Burgos Renaissance

The starting point of our route is at the Arch of Santa María, one of the twelve gates which gave entry to the medieval city of Burgos.

This monumental archway, transformed in the 16th century in order to welcome Emperor Charles V, is one of the city´s finest Renaissance works. It is located right in the city centre, at the end of the Paseo del Espolón, just by the river Arlanzón Bridge.

The arch is a majestic architectural ensemble blending the late Gothic with a clear Renaissance influence. It was designed as a triumphal arch to give more importance to the empire. If you look at the façade, you can see niches with statues of historical figures such as Fernán González, El Cid and the emperor Charles V. The arch also houses exhibitions, the Pharmacy Museum and access up to one of its turrets. 

If we walk under the arch with our back to the river, we enter the square; Plaza del Rey San Fernando, dominated by the majestic Cathedral of Santa María and the Puerta del Sarmental, one of the four entrances to this temple.

No visit to Burgos would be complete without exploring the Cathedral of Santa María, one of the most important monuments in Spain and a high point of Castilian Gothic.

However, for all its Gothic treasures, this splendid building, is almost better known for one of the finest works of the Renaissance: The Chapel of the Condestables or Constables. Commissioned at the end of the 15th century by Pedro Fernández de Velasco and Doña Mencía de Mendoza, Constables of Castile, it is one of the outstanding achievements of the Spanish Renaissance era.

The chapel is located at the head of the cathedral - just look for an impressive star-shaped lantern tower and the exquisite Plateresque (early Spanish Renaissance), decoration. Inside, several Renaissance elements can be seen, such as the elegant grille made by Cristóbal de Andino, the funerary sculptures of the Constables, by Felipe Bigarny, and the main altarpiece, commissioned to Diego de Siloé and Felipe Bigarny.

The Altarpiece illustrates the Presentation of Jesus in the Temple and is noteworthy, not least for the painstaking detail lavished on the central characters.

The Chapel of the Constables is a place of great artistic and spiritual richness, offering visitors a unique experience in the context of this otherwise Gothic cathedral. The combination of styles and its painstaking ornamentation make it a must-see in order to have a clearer idea of how art and architecture evolved here during the Renaissance.

The Escalera Dorada or Golden Staircase is located at the end of the nave of the transept. It descends from the higher-level Calle Fernán González (part of the Saint James’ Way) and the cathedral itself at its northern entrance, through the gate of the Apostoles, also known as the Puerta de Coronería.

It is without doubt one of the most uniquely beautiful works to be found in the cathedral. Created by local artist Diego de Siloé, it represents both an ingenious technical solution to bridge the difference in levels with one of the finest early Renaissance architectural works in Spain.

It was the bishop of Burgos, Juan Rodríguez Fonseca, who entrusted the construction of this staircase to Diego de Siloé between 1514 and 1524, the year of the prelate’s death. The bishop also commissioned the gate of the Plateresque style Pellejería at a similar date.

The lantern tower of Burgos Cathedral, above where the main and transverse naves meet, rises to a height of 50 metres measured from the floor, keeping guard over the tombs of Rodrigo Díaz de Vivar (El Cid Campeador) and his wife Doña Jimena where they have lain since 1921. It is one of the most impressive and beautiful Renaissance works in Spain.

The whole structure is supported by four columns on a wide octagonal base. Four main arches and four pendentive shapes start at the height of the nave windows, from which the lavishly decorated Plateresque lantern arises.

It has more than 100 statues distributed both inside and outside and is crowned by a spectacular vault with a double structure of an eight-pointed star. This solution, both novel and daring, not only lightened the burden of the structure, but also enabled more light to enter to illuminate its sculptural works.

Today’s lantern tower is not the original, as the first (built by Juan de Colonia around 1460) collapsed in 1539, precisely because it was too heavy. The structure we see today was designed by Juan de Langres and erected by master builder Juan de Vallejo, taking nearly 30 years to complete.

From the Plaza del Rey San Fernando, we have a short climb to the Plaza de Santa María, which gives access to the west door of the cathedral, known as that of Santa María, as it is the main door. Walking round the edge of the square along a stepped ramp to the west, and opposite the main façade of the cathedral, we arrive at the Church of San Nicolás de Bari.

