28 Best Sights in Castile–Leon and Castile–La Mancha, Spain

The battlement apse of Ávila's cathedral forms the most impressive part of the city's walls. Entering the town gate to the right of the apse, you can reach the sculpted north portal by turning left and walking a few steps. The west portal, flanked by 18th-century towers, is notable for the crude carvings of hairy male figures on each side. Known as "wild men," these figures appear in many Castilian palaces of this period. The Transitional Gothic structure, with its granite nave, is considered to be the first Gothic cathedral in Spain. Look for the early-16th-century marble sepulchre of Bishop Alonso de Madrigal. Known as El Tostado ("the Toasted One") for his swarthy complexion, the bishop was a tiny man of enormous intellect. When on one occasion Pope Eugenius IV ordered him to stand—mistakenly thinking him to still be on his knees—the bishop pointed to the space between his eyebrows and hairline, and retorted, "A man's stature is to be measured from here to here!"

The cathedral contains such a wealth of art and other treasures that the local burghers lynched their civil governor in 1869 for trying to take an inventory of it, fearing that he was plotting to steal their riches. Just as opulent is the sculpted flamboyant Gothic facade. The cornerstone was laid in 1221, and the two 275-foot towers were completed in the 14th century, though the final chapel was not finished until 1731. There are 13 chapels, the most elaborate of which is the hexagonal Condestable Chapel. You'll find the tomb of El Cid (1026–99) and his wife, Ximena, under the transept. El Cid (Rodrigo Díaz de Vivar) was a feudal warlord revered for his victories over the Moors, though he fought for them as well; the medieval Song of My Cid transformed him into a Spanish national hero.

At the other end of the cathedral, high above the West Door, is the Reloj de Papamoscas (Flycatcher Clock), named for the sculptured bird that opens its mouth as the hands mark each hour. The grilles around the choir have some of the finest wrought-iron work in central Spain, and the choir itself has 103 delicately carved walnut stalls, no two alike. The 13th-century stained-glass windows were destroyed in 1813, one of many cultural casualties of Napoleon's retreating troops. The excellent free audio guide has a kid-friendly option.

The pride of León is its soaring cathedral, begun in 1205. It is an outstanding example of Gothic architecture complete with gargoyles, flying buttresses, and pointed arches. Its 2,000 square yards of vivid stained-glass panels—second only, perhaps, to those in Chartres, France—depict biblical stories and Castilian landscapes. A glass door to the choir gives an unobstructed view of nave windows and the painted altarpiece, framed with gold leaf. The cathedral also contains the sculpted tomb of King Ordoño II, who moved the capital of Christian Spain to León. The museum's collection boasts giant medieval hymnals, textiles, sculptures, wood carvings, and paintings. Look for the carved-wood Mudejar archive, with a letter of the alphabet above each door—it's one of the world's oldest filing cabinets. Guided tours can be scheduled by phone.

Segovia's 16th-century cathedral was built to replace an earlier one destroyed during the revolt of the Comuneros against Carlos V. It's one of the country's last great examples of the Gothic style. The designs were drawn up by the leading late-Gothicist Juan Gil de Hontañón and executed by his son Rodrigo, in whose work you can see a transition from the Gothic to the Renaissance style. The interior, illuminated by 16th-century Flemish windows, is light and uncluttered (save for the wooden neoclassical choir). Across from the entrance, on the southern transept, is a door opening into the late-Gothic cloister, the work of architect Juan Guas. Off the cloister, a small museum of religious art, installed partly in the first-floor chapter house, has a white-and-gold 17th-century ceiling, a late example of artesonado (a Mudejar technique using intricately joined wooden slats).

