76 Best Sights in Castile–Leon and Castile–La Mancha, Spain

It's believed that the Walt Disney logo is modeled after the silhouette of this turreted castle. Possibly dating to Roman times, the Alcázar was expanded in the 14th century, remodeled in the 15th, altered again toward the end of the 16th, and completely reconstructed after being gutted by a fire in 1862, when it was used as an artillery school. The exterior, especially when seen below from the Ruta Panorámica, is awe-inspiring, as are the superb views from the ramparts. Inside, you can enter the throne room, chapel, and bedroom used by Fernando and Isabel, as well as a claustrophobia-inducing winding tower. The intricate woodwork on the ceiling is marvelous, and the first room you enter, lined with knights in shining armor, is a crowd-pleaser, particularly for kids. There's also a small armory museum, included in the ticket price.

Segovia's Roman aqueduct is one of the greatest surviving examples of Roman engineering and the city's main sight. Stretching from the walls of the old town to the lower slopes of the Sierra de Guadarrama, it's about 2,952 feet long and rises in two tiers to a height of 115 feet. The raised section of stonework in the center originally carried an inscription, of which only the holes for the bronze letters remain. Neither mortar nor clamps hold the massive granite blocks together, but miraculously, the aqueduct has stood since the end of the 1st century AD.  Climbing onto the aqueduct for photos or otherwise is strictly prohibited.

As if Cuenca's famous Casas Colgadas, suspended impossibly over the cliffs below, were not eye-popping enough, they also house one of Spain's finest museums, the Museo de Arte Abstracto Español (Museum of Spanish Abstract Art)—not to be confused with the adjacent Museo Municipal de Arte Moderno (Municipal Museum of Modern Art). Projecting over the town's eastern precipice, these houses originally formed a 15th-century palace, which later served as a town hall before falling into disrepair in the 19th century. In 1927 the cantilevered balconies were rebuilt, and in 1966 the painter Fernando Zóbel created the world's first museum devoted exclusively to abstract art. The works he gathered—by such renowned names as Carlos Saura, Eduardo Chillida, Lucio Muñoz, and Antoni Tàpies—are primarily by exiled Spanish artists who grew up under Franco's regime. The museum has free smartphone audio guides that can be downloaded from the website.

Alarcón's fortress dates to the 8th century, and in the 14th century it came into the hands of the infante (child prince) Don Juan Manuel, who wrote a collection of classic moral tales. Today the castle is one of Spain's finest paradores. You'll have to be a guest at the hotel to actually enter, but day-trippers can explore the grounds and extensive patio. If you're not driving, you can take a bus to Motilla and from there take a short taxi ride to the castle.

The battlement apse of Ávila's cathedral forms the most impressive part of the city's walls. Entering the town gate to the right of the apse, you can reach the sculpted north portal by turning left and walking a few steps. The west portal, flanked by 18th-century towers, is notable for the crude carvings of hairy male figures on each side. Known as "wild men," these figures appear in many Castilian palaces of this period. The Transitional Gothic structure, with its granite nave, is considered to be the first Gothic cathedral in Spain. Look for the early-16th-century marble sepulchre of Bishop Alonso de Madrigal. Known as El Tostado ("the Toasted One") for his swarthy complexion, the bishop was a tiny man of enormous intellect. When on one occasion Pope Eugenius IV ordered him to stand—mistakenly thinking him to still be on his knees—the bishop pointed to the space between his eyebrows and hairline, and retorted, "A man's stature is to be measured from here to here!"

The cathedral contains such a wealth of art and other treasures that the local burghers lynched their civil governor in 1869 for trying to take an inventory of it, fearing that he was plotting to steal their riches. Just as opulent is the sculpted flamboyant Gothic facade. The cornerstone was laid in 1221, and the two 275-foot towers were completed in the 14th century, though the final chapel was not finished until 1731. There are 13 chapels, the most elaborate of which is the hexagonal Condestable Chapel. You'll find the tomb of El Cid (1026–99) and his wife, Ximena, under the transept. El Cid (Rodrigo Díaz de Vivar) was a feudal warlord revered for his victories over the Moors, though he fought for them as well; the medieval Song of My Cid transformed him into a Spanish national hero.

At the other end of the cathedral, high above the West Door, is the Reloj de Papamoscas (Flycatcher Clock), named for the sculptured bird that opens its mouth as the hands mark each hour. The grilles around the choir have some of the finest wrought-iron work in central Spain, and the choir itself has 103 delicately carved walnut stalls, no two alike. The 13th-century stained-glass windows were destroyed in 1813, one of many cultural casualties of Napoleon's retreating troops. The excellent free audio guide has a kid-friendly option.