The church we see today, begun in the 14th century, an excellent example of local religious architecture, is particularly well known for its main altarpiece.

Carved in limestone, the altarpiece was designed by Simón de Colonia, (son of Juan) and sculpted by his son Francis. It depicts scenes from the life of Saint Nicholas, with detailed reliefs including figures of saints, angels, and other religious motifs.

It is considered to be one of the most impressive of its age, remarkable not only for its artistic beauty but also for its sheer size.

The church houses other works of interest, such as the tombs of the founders Don Gonzalo López de Polanco and Doña Leonor Miranda, a baptismal font from the 16th century and several chapels where sculptures and altarpieces from the 15th and 16th centuries can be seen. It also exhibits a remarkable collection of Flemish tapestries, thought to be one of the finest in existence.

Its main façade shows a blend of Gothic and Renaissance styles, with a simple but elegant bell tower that complements its overall structure.

After the visit to the Church of San Nicolás, we now continue along Calle del Conde Fernán González, taking a moment to admire the northern façade of the cathedral. If we turn round, we will be facing the Palace of Castilfalé, a Renaissance mansion, built in the 16th century by order of Don Nicolás de Gauna, later to become the seat of the Maluenda family. It is one of many buildings that bear witness to the architectural largess of the Renaissance in Burgos.

The sober façade, with certain Plateresque influences, is decorated with coats of arms, wrought iron balconies and other decorative features, whereas the central courtyard in the interior with its stone columns, offers an altogether more private and cosier atmosphere.

The Castilfalé Palace has been the town house of many local nobles, later to be used for a variety of uses. Today it houses the Municipal Archives.

The Altarpiece Museum is housed in the Church of San Esteban, located on the lower slopes of the castle above the cathedral. This temple has three naves divided into five bays covered by simple ribbed vaults on the sides and the centre. Inside there are a total of 29 altarpieces to admire, as well as a magnificent collection of works in gold and silver, sculptures and drawings, while the ornamental section of the choir is not to be missed.

Among the altarpieces, a dozen belong to the Renaissance era, the most impressive of all being that of the church itself, that of the Last Supper. This is a panel painting completed sometime between the 16th and 17th centuries by an unknown artist and which has been included in the inventory of the church's assets since 1650.

The altarpiece sits on a small bench or base decorated with three inscriptions on the Holy Eucharist. The canvas is set in a large guilt oak frame and the central theme is the Last Supper. Around this there are a further eight scenes separated by wooden strips as if they were independent paintings, three on each side and two in the centre: one above and one below the Last Supper.

The Church of San Gil sits at the foot of the south-eastern slope of Castle Hill, next to the former city wall and by a gate that takes its name from the temple.

It has a Latin cross floor plan, with a triple nave separated by graceful pillars. On the left side lateral nave, known as the Gospel, you can see several small chapels, such as that of the Nativity of Mary, accessed via two outstanding Plateresque pilasters, carved by Juan de Vallejo. Looking upwards, we can enjoy the sight of a spectacular octagonal star-shaped vault with a fretwork centre.

Also of note is the Renaissance chapel of Santo Cristo de Burgos and the chapel with tombs of the founding family, including a number of paintings from the time.

This church is also known as ‘the second Cathedral of Burgos’ due to the artistic riches it harbours, in sharp contrast to its austere façade. It is entered via two doorways; the more sober north-western one, and the south-eastern one through which pilgrims on the Way of St James would enter the temple.

This former palatial building, known as the Casa del Cordón, dating from the end of the 15th century and commissioned by order of the Constables of Castile, was designed as a home for local dignitaries, although it ended up acting as a venue for major political and administrative events.

The Casa del Cordón, or literally Rope Belt house in English, owes its name to the large Franciscan corded rope belt adorning its façade, typical in this part of Spain, a symbol of the power and devotion of its owners.

