807 Best Sights in Spain

The octagonal 14th-century bell tower makes this 12th-century church unmistakable. Walk through the 13th-century portico, adorned with 59 figurines, then meander toward the 15th-century Gothic altar. Beside it is one of the most important examples of Romanesque Catalan art, the 12th-century wood carving Crist de Mijaran. Uniquely expressive for its time, this bust of Christ is believed to be the sole remnant of a monumental ensemble depicting the Descent from the Cross that was likely destroyed (or stolen) by the French in the 15th century. The bust, which spent the civil war years stashed away in Switzerland, today sits under glass in a temperature-controlled case.

Barcelona's oldest monastic church was originally outside the city walls (del camp means "in the fields") and was a Roman cemetery as far back as the 2nd century, according to archaeological evidence. A Visigothic belt buckle found in the 20th century confirmed that Visigoths used the site as a cemetery between the 2nd and 7th centuries. What you see now was built in 1127 and is the earliest Romanesque structure in Barcelona. Elements of the church—the classical marble capitals atop the columns in the main entry—are thought to be from the 6th and 7th centuries. Sant Pau is bulky and solid, featureless (except for what may be the smallest stained-glass window in Europe, high on the facade facing Carrer Sant Pau), with stone walls 3 feet thick or more; medieval Catalan churches and monasteries were built to be refuges for the body as well as the soul, bulwarks of last resort against Moorish invasions—or marauders of any persuasion. Check local events listings for musical performances here; the church is an acoustical gem. The tiny cloister is Sant Pau del Camp's best feature, and one of Barcelona's hidden treasures. Look carefully at the capitals that support the Moorish-influenced Mudejar arches, carved with biblical scenes and exhortations to prayer. This penumbral sanctuary, barely a block from the heavily trafficked Avinguda del Paral·lel, is a gift from time.

Laguardia's architectural masterpiece is this church's Gothic polychrome portal—the only one of its kind in Spain. Protected by a posterior Renaissance facade, the door centers on a lovely, lifelike effigy of La Virgen de los Reyes (Virgin of the Kings), sculpted in the 14th century and painted in the 17th by Ribera. Guided tours are available by pre-booking only; email the Laguardia tourist office, and be sure to specify your language ( [email protected]). 

An example of early Catalan Gothic architecture, Santa Maria del Mar is extraordinary for its unbroken lines and elegance. At what was then the water's edge, the church was built by stonemasons who chose, fitted, and carved each stone hauled down from the same Montjuïc quarry that provided the sandstone for the 4th-century Roman walls. The medieval numerological symbol for the Virgin Mary, the number eight (or multiples thereof), runs through every element: the 16 octagonal pillars are 2 meters in diameter and spread out into rib vaulting arches at a height of 16 meters; the painted keystones at the apex of the arches are 32 meters from the floor; and the central nave is twice as wide as the lateral naves (8 meters each).

The church survived the fury of anarchists who, in 1936, burned nearly all of Barcelona's churches as a reprisal against the alliance of army, church, and oligarchy during the military rebellion. The basilica, then filled with ornate side chapels and choir stalls, burned for 11 days, nearly crumbling. Restored after the Civil War by a series of Bauhaus-trained architects, the church is now an architectural gem.

The paintings in the keystones overhead represent the Coronation of the Virgin, the Nativity, the Annunciation, the equestrian figure of the father of Pedro IV, King Alfons, and the Barcelona coat of arms. The 34 lateral chapels are dedicated to different saints and images. The first chapel to the left of the altar (No. 20) is the Capella del Santo Cristo (Chapel of the Holy Christ), its stained-glass window an allegory of Barcelona's 1992 Olympic Games. An engraved stone riser beside the door onto Carrer Sombrerers commemorates where San Ignacio de Loyola, founder of the Jesuit Order, begged for alms in 1524 and 1525.

