Audioguide Ourense

Since its beginnings, Ourense has been famous for its hot water springs, which were greatly valued by the Romans who moved to this Valley almost 2,000 years ago. Today it’s the spa town of reference in Europe, with a volume of over 4 million... leer más

Since its beginnings, Ourense has been famous for its hot water springs, which were greatly valued by the Romans who moved to this Valley almost 2,000 years ago. Today it’s the spa town of reference in Europe, with a volume of over 4 million litres of medicinal mineral water flowing each day. The oldest and best known testimony to this are the Burga springs in the heart of the city; natural springs with temperatures of 67 ºC whose neoclassical fountains coexist with a modern heated outdoor pool. The surroundings have been transformed into a boulevard garden where you can find the Archaeological research centre that gathers the remains found in the area, highlighted by the ruins of a Roman bath from the first century A.D. The hot water supply of Ourense is complemented by the natural layout alongside the river Miño, where there are 3 free public bathing areas, as well as 2 private hot baths.

Ourense’s history is most felt in its old town, with examples of medieval, baroque and modernist architecture in stately houses, rows of balconies, fountains and porticos, all hidden in a labyrinth of streets and paved squares of immense beauty. It is home to a multitude of distinctive buildings, such as the Town Hall, the Oca-Valladares stately home, the Municipal and Archaeological Museums and the San María Nai and San Eufemia Churches.

A must is the Cathedral, a place of worship whose Romanesque style is in transition to the gothic, as highlighted by the “Pórtico del Paraíso” or “Portico of Paradise”, with a polychrome tympanum from the 13th century inspired by the “Pórtico de la Gloria” (Portico of Glory) in Santiago de Compostela. Also of great renown are the bridges that cross the city, The Roman Bridge or Ponte Vella being the most emblematic, which today still conserves traces of its origin.

In its more modern aspect, Ourense is a city offering a wide range of shops, especially in the fashion and accessories industry. It is home to household names, and the pedestrian thoroughfare, the ‘Paseo’, one of the city’s arteries, and a must for those who love to shop.

Also not to go unmentioned is that Ourense offers an excellent culinary variety whose trademark comes from the quality of it’s raw ingredients and the four denominations of origin for it’s wine culture that are to be found in the city. Visitors can sample the best there is to offer gastronomically in small tastings with a walk around the popular wine bar area where tapas and ‘pinchos’ -or typical snacks– are offered in traditional spirit alongside other modern establishments.

For more information, visit the tourist office in the Jardinillos de Padre Feijoo in Ourense or telephone: 988 36 60 64.

Ourense is the spa capital of Galicia. Over recent years it has made a great effort to condition the open-air hot bath areas that for centuries have been used by the local community, creating both outdoor and semi-enclosed spa areas. The spa is a... leer más

Ourense is the spa capital of Galicia. Over recent years it has made a great effort to condition the open-air hot bath areas that for centuries have been used by the local community, creating both outdoor and semi-enclosed spa areas.

The spa is a tradition that is intimately bound to the history of the city. Two thousand years ago the Romans named this city Aquis Auriensis due to the abundance of gold and hot water springs. The Romans’ interest in hydrotherapy is documented in the Archaeological Museum and in the excavations carried out in the surroundings of As Burgas, the historical centre of the city. In Ourense there are more than 100 hot springs of great quality with respect to their medicinal and mineral properties and high temperatures.

The hot water springs well up from the depths of the earth and acquire their mineral properties through contact with the underground granite substratum, as they are filtered through natural crevices to find their way to the surface. With a volume of medicinal mineral water that exceeds four million litres daily and a one thousand year old hydrotherapeutic tradition, Ourense is the hot spring capital par excellence. It’s the second best in Europe only after Budapest.

The point of reference for hot water springs in Ourense is the pool of As Burgas, in the centre of the old town, a feature that is complemented by the natural layout alongside the river Miño, where there are 3 public free bathing areas, as well as 2 private hot baths.

All the hot spring facilities on the right hand bank of the Miño are connected by a pleasant pathway prepared for both pedestrian and bicycle use, surrounded by trees and with direct access to the bathing areas. The pedestrian pathway also borders the left hand side of the Miño with a 20 kilometre route which is ideal for jogging or walking.

You can also get to the hot spring areas on the Tren das Termas or Spa Train, which runs several trips a day between the Plaza Mayor (or Main Square) of Ourense and Outariz, with stops at each spring’s facilities.

The use of the spas in Ourense, besides their mineral properties, provide a recreational and relaxation use, which attracts people of all ages.

Since its beginnings, Ourense has been famous for its hot water springs, which were greatly valued by the Romans who moved to the valley almost 2.000 years ago. Today it’s a reference for hot water springs in Europe, with a volume of over 4... leer más

Since its beginnings, Ourense has been famous for its hot water springs, which were greatly valued by the Romans who moved to the valley almost 2.000 years ago. Today it’s a reference for hot water springs in Europe, with a volume of over 4 million litres of medicinal mineral water flowing daily and a one thousand year old hydrotherapeutic tradition.

The oldest and best known is the monumental Burgas hot water springs, with water at temperatures of 67 ºC. Its silhouette, of 3 neoclassical water spouts, is the symbol of the city that now coexists with a modern hot water spa equipped with a 200 square metre outdoor pool, sauna and terrace.

The pool that was opened in 2010, is a facility that uses the natural spring of the Burgas, a source which continuously produces more than 300 litres of water per minute at 67 ºC. The design of this facility, an outside heated pool, was the work of the architect Cesar Portela and it is the only one of its kind in the peninsula by virtue of its unique integration into the urban surroundings. The water, at 37 ºC contains bicarbonate of soda, and as well as its relaxing properties, is recommendable for dermatological conditions and rheumatism.

The area surrounding the Burgas has become the first extensive green area of the old town, a boulevard garden where you can find the Archaeological Interpretation Centre, an outdoor museum where they conserve and exhibit the historical remains of the city found in the area, with the ruins of a Roman bath from the first century A.D. as the highlight.

The Outariz spa is inspired by Zen culture and Japanese hydrotherapy, a place of peace and tranquillity which occupies an area of 400 square metres integrated into the natural surroundings alongside the river Miño. The spa offers a wide range of... leer más

The Outariz spa is inspired by Zen culture and Japanese hydrotherapy, a place of peace and tranquillity which occupies an area of 400 square metres integrated into the natural surroundings alongside the river Miño. The spa offers a wide range of hydrotherapy treatments, together with terraces and restaurants. The spa circuit is made up of Japanese style baths and bathing areas at different temperatures, with both a covered and an outdoor area that are used all year round. Their waters are especially suitable for the treatment of rheumatism, arthritis and skin conditions.

These are very affordable and innovative facilities, through which you can enjoy several hours of relaxation and services such as aesthetic massages, bathing pools, hot and cold tubs and Japanese wooden baths or personalised seaweed and mud treatments and chocolate therapy.

