Honfleur (France)

Quai Sainte-Catherine, Honfleur (France).

Honfleur is a picturesque port town located in the Normandy region of northern France, on the southern bank of the Seine estuary. Known for its enchanting harbor, charming streets, and historic architecture, Honfleur has long been a magnet for artists, sailors, and travelers alike.

Honfleur's history dates back to the Viking Age, with its name believed to derive from the Old Norse words "hon," meaning harbor, and "fleur," meaning inlet. By the 11th century, it had developed into a small fishing village, and in the 13th and 14th centuries, its strategic location made it a vital seaport for trade, especially with England and the Low Countries.

During the Hundred Years' War between England and France, Honfleur was heavily fortified and often caught in the conflict, changing hands several times. It became an important base for the French fleet, and in the 15th century, the town played a role in France’s early maritime exploration efforts. Notably, it was from Honfleur that explorer Samuel de Champlain set sail to the New World, where he founded Quebec in 1608.

Honfleur flourished during the 16th and 17th centuries as trade expanded, especially in timber, wine, and salt. Its picturesque harbor, known as Le Vieux Bassin, became iconic, attracting artists such as Claude Monet, Eugène Boudin, and Gustave Courbet in the 19th century. These artists were captivated by the town’s unique light and atmosphere, making Honfleur a cradle of the Impressionist movement.

Today, Honfleur retains much of its historic charm, with cobbled streets, timber-framed houses, and the famous Sainte-Catherine Church, the largest wooden church in France. The town remains a popular destination for visitors drawn to its rich history, artistic legacy, and serene waterfront.

The Bell Tower of Sainte-Catherine’s church, Honfleur (France).

Saint Etienne’s church, Honfleur (France).

City map of Honfleur (France).

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 Cathedral That Dominates Albi (France)

The Cathedral of Saint Cecilia of Albi (France).

Rising like a mighty fortress above the Tarn River, the Cathedral of Sainte-Cécile in Albi is one of the most unique and imposing churches in Europe. Built in the aftermath of the Cathar heresy, it was not only a place of worship but also a powerful statement of Catholic dominance. In the 13th century, the region of Albi was at the heart of the Cathar movement, a Christian sect deemed heretical by the Roman Catholic Church. After a brutal crusade and the systematic repression of the Cathars, the victorious Church sought to reaffirm its authority with an architectural symbol that was impossible to ignore. Thus, in 1282, construction began on what would become the largest brick cathedral in the world—a fortress of faith, designed to leave no doubt about who held power.

At first glance, Sainte-Cécile looks more like a military stronghold than a traditional cathedral. Its towering red-brick walls, narrow slit-like windows, and massive buttresses give it an imposing and defensive appearance, a clear reflection of the uncertain times in which it was built. But step inside, and the contrast is breathtaking. The stark exterior gives way to one of the most opulent church interiors in France, a riot of color, sculpture, and artistic mastery.

The "Last Judgement" mural of the Albi Cathedral.

One of the most striking features of the cathedral is the grand mural of the Last Judgment, painted in the late 15th century. Covering the entire western wall, this vast fresco depicts the fate of souls after death, with the righteous ascending to paradise and the damned suffering horrific punishments in hell. The lower section is divided into seven compartments, each representing one of the seven deadly sins. The scenes are vivid and haunting—proud souls broken on a wheel, the envious plunged into ice and fire, and the greedy tormented by demons. Remarkably, the fresco remains almost untouched by restoration, preserving its original intensity.

The nave of the Albi Cathedral.

The cathedral's vaulted ceiling, stretching over 18 meters high, is another masterpiece. Painted in deep blues and golds, it is adorned with intricate floral patterns and biblical scenes. The decoration is the work of Italian artists brought in during the early 16th century, adding a Renaissance touch to the otherwise Gothic structure. Below the ceiling, the ornate jubé (rood screen) is a true gem of Flamboyant Gothic sculpture, delicately carved and adorned with statues of biblical figures. It once separated the clergy from the congregation, emphasizing the hierarchy within the church.