Set aside at least a half-hour to see Santa Maria del Mar, and be sure to check out La Catedral del Mar (The Cathedral of the Sea), by Ildefonso Falcons, which chronicles the construction of the basilica and 14th-century life in Barcelona. Consider joining a guided tour to climb the towers for magnificent rooftop views or to access the crypt. Die-hard enthusiasts will want to sign up for the Santa Maria del Mar at Dusk Tour, an exclusive, 1½-hour experience for small groups that not only lets you visit spaces normally closed to the public, but also enables you to fully appreciate the lighting of the building in addition to its silence and enormity.

Scan weekly magazines to see if there are any concerts being held in the basilica during your visit. The setting and the acoustics make performances here truly memorable.

These two churches—the first with superb views and its plainer sister 300 yards uphill—are the jewels of an early architectural style called Asturian pre-Romanesque, a more primitive, hulking, defensive line that preceded Romanesque architecture by nearly three centuries. Commissioned as part of a summer palace by King Ramiro I when Oviedo was the capital of Christian Spain, these masterpieces have survived for more than 1,000 years. Tickets for both sites are available in the church of Santa María del Naranco.

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 13th-century synagogue counts among Úbeda's most amazing discoveries. Entirely underground and known as the "Water Synagogue" for the wells and natural spring under the mikvah, it comprises seven areas open to visitors, including the main area of worship, mikvah, women's gallery, and rabbi's quarters. During the summer solstice the sun's rays illuminate the stairway, providing the only natural light in the synagogue.

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.

"Museum" was not a big enough word for Dalí, so he christened his monument a theater. In fact, the building was once the Força Vella theater, reduced to a ruin in the Spanish Civil War. Now topped with a glass geodesic dome and studded with Dalí's iconic egg shapes, the multilevel structure pays homage to his fertile imagination and artistic creativity. It includes gardens, ramps, and a spectacular drop cloth Dalí painted for Les Ballets de Monte Carlo. Don't look for his greatest paintings here, although there are some memorable images, including Gala at the Mediterranean, which takes the body of Gala (Dalí's wife) and morphs it into the image of Abraham Lincoln once you look through coin-operated viewfinders.

The sideshow theme continues with other coin-operated pieces, including Taxi Plujós (Rainy Taxi), in which water gushes over the snail-covered occupants sitting in a Cadillac once owned by Al Capone, or Sala de Mae West, a trompe-l'oeil vision in which a pink sofa, two fireplaces, and two paintings morph into the face of the onetime Hollywood sex symbol. Fittingly, another "exhibit" on view is Dalí's own crypt.

Discovered in 1987, the Teatro Romano dates from the late 1st century BC. This impressive theater was built into the northern slopes of the Concepción Hill and could seat over 6,000 spectators. The museum displays the most important pieces found during the excavation.

Barcelona's most emblematic architectural icon, Antoni Gaudí's Sagrada Família, is still under construction close to 140 years after it was begun. This striking and surreal creation was conceived as nothing short of a Bible in stone, a gigantic representation of the entire history of Christianity, and it continues to cause responses from surprise to consternation to wonder. Plan to spend at least a few hours here to take it all in. However long your visit, it's a good idea to bring binoculars.

Looming over Barcelona like a magical mid-city massif of needles and peaks, the Sagrada Família can at first seem like piles of caves and grottoes heaped on a labyrinth of stalactites, stalagmites, and flora and fauna of every stripe and sort. The sheer immensity of the site and the energy flowing from it are staggering. The scale alone is daunting: the current lateral facades will one day be dwarfed by the main Glory facade and central spire—the Torre del Salvador (Tower of the Savior), which will be crowned by an illuminated polychrome ceramic cross and soar to a final height 1 yard shorter than Montjuïc (564 feet) guarding the entrance to the port (Gaudí felt it improper for the work of man to surpass that of God). You can take an elevator skyward to the top of the bell towers for some spectacular views (choose the "Top Views" ticket). Back on the ground, visit the museum, which displays Gaudí's scale models, photographs showing the progress of construction, and images of the vast outpouring at Gaudí's funeral; the architect is buried under the basilica, to the left of the altar in the crypt.

