Points of Interest 
Heritage
Heritage
Middle Ages
During the 13th and 14th centuries, the Kings of Castile founded four towns in our region:Â Arrasate, Bergara, Leintz Gatzaga and Elgeta, respectively. The new towns assured the King a trade route from Castile towards the coast and contributed to confronting the power of the lineages.
From their founding, the municipalities developed an urban structure typical of the Middle Ages: construction of fences, gateways to control accesses, longitudinal streets and perpendicular alleyways in order to move from one point to another easily.
Today, not only is it possible to find some of these elements, but we can also admire the buildings and details of this era.
The medieval morphology of Leintz Gatzaga has barely changed throughout the centuries.
The city centres of Bergara and Elgeta also maintain the medieval layout of its streets, and in Arrasate it is surprising to see the perfect elliptical shape of its centre from the Santa Bárbara hill.
The historical nucleus of Arrasate, villa founded in 1260, follows the characteristic framework of the Middle Ages;
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It is shaped by three lengthwise streets, Iturriotz, Erdiko Kale and FerrerÃas and two crossing alleyways. All of it produces an elliptical shape.
Recent findings have allowed bringing to light part of the original wall. Access was achieved through five gateways, of which three have reached our days and present the appearance that they had in the 17th and 18th centuries: the Zurginkantoi, Concepción and Portalón gateways. This last one is located at the beginning of the street Erdiko Kale, a strategic place on the Camino Real.
The church of San Juan Bautista is the only example of Gothic religious architecture. We find it in the centre of the historic centre and the exterior stands out for its buttresses, gargoyles and pointed spans. At 17 metres of height, the crowns of the ribbed vaults represent interesting heraldic, floral and typically Gothic religious motifs.
The Municipal Charter of the founding of "Villanueva de Vergara" dates back to 1268.
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The Municipal Charter of the founding of "Villanueva de Vergara" dates back to 1268. As with the other towns of the era, it must have been walled but sufficient remains have not been found that draw its exact periphery.
Walking through the three main streets of the historical district of Bergara, we discover the framework of the medieval structure. It is composed of three main streets: Barrenkale, Artekale, the street that joins the Camino Real, and Goenkale and other alleyways. Between them some buildings, although of later eras, have preserved medieval details to this day. This is the case of the doorway (now a window) with an ogee arch of the house at Goenkalea 2, the paired windows of the alleyway Arrese or the magnificent ground floor of the building at number 3 of the already mentioned street Goenkale.
Alfonso XI, King of Castile, founded Elgeta in 1335.
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Its founding, as with the other new towns of the region, was strategic. The proximity of the border of Bizkaia and its elevated altitude, at 462 m, did not go unnoticed in that era.
With the visit to Elgeta we can verify "in situ" in Debagoiena the regularity and simplicity with which the medieval town centres were laid out. The new town follows one of the typical medieval urban morphologies. It has a rectangular shape and the defences that it had have not been preserved. It was articulated around a long main street and another cross street.
The main street of the old quarter is the street San Roque, at its start it still preserves the prints of one of the two gateways that controlled the access to the Town.
The visit to Leintz Gatzaga means going back several centuries in time.
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It was founded in 1331 by the King Alfonso XI, era in which it already stood out for its important salt mine activity. It is one of the few towns of Guipuzcoa that preserves nearly unchanged its secluded and walled appearance and the medieval urban section.
Its layout is configured through a lengthwise main street, the street of San Ignacio, and three parallel cross streets. By walking though them we can see five of the seven gates that originally were open in the wall. The gateway of San Ignacio, emblazoned with the Castile coat of arms, and the gateway of the Rosario, in the street of the same name, offer the most picturesque sites of the town. The others are: Barandapea, Pilar and Santiago. Outside the town centre we find the Sanctuary of Dorleta, patron saint of cyclists. This enclave has been witness to the passing of the pilgrims to Santiago and, although the current building is from the 17th century, the carving of the Virgin in its interior is Gothic.