With its dramatic history, fortress-like presence, and awe-inspiring decorations, the Cathedral of Sainte-Cécile is more than just a religious monument—it is a testament to a turbulent past and a masterpiece of medieval artistry. Whether viewed from afar or explored up close, it remains one of the most breathtaking and unforgettable cathedrals in Europe.

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.

Sand yachting at Boulogne-sur-Mer (France)

Sand yachting on the beach at Boulogne-sur-Mer is an exhilarating way to experience the vast, windswept shores of this northern French coastal town. With its wide, flat beaches and strong coastal winds, Boulogne-sur-Mer is a prime location for this thrilling sport. Riders control lightweight, three-wheeled buggies powered by wind-filled sails, skimming across the sand at impressive speeds. Whether you're a beginner or a seasoned rider, the feeling of gliding effortlessly along the beach, with the sound of the waves in the background, makes sand yachting an unforgettable adventure.

Viriathus and the Lusitaniers: A Chronicle of Bravery and Betrayal

Statue of Viriathus, with Audax, Ditalcus, and Minurus behind him ready to assasinate him. (Viseu, Portugal)

The Lusitaniers were an ancient Indo-European people who inhabited what is now Portugal and parts of western Spain during the Iron Age. They are best known for their fierce resistance against Roman expansion in the Iberian Peninsula during the 2nd century BCE, employing guerrilla tactics to resist the superior Roman forces.

The story of Viriathus, the most notable Lusitanian leader, begins with a betrayal during his childhood. The Romans, under the command of Servius Sulpicius Galba, deceived the Lusitanians by offering them peace and new lands. Trusting the Romans, many Lusitanians, including the young Viriathus, laid down their arms. However, Galba betrayed this agreement, massacring thousands of Lusitanians in a brutal surprise attack. Viriathus survived this atrocity, which deeply influenced his later resistance against Roman rule.

As an adult, Viriathus emerged as a formidable leader, uniting various Lusitanian tribes to wage war against Rome. From 147 to 139 BCE, he led a series of successful campaigns against Roman forces, including those commanded by Quintus Fabius Maximus Servilianus and Quintus Servilius Caepio. His strategic brilliance and ability to outmaneuver the Roman legions made him a revered figure among his people and a thorn in Rome's side.

Despite his successes, Viriathus faced betrayal once again. Unable to defeat him in battle, Quintus Servilius Caepio resorted to subterfuge, bribing three of Viriathus's trusted allies—Audax, Ditalcus, and Minurus. These men assassinated Viriathus while he slept, bringing an end to his leadership and effectively crushing the organized Lusitanian resistance.

Viriathus's death marked the decline of Lusitanian independence, and the region was eventually absorbed into the Roman Empire. Nonetheless, Viriathus's legacy as a symbol of defiance and the tragic tale of betrayal during both his childhood and later life endure as poignant reminders of the Lusitanians' struggle for freedom.

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.

Archangel St. Michael: Defender and Judge

Archangel St. Michael (~ 1425), Museum of the Cathedral of Santiago de Compostela (Spain).

Archangel St. Michael, one of the most venerated figures in Roman Catholic theology, is celebrated for his dual roles as a mighty warrior against evil and as a just arbiter on Judgment Day. In his iconic depiction, Michael is often shown in the midst of a fierce battle with a dragon, symbolizing his eternal struggle against the forces of darkness. Armed and majestic, he defeats the dragon, embodying the triumph of good over evil.

Equally significant is Michael's role in the divine judgment of souls. On Judgment Day, he is portrayed weighing the souls of the deceased, determining their fate with fairness and integrity. This powerful image underscores his importance not only as a protector but also as a guardian of divine justice, ensuring that righteousness prevails in the eternal balance. Through these vital roles, St. Michael stands as a beacon of hope and justice, revered by many across the world.

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​.

Nuno Álvares Pereira and the Battle of Aljubarrota (14th century, Portugal)

Statue of Nuno Álvares Pereira in Batalha, Portugal.