One of the most impressive structures in all of Spain, this is a must-see on any visit to the city. The elaborate structure sits on the site of what was once Toledo's great mosque (of which only a column and the cistern remain). It owes its impressive Mozarabic chapel, with an elongated dome crowning the west facade, to El Greco's only son. The rest of the facade is mainly early 15th century. Immediately to your right is a beautifully carved plateresque doorway by Covarrubias, marking the entrance to the Treasury, which houses a small crucifixion scene by the Italian painter Cimabue and an extraordinarily intricate late-15th-century monstrance by Juan del Arfe. The ceiling is an excellent example of Mudejar (11th- to 16th-century Moorish-influenced) workmanship. From here, walk around to the ambulatory. In addition to Italianate frescoes by Juan de Borgoña and an exemplary baroque illusionism by Narciso Tomé known as the Transparente, you’ll find several El Grecos, including one version of El Espolio (Christ Being Stripped of His Raiment), the first recorded instance of the painter in Spain.

Founded in 1419, this convent hides a 16th-century cloister that is the most fantastically decorated in Salamanca, if not all of Spain. The capitals of its two superimposed Salmantine arcades are crowded with a baffling profusion of grotesques that can absorb you for hours. Don't forget to look down: the interlocking diamond pattern on the ground floor of the cloister is decorated with the knobby vertebrae of goats and sheep. It's an eerie yet perfect accompaniment to all the grinning disfigured heads sprouting from the capitals looming above you. The museum has a fascinating exhibit on Spain's little-known slavery industry.  Seek out the traditional sweets made by the nuns.

The convent's monks, among the most enlightened teachers at the university in medieval times, introduced Christopher Columbus to Isabel (hence his statue in the nearby Plaza de Colón, back toward Calle de San Pablo). The complex was designed by one of the monks who lived here, Juan de Álava. The west facade, a thrilling plateresque masterwork in which sculpted figures and ornamentation are piled up to a height of more than 98 feet, is a gathering spot for tired tourists and picnicking locals, but the crown jewel of the structure is a glowing golden sandstone cloister with Gothic arcading punctuated by tall spindly columns adorned with classical motifs. The church, unified and uncluttered but also dark and severe, allows the one note of color provided by the ornate and gilded high altar of 1692. An awe-inspiring baroque masterpiece by José Churriguera, it deserves five minutes of just sitting and staring. 

This 11th-century hermitage is in ruins, but its location—on a peninsula jutting out into a bend 100 meters above the Duratón River—is extraordinary. You'll need a car to get there, about 15 minutes' drive west of Sepúlveda. After parking, walk along the marked path—the surrounding area is a natural park and a protected nesting ground for rare vultures. Try to go at sunset; when the sun sets the monastery and river glow. Inside the monastery, there's a small chapel and plaque describing the life of San Frutos, the patron saint of Segovia. An ancient pilgrimage route stretches 77 km (48 miles) from the monastery to Segovia's cathedral, and pilgrims still walk it each year. As an add-on to the trip, you can rent kayaks from NaturalTur to paddle the river ( www.naturaltur.com;  92/152–1727).

Sometimes called "Los Jesuitas" for the religious order that founded it, the Iglesia de San Ildefonso is named for Toledo's patron saint, a 7th-century bishop. It was consecrated in 1718 after the baroque stone facade with twin Corinthian columns took 150 years to build. Its semispherical dome is one of the icons of Toledo's skyline. This impressive building's tower affords some of the best views over Toledo.

Not to be confused with the marzipan shop bearing the same name, this chapel topped with a Mudejar tower was built specially to house El Greco's most masterful painting, The Burial of Count Orgaz. Using vivid colors and splashes of light, it portrays the benefactor of the church being buried with the posthumous assistance of St. Augustine and St. Stephen, who have appeared at the funeral to thank the count for his donations to religious institutions named after the two saints. Though the count's burial took place in the 14th century, El Greco painted the onlookers in contemporary 16th-century costumes and included people he knew; the boy in the foreground is El Greco's son, and the sixth figure on the left is said to be the artist himself. Santo Tomé is Toledo's most visited church besides the cathedral, so to avoid crowds, plan to visit as soon as the building opens.

Nearest the river stands the Catedral Vieja (Old Cathedral), built in the late 12th century and one of the most riveting examples of the Spanish Romanesque. Because the dome of the crossing tower has strange plumelike ribbing, it's known as the Torre del Gallo (Rooster's Tower). The much larger Catedral Nueva (New Cathedral) went up between 1513 and 1526 under the late-Gothic architect Juan Gil de Hontañón. Controversially, a 1992 restoration added an astronaut carving to the facade as a wink to the modern era—see if you can spot it. Both cathedrals are part of the same complex, though they have different visiting hours and you need to enter the New to get to the Old.