Altarpieces of the 16th century
If something characterizes the 16th century, this era of unusual activity, it is the great constructive euphoria that was experienced in the area of altarpieces that fostered the arrival of French artists as well as the intervention of the important Castilian sculptors.The groupings of Oñate and Bergara are outstanding. In Oñate the visit to the Chapel of La Piedad is essential, located in the interior of the Parish of San Miguel. Not far away, in the building of the University, its chapel houses a master work from the middle of the 16th century: we refer to the altarpiece dedicated to St. Michael and to the Holy Spirit. The church of the Monastery of Bidaurreta also houses a good example of altarpiece art of the first renaissance.
In Bergara, it is advisable to visit the Parish of San Pedro and its magnificent plateresque main altarpiece from the first half of the 16th century. Richly decorated, the images of the four Evangelists situated in the predella stand out for their quality and beauty.
Renaissance sculptures are completed in our region with the magnificent Altarpiece of Santiago in the Parish of Nuestra Señora de la Asunción in Elgeta.
Created in the first half of the 16th century, its decoration is based on the artistic style begun in this era, the plateresque. In it we can see how the classic motifs are repeated throughout the entire altarpiece: grotesques, small columns with balaustrades and head of men, women and angels.
The grouping presents a very clear structure: five vertical rows and three horizontal bodies in which appear images of saints, Apostles and scenes from the Passion of Christ. In the centre, the figure of St. Peter, who gives the name to the church, and in the top part, Christ crucified.
The rich decoration of the altarpiece contrasts with the carving of the sculptures. Some of them still have not acquired the connotations of the new style, but others stand out for their great quality. Such is the case of the images of the Evangelists of the predella; St. Luke, St. John, St. Matthew and St. Mark are represented with great fineness and mastery.
One of them is the Añtarpiece of Santiago in the Parish of La Asunción in Elgeta.
Miguel Llorente created in 1564 the altarpiece that today we can observe in the area of the transept, next to the door of the sacristy. It is not large and stands out above all for its height, which gives it great slenderness.
Within Gipuzkoa, this is a unique example of Italianist style.
Pediments and classic columns are repeated throughout its structure, identifying with the mannerist taste of the end of the 16th century.
The sculptural part also follows this same treatment, we see lengthened figures with rigid postures. The sculpture of St. James, the first body, has a pilgrim's staff in his right hand.
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Its construction not only signifies the introduction of humanist ideas in our region, but also the materialization of the artistic current of the 16th century, the Renaissance.
After the sculptural splendour in the façade, the chapel of the university houses another master work of art. It is the plateresque altarpiece from the middle of the 16th century attributable to the Frenchman, Pierre Picart.
From the clear and regular structure, the images situated in the niches of the central row stand out. St. Michael with the dragon, the coming of the Holy Spirit, title of the chapel and of the university, and the Assumption of Mary surrounded by small angels. The movement of the folds and of the figures confer great dynamism to the grouping, already close to the mannerist style.
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We discover this gem of the first renaissance in the lateral chapel of the main altar of the Parish of San Miguel. It is composed by the marble mausoleum of the bishop, plateresque grillwork and by the altarpiece. This latter is an extraordinary work in woodcarving done by Gaspar de Tordesillas from Valladolid, which represents scenes of the Passion of Jesus and the life of Mary.
The contemplation of this altarpiece does not leave us unmoved, the artist delights us with its delicate decoration based on grotesques in candlesticks, heads of angles, scallops and winged monsters.
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With it they built the first women's monastery of Gipuzkoa and also created the ideal framework for housing their burial.
The main altar of this welcoming church was decorated from 1533 to 1753, with which the first Renaissance altarpiece of the province was created. Done by the Oñati native, Juan de Olazarán, today it is possible to see it in the transept.
In the first and second panels appear, under conch shell arches, scenes in relief from the New and Old Testament. In the centre, the main scene is the Calvary with the Virgin, the Lord and St. John. In all of them the Renaissance taste in the carving of scarves and heads is noted.
We cannot skip over the ingeniousness of the artist when creating the Apostles of the predella. They are placed in groups of three and each one with his attribute: St. Peter with the key, St. James with the pilgrim's staff and hat, St. John with the chalice... and over them, heads of winged angels.