Soaring skyward in intricately detailed and twisted carvings and sculptures, part of the Nativity facade is made of stone from Montserrat, Barcelona's cherished mountain sanctuary and home of Catalonia's patron saint, La Moreneta, the Black Virgin of Montserrat. Gaudí himself was fond of comparing the Sagrada Família to the shapes of the sawtooth massif 50 km (30 miles) west of the city; a plaque in one of Montserrat's caverns reads "Lloc d'inspiració de Gaudí" ("Place of inspiration for Gaudí").

"My client is not in a hurry," Gaudí was fond of replying to anyone curious about the timetable for the completion of his mammoth project. The Sagrada Família was begun in 1882 under architect Francisco de Paula del Villar, passed on in 1883 to Gaudí (who worked on the project until his death in 1926). After the church's neo-Gothic beginnings, Gaudí added Art Nouveau touches to the crypt (the floral capitals) and in 1891 went on to begin the Nativity facade of a new and vastly ambitious project. At the time of his death in 1926, however, only one tower of the Nativity facade had been completed.

Gaudí's plans called for three immense facades, the Nativity and Passion facades on the northeast and southwest sides of the church, and the even larger Glory facade designed as the building's main entry, facing east over Carrer de Mallorca. The four bell towers over each facade would together represent the 12 apostles. The first bell tower, in honor of Barnabas and the only one Gaudí lived to see, was completed in 1925. The towers of Barnabas, Simon, Judas, and Matthias (from left to right) stand over the Nativity facade, with James, Bartholomew, Thomas, and Phillip over the Passion facade. The four larger towers around the central Tower of the Savior will represent the evangelists Mark, Matthew, John, and Luke. Between the central tower and the reredos at the northwestern end of the nave rises the 18th and second-highest tower, crowned with a star, in honor of the Virgin Mary. The naves are not supported by buttresses but by treelike helicoidal (spiraling) columns.

Reading the existing facades is a challenging course in Bible studies. The three doors on the Nativity facade are named for Charity in the center, Faith on the right, and Hope on the left. (Gaudí often described the symbolism of his work to visitors, but because he never wrote any of it down much of the interpretation owes to oral tradition.) In the Nativity facade Gaudí addresses nothing less than the fundamental mystery of Christianity: why does God the Creator become, through Jesus Christ, a mortal creature? The answer, as Gaudí explained it in stone, is that God did this to free man from the slavery of selfishness, symbolized by the iron fence around the serpent of evil at the base of the central column of the Portal of Charity. The column is covered with the genealogy of Christ going back to Abraham. Above the central column is a portrayal of the birth of Christ; above that, the Annunciation is flanked by a grotto-like arch of water. Overhead are the constellations in the Christmas sky at Bethlehem.

To the right, the Portal of Faith chronicles scenes of Christ's youth: Jesus preaching at the age of 13, and Zacharias prophetically writing the name of John. Higher up are grapes and wheat, symbols of the Eucharist, and a sculpture of a hand and an eye, symbols of divine providence.

The left-hand Portal of Hope begins at the bottom with flora and fauna from the Nile; the slaughter of the innocents; the flight of the Holy Family into Egypt; Joseph surrounded by his carpenter's tools, contemplating his son; and the marriage of Joseph and Mary. Above this is a sculpted boat with an anchor, representing the Church, piloted by St. Joseph assisted by the Holy Spirit in the form of a dove.

Gaudí planned these slender towers to house a system of tubular bells (still to be created and installed) capable of playing more complete and complex music than standard bell-ringing changes had previously been able to perform. At a height of one-third of the bell tower are the seated figures of the apostles.

