Toledo is one of the most beautiful cities in the country. It has everything: picturesque views, beautiful art, engrossing history, and impressive architecture. The only serious problem with Toledo is that it is so close to Madrid, which makes it a haven for tourists. Now of course every city has tourists; but no other city in Spain, not even Barcelona, is so entirely oriented toward foreign visitors.
Toledo is hardly a city anymore, but a giant museum. Nearly every restaurant and shop exists exclusively for visitors. Tour groups crowd the streets; tour buses surround the city. There is even a zip-line so that runs over the Tajo River, so that people can experience the same thrill as provided in any good amusement park. While it does look fun, the sound of zipping and screaming does disturb the pleasure of standing on the medieval San Martín bridge. It is difficult even to enjoy a peaceful walk in the city, since chances are you will be asked by some passersby to take a photo of them.
But the tourists must be tolerated. The city is worth it. So, without further ado, here are my favorite sites to visit in Toledo.
The City on a Hill
We have to start with the city itself. Seen from the iconic mirador above the river valley, the city is a sight worthy of a painting (which, of course, it was, by none other than El Greco). Toledo stands majestically on a hill, overlooking the whole surrounding area. Houses with beige walls and red roofs are jammed into a chaotic jumble, squeezed into the limited space of the hillside. No green parks can be seen in the city; just stone and tile. Below runs the Tajo River, with trees growing along its banks.
The two most prominent buildings of the skyline are the Alcázar and the Cathedral. The first is an old fortress, built during the reign of Charles V. It is a massive, severe, and merciless building, with four large spires and a cheerless grey façade. The cathedral is slightly more graceful; but the spiky, gothic tower hardly lifts the mood. In short, Toledo looks medieval.
From any direction, the approach to Toledo is impressive. You can see the old city walls, clinging to the hillside; the Puerta de Bisagra, a massive fortified gate; the Puente de Alcántra, a stone bridge that still conserves its Roman foundations; or the Puente de San Martín, an even lovelier bridge built in the 13th century. Both of these old bridges have fortifications on either end, in the event of an attack. Toledo was a well protected city.
Before entering the city, it is worth a walk around the perimeter. A wonderful park runs alongside the Tajo River, underneath both of the old bridges. There you can walk beside the rushing water, with the impressive cliffs for scenery. In some places there are old ruins—stone structures built alongside the river—that add a certain romantic charm to the walk. I kept going until I saw a stairwell leading up to the Puente de San Martín, which has one of the best views of the city.
Now you can enter the city itself. Toledo boasts arguably the finest old center in Spain. Cobblestone streets wind up and down the hills, chaotically intersecting with no apparent order or design. The streets twist and turn so much that you can get disoriented very quickly. Once I tried to walk someplace without using a map. I made three attempts, each time taking a different route; and each time I came back to where I left.
Walking up and down the hills can also be a bit exhausting, as your ankles bend on the uneven stone streets. This is unavoidable, for there is really no option but to walk; the streets are so narrow, so crowded, and so closely packed that driving a car would be impracticable (plus it would ruin the experience). But all this is worth it for the feeling that you have been transported in time to medieval Europe.
Walking through town, you will notice shop after shop selling knives and full-sized stores. The reason for this is that, during its heyday in the middle ages, Toledo was famous for the quality of its steel. Another product the city is known for is its marzipan, which is readily available for lovers of the saccharine. After a stroll about town, you can begin to visit some of the seemingly infinite monuments of Toledo.
Santa María la Blanca
Santa María la Blanca is one of the two medieval synagogues in Toledo. As its saintly name indicates, the building was later turned into a church, after Ferdinand and Isabella expelled the Jews from Spain in 1492. Built in 1190, it is one of the oldest surviving synagogues in Europe, and surely one of the most beautiful.
As in many buildings in Toledo, the synagogue has a marked Moorish influence. A wooden roof sits atop rows of crescent arches, just like in a mosque; and ornamenting these arches are unmistakably Moorish decorations, carved in stucco. The place is called “la blanca” (the white) because almost everything inside has been whitewashed. This gives the place an angelic, otherworldly aura, emphasized by the LED lights that have been installed in the floor.
The synagogue does not take very long to visit. I highly recommend it, not only because it is quick and cheap, but because the room still has a certain spiritual power. If you’re like me, you will feel calm and meditative when you stand inside.
Synagogue “El Tránsito” and the Sephardic Museum
Just nearby, in the old Judería (Jewish quarters), is Toledo’s other synagogue, El Tránsito, built in 1356. At first glance this synagogue is less impressive, consisting of a large rectangular room. But the wooden ceiling is lovely, and when you look at the walls you will quickly see what the fuss is about. There you can find exquisite Moorish-style stucco ornamentation, perhaps the finest outside of Andalucia; indeed, if you were simply shown a photo, the synagogue could be mistaken for a room in the Alhambra. It’s amazing how much Islam, Judaism, and Christianity borrowed from each other during this time.