Communities
The communities originated a bit before the 13th cent. as civic entities with the right to decide on the matters of their territory. Their name in Spanish (anteiglesias) is derived from the front part of the church, the official place designated by the king for the meeting of the neighbours, and today they form part of the municipalities in the form of rural communities.
Getting to know these communities is an unforgettable experience. Visiting them will allow us to approach ethnographic, historical and artistic aspects disseminated throughout the territory and their most characteristic element is the parish church.
The communities of Aretxabaleta are located in suggestive landscapes with churches and tower houses that are worth visiting.
Eskoriatza contains a great number of them; we cannot miss its churches, cemeteries and manors.
In Antzuola is the community of Uzarraga with its emblematic Parish of San Juan.
In Arrasate we can find churches with roofs painted with spectacular starry skies and an ancient spa declared a provincial monument.
Oñati has maintained throughout its complex history two communities with their corresponding parishes, Araotz and Urruxola, which are well worth visiting.
In order to know one of the oldest communities of Guipozkoa, we must visit the community of Uzarraga in Antzuola.
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The first information of the Church of San Juan of Uzarraga are from 1305 although the oldest remains go back to the 13th century. The advocation of St. John has led to relate the founding of the church with the Order of the Knights Templar, for this reason, the important persons of the valley of Leniz chose to be buried in its cemetery.
Inside is an altarpiece of the 17th century by Jeronimo de Larrea, of the school of Antxieta, and a marble crucifix from the same era.
The area around the community offers the opportunity to immerse oneself in suggestive landscapes. The roads that leave from the church will lead us to ancient quarries, emblazoned manors such as that of Urrutia and the Hermitage of Santa Ageda.
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The large number of communities made difficult the management of the valley; for this reason, in 1630 it was decided to create two new municipalities that grouped all of them: Aretxabaleta and Eskoriatza. Both are located next to the Camino Real, the principal communicating road that crosses the valley.
Aretxabaleta currently has seven communities. In Korueta we find the Church of Santiago with the altarpiece from the 16th century that recalls the passing of the pilgrims through our valley. Aozaratza owns proof of the importance of the lineage of the Otalora with its tower house and with the chapel in the Church of San Juan. In Areantza we can get to know the Church of Andra Mari with carvings from the 15th century and in Larriño, that of San Cristóbal.
The community nearest the urban centre is Isurieta with the Church of San Pedro. Somewhat farther on is Galartza, located in a high area, projecting the group formed by the Church of Santa LucÃa and the tower house of the 14th cent. of the Galartza family, one of the most important lineages of the valley.
From the Portasol neighbourhood we reach Arkarazo. The tower of the Church of San Millan was done by the prolific MartÃn Carrera in the 18th century.
Arrasate is full of sharp contrasts. As soon as we leave the principal access roads it is possible to find five communities amidst idyllic rural environments.
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In Bedoña, incorporated to Mondragón in 1966, the Church of Santa Eulalia houses pretty details such as the Romanesque windows of the west façade and the decoration of the starry sky in its vaults.
In the Church of San Miguel of Garagartza we can enjoy a rare plateresque relief.
On the way towards Aramaiona we cross Gesalibar. Its name is derived from the existence of springs of sulphur water in the valley that led to the construction of spas. The spa of Santa Ageda, today a psychiatric hospital, is declared a provincial monument.
In Udala the Church of San Esteban was built over the Romanesque remains and in its proximity it is possible to find ancient washing places and other interesting ethnographic aspects.
Although the community of Uribarri has lost is rural personality, nowadays the Church of Santa MarÃa de la Esperanza continues being of interest, where it is possible to observe various Romanesque remains.
Although it is not a community, it is worthwhile to go to the Hermitage of San Valerio of Meatzerreka. It is direct proof of the oldest guild of the town since its first information goes back to 1434 as the headquarters of the "venaqueros", the workers of the iron mines of Arrasate.
The large number of communities made difficult the management of the valley; for this reason, in 1630 it was decided to create two new municipalities that grouped all of them: Aretxabaleta and Eskoriatza. Both are located next to the Camino Real, the principal communicating road that crosses the valley.
