San Baudelio de Berlanga facts for kids
The Hermitage of San Baudelio de Berlanga is a very old church from the early 11th century. You can find it in Caltojar, a small town in the province of Soria, Spain. It's about 8 kilometers south of Berlanga de Duero. This hermitage is a special example of Mozarabic architecture because of its unique style. It was built when this area was a borderland between Islamic and Christian territories. The church is named after Saint Baudilus.
The building of this hermitage happened when Christian kingdoms were becoming stronger in the area. This was around the year 1060, when Ferdinand I of León took control of several towns, including Berlanga.
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Discovering San Baudelio
The Hermitage of San Baudelio de Berlanga was declared a national monument in Spain in 1917. People believe it was built to honor Saint Baudilus, also known as San Baudelio in Spanish. Saint Baudilus was a monk who lived a very long time ago, possibly in the 2nd or 3rd century, in a place called Nîmes. Old documents from the 12th century mention him.
Stories about Saint Baudilus say he was killed for spreading the Christian message to people who were celebrating the birth of Jupiter. After he died, wells of water supposedly appeared where he was killed. We don't know exactly how Saint Baudilus was connected to this chapel, but his followers probably helped create it. Saint Baudilus died in the late 3rd or 4th century.
Inside the church, there's a small cave in the southwestern wall. A hermit (someone who lives alone for religious reasons) might have lived there a long time ago. Even today, local people visit a freshwater spring near the church every year on May 20th. This is his feast day, and they go to show respect to Saint Baudilus. In earlier times, people believed he could perform miraculous cures. An axe and a palm tree are symbols of how he died. The palm tree might have even inspired the unique design of the San Baudelio de Berlanga church.
Around the 10th century, as the power of the Moors (Muslims from North Africa) was decreasing in northern Spain, a hermit monk likely found shelter in this lonely cave. His presence might have attracted visitors, which could have led to the building of the hermitage church. At the time the chapel was built, many local builders were Mozarabs. These were Christians who lived under Muslim rule and adopted some of their customs. This explains why the church has a strong Mozarabic style. Also, San Baudelio looks a lot like a church shown in an old book called the Codex Vigilanus (from 976 AD). This suggests the hermitage was built in the late 10th or early 11th century.
One of the most amazing things about the hermitage is its paintings. They are important examples of Romanesque art in Spain. Sadly, only a few parts of the original paintings remain. Many were removed and sent to museums in the United States in 1926. This caused a big scandal because the church was a national monument. Some paintings are now in the Cincinnati Art Museum, New York Cloisters Museum, Boston Museum of Fine Arts, and the Indianapolis Museum of Art. Six scenes are also in the Prado Museum in Spain.
Some of the paintings that went to the United States include: "The Dromedary," "The Healing of the Blind Man," "The Resurrection of Lazarus," "The Temptation of Christ," "The Three Marys Before the Tomb," "The Last Supper," "The Wedding at Cana," "Entrance to Jerusalem," and "The Falconer." In 1957, the Spanish government traded some of these paintings for the Fuentidueña Apse from a church in Fuentidueña. The traded paintings are now in the Prado Museum. Paintings still in Spain include: "Deer Hunt," "Hare Hunting," "The Warrior," "The Elephant," "The Bear," and "The Hunter." In 1965, work was done to restore the paintings that remained in the church.
How San Baudelio Was Built
There are no written records about when this church was built. However, it clearly belongs to a group of Mozarabic churches constructed in northern Spain during the 10th and 11th centuries. San Baudelio is special because it's a rare example of the Mozarabic style in the Castile region. Most other churches from that time in the area show more Moorish influences from southern Spain.
Since there's little information, experts date the church based on its architectural style and the paintings that once covered its inside walls.
From the outside, San Baudelio de Berlanga looks quite simple. It's mostly square with a small, almost square apse (a rounded end part of a church) on its east side. The walls are made of rough local stone, and there's no decoration on the outside. But the inside is very unique! Some have even called it "The most Mohammedan church in the whole of Spain" because of its style.