The pride of León is its soaring cathedral, begun in 1205. It is an outstanding example of Gothic architecture complete with gargoyles, flying buttresses, and pointed arches. Its 2,000 square yards of vivid stained-glass panels—second only, perhaps, to those in Chartres, France—depict biblical stories and Castilian landscapes. A glass door to the choir gives an unobstructed view of nave windows and the painted altarpiece, framed with gold leaf. The cathedral also contains the sculpted tomb of King Ordoño II, who moved the capital of Christian Spain to León. The museum's collection boasts giant medieval hymnals, textiles, sculptures, wood carvings, and paintings. Look for the carved-wood Mudejar archive, with a letter of the alphabet above each door—it's one of the world's oldest filing cabinets. Guided tours can be scheduled by phone.

Segovia's 16th-century cathedral was built to replace an earlier one destroyed during the revolt of the Comuneros against Carlos V. It's one of the country's last great examples of the Gothic style. The designs were drawn up by the leading late-Gothicist Juan Gil de Hontañón and executed by his son Rodrigo, in whose work you can see a transition from the Gothic to the Renaissance style. The interior, illuminated by 16th-century Flemish windows, is light and uncluttered (save for the wooden neoclassical choir). Across from the entrance, on the southern transept, is a door opening into the late-Gothic cloister, the work of architect Juan Guas. Off the cloister, a small museum of religious art, installed partly in the first-floor chapter house, has a white-and-gold 17th-century ceiling, a late example of artesonado (a Mudejar technique using intricately joined wooden slats).

One of the most impressive structures in all of Spain, this is a must-see on any visit to the city. The elaborate structure sits on the site of what was once Toledo's great mosque (of which only a column and the cistern remain). It owes its impressive Mozarabic chapel, with an elongated dome crowning the west facade, to El Greco's only son. The rest of the facade is mainly early 15th century. Immediately to your right is a beautifully carved plateresque doorway by Covarrubias, marking the entrance to the Treasury, which houses a small crucifixion scene by the Italian painter Cimabue and an extraordinarily intricate late-15th-century monstrance by Juan del Arfe. The ceiling is an excellent example of Mudejar (11th- to 16th-century Moorish-influenced) workmanship. From here, walk around to the ambulatory. In addition to Italianate frescoes by Juan de Borgoña and an exemplary baroque illusionism by Narciso Tomé known as the Transparente, you’ll find several El Grecos, including one version of El Espolio (Christ Being Stripped of His Raiment), the first recorded instance of the painter in Spain.

Founded in 1419, this convent hides a 16th-century cloister that is the most fantastically decorated in Salamanca, if not all of Spain. The capitals of its two superimposed Salmantine arcades are crowded with a baffling profusion of grotesques that can absorb you for hours. Don't forget to look down: the interlocking diamond pattern on the ground floor of the cloister is decorated with the knobby vertebrae of goats and sheep. It's an eerie yet perfect accompaniment to all the grinning disfigured heads sprouting from the capitals looming above you. The museum has a fascinating exhibit on Spain's little-known slavery industry.  Seek out the traditional sweets made by the nuns.

The convent's monks, among the most enlightened teachers at the university in medieval times, introduced Christopher Columbus to Isabel (hence his statue in the nearby Plaza de Colón, back toward Calle de San Pablo). The complex was designed by one of the monks who lived here, Juan de Álava. The west facade, a thrilling plateresque masterwork in which sculpted figures and ornamentation are piled up to a height of more than 98 feet, is a gathering spot for tired tourists and picnicking locals, but the crown jewel of the structure is a glowing golden sandstone cloister with Gothic arcading punctuated by tall spindly columns adorned with classical motifs. The church, unified and uncluttered but also dark and severe, allows the one note of color provided by the ornate and gilded high altar of 1692. An awe-inspiring baroque masterpiece by José Churriguera, it deserves five minutes of just sitting and staring. 

This 11th-century hermitage is in ruins, but its location—on a peninsula jutting out into a bend 100 meters above the Duratón River—is extraordinary. You'll need a car to get there, about 15 minutes' drive west of Sepúlveda. After parking, walk along the marked path—the surrounding area is a natural park and a protected nesting ground for rare vultures. Try to go at sunset; when the sun sets the monastery and river glow. Inside the monastery, there's a small chapel and plaque describing the life of San Frutos, the patron saint of Segovia. An ancient pilgrimage route stretches 77 km (48 miles) from the monastery to Segovia's cathedral, and pilgrims still walk it each year. As an add-on to the trip, you can rent kayaks from NaturalTur to paddle the river ( www.naturaltur.com;  92/152–1727).