This convent church in western Toledo was erected by Fernando and Isabel to commemorate their victory at the Battle of Toro in 1476. (It was also intended to be their burial place, but their wish changed after Granada was recaptured from the Moors in 1492, and their actual tomb is in that city's Capilla Real.) The breathtakingly intricate building is largely the work of architect Juan Guas, who considered it his masterpiece and asked to be buried there himself. In true plateresque fashion, the white interior is covered with inscriptions and heraldic motifs.

Originally a home for knights of the Order of St. James, who patrolled the Camino de Santiago, this monastery was begun in 1513 by the head of the order, King Ferdinand. It is now a parador. The plateresque facade is a majestic swath of small, intricate sculptures (many depicting knights and lords) and ornamentation—one of the most impressive Renaissance works in Spain. Inside, a cloister full of medieval statues leads you to the bar, which still has the original defensive arrow slits as windows. As the Anexo Monumental del Museo de León, the convent also displays historic paintings and artifacts.

This sandstone basilica was built into the side of the city wall in 1063 and rebuilt in the 12th century on the site of an ancient Roman temple. Adjoining the basilica, the Panteón de los Reyes (Royal Pantheon), which has been called "the Sistine Chapel of Romanesque art," has vibrant 12th-century frescoes on its pillars and ceiling. Look for the agricultural calendar painted on one archway, showing which farming task should be performed each month. Twenty-three kings and queens were buried here, but their tombs were destroyed by French troops during the Napoleonic Wars. Treasures in the adjacent Museo de San Isidoro include a jewel-encrusted agate chalice, a richly illustrated handwritten Bible, and polychrome wood statues of the Virgin Mary. Admission includes a guided tour of the Royal Pantheon and museum.

Where this massive Romanesque basilica stands, it's said that St. Vincent was martyred in 303 AD with his sisters, Sts. Sabina and Cristeta. Construction began in 1130, though the complex was restored in the late 19th and early 20th centuries. The west front, shielded by a vestibule, displays damaged but expressive carvings depicting the death of Lazarus and the parable of the rich man's table. The sarcophagus of St. Vincent forms the centerpiece of the interior. The extraordinary Eastern-influenced canopy above the sarcophagus is a 15th-century addition. Combined, these elements form one of Spain's most prized examples of Romanesque architecture.

The plain facade of this 15th-century Carthusian monastery, some 3 km (2 miles) outside the historic center, belies a richly decorated interior. There's an altarpiece by Gil de Siloe that is said to be gilded with the first gold plundered in the Americas.

Built in the 12th century atop ruins of a conquered mosque, the cathedral, which looms over the Plaza Mayor, lost its Gothic character in the Renaissance. Inside are the tombs of the cathedral's founding bishops, an impressive portico of the Apostles, and a Byzantine reliquary. There's also a museum in the once-cellar of the Bishop's Palace containing a jewel-encrusted Byzantine diptych of the 13th century, a Crucifixion by the 15th-century Flemish artist Gerard David, a variety of carpets from the 16th through 18th centuries, and two small El Grecos. An excellent audio guide is included in the price of admission.

Begun around 1150 and completed in the 16th century, Sigüenza's cathedral combines Romanesque, Gothic, and Renaissance architecture. Wander from the late-Gothic cloister to a room lined with 17th-century Flemish tapestries, then onto the north transept, housing the 15th-century plateresque tomb of Dom Fadrique of Portugal. The Chapel of the Doncel (to the right of the sanctuary) contains Don Martín Vázquez de Arca's tomb, commissioned by Queen Isabel, to whom Don Martín served as doncel (page) before an untimely death at the gates of Granada in 1486. In a refurbished early-19th-century house next to the cathedral's west facade, the small Diocesan Museum has a prehistoric section and religious art from the 12th to 18th century. It also runs the weekend tours of the burial chambers (catacombs) under the cathedral—a spooky favorite for kids.

