Co-Cathedral de Logroño

Concatedral de Santa Maria de la Redonda

The Concatedral de Santa Maria de la Redonda is an important religious building located in the heart of the historic center of Logrono, one of the leading towns in the autonomous community of La Rioja, Spain. This church is renowned not only for its architecture and history, but also for its central role in the region’s religious and cultural life. Together with other notable cathedrals in the area, such as the Cathedral of Calahorra and the Cathedral of Santo Domingo de la Calzada, the Concatedral de Santa Maria de la Redonda forms a unique and special group within the context of Catholicism. This is particularly interesting, since it is a diocese with three cathedral seats, which is uncommon within the Catholic world. It highlights the religious importance and legacy of Logrono and its surroundings, making these buildings a notable destination for those wishing to explore the rich history and religious devotion cultivated over the centuries in this part of Spain.

History of the Concatedral de Logrono

In the 10th century, the Camino de Santiago Frances crossed the Ebro River via an old bridge built by two important religious figures, Santo Domingo de la Calzada and San Juan de Ortega. This construction played a crucial role in establishing a new settlement, which, thanks to its growth and rising importance, was finally recognized as a city in 1431.

King Alfonso VI of Leon, in 1095, granted this settlement a fuero franco, a set of rights and privileges designed to encourage the settling of both new residents and pilgrims traveling the Camino. Over time, this town grew considerably in both civic and ecclesiastical terms, and it was in this context that several significant churches were built, such as the Royal Church of Saint James the Greater, Santa Maria de Palacio, San Bartolome and Santa Maria de la Redonda.

It’s worth noting that the church we see today was not the first religious building erected on this site. Before the current structure, there was already a Romanesque church with a round or polygonal floor plan, which explains why it is called “La Redonda.” In 1435, this church gained collegiate status when it merged with the Iglesia Colegial de San Martin de Albelda, where important codices were produced during the Middle Ages, valuable sources for studying our history.

A notable event took place on March 9, 1959, when Pope Saint John XXIII decided to raise this church to the rank of co-cathedral, a title underscoring its importance within the diocese. This reflects not only the church’s rich history but also its ongoing central role in the region’s religious and cultural life.

Architecture of the Concatedral de Logrono

The co-cathedral’s architectural structure was built mainly between the 16th and 19th centuries, a period rich in artistic and architectural development in Spain.

This impressive building is made up of three well-defined naves, an ambulatory that adds fluidity to the space, and the trascoro, which includes the Capilla de los Angeles. The main entrance is flanked by two twin towers that add majesty to the ensemble. Along the side walls of the church, chapels line the north and south sides, giving final shape to the building and creating a complete, harmonious whole.

The central body of the church was built between 1516 and 1538, and is characterized by the Gothic style of the Catholic Monarchs. Looking up inside, one sees what looks like a stone palm grove, formed by cylindrical columns rising from the floor without decorative ribbing. Higher up, an elaborate filigree of branches spreads toward the ribbed vaults, creating a sense of lightness and elegance throughout the space.

During the 16th and 17th centuries, the side chapels were gradually completed and enriched, turning the church into a veritable museum of religious art. These chapels house numerous paintings and sculptures depicting religious scenes and figures, along with decorative altarpieces and ironwork that further embellish the space. Many of these images and fittings came from churches or monasteries that no longer exist, adding a layer of history and memory to the whole.

One of the most outstanding features is the Baroque Capilla de Nuestra Senora de los Angeles, built in 1756. This chapel sits invitingly beside the portico, and above all, visitors can admire the monumental stone altarpiece adorning the church’s main facade. The two twin towers flanking this altarpiece were designed by Martin de Beratua and have become a symbol of the city of Logrono. Their design drew inspiration from the tower of the church of Santo Tomas in Haro, and this style has been echoed in other towns in La Rioja, such as Santo Domingo de la Calzada, Briones, Oyon and Labraza. These towers stand out on the skyline with their verticality, forming part of what has come to be known as Rioja Baroque.

Between the two towers stands a stone facade-altarpiece designed by architect Juan Bautista Arbaiza. This work sits above the main door and is enclosed by an iron gate, adding a touch of security and distinction.

