CHURCH OF SANTIAGO
15 minutesIt was part of the bustling Tenerías neighborhood, a popular area connected to the Tormes river where tanners, fishermen, and laundresses worked. However, frequent floods and, later, the disappearance of traditional trades led to its decline until the neighborhood practically vanished in the 20th century.
The original building was a simple Romanesque-Mudéjar temple, with three naves and brick apses decorated with arcades. But its poor condition necessitated a radical intervention between 1951 and 1965 directed by Anselmo Arenillas. What was intended to be a restoration ended up being an almost total reconstruction. Therefore, the church we see today is not the original medieval one, but a Neo-Mudéjar recreation that reinterpreted the ancient style. More than for its authenticity, it stands out as a testament to the history of the disappeared neighborhood.
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The Church of Santiago, located next to the Roman Bridge of Salamanca, is a temple of medieval origin whose foundation is placed in the mid-12th century. It was the first temple encountered by pilgrims of the Way of St. James once they crossed the bridge. Furthermore, for centuries it retained important privileges such as the right of asylum. Until the 19th century, the City Council would go there on horseback on the eve and on the day of St. James to honor the saint. It was suppressed as a parish in the parochial reform carried out by Father Cámara at the end of the 19th century.
The original building was a characteristic example of Salmantine Romanesque-Mudejar style. It had a basilical plan with three naves separated by wide arches and a chancel formed by three stepped apses, with the central one being polygonal and the lateral ones semicircular. The construction combined ashlar masonry in the foundations with brick in the elevations, decorated with blind arcades. Inside, the naves were covered with wooden roofs, while the chancel had stone vaults. At the foot of the temple was the bell tower, a common element in this type of church.
Over time, the building suffered progressive deterioration due, above all, to the floods of the Tormes River and the abandonment of the urban environment. Although it was declared a Historic-Artistic Site in 1931, its state of preservation was so precarious that a profound intervention was opted for between 1951 and 1965, directed by Anselmo Arenillas. This action, more than a restoration, involved an almost complete reconstruction of the temple: original remains such as the bell tower were removed, the apses and walls were rebuilt, and the accesses were modified.
In addition, new architectural elements were incorporated, such as a quadrangular dome lantern and a new bell tower, which did not exist in the medieval building. The exterior was also reorganized, freeing the perimeter from attached constructions and decorating the walls with bands of blind arches. Elements such as an old chapel window were moved to the main facade, which significantly altered the original image of the temple. The final result is an idealized reinterpretation of Romanesque-Mudejar style, typical of 20th-century restoration criteria.
In its urban context, the church was part of the old Tenerías neighborhood, a very active area linked to traditional trades of the Tormes River, such as tanners, fishermen, or washerwomen. This environment progressively disappeared during the 20th century, which left the temple isolated and further reinforced its character as a historical vestige within the city.
Externally, the entire perimeter of the church was cleared by demolishing the adjoining buildings on its south side. The walls were adorned with a band of blind arches running from the cornice to the plinth, while the central apse was given a double band of arcades separated by an impost line. The old camarín window, originally in the apse, was moved to the western facade, placed above the main entrance of the temple, and a small bell tower was built above it. In conclusion, the intervention was used by the architect to construct what he considered to be an archetype of Romanesque Mudéjar architecture in the province of Salamanca.
The church of Santiago has been closed for years to worship and the public, so only its external structure can be seen.