Eskoriatza currently has seven communities and visiting them will not be a disappointment. We can discover churches that preserve the structure of the wooden vaulted roof such as the Hermitage of Santa LucÃa de MarÃn, the Church of San Miguel in Bolibar and the Parish of Ntra. Sra. de la Asunción de Mazmela. In Zarimutz the Parish of San Pedro stands out with medieval remains.
In Apotzaga we can enjoy unbeatable panoramic views and the possibility of visiting the circular cemetery that follows the style of the ancient Basque cemeteries, today it is considered a monumental element.
From the Church of San Juan Bautista of Mendiola we will enjoy the suggestive landscapes, and in the adjacent areas we can see the Hermitage of San Andrés of Eraña with medieval sarcophagi in the exterior.
Two kilometres from the town centre of Aretxabaleta is found Gellao. The Church of Ntra. Sra. de la Asunción preserves Romanesque remains in the entrance.
On the road to Arantzazu we find the crossroad that leads us to the community of Araotz. Its location, separated from the urban centre, which, under the Count's control, favoured its being a refuge of criminals and delinquents. In addition, in the vicinity of Aguirre, we find the house where the polemic colonizer of the Amazon was born, Lope de Aguirre.
The Church of San Miguel de Araotz is in an elevated area. In this 16th cent. building we can see Gothic remains of a previous temple as well as an interesting wooden roof imitating the ribbed vault. The baroque altarpiece of the main altar is decorated with the carvings by the sculptor from Araotz, Domingo Zumalde, dating back to the middle of the 16th cent. or beginning of the 17th cent.
Not far away we find the rural community of Urruxola. Its centre is composed of a parish, rectory, school and cemetery. The Church of Nuestra Señora de Urruxola is from the beginning of the 16th century although most of the building corresponds to a layout of the 17th cent., a clear exponent of classic baroque style. As in Araotz, the roof is made of wood, imitating the ribbed vault.
Tower houses and Palaces from the 16th century
During the 16th century, the importance of ancient lineages with medieval roots survived and along with them a long series of socially emerging families are found.
The Renaissance spirit was transformed into the construction of residences for the local elite, constant relations were maintained with the important economic decision-making centres and numerous inhabitants of our region served as royal secretaries, scribes or other trades but never breaking with their native town.
A sign of the new times was the transformation that the towers underwent. These would lose their military character in favour of their residential function and would undergo changes in their structure.
Bergara concentrates in its historical centre a good number of manors and tower houses. In Arrasate, in its medieval district, we can see the manors of Artazubiaga and Andikano-Zelaa.
The town of Leintz Gatzaga also has interesting palaces such as that of Elexalde. In Eskoriatza, we can visit the Ibarraundi Palace, currently a museum, and in Aretxabaleta, the Tower Houses of Otalora and Galartza.
The Otalora family built their tower house in the 14th century although the palace appearance that we see at present was configured later, after the transformations were made in the 16th century.
The main façade shows us interesting decorative details. On the left, a balcony is richly decorated with mouldings, heads and rosettes. On the right, the imperial coat of arms, a gift from the king for services provided, and in the centre, the family's baroque coat of arms. It is all finished with an eave richly decorated with geometric figures. It is worthwhile to circle the building in order to see on the left façade a suggestive row of small windows and above them a lovely wooden sun porch.
On the side opposite the valley, the community of Galartza preserves one of the most majestic tower houses: the Tower House of Galartza. Built in the 14th century, the transformations that it has undergone throughout the centuries have not lessened its defensive nature with which it was originally conceived.
The most important remodelling dates to the end of the 15th century. In it the roof was renewed and an open second floor was incorporated with lintelled windows that contrast with the small medieval windows of the lower floor that we can still see today.
This is the case of the Artazubiaga family of Bedoña that, at the beginning of the 16th century, abandoned their plot in order to build a new residence in the town centre, the Aartazubiaga Palace on the street Iturriotz of Mondragon.
This palace has managed to maintain its beauty throughout the centuries although nowadays only the principal façade of the original building is preserved. In it we can see various typical classical elements of this era such as the small columns and finely worked entablature that give great elegance to the entrance.
It is interesting to highlight the coat of arms located over the balcony of the first floor.
