Earlier versions of the descriptions of these churches first appeared in 1001 Amazing Places You Must See Before You Die, edited by Richard Cavendish (2016). Writers’ names appear in parentheses.

　　Northern Spain’s Burgos Cathedral is a masterpiece of Gothic architecture dedicated to the Virgin Mary. Laid out in a Latin cross plan, the church is famous for its stained-glass windows, artworks, choir stalls, chapels, tombs, statuary, and the fine tracery of its open stonework. It drew its inspiration from churches constructed in northern France during the 13th century and is a fine example of how the Spanish adapted the French Gothic style, making it their own. The dissemination of French Gothic architecture and art was also aided by the fact that Burgos and its cathedral were then, as now, a stopping point for Christian pilgrims en route from the Pyrenees to Santiago de Compostela in Galicia.

　　Work began on the church in 1221 with the bishop of Burgos, Mauricio, at the helm. The bishop had studied in Paris, and it was he who brought in a French master builder to manage the project. After the main structure was completed about 1277, there was a hiatus of almost 200 years before further work was done. Then embellishments were made to the cathedral, including spires of open stonework tracery on its two frontal towers. The cathedral was completed in 1567, although the Renaissance saw further additions, such as the golden staircase known as the Escalera Dorada.

　　The cathedral is notable not only for being a flamboyant work of architecture but also for housing the remains of members of the Spanish royal house of Castile. But it is most widely known as the burial place of one of Burgos’s most eminent sons, the 11th-century soldier and military leader Rodrigo Díaz de Vivar, better known as El Cid, and his wife, Doña Jimena. The couple’s remains were interred in the center of the cathedral in 1919. El Cid was a hero of the Reconquista of Spain, during which he seized Valencia from its Muslim ruler in 1094. El Cid went on to govern the city and surrounding region until his death. (Carol King)

　　The name of the city of Santiago de Compostela is known and revered throughout the Roman Catholic world. Its links with the relics of St. James (Santiago in Spanish) have made it the most important destination for pilgrims after Jerusalem and Rome.

　　The city’s Cathedral of Santiago is certainly worthy of a visit in its own right. It has the unusual distinction of being a Romanesque building concealed within the shell of a Baroque exterior. The original church was founded in the 9th century, but this building was destroyed by the Moors in 997. The present core structure dates from the late 11th century, when an increased number of pilgrims provided ample funds for a new church. Much of the Romanesque building is well preserved in the interior, but the exterior was largely remodeled during the 18th century by a local architect, Fernando de Casas Nóvoa. The architecture, however, must take second place to the medieval legend that provided the raison d’être for the Cathedral of Santiago. According to this legend, the Apostle James preached throughout Spain before being martyred in Jerusalem. His remains were carried back to Spain and buried in Compostela. Then his grave was forgotten until 813, when it was rediscovered by a hermit who was led to it by a star. After this event, large numbers of pilgrims began to travel to Compostela to pay homage at the apostle’s shrine. When they arrived at the cathedral, then, as now, they passed through the Porch of Glory (originally Master Mateo’s doorway to the church) and went to embrace the saint’s statue behind the main altar and collect their “Compostela” (a confirmation of their pilgrimage).

　　Pilgrims continue to flock to Santiago to this day. The number of visitors is particularly high in “Holy Years,” when the feast day of St. James—July 25—falls on a Sunday. (Iain Zaczek)

　　Cathedral of the Holy Cross and St. EulaliaKnown locally as La Seu, the Cathedral of the Holy Cross and St. Eulalia in Barcelona is a large Gothic edifice whose sheer slender towers seem to pierce the sky. The cathedral took 150 years to complete: it was begun in the 13th century but was not finished until the mid-15th century. Much of its impressive Gothic facade was created in the 19th century.

　　The church’s interior is stunning, with ornate wood carvings, paintings, sculpture, marble, and masonry. A plaque dating to 1493 records the baptism of six indigenous people from the Caribbean, brought to Spain by Christopher Columbus after his epic first journey to the Americas. When wandering around the cloisters, visitors are often surprised to come across a gaggle of white geese. They have been kept here for at least five centuries and are said to represent the purity of St. Eulalia of Barcelona.

　　Eulalia was a Christian virgin who was martyred at the age of 13 or 14 by Roman soldiers. This occurred under the rule of the emperor Diocletian, who was notorious for his persecution of Christians. Eulalia died in the city of her birth in 304. Her bones were originally housed in a small church elsewhere in Barcelona. Now they reside in a beautifully ornate tomb inside the crypt of the cathedral that bears her name. Eulalia is a patron saint of mariners, and her name is also invoked in prayers against drought. (Lucinda Hawksley)

　　Cathedral of ValenciaNot only is this beautiful cathedral a major part of Valencia’s outstanding Gothic architecture, but it also houses what is claimed to be the Holy Grail. This is the chalice often said to have been used at the Last Supper and subsequently by Joseph of Arimathea to catch blood from the wounds of the crucified Christ.