The Chavasqueira hot baths are of private ownership with affordable prices. They are situated on the banks of the river Miño, neighbouring the public bathing area, and its architecture is very much inspired by the Japanese spa style. Their list... leer más

The Chavasqueira hot baths are of private ownership with affordable prices. They are situated on the banks of the river Miño, neighbouring the public bathing area, and its architecture is very much inspired by the Japanese spa style. Their list of services include Swedish chair massages, half or full relaxation massages on massage beds together with Japanese stone and wooden saunas, with temperatures of 45 ºC and 85% humidity.

The bath circuit follows Zen philosophical guidelines. Rotemburo offers a combination of three outdoor rock pools with temperatures of 41 ºC. Ofuro offers an indoor rock pool with temperatures of 39 ºC. Tsumetai offers a cold water pool for fast temperature changes.

Their waters are recommended for rheumatism, arthritis and skin conditions as well as liver and digestive metabolism disorders and the renal system.

The Outariz and Burgas de Canedo hot springs are two groups of outdoor hot springs located in a recreational area with gardens on the right hand bank of the river Miño and they are connected to the other side by a pedestrian footbridge. In the... leer más

The Outariz and Burgas de Canedo hot springs are two groups of outdoor hot springs located in a recreational area with gardens on the right hand bank of the river Miño and they are connected to the other side by a pedestrian footbridge.

In the recreational area, with carefully tended gardens, there are two groups of pools: the “Pozas de Outariz”, with one cold water and three hot water pools, and the “Burgas de Canedo”, with one cold water pool and three hot water pools each with adjoining sections.

They all contain water with a low mineral content, which is recommended for rheumatic and motor dysfunction conditions, and whose source issues from various points from between the granite rock faults, at a temperature of 60 ºC.

Wi-Fi cover is available and also there are also changing rooms, showers, toilets and lockers. There is a cafe-restaurant, tourist information and customer service point, where it’s possible to hire items for bathing, such as towels and swimming costumes, and there is also bike hire available.

Only 3,7 kilometres away from Outariz you can find the local camp site of Untes, with a complete range of camping options and bungalows, and with total access for the disabled.

The Chavasqueira hot water springs are a group of small outdoor hot water pools that are open to all and free of charge. They are located on the banks of the river Miño and are set in garden surroundings. The hot springs have long been known as... leer más

The Chavasqueira hot water springs are a group of small outdoor hot water pools that are open to all and free of charge. They are located on the banks of the river Miño and are set in garden surroundings.

The hot springs have long been known as “Caldas do Bispo” by the clergyman that had them prepared for use, and were closely linked to the now non-existent Balneario das Caldas. This group of outdoor pools are filled by a spring whose waters of low mineral concentration and of temperatures above 38 ºC (known as hipertermales), are suitable for the treatment of post traumatic or post surgical scarring.

The Muíño da Veiga hot water baths, with free access and no charge, are located almost in the river Miño itself. It consists of a group of four outdoor hot water baths next to a fully restored old wooden mill, which gives the baths their name.... leer más

The Muíño da Veiga hot water baths, with free access and no charge, are located almost in the river Miño itself. It consists of a group of four outdoor hot water baths next to a fully restored old wooden mill, which gives the baths their name.

These pools are found in the Quintela de Canedo area, 500 metres from the Outariz hot springs. The site has a main pool of 200 square metres, a second one of 130 square metres and two others of 55 and 45 square metres each, all next to the restored mill.

One of the curiosities of Muíño da Veiga, is that it recently appeared as being catalogued in the hydrological map of the city as issuing a volume of 4 litres of water a second with a natural temperature of 69.2 ºC, making it the highest temperature under these conditions in the whole country.

There are toilets, lockers, changing rooms, Wi-Fi cover and a car park available.

Its waters have a low mineral concentration, suitable for skin conditions and arthritis.

The Tinteiro Spring is very popular in the city for its beneficial properties. It’s a hot spring located on a viewing platform overlooking the river Miño, equipped with footbaths and small pools. With free access and no charge, the Tinteiro... leer más

The Tinteiro Spring is very popular in the city for its beneficial properties. It’s a hot spring located on a viewing platform overlooking the river Miño, equipped with footbaths and small pools. With free access and no charge, the Tinteiro Spring is reached via the pedestrian walkway that joins the whole hot spring circuit of the Miño river.

The old town of Ourense, and also the city’s centre of activity, is a labyrinth of streets and cobbled squares of immense beauty, where baroque and 19th century architecture coexist in restored traditional buildings. It houses a multitude of... leer más

The old town of Ourense, and also the city’s centre of activity, is a labyrinth of streets and cobbled squares of immense beauty, where baroque and 19th century architecture coexist in restored traditional buildings. It houses a multitude of distinctive edifices, such as the Town Hall, the Oca-Valladares stately home, the Municipal and Archaeological Museums and the churches and chapels of Santa María Nai, San Cosme and San Damián, Santa Eufemia del Norte and la Trinidad. Its squares bring together a good part of the restaurants and cuisine on offer, as well as the night life, notably in the Plaza Mayor or ‘Main Square’. Traditional trades and handicrafts are also prominent in the streets.

The city of Ourense came into being during the Roman age in the area of As Burgas, but its development took place in medieval times with the Plaza Mayor acting as pivotal, owing to the presence of the most important buildings: the town hall and... leer más

The city of Ourense came into being during the Roman age in the area of As Burgas, but its development took place in medieval times with the Plaza Mayor acting as pivotal, owing to the presence of the most important buildings: the town hall and the Bishop’s Palace. These represent the two traditional powers of the city. To this day the Plaza Mayor continues to be the heart and soul of Ourense.

The town hall, built in 1875, is not the first to have been here. There are references to another in either the 15th or 16th century in the same place, and before even that time, the meetings were held in other places such as church atriums or in the area of the current Alameda del Concejo, whose name comes precisely from serving as a meeting place of the city’s government.

The relationship between the civil and ecclesiastical government has been one of tension in Ourense. The conflict started when the city council appointed itself land belonging to the church, specifically, that of the farmyards or orchards of the bishop. It must be taken into account that Ourense was an Episcopal city, where the bishop had been the overlord for centuries.

The current Archaeological Museum, to the left of the town hall, was the Bishop’s residence until the middle of the 20th century, when the Episcopal headquarters was transferred to the old seminary in Bispo Cesareo Square. The arms on the facade are those of Bishop Muñoz de la Cueva, and their size, along with the intentional or unintentional mistakes of adding more tassels than is appropriate to the Bishop’s hat, display the pretensions of grandeur of the owner. It was during the time of this bishop, in 1727, when the facade was completed.

Bearing in mind that the bishop was the overlord of the city, he enjoyed strong military defences, with the palace having seven towers. The upper section was rebuilt during the 1960s by the architect Juan Sorolla: the height was raised, the position of the arms and the window was altered, and decorative balls were added to the eaves, the same as those seen in the Cathedral.