Nuno Álvares Pereira, also known as the Holy Constable, is one of Portugal's most revered historical figures. Born on June 24, 1360, in Cernache do Bonjardim, he rose from modest beginnings to become a key military leader and national hero. His most notable contribution to Portuguese history was his pivotal role in the Battle of Aljubarrota in 1385, a defining moment that secured Portugal's independence from Castile.

In the late 14th century, Portugal faced a succession crisis after the death of King Fernando I in 1383, leaving no male heir to the throne. The crisis led to a power struggle between the supporters of Beatriz, the king's daughter, who was married to King John I of Castile, and those who wanted to maintain Portugal's independence by placing João, the Master of Aviz and an illegitimate son of King Pedro I, on the throne. This period of turmoil, known as the 1383-1385 Crisis, culminated in the Battle of Aljubarrota.

Nuno Álvares Pereira, despite his youth, was appointed as the Constable of Portugal by João of Aviz. His military prowess and strategic acumen were soon put to the test when the Castilian forces, numbering between 20,000 and 30,000 men, invaded Portugal to assert their claim over the Portuguese throne.

On August 14, 1385, the two armies met near the small village of Aljubarrota, not far from the town of Leiria. Nuno Álvares Pereira, leading an army of about 6,000 Portuguese troops, employed innovative tactics to overcome the numerical superiority of the Castilians. He used the natural terrain to his advantage, choosing a defensive position on a hill and digging ditches to disrupt the Castilian cavalry's movements.

The Portuguese forces formed a compact and well-defended line, with archers and crossbowmen placed strategically. As the Castilian army advanced, they were funneled into narrow spaces where their numbers counted for less, and the Portuguese defenders could repel them effectively. The Castilians' repeated charges were met with fierce resistance, and their forces were decimated by the Portuguese archers and infantry.

The battle was a decisive victory for Portugal. The Castilian army suffered heavy losses, and King John I of Castile was forced to retreat. The triumph at Aljubarrota not only secured the throne for João of Aviz but also reaffirmed Portugal's independence, preventing it from being absorbed into the Castilian kingdom.

Nuno Álvares Pereira's leadership was instrumental in this success. His tactics and bravery earned him the admiration and loyalty of his men and the respect of his adversaries. Following the victory, he continued to serve as a loyal supporter of King João I and played a crucial role in the subsequent consolidation of the Avis Dynasty.

In his later years, Nuno Álvares Pereira turned away from military life and entered a Carmelite monastery in Lisbon, dedicating himself to religious devotion and charitable works. He was canonized as Saint Nuno of Saint Mary by Pope Benedict XVI in 2009, recognized for his piety and contributions to the Catholic Church.

The Battle of Aljubarrota remains a symbol of Portuguese resilience and determination, and Nuno Álvares Pereira is celebrated as one of the nation's greatest heroes. His legacy is commemorated in various monuments and cultural references throughout Portugal, serving as a reminder of the country's rich historical heritage.

Aljubarrota, Portugal.

Bordalo II's owl in Coimbra (Portugal)

Bordalo II’s owl in Coimbra (Portugal)

Bordalo II, the Portuguese street artist, captivates with his environmental advocacy and art. His latest work on the façade of the Faculty of Arts at the University of Coimbra features a split owl, symbolizing knowledge. One half is colorful, the other monochrome, reflecting the blend of tradition and innovation.

This piece is part of Bordalo II's “Big Trash Animals – Neutral” series, promoting sustainability and climate awareness through sculptures made from recycled materials. The owl, a symbol of wisdom, fits perfectly at the University of Coimbra, the oldest higher education institution in Portugal.

Bordalo II describes the owl as a young figure, stretching to reach its goals, with one side clinging to tradition and the other embracing the future, symbolizing progress and new ideas.

Since 2012, Bordalo II has created around 200 sculptures using over 60 tons of recycled materials. His work critiques consumerism and highlights the potential for change by transforming waste into meaningful art.

Bordalo II’s owl at the University of Coimbra is a powerful symbol of the wisdom needed for a sustainable future, encouraging viewers to rethink their relationship with waste.

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).