The Passion facade on the Sagrada Família's southwestern side, over Carrer Sardenya and the Plaça de la Sagrada Família, is a dramatic contrast to the Nativity facade. In 1986, sculptor Josep Maria Subirachs was chosen by project director Jordi Bonet to finish the Passion facade. Subirachs was picked for his starkly realistic, almost geometrical sculptural style, which many visitors and devotees of Gaudí find gratingly off the mark. Subirachs pays double homage to the great Moderniste master in the Passion facade: Gaudí himself appears over the left side of the main entry, making notes or drawings, while the Roman soldiers farther out and above are modeled on Gaudí's helmeted warriors from the roof of La Pedrera. Art critic Robert Hughes calls the homage "sincere in the way that only the worst art can be: which is to say, utterly so."

Following an S-shape path across the Passion facade, the scenes represented begin at the lower left with the Last Supper. The faces of the disciples are contorted in confusion and dismay, especially that of Judas, clutching his bag of money behind his back. The next sculptural group to the right represents the prayer in the Garden of Gethsemane and Peter awakening, followed by the kiss of Judas.

In the center, Jesus is lashed to a pillar during his flagellation. Note the column's top stone is out of kilter, reminder of the stone soon to be removed from Christ's sepulcher. To the right of the door is a rooster, as well as Peter, who is lamenting his third denial of Christ: "ere the cock crows." Farther to the right are Pilate and Jesus with the crown of thorns, while just above, starting back to the left, Simon of Cyrene helps Jesus with the cross after his first fall.

Over the center is the representation of Jesus consoling the women of Jerusalem and a faceless St. Veronica (because her story is considered legendary, not historical fact), with the veil she gave Christ to wipe his face with on the way to Calvary. To the left is the likeness of Gaudí taking notes, and farther to the left is the equestrian figure of a centurion piercing the side of the church with his spear, the church representing the body of Christ. Above are the soldiers rolling dice for Christ's clothing and the naked, crucified Christ at the center. To the right are Peter and Mary at the sepulcher. At Christ's feet is a figure with a furrowed brow, thought to be a self-portrait of Subirachs, characterized by the sculptor's giant hand and an "S" on his right arm.

Over the door will be the church's 16 prophets and patriarchs under the cross of salvation. Apostles James, Bartholomew, Thomas, and Phillip appear at a height of 148 feet on their respective bell towers. Thomas, the apostle who demanded proof of Christ's resurrection (hence the expression "doubting Thomas"), is visible pointing to the palm of his hand, asking to inspect Christ's wounds. Bartholomew, on the left, is turning his face upward toward the culminating element in the Passion facade, the 26-foot-tall gold metallic representation of the resurrected Christ on a bridge between the four bell towers at a height of 198 feet.

The apse of the basilica, consecrated by Pope Benedict XVI in November 2010, has space for close to 15,000 people and a choir loft for 1,500. The towers still to be completed over the apse include those dedicated to the four evangelists—Matthew, Mark, Luke, and John—and the highest of all, dedicated to Christ the Savior. In 2021, the Tower of the Virgin Mary was inaugurated, complete with a star made of textured glass and stainless steel, weighing 5.5 tons. Once completed, the great central tower and dome, resting on four immense columns of Iranian porphyry, considered the hardest of all stones, will soar to a height of 564 feet, making the Sagrada Família Barcelona's tallest building. Prior to the outbreak of the COVID-19 pandemic, the Sagrada Familia was due to be completed by 2026, the 100th anniversary of Gaudí's death, after 144 years of construction. A new official date is yet to be announced. 

For an extraordinary Gaudí experience, visit this private residence. It was built between 1900 and 1909 over the ruins of the summer palace of the last of the sovereign count-kings of the Catalan-Aragonese realm, Martí I l'Humà (Martin I the Humane), whose reign ended in 1410. In homage to this medieval history, Gaudí endowed the house with a tower, gargoyles, and crenellated battlements. The rest—the catenary arches, the trencadís (pieces of polychromatic ceramic tile) in the facade, the stained-glass windows—is pure Art Nouveau.