Inside there are cloisters with Roman remains, and later styles, and excavations with discoveries from periods of the Romans, Suevos and Middle Ages. From the upper window, which in that time would have been covered with a lattice, the bishop would watch the goings on in the city, given that everything took place in this square. An example of the difficult relationship between the town hall and the church has persisted in the form of a tradition called the ‘Procesión del Desplante’ that takes place during Easter week, whereby the Bishop still leads the procession towards the Santa María Nai church, but the members of the town council must stay at the bottom of the steps on arrival.

The Plaza Mayor has always been the scene of celebrations, processions, bull runs and important yearly festivals such as that of San Martín, as well as trading under its arcades and in the surroundings of the square. Being the most important point in the city, the slope of the square draws ones attention, and is exceptional among other main squares in Spain.

If we go to the entrance of the town hall, we find a plaque from the National Geographical Institution that states a height of 135 metres above sea level. The mountains that surround the city are positioned in the direction of the Santa María Nai church, with heights of 400 metres. These mountains form the so-called Olla Orensana or Ourense Pot, a depression that accumulates heat, and which is not reached by the prevailing winds. This results in a difference between maximums and minimums of some 20 degrees, both in winter and in summer, with summer temperatures reaching up to 40 degrees.

Looking out to the right into Bispo Carrascosa Street, between the town hall and the Bishop’s Palace, we find the old Corona jail with the arms of Bishop Muñoz de la Cueva, although on this occasion, without the errors before mentioned. To the left there is a “cruceiro” (a Galician style stone cross) and “miliarios” or Roman milestones, which can be seen behind glass. In Roman times these were used to mark geographical points, and were probably the antecedents of the stone crosses which were put in their place, but with the intention of using symbolism to promote Christianisation.

A bust is in memory of the promulgator of the Archaeological Museum Project, Xexús Ferro Couselo, who was a historian and an academic of Galician Studies.

The history of the Cathedral is tied to the diocese of Ourense, whose origins are lost in time, although names are now known of Bishops from as far back as the 6th century. The first Cathedral is from the Suevo period, which is believed to have... leer más

The history of the Cathedral is tied to the diocese of Ourense, whose origins are lost in time, although names are now known of Bishops from as far back as the 6th century. The first Cathedral is from the Suevo period, which is believed to have been on the site of what is today the church of Santa María Nai, close to this point.

The period of Muslim domination in Ourense, that began in the year 714, lasted until the year 900, the year in which Alfonso II re-conquered the city. However, the repopulation took almost 100 years to establish, as the Normans, or the Muslim Almanzor themselves, destroyed the city.

Given the continuous attacks that devastated the Cathedral, the documents giving testimony to the construction of the current Cathedral are very scarce, although one date ascertained is that of the consecration of the high altar in the year 1188.

Stylistically, the cathedral is Transition Romanesque and its layout is that of a church of pilgrimage, with influences from the church of Santiago de Compostela and similarities, by chance or not, to that of the cathedral and the Church of San Vicente of Ávila.

The main facade appears somewhat discreetly to visitors as it is surrounded by close buildings and is slightly concealed. Its doors are always closed, with the most usual entrance being through the north door or sometimes through the south door. The main door has 3 arches; the central one is divided by a mullion and crowned by a large rosette window, blind on the inward facing side. The image of King David, playing a harp, is cited in the novel by Blanco Amor, “The Cathedral and the Boy”, in which this image turns into the source of unanswered childhood questions for the main character of the book.

Before calming their souls in the Cathedral, the people of Ourense calm their bodies in the neighbouring streets, because the North door leads to the area of wine bars. These are the Streets of Viriato, Lepanto, Hornos and Reunion; streets that... leer más

Before calming their souls in the Cathedral, the people of Ourense calm their bodies in the neighbouring streets, because the North door leads to the area of wine bars. These are the Streets of Viriato, Lepanto, Hornos and Reunion; streets that have a very different appearance at night bustling and lively and during the day quiet and exuding authenticity. They are well worth a visit at both times!

The North doorway, originally Romanic, has Gothic additions of diverse origin, such that of the tympanum, under the cross, where the Virgin holds the body of Christ descending; to the left of the scene is the much repeated miracle of San Martiño tearing his cloak in two, whilst accompanied by angels, and to the right is the apostle Santiago. It wasn’t in vain that the doorway is flanked by two turrets that give a certain sense of fortification to the Cathedral, given that this entrance was destroyed in 1471 by don Rodrigo Alonso de Pimentel, Count of Benavente, in an attack against the city which was then under the protection of the Count of Lemos.

Let us dedicate a moment to the North door to notice something anecdotal… a joke from the artist…

There is a character with their back turned in a squatting bowel-movement posture. To find him, you have to look at a capital on the left side of the north door facade. But don’t stop there. If we lower our view vertically from the character to the floor we see a small hole in the ground that, curiously, has water in it almost all year round…

As the lyrics of a popular Spanish tune go “...There are three things in Ourense, that there aren’t in Spain: Santo Cristo, the Bridge and the boiling water of Burgas...” “La capilla del Santo Cristo” (or Christ’s Chapel) accumulated... leer más

As the lyrics of a popular Spanish tune go “...There are three things in Ourense, that there aren’t in Spain: Santo Cristo, the Bridge and the boiling water of Burgas…”

“La capilla del Santo Cristo” (or Christ’s Chapel) accumulated considerable wealth by virtue of the donations it received. The house that is found opposite the north facade, a little further up from the doorway, belonged to this chapel.

The figure of Christ was originally placed in the same space that the altar with the Virgin del Pilar now occupies, as seen on entering by the North door on the right. Behind the current altar you can see the diamond pointed decoration of the old chapel.

The closest tomb is that of Bishop Vasco Pérez Mariño, who brought a figure to the chapel and wanted to remain close to it after his death. Such was his devotion towards this figure of Christ that his tomb was moved a few metres closer to the chapel that was constructed and decorated specifically with this figure in mind.

Legend has it that, miraculously, the hair and beard of the figure of Christ, which are made from natural hair, grow, and that every week a barber comes to cut it. What is more, another legend says that the image appeared floating in the sea. This gothic style figure is considered to be one of a pair, the other being the figure of the Cristo de barba dorada (or Christ of the Golden Beard) from Finisterra near Santiago.

The chapel, behind a Renaissance railing by Juan Bautista Celma, is of a heavily laden baroque style. The canopy is by Domingo de Andrade, the same architect whose work can be seen in the cathedral of Santiago de Compostela, and almost all the rest of the decoration was carried out by Castro Canseco, from Leon. The chapel takes after the Portuguese late gothic or Manuelian style. There are two figures, in both lateral chapels that show Saint Maurus, by Francisco de Moure; and the Virgen Blanca or White Virgin. This is a copy of the venerated Madonna of Trapani, in Sicily.

Before this however, come the choir stalls; the work of Diego Solís and Juan de Angers from the Renaissance period. They were originally placed, as in other Spanish cathedrals, in the choir in the centre of the main nave. In the 20th century they were removed, allowing an uninterrupted view from the front of the church to the back wall, with only the high alter interposing. Some of the choir stalls were relocated to this chapel, but without any iconographic criteria, such that the ecclesiastic characters are not presented in any logical order.