The church’s last major architectural expansion took place in the 19th century, when the current ambulatory was built on the east end. This expansion not only maintains continuity with the earlier construction, but also preserves the aesthetic of the Real Capilla del Santo Cristo, linked to Bishop Pedro Gonzalez de Castillo.

The church is precisely oriented east to west and sits at the heart of Logrono’s old town. It opens onto what used to be the Plaza del Mercado, which, together with Calle Portales, retains a rich historical flavor. This space remains a vibrant place where the city’s social, religious and cultural life continues to flow, keeping alive the connection between past and present.

Art Collections of the Concatedral de Logrono

The Calvary of La Rioja by Michelangelo Buonarroti

In a prominent spot in the ambulatory, just behind the co-cathedral’s main altarpiece, there is a small oil painting on wood panel. This work, known by many as a Calvary, depicts Christ on the cross, but curiously shows him alive. Beside him are the Sorrowful Virgin, Saint John the Evangelist and Mary Magdalene. Although this painting is attributed to Michelangelo Buonarroti, this attribution comes from the testimony of Bishop Pedro Gonzalez del Castillo, who acquired the work at some point in his life. However, it’s worth noting that the work’s authenticity as a creation by Michelangelo has not been conclusively proven.

Bishop Don Pedro Gonzalez del Castillo was a great humanist and a figure of considerable importance in his time. In the 17th century, he decided to build the Capilla del Santo Cristo, located right beside the main altar. This chapel, which has undergone several modifications over time, eventually gave rise to today’s ambulatory. In his will, the bishop arranged for his final resting place to be in this chapel, creating a mausoleum where he would be remembered, along with a kneeling statue faithfully depicting him. This prelate, also known for his considerable wealth, made numerous trips to Rome, where he had the opportunity to acquire various works of art. His aim in doing so was to bring these valuable pieces into his chapel, enriching the spiritual and artistic setting of the place where he would rest for eternity.

Flemish Panels by Gillis Congnet

Gillis Congnet was a notable painter born in 1542 in the city of Antwerp and who died in 1599 in Hamburg. In 1584, he produced a series of striking panels in his home city of Antwerp. This date is clearly recorded on the platform at the foot of the panel titled The Annunciation. Congnet’s panels arrived at the church where they are now housed from the chapel of the Senorio de Somalo, located near Najera. Their owners managed to buy them in Paris in the early 20th century and later placed them in their private chapel. Later that same century, they generously donated them to the church of La Redonda. Given their recognized artistic quality and noticing they were suffering significant deterioration, the Museo del Prado, together with a banking institution, undertook their restoration. This process made the striking beauty of these works even more apparent.

Congnet’s panels comprise a total of six works measuring 131 x 88 centimeters. They depict various saints and biblical scenes: Saint Peter, the Resurrection of Christ, Saint John the Baptist, the Annunciation of Mary, the Epiphany and the Assumption of the Virgin. There are also three smaller panels, each measuring 26.5 x 96 centimeters, showing different episodes from the life of Saint Francis of Assisi.

In the exquisitely painted depiction of the Annunciation, all the characteristic elements of this important scene can be recognized. At the center of the work, Mary is shown in prayer, with an open book placed beside her bed and a basket full of needlework. The lilies in the vase are a clear symbol of virginity. Completing this beautiful image are the Holy Spirit, shown as a dove, and the Angel messenger, depicted in a posture closer to blessing than simply announcing.

In the Epiphany scene, the painting is striking for the intense tenderness expressed in the faces and poses of its figures. The work evokes the style of painter Hieronymus Bosch, particularly in the hut where the scene takes place, as well as in the curious figure peering through a gap in the wall, which adds a touch of life and humanity to the depiction.

The figure of Saint Peter is equally striking; he carries a strength and authority that feel almost tangible. The key he holds in his right hand looks more like a symbol of power, resembling a sword or scepter. The shapes of Saint Peter’s body, hinted at beneath his robe, recall Michelangelo’s work in the Sistine Chapel. In the background, on either side of the figure of Saint Peter, scenes depict both his calling and his martyrdom, further enriching the work’s visual narrative.

Camino de Santiago Frances >> La Rioja >> Logrono >> Co-Cathedral de Logrono