Ayuntamiento de Zaragoza

Zaragoza Turismo

Monuments

Catedral de San Salvador o la Seo

Catedral de San Salvador o la Seo
Location
Plaza de la Seo

See plan

Telephone
976 291231
Opening hours

Summer:

Monday to Friday: 10:00-20.30 (uninterrupted)

Saturdays: 10:00-12.00 y de 15 a 20.30 (closed during 13:00 mass)

Sundays: 10:00- 11.30 y de 14 a 20.30 (closed during 12:00 mass)

No entry 30 minutes before closing.

Visits will be cancelled when extraordinary celebrations held.

Winter:

Monday to Friday: 10:00-14:00 and 16:00-18:30

Saturdays: 10:00-12:30 and 16:00-18:30

Sundays: 10:00-12:00 and 16:00-18:30

No entry 30 minutes before closing.

Visits will be cancelled when extraordinary celebrations held.

Price

Catedral and Tapestry Museum entry: 4 euros

Under 18s and over 65s: 3 euros

Visit

Physical Accessibility

Accompanied AccessAccompanied Access

  • Parking: Yes, Pilar Square and Law Courts
  • Access: Two entrances, one inaccessible. Access granted on request
  • Mobility inside building:
    • Ample space: Yes
    • Paving: marble
    • Lifts: to access different floors of Tapestry Museum
    • Chair lifts: Yes
    • Adapted W.C: NO

Information supplied by Physically Handicapped of Aragon

Visit included in the Mudéjar Guided Walk(Further information in the tourism offices)

Chronology

12th to 18th centuries

Style

Mudejar

Points of interest

Apses, Wall of the Parroquieta,Tower, Façada

Text

The first Christian cathedral of Saragossa, built and dedicated to San Salvador, is raised on the same space that had previously been occupied by the Roman Temple of the Forum, the Visigoth church and the Higher Moslem Mosque. At the end of the 12th. century, the new work is started following the artistic guidelines of late Romanesque,with elements that had been developed in the cathedral of Jaca. As a reflection of this first stage we preserve the lower part of the apses, which is clearly differentiated from the rest as it is made of stone compared to the later brick. The semicircular windows are closed with alabaster and have chequered motifs and storied capitals. The central apse preserves an important sculptural unit on the inside, which remains, hidden behind the High Altarpiece.

The temple is extended at the end of the 14th. century, in order to build a larger and lighter church, in accordance with the new Gothic spirit. A testimony of this time are the upper apses and the wall of the -Parroquieta-, a key work of Zaragoza Mudejar. This work was carried out by Aragonese masters in collaboration with Seville Master Builders, who manage to convert a simple brick wall into a real polychrome tapestry. This wall encloses the chapel of San Miguel, whose construction was ordered by the archbishop Lope Fernandez de Luna as a funerary chapel; on the inside it holds the alabaster sepulchre of the prelate and a splendind gilt wood ceiling. The upper part of the central apse was raised at the star of the 15th century thanks to the sponsorship of Pope Luna, whose arms are found between the flamboyant oultines of the windows.

The Seo takes on definitive dimensions and aspect in the 16th century under the archbishopric of Hernando de Aragon. The cupola, which is erected to achieve greater lighting of the High Altarpiece, corresponds to this stage. This is valuable sample of the roots of Mudejar tradition in our region. The last interventions that complete this exterior physiognomy are the Baroque tower and the classicist front, built in the 17th and 18th centuries. The tower, designed by Giambattista Contini follows the model of Italian campanile adapted to the local tradition, also present in its internal structure of Almohade minaret. The main front was carried out by Julian de Yarza, inspired on the project that Ventura Rodriguez had planned for the Pilar.

The high Altarpiece on the inside stands out. This is a representative work of european gothic style carried out. This is a representative work of European gothic style carried out in the 15th century under the sponsorship of the archbishop Dalmau de Mur. The unit by the sculptors Pere Johen and Ans Piet d¿Anso, acted as a model for numerous later altarpieces, among which the High Altarpiece of the Pilar must be pointed out.

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