The main entrance to San Baudelio de Berlanga is a single horseshoe-shaped door on the north wall. This leads right into the main part of the church, called the nave. When you step inside, you see a large circular pillar in the middle. This pillar reaches up to the vaulted ceilings of the apse. From the top of the pillar, eight curved arches spread out. These arches are supported at the corners and middle of the church walls. They are also horseshoe-shaped, with corner ribs supported by small, Moorish-inspired squinches (arches that bridge a square space to a circular dome).
This central pillar might have been designed to look like a palm tree, which is a symbol of Saint Baudilus. At the very top of the pillar, between the spreading arches, there's a small hidden space. People believe church treasures or relics (holy objects) of the saint were once kept there. The inside of this space has a Moorish design with crisscrossing arches and a domed top. It's similar to the dome in the nearby hermitage of San Miguel Almazan.
Another interesting part of San Baudelio de Berlanga is its gallery. This is a raised area that runs along the inside of the west wall. It's built with two rows of horseshoe arches. These arches support a choir area on the second floor, which you can reach by stairs on the south wall. A small oratory (a small chapel) sticks out into the nave from this gallery, right next to the central pillar. This small chapel has a barrel vaulted ceiling and a window on each side. It's not much bigger than a pulpit.
The apsidal chapel, which is connected to the main building on its eastern side, is entered through another horseshoe-arched doorway. It sits four steps higher than the nave floor. At the back wall, there's a small, narrow window. This window, now closed, used to let in the morning light. This room also has a barrel-vaulted ceiling and is almost the same size and shape as the chapel of the San Cruz hermitage at Maderuelo.
One more unique thing about San Baudelio de Berlanga is its connection to a small cave. This cave is under the hill where the church stands. You can get to it through a doorway under the gallery, near the south wall. This is the cave where a hermit might have lived, possibly before the church was even built.
The only natural light inside the church would have come from the open doorway on the north wall. There was also a window on the north wall, now closed, and a small window on the west wall. This west window used to be a doorway, which was another way to enter the oratory.
Some parts of San Baudelio, like the double rows of pillars and arches, remind us of the Great Mosque of Cordova. The ribbed arches, the small niches under the arches, and the way the lantern (the top part of the central pillar) is built all seem to come from places like Syria, Mesopotamia, and Armenia in the Near East. It's important to know that not all these "eastern" styles in Spanish churches came from the Moors. Many were already in Spain during Visigothic times because of trade and church connections with the Near East. The use of rectangular frames around arches and intersecting ribbed vaults at San Baudelio was inspired by the expansion of the mosque of Cordoba by Al-Hakam II. You can also see this style in the church at San Millan de La Cogolla.
Amazing Wall Paintings
The hermitage once had many beautiful Romanesque frescoes (wall paintings) from around 1125. Most of these have been taken away, but some still remain. Two parts, moved to canvas, are now in the Indianapolis Museum of Art. They show "The Entry of Christ into Jerusalem" and "The Wedding at Cana." Other parts, like "The Healing of the Blind Man and the Raising of Lazarus" and "The Temptation of Christ" are in the Metropolitan Museum of Art in New York and the Prado in Spain.
These paintings are thought to be the work of three unknown local artists. All the designs on the arches and vaults, as well as the large Bible scenes and the paintings in the apse, are believed to be by the "Master of Maderuelos." The hunting scenes in the lower parts, which are very unique, are credited to the "Master of San Baudelio." A third artist, who was not as skilled, painted the inside of the choir. The scenes from the Life of Christ are unusual for Spanish paintings of this time. These are the ones in American museums. Smaller parts, like hunting and falconry scenes and decorative patterns, are in Madrid and New York. The frescoes even include a camel and a war elephant, which were inspired by Muslim art.
Details of the Frescoes
Originally, every part of the church was covered with some kind of art. We can still see some of the remaining artwork, even though it has been damaged by neglect or water leaking through the walls. Twenty-two paintings were removed from the church and brought to the United States and the Museo del Prado in Madrid. Compared to other churches in Western Europe with painted insides, San Baudelio is one of the best preserved from the Romanesque period.