Sometimes called "Los Jesuitas" for the religious order that founded it, the Iglesia de San Ildefonso is named for Toledo's patron saint, a 7th-century bishop. It was consecrated in 1718 after the baroque stone facade with twin Corinthian columns took 150 years to build. Its semispherical dome is one of the icons of Toledo's skyline. This impressive building's tower affords some of the best views over Toledo.

Not to be confused with the marzipan shop bearing the same name, this chapel topped with a Mudejar tower was built specially to house El Greco's most masterful painting, The Burial of Count Orgaz. Using vivid colors and splashes of light, it portrays the benefactor of the church being buried with the posthumous assistance of St. Augustine and St. Stephen, who have appeared at the funeral to thank the count for his donations to religious institutions named after the two saints. Though the count's burial took place in the 14th century, El Greco painted the onlookers in contemporary 16th-century costumes and included people he knew; the boy in the foreground is El Greco's son, and the sixth figure on the left is said to be the artist himself. Santo Tomé is Toledo's most visited church besides the cathedral, so to avoid crowds, plan to visit as soon as the building opens.

Nearest the river stands the Catedral Vieja (Old Cathedral), built in the late 12th century and one of the most riveting examples of the Spanish Romanesque. Because the dome of the crossing tower has strange plumelike ribbing, it's known as the Torre del Gallo (Rooster's Tower). The much larger Catedral Nueva (New Cathedral) went up between 1513 and 1526 under the late-Gothic architect Juan Gil de Hontañón. Controversially, a 1992 restoration added an astronaut carving to the facade as a wink to the modern era—see if you can spot it. Both cathedrals are part of the same complex, though they have different visiting hours and you need to enter the New to get to the Old.

One of northern Spain's most impressive archaeological sites, this mountainous area of former Roman gold mines—located 24 km (15 miles) south of town—is a UNESCO World Heritage Site. The landscape is the result of an ancient mining technique in which myriad water tunnels were burrowed into a mountain, causing it to collapse. Miners would then sift through the rubble for gold. What's left at Las Médulas are half-collapsed mountains of golden clay with exposed tunnels peeking through lush green forest. Take in the best panorama from the Orellán viewpoint. There are hiking paths, a small archaeology exhibit, and a visitor center; the latter organizes 3-km (2-mile) walking tours—check schedules online, and call or email ahead to book ( [email protected]). A parking lot was added in 2021; the price is €3 per vehicle.

This convent church in western Toledo was erected by Fernando and Isabel to commemorate their victory at the Battle of Toro in 1476. (It was also intended to be their burial place, but their wish changed after Granada was recaptured from the Moors in 1492, and their actual tomb is in that city's Capilla Real.) The breathtakingly intricate building is largely the work of architect Juan Guas, who considered it his masterpiece and asked to be buried there himself. In true plateresque fashion, the white interior is covered with inscriptions and heraldic motifs.

This airy modern natural history museum traces human evolution from primate to the present day. There are life-size replicas of our ancient ancestors, plus hands-on exhibits and in-depth scientific explanations (in English) that will fascinate visitors of all ages. Pair with a museum-led visit to the Atapuerca archaeological site (inquire at reception or online to arrange).

For a window into what agrarian life was like in this area in centuries past, pop into this tiny museum presided over by the passionate historian who amassed the antique curiosities on display. The influence of the Central European "Fúcares" families on the area is especially fascinating. A guided tour, in Spanish, takes a little less than an hour and is well worth it.

This hidden-gem museum uses the archaeological record to show what life was like in Astorga during Roman times, when the city was called Asturica Augusta. The most memorable part of the experience is the Ruta Romana, a walking tour of Roman archaeological remains (combined tickets can be bought at the museum). Descriptions are in Spanish only.

Opposite Astorga's cathedral is this fairy-tale neo-Gothic palace designed for a Catalan cleric by Gaudí in 1889. Though the humdrum interiors pale in comparison to the eye-popping exteriors, those interested in local ecclesiastical history shouldn't miss visiting the Museo de Los Caminos (Museum of the Way). Guided tours are worthwhile and cost an extra €3; be sure to call ahead to book an English-language tour.

If you have a car, don't miss the Palacio Real de La Granja in the town of La Granja de San Ildefonso, on the northern slopes of the Sierra de Guadarrama. The palace site was once occupied by a hunting lodge and a shrine to San Ildefonso, administered by Hieronymite monks from the Segovian monastery of El Parral. Commissioned by the Bourbon king Felipe V in 1719, the palace has been described as the first great building of the Spanish Bourbon dynasty. The Italian architects Juvarra and Sachetti, who finished it in 1739, were responsible for the imposing garden facade, a late-baroque masterpiece anchored by a giant order of columns. The interior was gutted by fire, but the collection of 15th- to 18th-century tapestries warrants a visit.

