the mid 17th century by Francisco de la Riva who conducted the ground floor and Pedro Antón Menéndez d'Ambás who concludes the work adding the upper floor in 1757. Baroque urban typical construction, squared ground plan with an interior courtyard, nowadays covered, with twelve tuscan columns. The ground floor seems very Baroque whilst the upper floor is more Neo-classical. Currently it is the location of the Asturian High Court. Declared a monument in 1943.

Convent of Saint Clairewhat originalll was a Franciscan establishment dating from the 13th century, was moved to the military jurisdiction in 1837 thanks to Mendizabal's dissolution law, eventually returning to ecclesiastic tutelage in 1845 until 1869. Partially demolished in 1962, only the North-Western Baroque façade and fragments of the cloister only built in 1750 for Pedro Muñiz Somonte and concluded by Pedro Anton Menéndez d’Ambas with Tuscan columns, are conserved. Currently, the Tributary Agency of the Treasury Department in Cuadonga St. and El Carbayon square, declared building monument in 1990.

Royal Hospice of Uvieo (currently Hotel de la Reconquista) - A construction from architect Pedro Antón Menéndez d'Ambás between (around 1752-1754) with a façade from Manel Reguera González (1754). The chapel was commissioned in 1768 to Ventura Rodríguez. This is one of the most important constructions of the 17th century followin the European tradition of combining an orphanage and industrial facilities that would contribute to their successful integration in society.

Xunta Xeneral of Asturies has been the law institution representing Asturian conceyos (counties) for over six hundred years; it operated without interruption from the 15th century until the 8th December 1835 when this institution of Asturian self-government was dissolved due to a law developed by Mendizábal, a forced parenthesis extended until its restoration in 1982. The building where parliament sits at present, dates from 1900-1910, a building designed by Nicolás García Rivero where the ancient convent of Saint Francis - demolished in 1902 - was located. Before this, regular sessions used to take place in the Capitulate Room of the Cathedral; this was the place where 25th May 1808 this Parliament was declared sovereign itself and sent ambassadors to Britain. Asturians were informed that the Marquis of Santa Cruz had been elected general in chief of the Principality's Army. Academia endorsed such decision by providing two professors who were sent to the British Parliament in order to request economic support to fight the invaders.

The Xunta Xeneral is the Parliament of Asturies since December of 1981 when following a devolution process, the Statute of Autonomy for Asturies was approved, however, its first effective Act dates back in November 1378.

In any case the city has not stopped enriching its cultural patrimony as shown by the sculptures that have been installed in the life of the ovetenses such as Fernando Botero’s Maternity or the work of the Eduardo Úrculo Return of Williams B. Arrensberg, known as the traveller. In addition to many others that are less popular. (Apparently this trend still continues nowadays as more sculptures are added to the city's artistic heritage)