In the upper part of the Chapel there are 18th century paintings that represent scenes of the life of Christ and others that are more recent, such as the painting of the dinner of Emaus, which is evidence to the continuing donations of works of art to the chapel up to the present day. An example of the gifts that the Christ figure receives are the lights, that lend a certain Byzantine feel to the atmosphere. However not all are like these, having been hung from the ceiling lamps of the most diverse styles, even boat-shaped lamps, owing to the devotion the Christ figure inspires in fishermen. One lost tradition is that of hanging up bird cages during the ‘Novena’ festivals.

The Cathedral of Ourense was built between the second half of the 12th century and the first part of the 13th century, owing to which its structure and some of its elements are Romanic. The Gothic period followed, which can be seen in the... leer más

The Cathedral of Ourense was built between the second half of the 12th century and the first part of the 13th century, owing to which its structure and some of its elements are Romanic. The Gothic period followed, which can be seen in the decorative carvings of the arches in the central nave and in the vaulted ceiling that covers all three naves.

In the centuries that followed, the chapels were decorated and repaired, and improvements were made. This was in part due to the sieges that the Cathedral suffered. Also because of this, we can find Renaissance elements, just as we can find the baroque railings of the main chapel, also present in many of the chapels and even later styles.

Originally the front of the cathedral had an apse with three canopies that were converted into an ambulatory. The Cathedral has a Latin cross plan with three naves, the lateral ones being lower. Above the crossing between the central nave and transept there is a Gothic dome, executed between 1499 and 1505, which gives light to the main chapel.

The choir, that was originally in the principal nave, opposite the high altar, was dismantled in the 20th century, and part of the choir stalls moved to the main chapel, and part to Christ’s Chapel.

No we turn to the dome above the main chapel, the work of master craftsman Rodrigo de Badajoz, from León. Its practical function was to give light to the cathedral, but there is also the theological result of creating a mystical atmosphere, giving light to the most sacred part of the Cathedral. Before its construction, there was a vaulted ceiling in its place, with a beam structure for hanging an incense burner.

In the main chapel there are two notable burial places: who occupies the one to the left is unknown, while the one on the right is Cardinal Quevedo’s, who died in 1818, and who, as well as being the Bishop of Ourense, was named Cardinal, forming part of the Regency Council during the War of Independence. He was in charge of the Inquisition until the dissolution of the Santo Oficio or Holy Profession by the Courts of Cadiz in 1812.

The altarpiece of the main chapel, from the beginning of the 16th century, is attributed to Cornielles de Holanda and is executed in a fine late gothic style – otherwise known as ‘flamboyant style’. It is polyptych, being comprised of 5 vertical panels, divided into 4 horizontal compartments, with the exception of the central vertical panel, divided into 3 compartments owing to their size.

Its iconographical order displays San Martín de Tours in the most prominent position in the central compartment, being the patron saint of the cathedral and whose name the cathedral bears. The artistic narration of the other pieces of the altarpiece make reference to the life of Jesus and Mary, with easily recognizable episodes, such as the Annunciation and Mary holding the body of Christ descending the cross in the centre. The co-Patroness of the Cathedral is the Virgen de Asunción, hence her prominent position at the altar. The altarpiece is completed with other biblical characters and saints that have not been clearly identified.

The Gothic altarpiece is flanked by two other altars where the martyrdoms of 3 saints of Ourense are shown; San Facundo, Santa Eufemia y San Primitivo. They are works by Canesco.

On transforming the apse of the Cathedral at the beginning of the 17th century and building the ambulatory to increase the number of chapels and devotees, a renaissance style with Herreranian influences (after the style developed by Juan de Herrera) is seen to prevail. Their simple forms do not greatly conflict with the overall style of the cathedral.

Passing through the ambulatory from left to right, the chapels are dedicated first to the Boan family, as referred to in the Fierro Square, then the conversion of Saint Paul, then Saint Isabel, then the dean Sotelo y Novoa, followed by that of the doctor, Prada, then the Argiz family, and finally that of Álvaro Salgado.

The “Pórtico del Paraíso” (or Portico of Paradise), is situated inside at the front of the Cathedral of Ourense. It was built in the 13th century by the students of the master craftsman Mateo, taking inspiration for his work from the... leer más

The “Pórtico del Paraíso” (or Portico of Paradise), is situated inside at the front of the Cathedral of Ourense. It was built in the 13th century by the students of the master craftsman Mateo, taking inspiration for his work from the “Portico de la Gloria” (or Portico of Glory) in the Cathedral of Santiago de Compostela. It’s a masterful piece executed from a single plan. Far from being a mere imitation, the portico of Ourense has distinctive features –such as being polychromatic– that confers upon it great artistic value as well as great personality in its own right.

It has a series of three of arches that stand on columns with thin, polished stone shafts. The mullion in the centre divides the arches into two, and it is these single-piece columns that give strength to the portico. The sculpture of the apostle Santiago is shown holding an iron sword, in reference to the belief of his miraculous appearance in the Battle of Clavijo. According to legend, he intervened to help the Christians in their fight against the Muslims. The image is from the 13th century, the same period as the doorway, although it was replaced here in the 19th century. It’s a naturalistic representation of the Saint, with curly hair and a beard, and with numerous folds in his clothes whose relief suggest the contours of the body of the apostle.

Also in the 19th century, in the upper part of the mullion, the image of the Virgen del Consuelo or Virgin of Consolation, with son was added. She is seen as hardly able to hold him as he plays. A bit further up, in the capital, Christ is tempted by the devil, and if we raise our sight further, we see a medallion portraying God the Father, and there is a tabernacle with the scene of San Martín cutting his cloak. The Cathedral is under the patronage of San Martin de Tours, just as the city of Ourense itself is. As a soldier of the Roman guard, he was attributed with a miraculous deed. It was said that upon leaving the city of Amiens, he came across a beggar who was trembling with cold. He cut his cloak in two and gave him one half, keeping the other half as it belonged to the Roman army under which he served. The next day Jesus appeared dressed in the half of the cloak that he had given the beggar and thanked him for his act of charity.

If we look up to the archivolts of the central arch, we find the 24 elders, who are referred to in the book of the Apocalypse as follows: “Around the throne, there were 24 thrones, and on the thrones I saw 24 elders sitting who were dressed in white, with golden crowns on their heads”. These elders represent the redeemed in the final judgment: their white attire symbolize purity and their crowns are a symbol of victory, not of authority.

The sculptured columns, of human height, represent apostles and profits that can be identified by the inscriptions on the papers they carry. The capitals are decorated with various motifs such as thick leaves, the temptations of Christ in the dessert, centaurs fighting with mermaids, dragons or evil harpies, with horrendous faces and bird shaped bodies. They were the harbingers of plague, illness and other misfortunes.
The polychrome largely dates from the 18th century, applied over the original Romanic polychrome, and still visible on some of the pilaster figures. The painting allowed volume to be given to the figures and highlighted and emphasized different aspects to them.

