A TOUR OF MEDIEVAL PAMPLONA
THE BOROUGHS OF PAMPLONA
The oldest quarter of Pamplona is located in the present-day district of La Navarrería, where the cathedral is to be found. The growth of Pamplona is related to the discovery of the tomb of the apostle St James, following which the city became a stopping point for pilgrims following the French route across the Pyrenees in the direction of Santiago. Kings such as Sancho the Great and saints such as Saint Veremundo were responsible for making it easier for the pilgrims to cross through Navarre by promoting the construction of bridges and hospitals and improving the routes. This influx of travellers also lead to new settlers, the majority Franks, who started to make their home in Pamplona, the first city along the pilgrim’s way. However, instead of settling in the Navarrería, these new inhabitants followed Way of St James and colonized the terraces above the river Arga. In 1129, Alfonso the Warrior confirmed this new settlement as the borough of San Cernin, although with a different legal situation than that of the Navarrería. The name “borough” comes from the French word “Bourg” which means settlement. This name, which at first was only applied to the San Cernin settlement, gradually extended throughout history to designate the rest of the settlements making up the former city of Pamplona. By the middle of the 12th Century, there was already another population settlement to the south of San Cernin, known as the Settlement of San Nicolás.
Relations between the three boroughs were always tense and, on several occasions, armed disputes broke out between the boroughs. As a result, defensive walls were constructed to separate the three settlements and their churches also served as fortresses.
After various conflicts, in the year 1276 the “War of the Navarrería” broke out and this concluded with the destruction of the Navarrería and the closing of the Romanesque cathedral. The chronicler, Guillermo Anelier de Toulouse, relates the damages caused by this conflict:
“You could see soldiers running from one place to another. You could see graves being opened and destroyed, the brains spilling out and heads pulled to pieces. You could see ladies and maidens being maltreated, the crown stolen from the holy crucifix, the silver lamps taken and hidden, chests opened to rob the relics, the chalices, the crosses and the altars… You could see the Navarrería so devastated that the people won’t have a roof over their heads for at least a month, on the contrary they could make grass or sow wheat ”.
The pacification and union of the three boroughs was not achieved until 8th September 1423, when King Charles III dictated the Privilege of the Union, and ordered the walls separating the three settlements to be knocked down and, at the place at which the three settlements converged, he had a single town hall or Casa de La Jureria constructed, where the present day Town Hall still stands.
The Navarrería and the Cathedral
Let’s start the tour round the Navarrería at the Cathedral. Looking at the cathedral building from the front, its medieval features are hidden by the neo-classical portal constructed at the end of the 17th Century to a design by Ventura Rodríguez. However, just walk round the left of the building to the square of San José (1) and you will be able to contemplate the original cathedral walls and one of its original side doorways, dating back to the 15th Century. It’s well worth taking a few moments to take in the calm and peaceful atmosphere of this delightful square. The oldest house to be found here dates back to the sixteenth century, house number 7, which was owned by the cathedral’s musician. This dressed stone construction with an inset pointed arch was erected once the work on the cathedral had been completed. Opposite the cathedral there is a dead end street called “Salsipuedes” (get out if you can) and which ends at the Convent of the Carmelitas, whose façade was designed by the diocesan architect, Florencio Ansoleaga at the end of the 19th century. The same architect also designed the convent of Las Siervas de María, on the corner of the street named Calle Redín (2). If you take a look along this street, you can contemplate the raised passageway used by the nuns to cross the road whilst still remaining within the cloistral complex. You can walk along this romantic street right up to the city ramparts, to the area known as the Rincón del Caballo Blanco (3) (corner of the White Horse) and which has its own particular charm. There is an inn there, constructed in the sixties to a medieval design and making use of some items from former 15th century buildings. At this time, the Mentidero cross (1500) was also placed next to the inn.
THE CATHEDRAL (4). As one of the city’s main sights, a visit to the cathedral is a must. The present gothic building was built over a former Romanesque temple that was seriously damaged during the war of the Navarrería (1276).
The new cloisters were the first part to be constructed, with the work lasting right to the end of the 14th Century. The cloisters are gothic in style with a marked French influence. The sculptured doors giving access to the different rooms are of particular interest, such as the Amparo door and the Precious door, both developing the theme of the Dormition of the Virgin. Before going into the cathedral you can admire the magnificent star vaulting of the Barbazana chapel containing the tomb of the Bishop Arnaldo de Barbazán (1318-1355). A beautiful carving of the Virgin of Consolation presides over the chapel. There is a small cathedral museum in the former refectory, kitchens and granary with an exhibition of an excellent collection of ivory work and gold and silver craftsmanship. Of particular note is the reliquary of the Holy Sepulchre, a present from King Saint Louis of France, with enamelwork from Limoges, the 13th century covers of the Book of the Gospel and the Lignum Crucis reliquary.
Enter the cathedral through the Amparo doorway and you will discover a great building that was principally constructed throughout the 15th Century and which offers a great unity of form and style. Since the restoration of the monarchy in 1134, the Pamplona cathedral has served as a pantheon for the kings of Navarre. However, when the cathedral roofs collapsed in 1390, all but one of the existing tombs were lost. This tomb is known as “La infantita” (the little princess) and it is built into the south wall next to the Amparo doorway. Standing opposite the chancel is the magnificent tomb of Charles III the Noble of Navarre, the monarch who intervened most directly in the construction of the cathedral. The cathedral is well worth a visit just to contemplate this tomb. It is the work of the master, Johan Lome de Tournai, probably from Paris, between 1413 and 1419. He used alabaster from Sástago to make the sculptures and has captured to perfection the features of Charles III and the beauty of his wife, Leonora, and the richness of their apparel.