Look for the red and gold Catalan senyera (banner) on the tower, topped by the four-armed Greek cross Gaudí often used. Over the front door is the inscription "Sens pecat fou concebuda" ("Without sin was she conceived"), referring to the Immaculate Conception of the Virgin Mary. On either side of the front door are benches with trencadís of playful fish bearing the crimson quatre barres (four bars) of the Catalan flag as well as the Corona d'Aragó (Crown of Aragón).

Guided tours in English available every day at 11 am and 1 pm. The visit includes access to the roof, which Gaudí designed to resemble a dragon, along with the gardens, patio, and stables. 

Reservations are required for the highly recommended guided tour ([email protected]).

Much of A Coruña sits on a peninsula, on the tip of which sits this city landmark and UNESCO World Heritage Site—the oldest still-functioning lighthouse in the world. First installed during the reign of Trajan, the Roman emperor born in Spain in AD 98, the lighthouse was rebuilt in the 18th century and looks strikingly modern; all that remains from Roman times are inscribed foundation stones. Scale the 245 steps for superb views of the city and coastline—if you're here on a summer weekend, the tower opens for views of city lights along the Atlantic. Lining the approach to the lighthouse are sculptures depicting figures from Galician and Celtic legends.

At 150 feet tall, this watchtower is the highest point in the old city. More than a hundred such structures were used by Cádiz ship owners to spot their arriving fleets. A camera obscura gives a good overview of the city and its monuments. The last show is held 30 minutes before closing time.

The 45-minute train ride from the town of Ribes de Freser up to Núria provides one of Catalonia's most eclectic excursions—in few other places in Spain does a train make such a precipitous ascent. The cogwheel train, nicknamed La Cremallera ("The Zipper" in English), was completed in 1931 to connect Ribes with the Santuari de la Mare de Déu de Núria (Mother of God of Núria) and with hiking trails and ski runs.

This extraordinary 19th-century transporter bridge suspended by cables ferries cars and passengers across the Nervión, uniting the bourgeois Arenas and working-class Portugalete districts.  Portugalete is a 15-minute walk from Santurce, where the quayside Hogar del Pescador Mandanga serves simple fish specialties like besugo and grilled sardines.

This sleek winery overlooks Sanxenxo harbor and produces a modern, fruit-forward style of Albariño harvested from old, ungrafted vines grown on granite slopes. Only natural yeasts are used in the fermentation. Tours including nibbles, and a wine tasting cost approximately €10-15.

The 15th-century city hall on Plaça Sant Jaume faces the Palau de la Generalitat, with its mid-18th-century neoclassical facade, across the square once occupied by the Roman Forum. The Ajuntament is a rich repository of sculpture and painting by the great Catalan masters, from Marès to Gargallo to Clarà, from Subirachs to Miró and Llimona. Inside is the famous Saló de Cent, from which the Consell de Cent, Europe's oldest democratic parliament, governed Barcelona between 1373 and 1714. The Saló de les Croniques (Hall of Chronicles) is decorated with Josep Maria Sert's immense black-and-burnished-gold murals (1928) depicting the early-14th-century Catalan campaign in Byzantium and Greece under the command of Roger de Flor. The city hall is open to visitors on Sunday, with self-guided visits in English hosted at 10am (reserve online). Virtual 360° tours are available at any time. 

Beyond the bullring in El Mercadillo, you can relax in these shady gardens, one of the loveliest spots in Ronda. A balcony protrudes from the face of the cliff, offering a vertigo-inducing view of the valley below. Stroll along the cliff-top walk to the Reina Victoria hotel, built by British settlers from Gibraltar at the turn of the 20th century as a fashionable rest stop on the Algeciras–Bobadilla rail line.