　　The inspired hand of architect Pere Compte was responsible for the work on the Gothic heart of the cathedral. Although the Gothic style dominates, what helps to make the cathedral special is the mix of expertly executed styles showing the structure’s evolution over the centuries. One of its entrances is Romanesque (the oldest), one Gothic (the Apostles’ Door), and one spectacularly Baroque (the most recent).

　　Valencia was a Moorish kingdom twice in medieval times, and the original cathedral—founded under Catholic monarchs in the mid-13th century—was built on the site of a mosque. The building features grand arches (rounded in the 1700s from their original pointed shape) and an adjoining 17th-century domed basilica. Within the cathedral—Gothic with Baroque and Neoclassical additions—the gold and agate Holy Grail lies inside the Santo Cáliz chapel. Also to be seen are valuable paintings by artists such as Francisco de Zurbarán and Francisco Goya. One fascinating oddity of this site is the meeting here of a traditional Water Court, where farmers settle disputes surrounding matters of irrigation. (Ann Kay)

　　This historic building took a staggering 180 years to create. Construction began in 1523, but the final stone was not laid until 1704. Part of the reason it took so long was the spread of the Black Death (plague), which claimed millions of lives across Europe. The cathedral’s epic timescale means that it was built by several generations of laborers and artisans from the same families and that it embraces varied architectural styles, from Gothic to Renaissance.

　　Granada Cathedral was built on the site of the old Grand Mosque, built by the Moors when they ruled this area of Spain. The Moors had arrived in the 8th century, bringing the new religion of Islam with them. Under the Christian Spanish monarchs, the remains of the old Moorish building were turned into one of the finest churches in the kingdom, its interiors forming a masterpiece of Renaissance art, dominated by two huge ornately gilded 18th-century organs.

　　The cathedral, which is surrounded by narrow streets and alleys—recalling the old souk (market)—has five naves and several chapels, including the Capilla Mayor (Main Chapel) and Capilla Real (Royal Chapel). It also houses a number of royal tombs made from Carrara marble and a royal art collection, including masterpieces by Sandro Botticelli, Alonso Cano, and Rogier van der Weyden. The cathedral is a monument to the era when Spain commanded a vast overseas empire. (Lucinda Hawksley)

　　La Sagrada FamíliaBuilding La Sagrada Família in Barcelona was a labor of love for Catalonia’s most famous—and perhaps favorite—son, architect Antoni Gaudí. He all but abandoned his commercial work to construct what was intended to be his pièce de résistance and also an act of religious faith. He designed it to be what he called “a church for the poor,” and its construction was funded by donations alone.

　　Building began in 1883, but the structure was not finished at Gaudí’s death, in 1926, nor was it complete at the turn of the 21st century. Some estimate that it may be complete by the 100th anniversary of Gaudí’s death, but even this is disputed. Whether the building can ever be completed to Gaudí’s original plans is a moot point, given that during the Spanish Civil War the workshop containing his drawings was set on fire. This led to a debate among a group of leading artists, intellectuals, and architects about whether building work should continue. They wanted the church to remain as faithful as possible to Gaudí’s original concept, and some even disputed the need for such a large church in what was an increasingly secular society.

　　That said, La Sagrada Família is sufficiently complete to be seen as the ultimate expression of Gaudí’s unique architectural style. Although he drew on the contemporary vogue for Art Nouveau, Gaudí’s individual flourishes stamp his designs with a distinct flavor: organic curves and shapes that echo those found in nature, fantastical, almost fairy-tale forms, and highly colored tile work. Fittingly, the architect was buried in the crypt of the basilica after his tragic death, caused by falling beneath a tram. Gaudí’s disheveled appearance meant that no one recognized him when the accident took place, and he was taken to a pauper’s hospital nearby to die. When his identity became known, he was offered the chance to move elsewhere but humbly insisted on staying among the poor. (Carol King)

　　The Royal Chapel in Granada is the final resting place of the two monarchs who united Spain. Isabella I of Castile’s marriage to Ferdinand II of Aragon joined their kingdoms. Their conquest of Granada, the last Muslim territory in Spain, was viewed as the greatest achievement of their reign. It contributed to Pope Alexander VI’s styling them as the “Catholic Monarchs.”

　　The Gothic design of the chapel reflects Isabella’s dislike of the Renaissance style, whereas the neighboring Granada Cathedral, built between 1523 and 1704, is more in the Renaissance mode. The Royal Chapel was originally intended to house the tombs of all Spanish monarchs, although ultimately the palace of El Escorial became the main royal burial place. Isabella was not originally interred in the Royal Chapel; she was first laid to rest in a nearby friary, and Ferdinand joined her in 1516. The following year they were moved to the Royal Chapel by their grandson Charles V. Their tomb and effigies are carved in marble and alabaster by the Florentine Domenico Fancelli. Three other members of the royal family are interred in the chapel: Ferdinand and Isabella’s daughter Joan; her husband, Philip I, the first Hapsburg ruler of Spain; and Miguel da Paz, their grandson and the crown prince of Spain and Portugal. Unsurprisingly, since the capture of Granada in the latter part of the 15th century was a triumph for Ferdinand and Isabella, the altarpiece of the Royal Chapel includes four painted wooden panels commemorating the campaign. The chapel also contains Isabella’s art collection as well as artifacts from the conquest of Granada.