There are three main types of decoration. The first two are stories and everyday motifs. These are the large paintings from the vaults and walls of the main part of the building, and most of these have been removed. The third group, which was too damaged to be moved, is still inside the small oratory in the gallery.
Under the curved ceiling of the apse, there are two figures sitting under arches. St. Nicholas is on the left of the window, and Saint Baudilus is on the right. We know it's Saint Baudilus because of the words "BAVDILI(VS)" written there, even though some of the bottom part is missing. St. Nicholas is identified by the words "(NICOL)AVS." He is shown sitting on a cushioned chair with a bright cloud or halo around him. He has white hair and a beard, a red cloak over a white robe, and sandals. He holds a crozier (a bishop's staff) in his left hand. Both figures are against a striped background of different colors. Below the window, there's a long-legged bird with a white body and yellow and red wings. This ibis is painted against a dark red background.
Around the 17th century, the inside of the church was painted completely white. This was because the murals were in very bad condition. But one piece was found and moved to canvas, and you can still see the figure.
The north wall has two scenes, separated by a tree. The image on the right is better preserved. It seems to show Mary Magdalene meeting Jesus in the garden after his resurrection. Mary Magdalene has a halo, a white head covering, and a red cloak. Jesus wears a long white robe and a brown cloak, holding a book. Of the image on the left of the tree, only a female figure remains. She is dressed in a white robe and orange cloak, looking surprised at a figure to her left.
Most of the murals on the church's vaulted ceiling are gone. A few pieces remain that showed scenes from the life of Christ and the Virgin Mary. These include "The Adoration of the Magi", "The Adoration of the Shepherds", "The Flight into Egypt", and probably "The Annunciation" and "The Presentation in the Temple."
On the south wall, there are scenes of Jesus's miracles. One shows him healing a blind man. Jesus, with red hair and a beard, has a large cross and a halo. He wears an orange robe and a blue cloak. He touches the eyes of the blind man kneeling before him. The blind man's eyes are closed to show his blindness.
Also in the same area as the blind man is "The Resurrection of Lazarus." This is one of the best-preserved paintings. Lazarus is shown wrapped like a mummy in a black sarcophagus. Two women lift one end of the cover. Jesus touches Lazarus's body with a long staff that looks like a cross. He is joined by a young man with red hair, possibly St. John, holding a green book.
The next miracle, "The Marriage at Cana", takes up half the space on the left of the west wall. The painting is broken up by a doorway and a column. Jesus, the groom, and the bride are seated at a feast. The table has a white cloth, round loaves of bread, and bowls of fruit. Jesus holds a knife and blesses with his right hand. The groom wears a tall hat and colorful clothes. The bride, seated on the right, wears an orange head covering and a pale green robe.
The rest of the west wall shows "The Temptation of Christ in the Wilderness." In this scene, Jesus appears twice. On the left, he is shown when Satan tells him to turn stones into bread. The devil has horns, wings, and clawed feet. Jesus holds up his hand to refuse. In the next part, Jesus is on a high point of the temple. Here, the devil has human feet, wings, and an animal-like head. Jesus is dressed as before, and the temple is shown as a small building. On the right, an angel talks to a third demon, who looks half-animal and half-human. The demons look very ugly, which is a strong contrast to the beautiful image of Jesus.
The story of Christ's Passion begins on the north wall with "Christ's entrance into Jerusalem." Jerusalem is shown as a building with an open door and walls. Outside, two boys in red and blue robes hold olive branches. Jesus rides a donkey sideways, coming from the left. He has a halo with a cross, red hair, and a beard. He blesses with his right hand and holds a palm branch. A baby horse walks with the donkey. Behind him, the Apostles follow. We can see seven Apostles, with Peter, who has white hair and a beard, leading the group. The red-headed St. John follows him.