Influence of both Gothic and Renaissance are clear, if we take a look at the main doorway, decorated with heraldic coats of arms, medallions and reliefs depicting historical and symbolic figures. Its two-storey interior courtyard shows an architectural maturity of the late Gothic that hints at the move to the coming Renaissance era.

It was here in the Casa del Cordón that the Catholic King and Queen first received Christopher Columbus after his second voyage to America in 1497.

Nowadays, the building houses a bank, but it is still open for guided tours that enable visitors to learn more about its history and its relevance in Renaissance politics and society in Burgos.

Leaving the Casa del Cordón behind us, we will now take Calle de La Puebla and exit through the Arch of San Lesmes, before crossing the river Vena to arrive at our next landmark: the Church of San Lesmes Abad, named after the city’s patron saint. Although started in the Gothic style at the end of the 15th century, it added Renaissance elements in both structure and interior.

The main altar, dedicated to San Lesmes, is a Baroque masterpiece, with sculptures and reliefs depicting scenes from the life of the saint and other religious figures, while the pulpit, dating back to 1533 in the Renaissance style is well worth a look too.

The church also houses the tombs of a number of local nobles and merchants, including that of Cristóbal López de Haro, who helped bankroll the first round-the-world voyage of Magellan and Elcano (1519-1522).

On the outside, its façade has typical Renaissance decoration, despite the overall Gothic appearance.

Next to the church of San Lesmes, the belfry of the old Monastery of San Juan presides over the square, creating one of the most charming open spaces in the city. It dates back to the 11th century, but following the Confiscation of Mendizábal in 1836, (where the state seized church properties), it was abandoned with most of the complex falling into disrepair.

The monastery also has a cloister with Gothic and Renaissance architectural decoration, with its elegant Chapter House, a 16th century Renaissance work, of particular note.

Although not as impressive as some of the attractions on this route, the Monastery of San Juan offers an intimate and peaceful experience, ideal for those interested in discovering the lesser-known corners of the city.

The Convent of San José and Santa Ana is located close to the Museum of Human Evolution. It is the last convent founded by Santa Teresa of Jesus, who in March 1582, bought the property known as Juan Mansino and immediately started on its conversion to a convent.

The chapel has a single nave with three ribbed vaulted sections. It lacks a transept, but instead has a straight chancel with vaulted coffered ceilings. Its simple façade is framed by two sturdy pillars between which there is a rose window, while opposite you will be able to see a belfry, believed to have been built at a later date.

The convent chapel also houses a number of relics of Saint Teresa.

The Burgos museum, located on Calle Miranda, is housed on the premises of two former 16th century Renaissance palaces: Casa Miranda and Casa Íñigo Angulo.

The former was designed as the residence of Francisco de Miranda Salón y España, canon of Burgos cathedral, while work on Casa Iñigo Angulo began in 1547, commissioned by Lope Hurtado de Mendoza, ambassador to Charles V. It is believed that both were built by Juan de Vallejo.

The main façades of these palaces look out onto Calle Calera, which runs parallel to Miranda Street. Vallejo designed the Íñigo Angulo house with a square ground plan with two towers either side of the main façade.

This façade has a stone plinth base, upon which the brickwork is laid. We can see that it frames a large semi-circular arched door where the large family coat of arms hangs, with two male figures on each side between seated lions. Above the doorway is a balcony with the Mendoza family coat of arms and crests of the Order of Santiago.

The Casa Miranda is a three-storey edifice, but with a trapezoid floor plan, although it is believed to have been square originally. It revolves around a central courtyard with a double floor of galleries supported by capitals and footings, which in turn provide a corridor leading to the interior of the museum today.

The museum has kept the original front and back entrances, the central staircase and richly decorated Renaissance courtyard from the original palaces.

Returning to the front of the building, we can observe that this palace is also framed between semicircular towers and their pinnacles, with the main entrance in a semicircular arch flanked by double pilasters supporting a cornice. It is decorated by botanical motifs and masonry work, including noble coats of arms and two medallions supported by male figures and griffins to mention but a few.

Both buildings have lived through countless extensions and modifications over the years, partly due to the use they were given, until being chosen for the site of the Museum of Burgos.