On both sides there are two small Baroque chapels, one contains an altarpiece of the Virgen de Belén, the work of Castro Caneseco, who was a prolific sculptor working between the 17th and 18th centuries in Galicia, and to whom we also owe the decoration of Christ’s Chapel. The other chapel represents San Francisco Blanco, from Ourense, who was crucified together with fellow Franciscans in the city of Nagasaki in Japan in 1597.

Observe first of all the ground we are standing on. It is the pavement that once existed in many streets of Ourense. The stones are placed on what is called ‘reo’, which means lying on their side. These pebbles are brought from the river... leer más

Observe first of all the ground we are standing on. It is the pavement that once existed in many streets of Ourense. The stones are placed on what is called ‘reo’, which means lying on their side. These pebbles are brought from the river meaning their transportation is inexpensive.

The name of the square comes from a chapel dedicated to Mary Magdalene, which was owned by the Count of Amarante, and although no longer here, it stood on the corner that leads to Trigo Square. In the centre of the square is a stone cross, perhaps the most beautiful of the city. This originates from the Alameda do Cruceiro, near the Roman bridge. On one side is the Virgin Mary and the other the crucified Christ with a skull at his feet. The stone cross was made in 1718 in granite stone, and executed for both decorative and devotional purposes, substituting the function of crossroad signs.

This square was the unusual “quintana dos mortos” – or cemetery – of Ourense. You can still see burial sites along the side of the church of Santa Maria Nai, partially hidden by a small garden. The square shape of this open space also suggests that it served also as cloister to the church and cemetery to the canons. When the square was no longer in use as a cemetery it became a market where fruit and other food were sold.

On the side of the church there are two plaques. One refers to the most recently founded church in 1724 and the other, above, to the rebuilding of an earlier church in 1084. The church was formerly named after the San Martín de Tours, as according to tradition, King Carriarico converted to Catholicism, and with him the whole kingdom, who thus became patron of the town in the sixth century.

If we move to the facade, which is of eighteenth century baroque, we see some light-coloured marble columns, originally from the building of the fifth or sixth centuries, and, although only hypothesis, we can assume that it was precisely this church which was the old cathedral, an assumption which is supported by the proximity to the bishopric.

Inside, in a small chapel, there is a natural wood altarpiece of Baroque design, known as Churrigueresque, depicting Santa María Nai. This Virgin is the patron saint of tailors who carry her in procession on Easter Saturday and Sunday, the day of the resurrection.

The town market was in the main square and in other nearby squares there were specialised markets of lesser importance, such as this one dedicated to wheat, from which the name of the square is derived. It was also once the potter’s square,... leer más

The town market was in the main square and in other nearby squares there were specialised markets of lesser importance, such as this one dedicated to wheat, from which the name of the square is derived. It was also once the potter’s square, selling ceramic pots, and also the silversmith’s square. The old fountain disappeared giving way to this new one, the Nova Fonta, in the square.

The square is surrounded by porticos and the homes of noblemen, and it continues towards ‘la praza de las Damas’ or Ladies’ Square which was the “the orange tree courtyard” of the cathedral thought by some to be an unfinished cloister. The house that stands out most from the rest, owing to its ornateness, was the work of the architect Jesus Vidal, and was built at end of the 19th century in a Neo-Baroque style. The house to the left of this, is that of the Temes family, in 18th Baroque style.

From here we see the south door and a side view of the cathedral, which draws our attention to its defensive characteristics, with battlements and tower, fulfilling the dual religious and civil purposes of the city’s bishop. The Clock Tower, from the 16th century, was built on top of the original tower, with a noticeable difference between the two constructions.

From this south view, we can see the corbels under the eaves of the roof, decorated with human heads or creatures of fantasy.

The Correxidor was the Mayor-come-Magistrate of the period. Of his residence, nothing remains other than the corner seen ahead of us and to the right, as we stand with our backs to the cathedral. From here, the arms of the Catholic Kings can be... leer más

The Correxidor was the Mayor-come-Magistrate of the period. Of his residence, nothing remains other than the corner seen ahead of us and to the right, as we stand with our backs to the cathedral. From here, the arms of the Catholic Kings can be also seen, which were reset into the façade of the modern building seen today. The commemorative 17th century plaque is in memory to the Correxidor. The city council struggled for years to free itself from the over lordship of the bishop, and serve the king. The old arms of the city only displayed the lion and not the current bridge and the tower, which reflects the desire to serve the king of Leon and not the bishop.

In this square was the first convent of the Franciscans who settled in Ourense from 1238 onwards. The monastery appears to have been burned down due to riots in the late 13th century.

Again we see another interesting perspective of the cathedral with its large lantern tower that lets in light to the main chapel. We also note the balls under the eaves, which inspired the architect Juan Sorolla in his work on the Bishop’s Palace.

The large building presiding over the square is the Carmelite school, which was previously the Temes family home. Next to this is a neo-Gothic chapel, a work by Antonio Crespo from 1897.

The sculpture by Manuel Bucinos, is dedicated to Otero Pedrayo, a distinguished writer from Ourense, a patriarch of Galician literature and belonging to literary group of writers know as the ‘Generación Nos’ or ‘Us Generation’. His most famous work is “Arrededor de sí” in Galician or “Surrounding oneself”. It is partly autobiographical and deals with the path of the ‘Generación Nos’ towards their Galician identity.

Ourense is a city of literature and there are numerous references to them in the form of plaques, sculptures or street names in memory of writers and other artists, including even modern authors, as is seen in the case of the nearby square named ‘Suaves’ dedicated to the rock band.

We continue on into the area of ‘A Esmorga’, which translates as ‘merrymaking’ or ‘revelry’…we find ourselves in the wine district.

The Oca Valladares Palace is one of the Galicia’s most important Gothic-Renaissance stately homes. It was built by Alvaro de Oca y Deza in 1522 although the facade was finished in 1583. It has two floors and its austere frontage brandishes five... leer más

The Oca Valladares Palace is one of the Galicia’s most important Gothic-Renaissance stately homes. It was built by Alvaro de Oca y Deza in 1522 although the facade was finished in 1583. It has two floors and its austere frontage brandishes five coats of arms which also are repeated in the interior.

The stone and the masons that worked on this manor, as well as other historical sites and buildings in Ourense, come from an area close to the city called Reza, also the area where the hot spring are found alongside the River Miño.

The building was abandoned in the 19th century and became an inn for mule drivers, that is to say, a meeting place where they lodged and looked after of their mules and goods. In 1870 it was recovered by the city when the Liceo Recreo de Artesanos de Ourense or Artisan’s Recreational Lyceum of Ourense moved here. This was a group that existed from 1850, originally based in the Rua da Obra, but acquiring greater splendor in this new site. A meeting point for the educationally enlightened, its members included the poet and journalist, Lamas Carvajal and the also poet Curros Enriquez, and among its more notable visitors was Isaac Albéniz, who performed in the ballroom.