　　The Royal Chapel is a monument to two of the founders of Spain. Before Ferdinand and Isabella, Spain was a collection of independent kingdoms. After their reign, Spain was on the road to becoming a unified nation and a major world power. (Jacob Field)

　　Seville Cathedral is an excellent example of Gothic architecture. Originally, it was the site of an Almohad mosque that was knocked down by the Spanish, who wanted to build a church on a suitably grand scale to reflect the city’s position as an affluent trading center.

　　Construction began about 1400 on the rectangular foundations of the mosque, and the structure took more than 100 years to finish. All that remains of the original mosque is the Patio de los Naranjos (Orange Tree Courtyard), an entrance court where Muslim worshippers once washed their hands and feet in a fountain, and a minaret built between 1184 and 1196. In 1198 four copper spheres were added to the top of the tower, but they were destroyed by an earthquake in 1356. When the cathedral was built, a bell was added to the minaret, together with the Christian symbol of the cross, transforming the structure into a bell tower. The bell tower was finished in 1568 with the addition of an 11-foot- (3.5-meter-) high weather vane of a woman, representing the Christian faith, by Bartolomé Morel. Inside, the cathedral is impressive both for its artworks in the form of paintings, sculptures, and wood carvings and for its architectural mix of Gothic, Renaissance, Baroque, and Plateresque styles. (Carol King)

　　Toledo Cathedral is one of Spain’s most impressive buildings. It was inspired by the vast Gothic cathedrals of northern Europe, such as Chartres, but added an exciting new ingredient—the rich combination of cultural styles that can be found only on the Iberian Peninsula.

　　The cathedral was begun by a little-known architect, Master Martin, but most of the work was initiated by Petrus Petri, who died in 1291. The predominant style is Gothic, although building took place over such a long period that, inevitably, other influences can be found. There is, for example, the Mozarabic Chapel (1504), where mass is still celebrated using the old Visigothic, or Mozarabic, rite (Mozarabs were Christians living under Moorish rule). Conversely, the cloisters have some Mudéjar features—that is, features in the Moorish style that survived into the Christian era. The Gothic elements are best demonstrated by the intricate carvings above the three main doorways.

　　The cathedral is most famous, however, for its two greatest treasures. The first of these is the Transparente (1721–32), a marvelously flamboyant marble and alabaster altarpiece by Narciso Tomé. He cut an opening in the vaulting above so that when his sculpted figures are struck by the rays of the Sun, they seem to float in a halo of spiritual light. An even greater artwork, perhaps, is the Espolio (The Disrobing of Christ), a magnificent painting by El Greco. Although born in Crete, the artist spent most of his career in Toledo, so it is fitting that the cathedral should house one of his greatest works. (Iain Zaczek)

　　Valladolid CathedralKing Philip II commissioned architect Juan de Herrera to design Valladolid Cathedral, or the Catedral de la Nuestra Señora de la Asunción, in the 16th century. Herrera was well known for his austere design of a combined palace and religious house northwest of Madrid, the Royal Monastery of San Lorenzo de El Escorial, which was also commissioned by the king. The great Spanish architect was responsible for spearheading a new style—Herreran, featuring carefully proportioned geometric lines and an absence of decoration and gesturing toward the Classical—whose influence can be seen throughout Spain. But after the death of both king and architect, the church was still incomplete. It finally opened in 1688, thanks to the efforts of Herrera’s pupil Diego de Praves, who was succeeded by his son. In 1730, architect Alberto Churriguera finished the work on the facade, aping the style of El Escorial. The Lisbon earthquake of 1755 shook the cathedral, causing damage that resulted in the collapse of a tower in 1841. The tower was rebuilt, but the church remains unfinished.

　　The cathedral was once home to a work by the painter El Greco and is notable for its ornamental wooden carvings and the reredos (decorative screen) housed in the great chapel. However, it is more famous for its magnificent collection of music manuscripts than for its artworks. The archive contains more than 6,000 original manuscripts dating from the 15th century. The church’s collection of 16th-century manuscripts of polyphonic sacred music, romantic madrigals, and carols, including those by the Franco-Flemish composer Josquin des Prez and the Spanish composer Juan de Anchieta, is unique. The collection was assembled over the centuries by the cathedral’s maestros de capilla, or chapel masters, whose duty it was both to supply and to compose new music for various religious festivals. (Carol King)