The old Hospital of the Concepción is to be found where calles Barrio Gimeno and Madrid meet, on the south bank of the river Arlanzón.

Built in the 16th century, this is one of the city’s most impressive public buildings. It housed the Faculty of Medicine founded by Charles IV in 1799, until part of it was used as a Cavalry Barracks, while the other part remained as a hospital until the beginning of the 20th century.

It was the first modern hospital of any size in Burgos and its primary role was that of caring for sick pilgrims. Santa Teresa of Jesus stayed here when she visited the city to found the monastery of San José and Santa Ana.

Recently, it has been earmarked for a full restoration as it has been approved to house the historical archive of the Province of Burgos.

The Church of Saints Cosme and Damián is an outstanding example of how the Renaissance influenced architecture and religious art in Castile, albeit in parallel with the predominant Gothic forms at the time of its construction.

This church, located outside the city walls on the left bank of the Arlanzón River, was built between the 15th and 16th centuries, a period of transition between the late Gothic and Renaissance in Spain. This church truly reflects the transition, combining late Gothic styles with Renaissance innovations, especially in its decoration and in some key architectural elements.

Although the church retains a traditional Gothic plan, typical of the latter part of the era, it is in the ornamental details of the façade, designed by Juan de Vallejo, where the stamp of the Renaissance can be seen, with classical motifs such as; garlands, medallions and more natural human figures, so illustrative of this movement.

The building that currently houses the Cardenal López de Mendoza Secondary School is another magnificent example of the local Renaissance architecture. Commissioned by Cardinal Íñigo López de Mendoza in 1538, for the façade it used the same high-quality limestone from the quarries at Hontoria de la Cantera as found in the Cathedral.

Several architects and stonemasons were involved in its construction, which was completed in 1579, including; Pedro Rasines, Baltasar de Castañeda, and Juan del Campo, among others. The carvings and coats of arms on the façade were the work of Diego Guillén and Antonio de Elejade.

Until 1957, the building was known as the Colegio de San Nicolás, under whose patronage Íñigo López de Mendoza was named bishop of Burgos, when Clement VII was Pope.

The origins of the Convent of Santa Dorotea, located next to the Plaza de San Agustín in the south of the city, date back to 1387. Its singular late Gothic façade is typical of the architect Master Juan de Colonia.

The convent contains a number of tombs, most notable of which is that of Bishop Juan de Ortega, built in 1516 by Nicolás de Vergara El Viejo and designed in the Plateresque style, as the early Spanish renaissance is known.

The tomb is decorated by a series of sumptuous iconographic and decorative carvings, crowned by an alabaster bust of the bishop. On the inside back wall there is a relief of The Last Supper, sculpted by Juan de Valmaseda.

For our next visit along the route, we will leave the old town and head to the university and the King’s Hospital or Hospital del Rey, founded by Alfonso VIII in 1195 to care for sick pilgrims on the Way of Saint James. The building still retains part of its medieval structure, although altered considerably from the original.

During the 16th century, the church underwent a thorough renovation, at the same time the Patio de los Romeros or Pilgrims' Courtyard was being built, along with the Puerta de los Romeros or Pilgrims' Gate through which they entered the hospital. Built in 1526, it forms a double-sided triumphal arch, the upper part of its outer side depicts the Apostle St. James, while the interior of the arch looking onto the pilgrims’ Courtyard has the Virgin Mary. The decoration is completed with medallions, heraldic coats of arms and other symbols characteristic of the time.

Today, the Hospital del Rey is part of the campus of the University of Burgos (seat of the rectorate), although it still attracts those keen on Renaissance heritage and architecture.

Near the Hospital del Rey we can find the Royal Monastery of Santa María la Real de Las Huelgas, an important Cistercian monastery founded in 1187 by King Alfonso VIII of Castile and his wife, Queen Leonor of Plantagenet. This monastery played an important role in the religious and political history of Castile and Spain.

The name ‘Las Huelgas’ refers to the old Spanish huelgo meaning fallow or common land on which the monastery was built.

