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Looking for history in the middle of nowhere.
Photos in this post 2019 Jessica Knauss |
Our epic journey through the province of Soria in early March meant Daniel and I were often confronted with vast expanses of rolling Castilian plains. Sometimes, if you subtracted the asphalt roads, you would've been left with no sign of human life at any point in history--unless you knew exactly where to look.
Daniel had designed the itinerary so that the Church of San Baudelio near Casillas de Berlanga would dominate one of the trip days. As usual, though, there was too much to see! I'm thrilled we didn't skip
Almazán, but taking that tour meant we had to rush to San Baudelio before it closed for the day. It seemed as if we would never make it, as there was never any indication that we were getting closer to this magical building. It was first started as a hermitage in the middle of nowhere. You can't get more
nowhere than Casillas de Berlanga--no offense intended.
The tiny box of a building (less than 10 square meters) that appears between hillocks as if conjured by a Spanish Merlin is often described as plain. Although I didn't get a chance to read about the architecture before the visit, the sight of the stones taken from the hillside where it sits and lots of medieval concrete resonated strongly with me. Indeed, as I read later, it is believed this church was erected shortly after this area was "reconquered" in the year 912. Which is to say that the structure is pre-Romanesque Mozarabic. This building was around, looking much as it does today, when the characters in
Seven Noble Knights lived, fought, and loved.
As if that history weren't enough to give me the authorial tingles, we hurried inside to make the most of the time before the caretaker closed up. I had to take off my glasses because the transition lenses made it impossible to see anything in the light from three tiny windows and the caretaker was answering the questions of three or four visitors with their modern speech, clothes, and priorities.
In spite of all that, the interior overwhelmed me with a sense of sacred awe. To go against my usual writing style and employ understatement, this is no ordinary tiny hillside hermitage. There is no other building like this in all the world.
As you walk in, you're confronted by a column that seems enormous because it draws the eye up and fills the field of vision. Eight fronds arc out at the top to complete a cupola that covers the entire space, encompassing it and all visitors within what would be the shade of this metaphorical palm tree. That's right, as you walk in, you face the Tree of Life, the Source of everything, physical and spiritual.
To the left of the entrance, so small you might miss it, a diminutive apse opens up with double horseshoe arches and lets light in with its small window. Here, the most sacred ceremonies, such as consecration, would have been carried out without the need for any congregation to witness. Only about four people can fit there with room to move.
In the center, an open space harbors altar tables and a stairway to the most unusual part of the building, the loft.
The loft enjoys a small window and a tiny chapel with room for only one person and its own two Mozarabic windows with horseshoe arches at the top. The loft is not accessible to the public, but it is clearly a place for contemplative isolation. The feature that makes this church unique also lends it tremendous spiritual gravity.
The loft is supported by a forest of miniature columns that come together in eleven horseshoe arches without capitals. Known as the "mosque," this collection of architecture only rises to a third of the building's height. It provides a daunting barrier between the rest of the building and the original hermitage cave entrance.
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My fantastic photo of the cave entrance.
Don't go in, the paper emphatically instructs. |
Having taken in all that uniqueness, it's time to look up at the top of the palm tree again. Notice the hole between the branches. You think you're imagining it, but you can kind of see something architectural going on inside. You're not imagining it! There's a secret chamber up there! It's impractical to access and evokes the unstable border region this was when San Baudelio was built. Would it have been a place to hide valuables or even a hermit in case of attack?
My descriptions and photos are falling short. The wonder San Baudelio induces is untranslatable.
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These bulls are the original finished paintings!
Photo 2019 Daniel Sanz |
And as you can see in the photos, there's still more to marvel at. We'd originally come for the extensive medieval paintings, as many guidebooks call this Soria's "Sistine Chapel." In accordance with medieval sensibilities, the artists among this community of monks left no space plain. They used a technique similar to fresco, so that the paint penetrates deep into the wall. In the early twentieth century, the outermost layers of some paintings were sold and removed. After some back and forth, these works of art can now be viewed in person in Madrid and New York. I'd seen them already in the museums and loved them with no knowledge of where they came from. There is nothing like viewing this art in its original context.
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| I remember seeing this rabbit hunting scene in the Museo del Prado in 2005. |
The imprints left behind are still so vivid, the visitor gets most of the intended impact. The central column is dotted to suggest a palm trunk. The branches are covered in colorful geometric and architectural patterns with long-necked birds that call
San Pedro de la Nave to mind.
The higher areas and loft feature remnants of Biblical scenes with people and tables.
The area above the stairs has painted drapery and medallions with animal figures.
The entrance to the apse shows angels supporting a medallion with the Dextera Domini, the right hand of the Lord.
The apse is filled with saints and Biblical scenes and a dove, the Holy Spirit, springs forth from the window, as I'd seen in
Maderuelo.
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| Warrior on the side of the loft chapel. |
During the visit, I was under the impression that all the paintings were Romanesque, from the eleventh century onward. But according to Jaime Cobreros, many discreet scenes may be from the earliest times of the church's existence, the tenth century. The possibly earlier paintings are less obviously religious in nature and show some artistic connection with Hispano-Muslim art and Beatus manuscript illustration. These include some lions; the hunting scene, a camel, a rampant greyhound, and the warrior with shield on the side of the loft chapel, all now in the Prado; and the magnificent bulls pictured above. I couldn't believe no one had bought the top layer of the bulls painting, and had Daniel take my photo with it so I could pretend it was mine.
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| Photo 2019 Daniel Sanz |
Outside the church, you think, "All
that is in
there?"
Then you take a look at the archaeological site of the medieval necropolis. Just outside the apse, they've found thirty sarcophagi from the eleventh to the thirteenth centuries that were probably used even a bit after that. Monks burying monks.
On the other side, there's a modest, modern spout that marks the spot where the first hermit found a water source so he could live out here all alone, and which was exploited by the monks who followed him.
We still have the building and paintings unaltered today because the church became neglected after the thirteenth century. No more monks wanted to live way out here, and so no one was around to make changes with new architectural fads.
And that was it. We enjoyed this unforgettable place for only about 40 minutes before the caretaker closed up. We had to leave to make it to our lunch reservation in Berlanga del Duero, in any case. The spirit is willing, but the flesh is weak!
Our visit was similar to San Baudelio's history: a brief, shining artistic moment, never to be imitated anywhere else.
On the way home to Zamora, I was reading some of the pamphlets we picked up on this epic trip and discovered that in Berlanga del Duero, there's an entire museum devoted to San Baudelio. Sigh. Next time. Meanwhile, many scholars have published articles and photos on San Baudelio, as a simple internet search reveals. Daniel and I are far from the only San Baudelio nerds in the world.
