Visigothic Churches of Early Medieval Spain: Design & Legacy
Visigothic Architecture in the Iberian Peninsula
Historical Context and Sources
Isidore of Seville, a prominent figure, authored numerous works, including accounts of historical events like the destruction of Cartagena with the arrival of the Byzantines. His monumental work, Etymologies, functions as a comprehensive encyclopedia, detailing events from the Gothic invasions to the establishment of the Visigothic monarchy.
Architectural Characteristics
From an architectural perspective, the Visigothic period in the Iberian Peninsula did not exhibit a clear fusion of influences from Rome and North Africa. Instead, Visigothic developments in building complexes, techniques, and formal aspects contributed uniquely to the Late Antique architecture of the region.
Typologically, most churches are rooted in the classical Christian basilica pattern prevalent at the time. A significant challenge in studying this architecture is that much of it was located in rural areas, where structures often comprised stone blocks or bases with walls made of mud. Consequently, only foundations or initial layers have survived.
Most known churches have been identified through archaeological excavations. Dating these structures often presents difficulties due to continuous reuse and varying interpretations, leading to different proposed construction dates.
Typologies of Hispano-Visigothic Churches
- Basilica Type: This primary typology follows the pattern seen in Italic-type churches. Notable examples include:
- Basilica of Aljezares
- Alcalá de los Azules
- Cadiz
- Santa Maria in Mallorca
- Cross-Plan Church Inscribed within a Rectangle: This is a more heterogeneous group, offering diverse examples such as:
- Basilica of Recópolis
- San Pedro de la Nave
- Santa Maria de las Viñas
Case Study: San Pedro de la Nave, Zamora (7th Century)
The church of San Pedro de la Nave, dating from the 7th century, provides valuable insights into Visigothic architecture. While some authors initially considered it a basilica, current understanding identifies it as having three naves.
Architectural Transformations
The building underwent a series of transformations:
- First Phase: Construction of the apse, a straight section of the nave extending outwards, and two side rooms.
- Second Phase: Extension of the temple towards the west.
Interior Features
The interior features three naves separated by intercolumniations. The aisles would have been closed to the crossing and opened with a geminate archway. A continuous frieze decoration runs along the interior, providing insights into Visigothic sculpture.
Evidence suggests the involvement of at least two workshops in the sculptural decoration:
- One school focused on plant motifs and geometric intersections.
- The other specialized in shoe-shaped capitals, inverted triangles, and developed a program of funerary and Eucharistic iconography.
Exterior Features and Controversies
The exterior reflects local tradition, utilizing ashlar stone masonry or interacting covered surfaces, and curved roof tiles. Restoration efforts have significantly altered the building’s appearance.
Not all scholars agree on the precise dating of the building. Furthermore, the construction of a dam necessitated the relocation and reconstruction of the church elsewhere. An inscription, also subject to debate, is dated by some to the 7th century, while others propose the 9th century.
Church of Santa Maria, Quintanilla de las Viñas
The Church of Santa Maria in Quintanilla de las Viñas, dating from the late 7th to early 8th century, aligns with the typology of cross-plan churches inscribed within a rectangle.
Only the apse and the transept nave of the original structure remain. Archaeological reconstructions, indicated in black on plans, attempt to visualize the original layout around the surviving block. The proposed expansion of the nave into the transept with two chambers at the ends, and the flanking of the nave by two galleries, remains entirely hypothetical.