"The Last Supper" fills the rest of the north wall. Jesus sits at a table with a white cloth in the center. Many disciples hold knives and raise their hands, as if asking "Is it me, Lord?" when Jesus says one of them will betray him. We see St. John leaning on Jesus's chest and Judas in the front, touching a fish in a bowl. St. Peter has a white beard and is balding. St. Paul is also shown with white hair and a pointed beard, even though he wasn't one of the original disciples.
The Crucifixion scene seems to be missing from the walls of San Baudelio. It might have worn away over time. It logically should come after The Last Supper. It's possible it was on the east wall near the Roman soldiers, as the Bible mentions them near the cross.
The next surviving scene shows the women visiting Jesus's tomb early on Sunday. This painting was on the left side of the south wall but was moved to the Boston Museum of Fine Arts. An angel with a green halo stands in front of the tomb, so we don't see the stone rolled away. The guards stand, scared, with bent knees, one covering his face from the angel's bright light. On the far right, the three women approach with halos, holding large jars of ointment.
It seems that all four walls of the nave originally had eight large paintings showing the life and passion of Christ. It's very likely that at least four scenes included "The Journey to Emmaus", "Doubting Thomas", and "The Descent of the Holy Spirit" on the side walls of the apse. The series would probably have ended with an image of the enthroned Savior from the Last Judgment. This might have been similar to the apse of Saint Martin de Fenouillar, with the Savior surrounded by the twelve evangelists and the twenty-four elders from the Book of Revelation.
Everyday Life Paintings
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On the lower west wall of the church, there's a scene of a wounded deer running from a hunter with a loaded crossbow. Hunting deer was a common theme in art from ancient times and the Middle Ages. For the Romans, the deer symbolized staying away from evil. In Christian culture, it represents the soul. The deer is also linked to Christ winning over the devil, making it a symbol of hunting for souls.
Next to the wounded deer on the right, a hunter rides a horse, helped by three dogs chasing hares into the forest. The hare is a symbol in Christian art of how fragile the soul is.
Further right on the north wall is a Falconer. Falconry was considered a noble type of hunting in both Islamic and Christian Middle Ages. The falconer, showing off his noble bird of prey, stands like a victorious knight. The falcon helps him overcome bad animals like hares.
On the north gallery of the church, there's what looks like a warrior carrying a spear and a shield. To the right of the warrior is an elephant. The elephant, a symbol of humility, is linked to Christ, who became humble to prevent his own death. The elephant in San Baudelio carries a castle on its back. This symbolizes the difficulties and sins of earthly life. Next to the elephant is a bear. The bear is sometimes linked to the sin of gluttony and the unknown of the caves it lives in. Perhaps the warrior with him can defeat him.
Behind the warrior, on the other side of the gallery, a camel is shown. Camels were exotic animals, known in the ancient world for their use in war, transport, and circuses. The camel is associated with early Christian art, along with the Magi and other Bible stories. Judging by how this camel looks, the artist of San Baudelio might not have known what a camel truly looked like. To the left of the camel, there are plant designs and fabric patterns. They are arranged in circles, in rows, starting with smaller ones. On the wall near the central pillar are two greyhounds. On the east wall, at the start of the staircase, there is a two-faced bovine (cow-like animal).
There is some discussion about where these paintings originally came from.
It is believed that two different painters worked on the frescoes at the same time: an older painter and a younger one. The apse, painted by the "Master of Baudelio," was likely painted first after the whole plan for the murals was decided. The painters had to arrange the images into sections within the church and into rows along the wall. Even though the rows were painted at the same time at San Baudelio, the lower part would have been painted first. The older painter might have lived under Muslim rule longer, which could explain the Moorish influence in his use of Islamic themes. The younger painter might have known more about Romanesque Christian art, possibly because San Baudelio was on the border between Christian and Muslim lands. Also, the paintings at San Baudelio are similar to frescoes found in The Church of The Vera Cruz De Maderuelo (Segovia).
More to Explore
In Spanish: Ermita de San Baudelio de Berlanga para niños
Images for kids
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Mary Magdalen and Jesus in the Garden, now in Ohio.
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Raising Lazarus. Now in The Cloisters Museum, New York.