In addition to this work, the Romanesque image of Santa María la Real in the chancel is of particular note, the early sixteenth century altar screens of Santo Tomás and the Christ of Caparroso, two retables with carvings by Francisco Jiménez Bazcardo and the magnificent Romanesque Christ by Juan de Anchieta, located in the Chapel of San Juan, presided by a Romanesque altarpiece dedicated to this saint.
The Sacristy is also worth a visit, a courtly rococo oasis in the heart of the gothic spirituality pervading the cathedral.
The borough of San Cernin
Go down the street named the Calle Curia until you reach the town hall square and, from there, take the Calle Mayor which will lead you into the former borough of San Cernin.
CHURCH OF SAN SATURNINO (5). The inhabitants of the new borough soon constructed their own church, following the French Provençal style, to such an extent that even today this parish is known by its French name of San Cernin. According to tradition, Saint Sernin, the Bishop Saint of Toulouse, came to Pamplona to help the prelate Saint Honorio evangelise the inhabitants. Just opposite the church porch there is a plate covering the well where the saint baptised the city’s first Christians.
The primitive Romanesque church was destroyed during one of the various conflicts between the boroughs, leading to the construction of a new church – fortress, which was completed in 1277. The cloisters of the initial temple were demolished in 1758 in order to build the chapel of the Virgen del Camino. This chapel was constructed with all the magnificence characteristic of the period, to such an extent that, paradoxically, it is almost bigger than the church itself. An altarpiece by Juan Martín de Andrés presides over this Baroque edifice. It is worth stopping to admire the two small carvings located in niches on either side of the tabernacle, representing the Virgin Mary and Saint Teresa. The carvings were brought from Naples in 1772 and, in addition to their grace and elegance of movement, they are also noted for the extraordinary quality of the polychroming, with Saint Teresa wearing a flowered cape over a brown Carmelite nun’s habit.
The atrium is a historical restoration made by the diocesan architect, Florencio Ansoleaga in 1907. It contains a late 13th century or early 14th century portal and the tomb of the Cruzat family, dating back to the 15th century and which was moved from the cloisters.
Walking along the Calle la Campana, you will come to the former Treasury or Cámara de Comptos (6), an example of late gothic civilian architecture. This former noble home was converted into the Kingdom’s Treasury in the 16th Century. The pointed arch doorway leads to a barrel-vaulted walkway ending in a small patio.
The Plaza de San Francisco square (7) was named after the Franciscan convent, with its church and old prison, that used to stand there until it was demolished following the sale of church lands brought about by Mendizabal in 1836. According to tradition, Saint Francisco himself intervened in the founding of the first Franciscan monastery when he came through Pamplona on the pilgrims’ route to Santiago. As the story goes, this pacific saint was so troubled by the constant fighting he had witnessed between the boroughs that he took a detour from his route and went to Tudela to see King Sancho the Strong to try and mediate and bring peace to the city.
The borough of San Nicolás
THE CHURCH OF SAN NICOLAS (8). This parish church was probably erected at the same time as the New Borough of San Nicolas, although the first news we have of it is dated 1177. Due to the constant disputes between the different boroughs of Pamplona, the parish churches inevitably formed part of the inhabitants’ defences and, therefore the church of San Nicolas must also have been constructed as a fortress. One of such confrontations took place in 1222, when the inhabitants of San Cernin attacked the Borough of San Nicolás, destroying and setting fire to its parish church, which subsequently had to be reconstructed. This work was carried out during the reign of Sancho VII the Strong, coinciding with the erection of the great Cistercian monasteries of Navarre. The imprint of the Cistercian style can be recognised in the austerity and soberness of the church’s aisles.
In 1276, another conflict broke out between the boroughs, causing further damage to the church of San Nicolas. During the reign of Charles III the Noble (1387 – 1425) the crossing and chevet vaulting were reconstructed, as indicated by the king’s coat of arms on the vault keystones. In the 14th century, the constant conflicts lead to the reinforcement of the defensive elements of the church with a new tower was constructed, overlooking the parish cemetery, situated in the square of San Nicolás. The Chemin de ronde bears witness to the church’s former defensive function.
The end of the 19th century and beginning of the 20th century saw the inauguration of the new suburban extension of Pamplona, called the Primer Ensanche and the urbanisation of the Paseo de Sarastate, which severely affected the exterior part of the church. This was when the portico was erected, in addition to the parish house and a new door was opened onto the Paseo. The architect, Angel Goicoechea was responsible for carrying out all these reforms, although many of these modifications had already been put forward by Florencio Ansoleaga.
Inside the parish church you will find several works of interest, such as the 15th century Crucifix presiding over the temple, or the mid-sixteenth century carving of the church saint, San Nicolás. In addition, the temple holds an interesting collection of baroque altarpieces, amongst which the most notable are those of San Miguel, Santa Ana, San Mauro and San Eloy. The latter item dates back to 1721 and is the work of the sculptor Fermín de Larráinzar, it was acquired by the guild of shoemakers in Pamplona, as can be seen by an inscription on the base.
A great organ can be found in the choir, made in 1769 and, together with the organ of Santo Domingo, it is the most important one in the city.