The interior is elegant, expressed with a patio full of pieces pertaining to historical events, taking us back to the controversies pertaining to other periods in time. The fountain in the middle, is made of Carrara marble and a work by the sculptor Piñeiro. A stairway to the left leads to the upper gallery from where you can see the whole patio. The paintings, of Galician genre scenes, are by the painter Ramon Buch Buet.

Lamas Carvajal Street, formerly called Rua Nova, was the Jewish Quarter after their forced conversion. Before that time they were scattered around the old part of town, having enjoyed good relationships with the Christians. Regarding the location of the synagogue, it is thought, although no consensus has been reached, that it was found where today the Santa Eufemia church stands.

Those who arrive here early in the morning can enjoy the sun illuminating the most significant feature of the church: the facade, baroque-looking and of great stylistic coherency despite having taken some 100 years to complete. We owe the facade... leer más

Those who arrive here early in the morning can enjoy the sun illuminating the most significant feature of the church: the facade, baroque-looking and of great stylistic coherency despite having taken some 100 years to complete. We owe the facade to the friar Plácido Iglesias, it’s inwardly concave shape could have been intentional in order to achieve an effect of grandeur owing to limited space available. This is because the square of Santa Eufemia is of modern creation, being in the past was full of housing that almost hid the façade. The church is partly unfinished; and although having a newly built tower from 1989, lacks the other that had been planned.

Once again it was a Spanish immigrant returning with wealth from America who donated the funds to build a school for the Jesuits. From the date of the first donation to the start of the building work almost a century passed, for which reason the priests had to meanwhile reside in the neighbouring Palacio de Ocas and look for a new patron who would fund the building work.

The connecting building to the right, was built as a school for the study of grammar, it was then destined to become a school, a museum, and then seminary and residence for priests. It should be noted that both the church as it was and the seminary enjoyed only brief use because of the expulsion of the Jesuits from Spain by the ‘Suppression of the Jesuits’ of 1767. This was under the pretext of having instigated the Esquilache riots. The church fell into disuse and it was Cardinal Quevedo who instigated the transfer of the church of Santa Eufemia North, known as Santo Domingo, to this place, receiving the name of Santa Eufemia del Centro.

The inside shows the typical structure of the church of the Gesú in Rome, which was the model for innumerable Jesuit churches around the world. A large Baroque altarpiece presides over the church with the Cristo de la Esperanza or Christ of Hope in the centre. This is from the 18th century and attributed to José Ferreiro.

Saint Eufemia, who appears both in the facade and inside as a sculpture by Xosé Cid from 1985, enjoys great devotion among the inhabitants of Ourense. According to tradition the saint evangelised in the area of O Xurés and suffered martyrdom for this under Emperor Hadrian. She was buried in the place now called the Sierra de Santa Eufemia –or mountains of Saint Eufemia. Centuries later, in 1060, when a shepherdess discovered the place where she was buried, a hand appeared. Then, on taking off its ring and putting it on she lost her capacity for speech, which she recovered once she returned the ring to the saint. A voice was then heard which said that this was the place where Santa Euphemia was buried. Disputes then broke out between dioceses since the site lay between Braga and Ourense. To solve these disputes it was decided to put the body in a cart drawn by an ox and bury the Saint in the place wherever it stopped. It was Ourense, and this explains the important role of the Saint, both in this church and as well as in the cathedral.

Although the city was not walled, its boundaries were well defined and even had gates such as the Corredoira gate. This was in the Fierro square, before the church of Santo Domingo ever existed. As the city grew the gates were moved. In this... leer más

Although the city was not walled, its boundaries were well defined and even had gates such as the Corredoira gate. This was in the Fierro square, before the church of Santo Domingo ever existed. As the city grew the gates were moved. In this square merchants sold iron related products. The Boan’s house particularly stands out in this square, which holds the interesting family history of how a modest man achieved advancement thanks not only to his cloth business but also by managing to connect the family lineage of a descendant with nobility and with this gain position and wealth. Later would come the search for a historically noble and glorious lineage, which was employed for the purposes of legal trickery. One member of the family even wrote a chronologically ordered historical narrative in search ancestors, such as to end up being related to Saint Facundo, Saint Primitivo, and some of the Gothic kings to mention but a few from a long list

The desire for notoriety of this family led them to give maximum exposure of their coats of arms on the facade of the building as well as commissioning and funding the first chapel of the cathedral and build themselves an ancestral home, that of San Damiano, which is now a country home for rural tourism.

The fountain featured centrally in the square possibly comes from San Estebo do Rivas do Sil. Most of the fountains of the city come from this monastery and the monastery of Oseira, and were brought at the time of Ecclesiastical Confiscations of Mendizábal at the end of the 18 and beginning of the 19th century.

Around this square there are many places to have a glass of wine and a tapa such as orella, which is cooked pig’s ear, as well as local cheeses, octopus, empanadas –or stuffed pastries– and many more traditional or innovative delicacies which makes ‘el tapeo’ –or ‘snacking’– a good culinary choice for eating out.

Calle Lepanto (or Lepanto Street) comes from the former Galician form of the same name which has been Castilianised, although there is no record of inhabitants of Ourense taking part in the Battle of Lepanto. Formerly this was known as the Rua da Obra – roughly translated as ‘Construction Street’ since masons and other workers involved in the building of the cathedral settled here.

The Municipal Museum Building belonged to the Montoto Mendez family, as did the Chapel of Los Remedios, whose coats or arms are repeated on the facade. It is Renaissance from the 16th century, and in 1987 was remodeled to house the museum. It exhibits artwork from various Galician artists. The museum has three floors, two of which are dedicated to contemporary exhibitions and the last floor houses the permanent exhibition “Prieto Nespereira”, composed of 54 previously unseen works. In some cases we can see sketches of illustrations made for the well-known magazines “Blanco y Negro” and “La Billarda” published at the beginning of last century. There are also sketches of his interpretations of the period, made together with peers and distinguished people of the time, and caricatures such as that of his friend Vicente Risco.

The entrance, which is accessed from the square of A Trinidade, comes from the old San Roque or Saint Roch hospital, which was located in the Alameda and it is from there that the representation of the Saint and his dog Melampo comes. The other... leer más

The entrance, which is accessed from the square of A Trinidade, comes from the old San Roque or Saint Roch hospital, which was located in the Alameda and it is from there that the representation of the Saint and his dog Melampo comes. The other two characters represented are possibly Hippocrates and Galen because of their connections to medicine.

Part of the hospital was moved to this location in the 20th century. The church is the oldest preserved in Ourense. Aspects of the fortified appearance of its original construction can be seen together with some Romanesque details. The Gothic-flaming style battlements are from a later period between the 15th and 16th centuries.