To get to this sturdy square fortress, built by the Romans and strengthened by the Visigoths and Moors, continue west from the Museo Nacional de Arte Romano, down Suárez Somonte toward the river and city center. Turn right at Calle Baños and you can see the towering columns of Templo de Diana, the oldest of the Roman buildings. To enter the Alcazaba, follow the fortress walls around to the side farthest from the river. Climb up to the battlements for sweeping river views, or go underground to see the aljibe, or cistern.

Just beyond the ruins of a Roman theater on Calle Alcazabilla stands Málaga's greatest monument. This fortress was begun in the 8th century, when Málaga was the principal port of the Moorish kingdom, although most of the present structure dates to the 11th century. The inner palace was built between 1057 and 1063, when the Moorish emirs took up residence; Ferdinand and Isabella lived here for a while after conquering the city in 1487. The ruins are dappled with orange trees and bougainvillea and include a small museum; from the highest point you can see over the park and port.

Dominating the city is this fortress, built by Caliph Abd ar-Rahman I and given a bell tower by Carlos III. From here you have sweeping views of the port and city. Among the ruins of the fortress, which was damaged by earthquakes in 1522 and 1560, are landscaped gardens of rock flowers and cacti.

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.

Once the residence of the caliph of Seville, the 12th-century alcázar and its small octagonal mosque and baths were built for the Moorish governor's private use. The baths have three sections: the sala fría (cold room), the larger sala templada (warm room), and the sala caliente (hot room) for steam baths. In the midst of it all is the 17th-century Palacio de Villavicencio, built on the site of the original Moorish palace. A camera obscura, a lens-and-mirrors device that projects the outdoors onto a large indoor screen, offers a 360-degree view of Jerez.

Not to be confused with the alcázar in Seville, this imposing structure is a Moorish fortification in Carmona that was built on Roman foundations. Maps are available at the tourist office, in the tower beside the gate. It's worth a short stop if you have time, but it's not a must-do.

Built by Alfonso XI in 1328, the alcázar in Córdoba is a Mudejar-style palace with splendid gardens. (The original Moorish alcázar stood beside the mezquita, on the site of the present Bishop's Palace.) This is where, in the 15th century, the Catholic Monarchs held court and launched their conquest of Granada. Boabdil was imprisoned here in 1483, and for nearly 300 years, this alcázar served as the Inquisition's base. The most important sights here are the Hall of the Mosaics and a Roman stone sarcophagus from the 2nd or 3rd century.

This Moorish structure was built on Roman foundations and converted by King Pedro the Cruel into a Mudejar palace. Pedro's summer residence was destroyed by a 1504 earthquake, and all that remains are ruins that can be viewed but not visited. However, the parador within the complex has a breathtaking view, and the café and restaurant are lovely spots to have a refreshment or meal.

Portraits of archbishops (one by Goya), Flemish tapestries, Renaissance and medieval paintings, and the remains of the Romanesque door of Zaragoza's church of Santiago form parts of this museum's collection.

These world-famous caves, 3 km (2 miles) southwest of Santillana del Mar, have been called the Sistine Chapel of prehistoric art for the beauty of their drawings, believed to be some 18,000 years old. First uncovered in 1875, the caves are a testament to early mankind's admiration of beauty and surprising technical skill in representing it, especially in the use of rock forms to accentuate perspective.   Only 5 visitors are allowed into the caves each week, and entrance is determined by a lengthy waiting list. The reproduction in the museum, however, is open to all.

Tarragona, the Emperor Augustus's favorite winter resort, had arguably the finest amphitheater in Roman Iberia, built in the 2nd century AD for gladiatorial and other contests. The remains have a spectacular view of the sea. You're free to wander through the access tunnels and along the tiers of seats. In the center of the theater are the remains of two superimposed churches, the earlier of which was a Visigothic basilica built to mark the bloody martyrdom of St. Fructuós and his deacons in AD 259.