Despite the limited extent of Renaissance detail to be found at Las Huelgas (as indeed in the rest of the medieval monasteries), some elements of the style can be observed, stemming from renovations or additions, such as that of the monastery's doorway, with its semicircular renaissance arches and a simple accolade decorated with a relief of the Virgin Mary with a crescent moon at her feet. On both sides of the relief, we can see the coats of arms of Castile and León, the founders, the Catholic Monarchs and Carlos I. The front is crowned by a magnificent crest that runs along the entire cornice.

In addition, in the hall of La Labor, several paintings depicting the Passion of Christ are on display, painted in oil on wood panel, by Flemish artists of the 16th century. Of particular note is the Triptych of the Passion, attributed to Jan de Beer (1475-1528), an artist who worked in Antwerp in the first decades of the 16th century, and whose works are characterised by the use of bright colours, an eye for detail and the composition of his backgrounds.

In the same room there are other panels depicting the same theme by an unknown artist, but which belong to the Mannerist period of the Renaissance.

The Cartuja or Charterhouse of Miraflores, located some four kilometres from the city of Burgos, is a monastery belonging to the Carthusian order and begun in 1453, under the guidelines of the Elizabethan Gothic style.

Inside it houses a wealth of works of art. Although both the main altarpiece, the work of Gil de Siloé, and the royal tombs of the kings John II and Isabella of Portugal by the same artist, already show details of the incipient Renaissance, it is undoubtedly the Triptych of the Calvary which best represents this style, the painting being attributed to the school of Rogier van der Weyden.

The left panel shows the road to Calvary, where Christ carries the cross on his back. The central panel shows Christ crucified, accompanied by the two thieves. The Virgin can also be seen, accompanied by Mary Magdalene and John the Evangelist. The right-hand panel depicts the Descent from the Cross. The work stands out for its pictorial quality and the forms of the figures, as well as for the detail and meticulousness of the brushstrokes.

Another of the most outstanding works in the Renaissance style is The Annunciation, one of Berruguete's masterpieces. Inspired by the Flemish School, especially by the paintings of Rogier van der Weyden, it depicts the scene of the Annunciation, with clothes, faces, light and colour painted in exquisite detail. This work exhibits a clear Flemish influence with traces of the Italian Renaissance.

Around the Cathedral, in the square, the Plaza del Rey San Fernando or Calle de la Paloma, there are a wealth of tapas bars where you can break up your stroll to enjoy the typical local fare, small dishes – known as tapas - accompanied by wine from the province's two designations of origin: Ribera del Duero and Arlanza.

Indeed, we should not forget that Burgos was designated Creative City of Gastronomy by the UNESCO in 2015 and that going for tapas is a deep-seated tradition in the city.

If we stick to the area around the Renaissance Route, we can enjoy tapas, either in the morning or in the afternoon-evening, in numerous streets such as Fernán González, Las Llanas, Avellanos, San Juan, Sombrerería and San Lorenzo, among others.

Further to the more traditional pinchos, such as; vinagrillos, (pickles), cojonudos, (quail’s eggs and chorizo) or morcilla, (the blood sausage typical of Burgos), the city also offers others that reflect the avant-garde gastronomy of the city today.

The Tourist Reception Centre is located at 7 Nuño Rasura Street, a few metres from the Cathedral.

On the ground floor, you’ll find the Tourist Information Point, offering firsthand information about the city and province of Burgos, open from Monday to Sunday.


The building also houses two exhibition spaces open to the public:

In Search of Light: A journey through the significance of Burgos in the creation of stained glass since the 12th century.

Wine Design Space: An exhibition dedicated to wine-related design.

Opening Hours

From October 1 to May 31: 10:00 a.m. to 2:00 p.m. and 4:00 to 7:30 p.m.
From June 1 to September 30, during Holy Week and long weekends: 9:00 a.m. to 8:00 p.m.

The center will remain open every day except on the afternoons of December 24 and 31, and on December 25, January 1, and January 6.

Tourist Reception Centre
C/ Nuño Rasura, 7
infoturismo@aytoburgos.es
Telf: 947 28 88 74