The Cathedral of Vic (Spain)

The Cathedral of Saint Peter (Catedral de Sant Pere), Vic (Spain).

The Cathedral of Saint Peter (Catedral de Sant Pere) in Vic is a remarkable blend of architectural styles, reflecting the city’s long and evolving history. Originally founded in the 11th century as a Romanesque structure, the cathedral has undergone numerous transformations, incorporating Gothic, Baroque, and Neoclassical elements. However, what truly sets it apart is its striking interior.

Unlike most cathedrals, the interior of Vic’s cathedral is dominated by vast murals created in the 20th century by the renowned Catalan artist Josep Maria Sert. These dramatic, large-scale paintings, executed in deep, shadowy tones, replace the traditional stained glass and sculptural decorations found in other churches. Sert’s work, completed in multiple phases between the 1920s and the 1940s, imbues the space with a unique atmosphere, blending religious themes with an almost theatrical intensity. This bold artistic choice makes the Cathedral of Vic one of the most distinctive sacred spaces in Catalonia.

The interior of Cathedral of Saint Peter (Catedral de Sant Pere), Vic (Spain).

The Altarpiece of Sant Joanipol

The Altarpiece of Sant Joanipol, currently at the Episcopal Museum of Vic (Spain).

This stunning 14th-century alabaster altarpiece tells the story of Christ’s Passion, Death, Resurrection, and Ascension. It was created between 1341 and 1342 for the church of Sant Joan i Sant Pau, also known as Sant Joanipol, in Sant Joan de les Abadesses.

At that time, the town was home to skilled sculptors specializing in alabaster. One of them, Bernat Saulet, was commissioned to carve this masterpiece. The altarpiece originally featured bright colors and glass details, making the scenes even more lifelike.

For centuries, it was an important part of the church’s religious heritage. In 1889, it was moved to the Episcopal Museum of Vic, where it remains today. The altarpiece is displayed in the state that it was when it arrived, allowing visitors to appreciate its beauty and craftsmanship as it was originally intended.

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).

Altar Frontal from Sant Martí in Puigbò (Spain)

Altar Frontal from Sant Martí in Puigbò (12th century), MEV, Museu d’Art Medieval, Vic (Spain).

The Altar Frontal from Sant Martí in Puigbò is a beautiful example of Romanesque art from Catalonia, created between 1120 and 1150. The frontal features a geometric style typical of the Romanesque period, reflecting the religious and artistic values of the time. This anonymous work, likely painted by an artist influenced by the renowned Master of the Baldachin from Ribes, combines refined iconography with a popular artistic tradition.

The frontal, originally from the parish church of Sant Martí in Puigbò (located near Puigbò Castle in the Ripollès region), depicts four scenes from the life of Saint Martin, the church’s patron saint. The scenes are arranged in four compartments:

1. Saint Martin on horseback sharing his chlamys (a cloak) with a poor man, a well-known act of charity.

2. The resurrection of a convert, where Saint Martin brings a dead man back to life before he is baptized.

3. The death of Saint Martin, showing his final moments.

4. Two angels taking Saint Martin’s soul to heaven, symbolizing his divine reward.

These scenes are framed by a horizontal Latin inscription that reads: “For being generous with the poor man on Earth, Martin now resides in Heaven.” The work is noted for its bold use of color and simple, expressive figures, typical of the Romanesque style, which was intended to convey religious messages to a largely illiterate audience. The frontal serves both as a decorative and didactic piece, emphasizing Saint Martin's virtues of charity and faith.