In the Trinidad there was also a hospital, in what is currently the parsonage, next to the church. Its location on Rua de Villar is where the pilgrim would arrive, meaning that many of them lodged here. Most pilgrims came from within Portugal or the Via de la Plata (the Silver Route). Instead of joining the French route from Astorga, they would turn towards Ourense. On the entrance of the side of the church, opposite the old hospital, there is a scallop shell, the quintessential symbol of the pilgrims going to Santiago de Compostela.

Entering Feixó Xeronimo Street from the church, we see to the right the Garden of Posío. The Pedrayo Otero Institute moved here and teachers created this garden with seeds from the Botanical Garden of Madrid. There are trees and plants which are not commonly found city parks. Today it stand as an urban enclosure, divided into three levels: the upper level has trees, evocative of a wood, the middle level is a traditional park-walk layout, and the lower level, centered on a palm-lined promenade with lush rose gardens, ends in a lake.

We will now turn to the Otero Pedrayo Institute, which was the first in the city, and which was also a library and museum. The building suffered a devastating fire in 1927 from which some artistic works and books of great value were saved.

In this square stands the small chapel of Saints Cosmas and Damian, with its plateresque style entrance, this being even more in evidence inside. It is the work of the contemporary sculptor Arturo Baltar, resident here since 1980, in which year... leer más

In this square stands the small chapel of Saints Cosmas and Damian, with its plateresque style entrance, this being even more in evidence inside. It is the work of the contemporary sculptor Arturo Baltar, resident here since 1980, in which year the chapel was restored.

Although dealing with the nativity, it is more like an ethnographic exhibition of traditions, local customs and traditional occupations, which ultimately, shows us the way of life in Galicia.

If we look closely at the scenes represented, we find the figures interact with each other between scenes. We find travelling story tellers, who would go from village to village telling stories. There is also an actual crime that was committed, a potter, scenes of festivity in the village squares and examples of traditional Galician architecture.

Baltar was born in Ourense in 1924. His self-teaching character has lead him to work in a personalised manner, with only clay and his own hands. His works are to be found in the main museums of Galicia.

The nativity was commissioned in 1967 by the Nativity Scene Makers Association of Ourense. In the first of the nativities by Arturo Baltar, which was exhibited in the arcades of the city council, there were the most traditionally common figures: that is the baby Jesus, the Virgin Mary, Joseph, an angel, the ox, the mule, and the three wise men. Over subsequent years further characters were incorporated until it reached its current size.

In the city there are eight commemorative plaques, all made by Manuel Figueiras, and one of which is in this square dedicated to the novel “A Esmorga” by Blanco Amor.

The church of Santo Domingo was the fruit of a donation by an ‘indiano’ – that is a Spanish immigrant who returned from the Americas as a wealthy person. He was Domingo Rodriguez de Araujo, originally from Vilanova das Infants in Celanova,... leer más

The church of Santo Domingo was the fruit of a donation by an ‘indiano’ – that is a Spanish immigrant who returned from the Americas as a wealthy person. He was Domingo Rodriguez de Araujo, originally from Vilanova das Infants in Celanova, and who died in Potosi. On returning from America after making his fortune, he founded this convent between 1643 and 1666, which was given to the Dominican monks to run.

After the Ecclesiastical Confiscations, the Dominicans were forced to leave the convent, which was later renamed ‘Santa Eufemia of the North’, but has continued to be popularly known as Santo Domingo.

The convent area had various uses, such as the Provincial or Public Audience Palace, until its demolition to build the current tax office.

The facade is more discreetly decorated than that of Santa Eufemia of the Center. The interior has a single nave with a Latin-cross layout, rib vaulting and pendentives in the vault over the crossing. The main altar, which is 18th century, is by Canseco Castro as well as the altarpieces of Rosario and San Jacinto. This sculptor, who was so prolific in Ourense, although originally from Leon, is buried here in front of the chapel of San Xacinto.

Santo Domingo street, formerly known as Corredoira, connects the O Ferro Square to the San Lazaro Park. This is a pedestrian street, with shops, cafes and buildings that are all witness to its noble past. Arriving at San Lazaro Park we find a large sculpture of Carrabouxo, a character of Xosé Lois González’s invention, who is a cartoonist, and with whom locals are familiar owing to reading his publications in newspapers.

In the past the San Lazaro Park was the venue for the cattle fair and had a chapel dedicated to St. Lazarus. This belonged to the hospital for lepers. The sculpture in representation of an angel is in memory of the fallen of the Spanish Civil War and is the work of Francisco Asorey. Today the square is a meeting place for the locals and communicates the historical city with the more recently developed neighbourhoods.

The church of the Franciscans was built in the 14th century on the city’s high ground, away from the bustle of the city centre. Only the Gothic cloister has been preserved from this original site. The church was moved in 1929 to a new location... leer más

The church of the Franciscans was built in the 14th century on the city’s high ground, away from the bustle of the city centre. Only the Gothic cloister has been preserved from this original site. The church was moved in 1929 to a new location in the park of San Lazaro, to the site where the chapel of San Lazaro was previously located.

The main facade is crowned by a rosette window, and the door, with three archivolts has smooth and striated shaft columns with capitals decorated with plants and animals, as well as some human figures, such as a bagpiper.

Inside, the only nave of the church has a wooden ceiling. The stricking Gothic windows of the chapel, which are ogive –or pointed– with rich hues, create a mystical and intimate atmosphere.

Also of note are the Gothic tombs of family names such as Maceda, Noboa or Cadórniga, rich in details alluding to the nobility and achievements of their occupants.

The old Roman Bridge used to be on the outskirts and was a transit point for travellers, merchants and pilgrims but was also frequented by thieves. The nearby Chapel of los Remedios, built in the 16th century by Méndez Montoto, was intended to... leer más

The old Roman Bridge used to be on the outskirts and was a transit point for travellers, merchants and pilgrims but was also frequented by thieves. The nearby Chapel of los Remedios, built in the 16th century by Méndez Montoto, was intended to Christianise the area, which was essentially a criminal stronghold.

In the field of los Remedios, also known as the Campo de la Verdad – or Field of Truth, duels with knives would take place, as well as ‘romerías’ – or patron saints festivities and livestock fairs.

The bridge is Roman in origin, but its construction has had many modifications and adjustments possibly due to initial construction problems. It is thought that in the original design the central arch was too big, causing stability problems that lasted throughout the Middle Ages.

The Romans chose this location to undertake such an important piece of engineering, with the decision affecting the lives of thousands of people through time, since this was the only way for hundreds of years to cross the Miño River for several kilometers either upstream or downstream.

The Roman bridge, which is one of the main symbols of the city, has been given various names such as Ponte Vella, Ponte Maior or simply A Ponte. Its importance is such that it appears on the shield of the city itself. It is believed that construction began in the first century in the time of Trajan, although according to others it was under the Emperor Augustus. From its original construction just a few stones are left in its foundation. Then in the 12th century, it was rebuilt, and from there came the pointed arches and ramps, but the construction problems were finally solved in the 17th century. The bridge had a tower that was demolished in the 19th century, but the memory of which has been kept alive thanks to its place in the city arms.

