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On this occasion, I invite all those intrepid travelers who are passionate about Gothic architecture, to accompany me on a brief excursion to one of the most unique regions of Northern Spain, full of history, legend, beauty and above all, some architectures, both Romanesque and Gothic, that immediately captivate with their peculiar charm: Cantabria.

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It is there, in the vicinity of those magnificent sea arms, which, under the respective names of Tina Mayor and Tina Menor, make up the natural border with Asturias, where one of the most beautiful and picturesque maritime towns that can be seen rises: San Vicente de la Barquera.

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San Vicente de la Barquera -name that comes to him, apart from that mysterious saint, so revered, above all, by the ancient Mozarabs who lived in Muslim territory after the conquest, due to the miraculous presence of the Virgin- is a beautiful poem, whose port has been assisting the arrival of pilgrims since time immemorial.

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That is why, on a rocky promontory, which dominates it on one side and the marshes left by the sea waters when they penetrate deeply inland, stands a vigilant fortress and something beyond it, where you can still see the last canvases of an old hospital for the sick and pilgrims, the impressive structure of one of the most relevant Gothic buildings in Cantabria: the church of Nª Sª de los Ángeles.

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The church of Nuestra Señora de los Ángeles is another of those masterful examples of Gothic architecture that characterizes, for its beauty, perseverance, balance and magnificence, the main port cities of the Cantabrian coast -Santoña, Laredo, Castro Urdiales- and which, moreover, as is the case with these, enjoys keeping within it a sufficient number of historical-artistic elements, which make it, by default, a relevant focus of attention.

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It is known, from surviving documentary testimonies, that its history dates back to the 13th century, during the reign of Alfonso VIII - who, in addition to granting his Fuero to the Villa de San Vicente, was raised and protected by the nobility of Soria, in whose fabulous Romanesque church of Santo Domingo, married Princess Eleanor de Plantagenet, daughter of Henry II of England and Eleanor of Aquitaine, as well as being the victorious king in the determining battle of Las Navas de Tolosa- so it should not be It is surprising that at least one of its two portals, the western one, which is called Power’s Door, preserves all the elements of a previous artistic style, Romanesque, of which so many marvelous examples exist throughout the length and breadth of the Cantabrian territory.

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It is also known that both the transept of the nave and the apse were considerably enlarged in the 16th century, its fundamental characteristic being the use of the so-called warped vault, which perhaps influences the perspective of proportionality of the church. detail, which, on the other hand, does not prevent, at all, enjoying the vision of the elegance and balance of its arches, columns and flying buttresses, which give it an ethereal appearance, worthy of beauty and therefore admiration.

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It is also surprising to observe, in the center of its baroque Main Altarpiece, the enigmatic presence of a Virgin -the very owner of the church- nursing the Child -Marian typology, which, precisely, and judging by a dubious matter of decorum, was prohibited from the 16th century onwards - which some historians attribute to the workshops of the Burgos School of Gil de Siloé, which, in fact, is not improbable, taking into account that Cantabria also has a natural border with Burgos and that mysterious part, such as the so-called Merindades.

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Baroque are also the smaller altarpieces, which are located in the corresponding chapels of the Epistle and the Gospel, which worship the figures of Saint Bartholomew -Apostle, who, according to tradition, went to preach in India- and San Pedro, where it is also possible to contemplate the magnificent reproductions, probably Gothic, of two characters very closely related to the pilgrimage routes: the Apostle Santiago himself, dressed as a pilgrim, and the saintly walker par excellence, San Roque.

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Also worth noting is the tomb of the inquisitor, Antonio del Corro, who died in 1556, who seems to melancholically enjoy the open book that he holds in his hands and which, due to its remarkable resemblance, reminds us of the famous sculpture that is located in the cenotaph of the famous Doncel, in the Castilian cathedral of Siguenza.

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And although modern, the life-size image of an angel holding an oar in his hand, which seems to gravitate above the choir, can also give us an idea of ​​the devotion of some people of an eminently seafaring nature, for whom no protection is useless, when they have to face the harsh vicissitudes at sea.

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NOTICE: Both the text and the photographs that accompany it, as well as the video that illustrates it, are my exclusive intellectual property and, therefore, are subject to my Copyright.

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