Outside, walk through the magnificent gardens: terraces, ornamental ponds, lakes, classical statuary, woods, and baroque fountains dot the mountainside. Provided there is enough rainfall, on certain evenings in the summer (April–August, 12pm or 5:30–7 pm), the illuminated fountains are turned on, one by one, creating an effect to rival that of Versailles. Dates and start times sometimes change on a whim, so call ahead.

In the 1730s Alberto and Nicolás Churriguera built Salamanca's Plaza Mayor, one of the largest and most beautiful squares in Spain. The lavishly elegant, pinkish ayuntamiento (town hall) dominates its northern side. The square and its arcades are popular gathering spots for Salmantinos of all ages, and its terrazas are the perfect spot for a coffee break. At night, the plaza swarms with students meeting "under the clock" on the plaza's north side. Tunas (roving musicians in traditional garb) often meander among the cafés and crowds, playing for smiles, applause, and tips.

If you don't have a fear of heights, cross this narrow 16th-century footbridge to take in the vertiginous view of the river and equally thrilling panorama of the Casas Colgadas. It's by far the best view of the city. If you've read the popular English novel Winter in Madrid by C. J. Sansom, you'll recognize this bridge from the final scene.

A UNESCO World Heritage Site and one of Spain's most visited landmarks, the imposing El Escorial palace complex was commissioned by Felipe II after the death of his father in the 1500s and remains the most complete and impressive monument of the later Renaissance in Spain. The monastery was built as an eternal memorial for his relatives, and the crypt here is the resting place of the majority of Spain's kings, from Carlos V to Alfonso XIII. A fantasy land of gilded halls, hand-painted chambers, and manicured French gardens, the gargantuan royal residence also houses an important collection of paintings by Renaissance and baroque artists donated by the crown. The library alone is worth the entry fee—its vibrant frescoes and leather-bound tomes spur the imagination.

Founded in 1203, Toledo's second synagogue—situated in the heart of the Jewish Quarter—is nearly two centuries older than the more elaborate Tránsito, just down the street. Santa María's white interior has a forest of columns supporting capitals with fine filigree work, a wonder of Mudejar architecture. It was a center of study and prayer until the 1355 assault on the Jewish Quarter and subsequent pogroms in 1391.

This 14th-century synagogue's plain exterior belies sumptuous interior walls embellished with colorful Mudejar decoration. There are inscriptions in Hebrew and Arabic glorifying God, Peter the Cruel, and Samuel Levi (the original patron). It's a rare example of architecture reflecting Arabic as the lingua franca of medieval Spanish Jews. It's said that Levi imported cedars from Lebanon for the building's construction, echoing Solomon when he built the First Temple in Jerusalem. This is one of only three synagogues still fully standing in Spain (two in Toledo, one in Córdoba), from an era when there were hundreds—though more are in the process of being excavated. Adjoining the main hall is the Museo Sefardí, a small but informative museum of Jewish culture in Spain.

Originally a Moorish citadel (al-qasr is Classical Arabic for "fortress"), Toledo's Alcázar is on a hill just outside the walled city, dominating the horizon. The south facade—the building's most severe—is the work of Juan de Herrera, of Escorial fame, while the east facade incorporates a large section of battlements. The finest facade is the northern, one of many Toledan works by Miguel Covarrubias, who did more than any other architect to introduce the Renaissance style here. The building's architectural highlight is his Italianate courtyard, which, like most other parts of the building, was largely rebuilt after the Spanish Civil War, when the Alcázar was besieged by the Republicans. Though the Nationalists' ranks were depleted, they held on to the building. Dictator Francisco Franco later turned the Alcázar into a monument to Nationalist bravery. It now houses the Museo del Ejército (Military Museum), which was formerly in Madrid.

Hang onto your ticket—it's needed when you exit the museum. Check the website for any construction-related closures.

Originally a home for knights of the Order of St. James, who patrolled the Camino de Santiago, this monastery was begun in 1513 by the head of the order, King Ferdinand. It is now a parador. The plateresque facade is a majestic swath of small, intricate sculptures (many depicting knights and lords) and ornamentation—one of the most impressive Renaissance works in Spain. Inside, a cloister full of medieval statues leads you to the bar, which still has the original defensive arrow slits as windows. As the Anexo Monumental del Museo de León, the convent also displays historic paintings and artifacts.

Across the Plaza del Rey San Fernando from the cathedral, this is the city's main gate, rebuilt in the 16th century by King Carlos V. Walk through toward the river and look above the arch at the 16th-century statues of the first Castilian judges, El Cid, King Carlos I, and Spain's patron saint, James.