Other information about the bridge includes it being only 38 meters above sea level. Until the construction of the New Bridge it was the only crossing point available for kilometers. Crossings were possible however next to the bridge in small boats known as “Porto Auriense “.

The Millennium Bridge acts as the contrasting point to the Roman bridge. Pedestrians have been taken into account and given their own walkway with good views over the river Miño and the city of Ourense. In 1998 the Roman bridge was permanently... leer más

The Millennium Bridge acts as the contrasting point to the Roman bridge. Pedestrians have been taken into account and given their own walkway with good views over the river Miño and the city of Ourense.

In 1998 the Roman bridge was permanently closed to road traffic for conservation reasons. Shortly afterwards the first stone was to be laid for the Millennium Bridge, officially opened on 1st of September 2001. The architect and engineer of this avant-garde piece of work were Alvaro Varela and Juan Calvo.

It has a length of 275 meters and the main span reaches a height of 30 meters. The bracing system, its design and even its illumination at night, has given it an innovative role in the city.

Another bridge that had, and still has, great importance today is the Ponte Nova, located 450 meters upstream from the Roman bridge. It was opened in 1918 benefiting enormously the communication between both sides of the river, and the train station. It was the work of the engineer Martin Diaz de la Banda. The central arch has a span of 25 m, and the remaining six, three on each side, have spans of 12 meters.

The viaduct, opened in 1957, carries the railway line going from Ourense to Zamora. It is 359 meters in length and at a height of 46.5 meters above the river.

Ourense brings together the best of the essence in cuisine. Many of the best known Galician gastronomical products are produced here. Bread, wine, meat and potatoes are just a few of the basic ingredients, abundant in variety and of exquisite... leer más

Ourense brings together the best of the essence in cuisine. Many of the best known Galician gastronomical products are produced here. Bread, wine, meat and potatoes are just a few of the basic ingredients, abundant in variety and of exquisite quality, that form part of our dishes.

It is not of little surprise that, although being an inland province, it has developed a deserved fame for seafood, as is represented above all by its octopus. To be found in Ourense’s culinary expression, prepared in accordance with either the most traditional of methods or indeed incorporating the most innovative and avant-guard approaches, one can try the stuffed pastries, or empanadas, the Galician stew, lamprey, Galician style shoulder of pork with ‘grelos’ –the Spanish word for rapini– and game, depending on the season.

The pantry of Ourense culminates in veritable icons in the area of desserts, such as ´la bica’, a traditional sponge cake, almond biscuits, and cañas rellenas which are fried pastries with fillings. Not to be forgotten is that Ourense is the cradle for marrón glacé which uses the chestnut as its basic ingredient. It embodies the authentic identity of the local cuisine, to the point that one of the most unusual of festivities in the culinary calendar is dedicated to it, known as the Magostos.

All are excellent choices, and can be accompanied with broths of world acclaim. Part of the municipal land falls under the denomination of origin ‘Ribero’, and is the denomination which has historically been associated with Ourense, although the complete viticultural tourist map of the province would also include Ribeira Sacra, Monterri and Valdeorras.

To go wine drinking – a social pastime:
‘Ir de viños’ or to go wine drinking, is one of the identity traits of Ourense, and a must for any visitor to the city. In a small enclave of streets and squares surrounding the cathedral, wines are to be enjoyed, where a ‘pincho’ or ‘tapa’, both of which are miniature jewels of culinary authenticity accompany that glass of wine that is sure to satisfy the most discerning of palates.

The rest of the city offers an unending variety of establishments. Beyond the ‘ruta de los vinos’ or ‘wine route’, we can find the establishments recommended by the Repsol Guide. Granted two stars is the Galileo in Santa Baia, and with one star A Rexidora, in Bentraces, both in Ourense. Also recommended are the restaurants of A Taberna, Adega do Emilio and Habana 83.

Culinary festivals – a testimony to basic ingredients:
The city holds 3 important culinary events: Xantar (The Galician Gastronomy and Tourism Salon) and the spring and autumn editions of the ‘Concurso de los Pinchos’ a competition for making these traditional snacks. However, the yearly calendar is filled with culinary meetings and festivals. Each product can count on a popular celebration to testify to it. Trout, eels, ox, octopus, stews, quails, and the androlla, a cold meat pork sausage, are just a few of a long list of possibilities, which add to the best known festivities, such as carnival and ‘los maios’, where in all the events food is present.

Within the province, note should be made of the octopus festival or ‘A Festa do Pulpo’ of Carballiño, which started what has become one of the most visited and characteristic culinary festivals in all Galicia. It is held on the second Sunday of August in the municipal Carballiño park, and has held the privilege since 1969 of bearing the title ‘Festival of Touristic Interest’.

Ourense has major attractions and unique and indispensable points of interest for tourists. A must is a visit to the Plaza de Abastos -or Provisions Market- which is the largest market in the city. The building itself was built in 1929 and has... leer más

Ourense has major attractions and unique and indispensable points of interest for tourists. A must is a visit to the Plaza de Abastos or Provisions Market which is the largest market in the city.

The building itself was built in 1929 and has more of a palatial air to it than that of a market, it being designed by the architect Manuel Conde. Inside, the stalls taking center stage sell meat, offal, cold meats, fish or shellfish, interspersed with those offering cheese and dairy products.

One of its peculiarities is outside where you can visit the small flower stands and popular “rianxo” where products of the nearby orchards, together with fruit and vegetables are sold along with local wines, also pies, and many other products of the land. This is a must-see for lovers of good food and fresh produce of high quality and one cannot leave without buying a ‘Cea’ bread or trying the local cheese.

If the dates coincide, discerning tourists have the opportunity to see on the 7, 17 or 26 of each month the city market fair. With its lively atmosphere, and directly inherited from the old markets, where livestock was bought and sold, it is a meeting point for the people of the city. Its residents and visitors alike have spent years attending this event where everything is ritual, the tasting of the traditionally prepared octopus and the meat stew – ‘ao caldeiro’ – or taking the opportunity to shop for seeds and plants, clothing, hardware, shoes or distinctive stalls where you can find many interesting curiosities.

For 30 years, the fair has occupied a privileged place on the banks of the Miño. Today it is held in an open plan site which is integrated into the area around the river, covered by a large polyhedral roof construction, hugging the esplanade among oak and eucalyptus trees, and where octopus sellers and barkeepers ply their trade. It is a venue that has been rehabilitated, becoming a benchmark of modernity.

Another unique area is the Santomé Archaeology and Nature Area, notable for both the archaeological importance of the site as well as the ecological value of its environment. A mere 3 km from the town centre, the remains found in recent excavations indicate the existence of two distinct areas of habitation. One corresponds to the Iron Age, in the 1st century, and the others to between the 2nd and 5th centuries, during Roman times.

The Iron Age area is located on the southern slope of the hill, perched above the Lonia river, that serves as a natural defense. From here one can admire the impressive potholes, huge water-eroded rocks, which form natural wells or baths.