It represents the burning of the tower house, burned for the freedom of their lineage. Another family that built its palace in the centre of the historical district is the Andikano-Zelaa family. The building is of dressed stone work and is of the Herrera style. In the façade two enormous family coats of arms are hidden behind the exterior wooden gallery. It is later, Neo-gothic, and there is no doubt that it contributed to embellish the plaza of the City Hall.
Seventeenth century
After the artistic ebullience of the last century, the 17th century developed calmly. The nobility, enriched through public offices, took advantage to modify or build new palaces.
The majority were built outside the walls, in neighbourhoods, joined to the main communication roads of the towns. In general, they were quite restrained and austere and their principal characteristics were the heraldic motifs that decorated the façades, their artistic eaves and the rich wrought iron work that they presented in windows and balconies.
Arrasate offers the opportunity to appreciate two good examples of this type of construction with the Palace of Monterrón and the Palace of Okendo.
Right in the centre of the town of Leintz Gatzaga we find the Garro Palace with an impressive coat of arms in the corner.
In Bergara, besides the City Hall, we can see two other exponents of the baroque style in the Parish of San Pedro: the "Cristo de la AgonÃa" by Juan de Mesa and the painting of the "Adoración de los pastores" of the Neapolitan school.
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The most important families continued building large palaces to house their residences.
The Palace of Monterrón is located at the beginning of the Zarugalde neighbourhood. The baroque Herrera style was transformed in a clearly square structure with scant decoration. The balconies of wrought iron and the two coats of arms on the main façade of the families Andikano-Zelaa and Aranguren Unzueta stand out.
This building is emblematic not only for its size but also because it was the place of lodging of famous persons that visited the town such as Felipe V and the Queen Maria Cristina.
In another of the neighbourhoods, in that of the Magdalena, is located the imposing Okendo Palace. It stands out above all for its large baroque coat of arms of the Barrutia family that projects from the dressed stone work façade.
The city hall, designed by the architect from Guipuzkoa, Lucas de Longa, at the end of the 17th cent., is the most significant architectonic work. It follows the typical structures of the Guipuzkoan city halls with lower arcade, principal floor with running balcony for the institutional acts and coats of arms on the façade.
The Parish of San Pedro, in the centre of town, houses a striking sculpture of the Seville baroque school. Juan de Mesa created the "Cristo de la AgonÃa", commissioned by the resident of Bergara, Juan Pérez de Irazabal in 1622. The treatment of the body, the expression of the face and the loincloth are masterly; they follow the expressionist tradition that was characteristic of that era.
On the right side wall we find the canvas of "La adoración de los pastores". The treatment of the light is interesting. This is gradually distributed with the effect of chiaoscuro, from the principal figure of Jesus towards the other characters.
During the 17th century, the town centre developed gradually. Leintz Gatzaga acquired importance and the passing of famous personalities, such as Felipe III or Juan of Austria, made possible improvement in the Camino Real that crosses the town.
The baroque style that we can see materialized in Leintz Gatzaga with different buildings but most of them correspond to the 18th century. The Garro Palace is one of the few constructions of the 17th century. It is located between the streets Santiago and San Ignacio, just in front of the Parish of San Millán. Its structure is simple, square, but the wooden eaves with carved abutments stand out. On the façades large balconies open with excellent grillwork.
The large coat of arms in the corner, worked between the first and second floor. It corresponds to the Garro family and in it we can see the arms of its lineage: a fleur-de-lis cross with a walking wolf. We are observing a new trend in the buildings of this era since it breaks with the traditional frontal decoration.
Eighteenth century
Throughout the 18th century the region of Debagoiena is an exponent of important artistic works. Despite not being a very buoyant economic era, principal artists from within and outside the province were required to execute works that, thanks to the recent restorations, we can appreciate today in their maximum splendour.
The Carrera architects acted practically in all the towns of the region. They built bell towers, several palaces and the city halls of Arrasate-Mondragón and of Oñati. Oñati also offers us the opportunity to contemplate two magnificent altarpieces in their churches. The altarpiece of the Main Altar of the Parish of San Miguel and the Altarpiece of the Crowning of the Church of the Monastery of Bidaurreta.