Founded in 1131, this is Toledo's oldest and largest convent—and it's still in use. The handful of nuns who live here produce sweet wine and marzipan. The impressive complex, a bit outside the city center, includes ruins of a mosque on which a chapel was built in the Middle Ages, those of an Islamic house and courtyard (with an ancient well and Arab baths), and those of a Jewish house from the same period. Tours, offered twice daily (though not dependably—be forewarned), might include a visit to the kitchen where the Mother Superior will let you sample some sweets if she's in a good mood. Skip the touristy marzipan shops and buy the real stuff here (sweets are sold at the entrance around the corner in Plaza Padilla). There's also an adjacent cultural center with rotating history exhibits.

This Carmelite convent was founded in the 17th century on the site of the St. Teresa's birthplace. Teresa's account of an ecstatic vision, in which an angel pierced her heart, inspired many baroque artists, most famously the Italian sculptor Giovanni Bernini. There's a small museum with creepy relics, including one of Teresa's fingers. You can also see the small and rather gloomy garden where she played as a child.

This 16th-century Cistercian convent houses the earliest of El Greco's Toledo paintings as well as the crypt where the artist is believed to be buried. The friendly nuns at the convent—of whom eight remain—will show you around its odd little museum, which includes decaying bone relics of little-known saints and a life-size model of John the Baptist's decapitated head.

This 11th-century wonder is the oldest Romanesque church in the province. The carvings on its capitals, probably by a Moorish convert, are quite outlandish.

This isolated Romanesque church on the outskirts of town was built in 1208 for the Knights Templar. Like other buildings associated with the order, it has 12 sides, inspired by the Church of the Holy Sepulchre in Jerusalem. It's about a 45-minute walk from town (you can see this church on a cliffside from the castle windows), but the trek pays off in full when you climb the bell tower and see the Segovia skyline silhouetted against the Sierra de Guadarrama.

Built in the 12th century and a model example of the Segovian Romanesque style, this church, a five-minute walk outside the town walls, is an architectural marvel. The exterior is notable for its arcaded porch, where church meetings were once held. The virtually untouched interior is dominated by massive columns, whose capitals carry such carved scenes as the Flight into Egypt and the Adoration of the Magi. The vaulting on the crossing shows the Moorish influence on Spanish medieval architecture. It opens for Mass only.

Hidden in a virtually unspoiled part of Toledo, this early-13th-century Mudejar church (built on the site of an earlier Visigoth one) is now the Museo de los Concilios y de la Cultura Visigoda (Visigoth Museum) with exhibits of statuary, manuscript illustrations, jewelry, and an extensive collection of frescoes. The church tower is adjacent to the ruins of Roman baths.

The museum within this Gothic cathedral displays 10th- and 12th-century chests, religious silverware, and paintings and sculptures by Astorgans through the ages, but the real treasure is the cathedral itself. You'll be especially wowed by the chancel, which contains Spain's most elaborate Romanist (Late Renaissance) retable, and by the choir, sculpted from walnut wood in an exuberant Flemish style.

This convent on the outskirts of town, founded in 1187 by King Alfonso VIII, is still run by Cistercian nuns. There's a small on-site textile museum, but the building's main attraction is its stained-glass panels, some of the oldest in Spain. Admission includes a guided tour (Spanish only), which is the only way to view the monastery.   The monastery closes from 2 to 4 pm.

In an unlikely location—among apartment blocks a good 10-minute walk from the walls—is one of the most important religious institutions in Castile. The monastery was founded by Fernando and Isabel with the backing of Inquisitor-General Tomás de Torquemada, largely responsible for the expulsion of the Jews per the Alhambra Decree, who is buried in the sacristy. Further funds were provided by the confiscated property of converted Jews who were dispossessed during the Inquisition. Three decorated cloisters lead to the church; inside, a masterful high altar (circa 1506) by Pedro Berruguete overlooks a serene marble tomb by the Italian artist Domenico Fancelli. One of the earliest examples of the Italian Renaissance style in Spain, this work was built for Prince Juan, the only son of Fernando and Isabel, who died at 19. After Juan's burial here, his heartbroken parents found themselves unable to return.