The union of artists of the level of Miguel de Irazusta and Salvador Carmona resulted in one of the most impressive altarpieces of the 18th century, the Altarpiece of the Main Altar of Santa Marina de Oxirondo in Bergara.
In Antzuola the baroque plaza is interesting, created from the construction of the city hall, although it is also advisable to visit the Calvary crosses located next to the highway that leads to Zumárraga.
The most interesting monumental grouping of Antuola is found in the Plaza Mayor, in the centre of the town.
Its structure responds to the layout of the majority of the main squares of this era, concentrating in the same area the parish church, the city hall and emblazoned houses or palaces.
The City Hall follows the scheme of the Guipuzcoan city halls of the 17th and 18th centuries. Designed by Miguel Salazar in 1743, it has a portico with three arches in the lower body, a running balcony on the main floor and an enormous coat of arms of the town crowning the façade. This latter deserves observation since it incorporates the half-moons won from the Arabs in the battle of Valdejunquera, today recalled in the "Alarde" held annually in the third week of July.
Next to the road that leads to Zumarraga we find the Calvary crosses. The set is formed by three crosses of the 18th century of which the central one stands out with images that refer to the passion. Its interest is also related to the popular tradition of bringing children so they learn to walk.
After several centuries of prosperity and economic development, the 18th century signified the end and dissolution of the majority of the foundries that worked in the town. Despite them, important works such as the City Hall were accomplished. Designed by the Guipuzcoan architect MartÃn de Carrera in 1755, it stands in front of the parish of San Juan Bautista and gives as a result a typical baroque plaza of the 18th century whose visit will not be a disappointment. The most interesting part is the worked limestone façade. It is structured with an open entry portico with five basket arches, balconies on the first floor and, as a finish, a pediment to house the coat of arms that broke the line of the eaves.
Although it is an austere building it incorporates rich decorative elements placed around the spans. Mouldings, winged cupids, whorls and pebble work inspired by the French rococo style prevailing at the end of this century and that will be repeated profusely in the City Hall of Oñati.
The 18th century is intimately related in Bergara to the figure of the Count of Peñaflorida and to the Real Seminario Patriótico Bascongado created under the management of the Real Sociedad Bascongada de Amigos del PaÃs.
The current of erudite ideas converted Bergara in one of the most important teaching and research centres of Europe at the end of the 18th century.
The most significant artistic manifestation of this century is found, however, in a religious building, the Parish of Santa Marina de Oxirondo. The interior of this 16th century building is a haven of peace altered only by the magnitude and movement of the Main Altarpiece of Santa Marina.
Officially declared a monument, the architectonic part belongs to Miguel de Irazusta who created this imposing work between 1739 and 1742. In it, the absence of polychromy allows the spectator to admire the details of the baroque-rococo from a new perspective.
The images that decorate the centre and sides of the altarpiece are by Luis Salvador Carmona, master of the Madrid school. They are of great refinement, with delicate details that give agility to the overall work. In the central niche stands out that of Santa Marina, Flanked by the saints Abdon and Senen on the lateral panels. In the attic the Saviour is represented and on the sides the figures of four virtues.
Oñate continues being the headquarters of important artistic works during the 18th century. As an example of this, it is advisable to visit the city hall or the two magnificent altarpieces located in the two principal churches of the town.
In the Parish of San Miguel de Oñati, the Altarpiece of San Miguel of the main altar stands out. This altarpiece in baroque churrigueresque style was created by Juan Bautista de Suso between 1714 and 1717. The architectonic part appears polychromed and from it project several Solomonic columns giving movement to the entire piece. The Altarpiece of the Crowning of the main altar of the church of the Monastery of Bidaurreta was created in the 18th century as a substitute for one from the preceding 16th century. The new altarpiece is breathtaking. It is impressive for the baroque-rococo character of the architectonic work as well as for the quality of the sculptures attributed to José Sierra.
As an example of architecture of this era, we have the City Hall of Oñati. Created in 1764 by MartÃn de Carrera, it follows the structure of the city halls of the era although it incorporates fine decorative details in the rococo style that contribute to embellishing the façade.