Attached the monastery is a museum of Sephardic culture, which is worth visiting. “Sephardic” is the name given to the distinctive Jewish culture of Medieval Spain, formed from living a long time alongside Christians and Muslims. For many years, Jews had prominent places in the universities as well as the governments of Muslim and Christian rulers. Isabella and Ferdinand even had Jewish advisers; and the El Tránsito synagogue itself was financed by Samuel ha-Levi Abulafia, treasurer of the Christian king Peter of Castille. But the Sephardic Jews were forced to flee Spain or convert to Christianity in that all-important year of Spanish history, 1492, forming a diasporic community throughout the world.
Monastery of San Juan de los Reyes
Nearby both of these synagogues is the Monastery of San Juan de los Reyes. It was built during the reign of the Catholic Monarchs after their victory against Portugal in the Battle of Toro (1476). The battle was significant, since it meant that the most dangerous obstacle to Ferdinand and Isabella’s union had been overcome.
From the outside, it is an impressive gothic structure, studded with spires. If memory serves, the entrance fee is only to gain access to the monastery’s cloisters. This is no problem, since the fee is small and the cloisters are quite lovely. There are two levels, which enclose a small but attractive garden. The openings of the lower level have fine stone mullions—which showcase the medieval ability to carve rock into pretty, delicate shapes. The upper level was even more impressive, mainly because of the Mudéjar style wooden roof, which used royal insignias within a Moorish pattern of crisscrossing lines and stars—another example of cultural intermixture.
The church attached to the cloisters must be entered from another door. It is an impressive space, with tall vaulted ceilings and colorful stained glass. Unfortunately, however, I didn’t get a lot of time to look around, since by the time I went inside mass was about to start.
Church of San Ildefonso Jesuitas
In another part of town, well outside the Judería, is the impressive Church of San Ildefonso Jesuitas. Construction began on the church in 1629, continuing for over 100 years. I actually only went into the church on a whim, since the façade did not particularly interest me. Indeed, I confess that I find the church’s exterior rather ugly.
The inside, however, is a well-lit and open space, with lovely white walls. But the real treat it not inside the church, but above it. You can climb up to the second floor, pause to enjoy that view of the church, and keep ascending up a metal staircase to one of the towers. From there, you can enjoy one of the best views of Toledo.
The Church of San Román
The city’s most impressive example of cultural intermixture, even more than Santa María la Blanca, can be found in the Church of San Román. You could be forgiven for believing it was a mosque. Horseshoe arches support a typically Moorish wooden ceiling; and all along the walls runs what appears to be Arabic script. But the elongated paintings of people on the walls reveal the true nature of this building, for representational art is not found in any Mosque.
In reality, this church is a church and has always been a church. Built in the 13th century, the architects quite deliberately imitated Moorish styles, to the point of even writing fake Arabic on the walls. (It is just scribbling meant to look like Arabic.) It even has a church tower that looks like a minaret. The only off-note is a Renaissance cupola affixed to the church in the 16th century.
In order to find the church you might have to search for the “Museum of Gothic Culture” (Museo de los concilios y de la cultura visigoda), since nowadays that is what the old church is used for. Some of the information and artifacts on display are no doubt interesting, but the church itself is so much more interesting that it was nearly impossible for me to focus on the Visigoths during my visit.
The Burial of the Count of Orgaz
As befitting the former home of El Greco, two of El Greco’s finest paintings can be seen in Toledo. One of the these is The Disrobing of Christ, which you can see in the Cathedral (see below); the other is The Burial of the Count of Orgaz.
This painting is on display in its own special chapel in the Church of Santo Tomé. Originally I thought it was in the church itself, which led to me blustering in and scouring every corner for the famous painting. Don’t bother. There is a special entrance to see it, which leads into a chapel where the titular Count of Orgaz still rests. More than likely this small room will be jam-packed with people; there must have been five separate tour groups when I visited, their guides chattering away in various languages. Nonetheless, El Greco’s masterpiece is worth it.
The subject of the painting is based on a local legend. Don Gonzalo Ruíz, the erstwhile Count of Orgaz (actually, he wasn’t a count; the distinction was awarded to his family later) was a pious man who donated money for the enlargement of the Church of Santo Tomé. In thanks, when Don Gonzalo Ruíz died, Saint Augustine and Saint Stephen are said to have descended from heaven to bury him. El Greco was commissioned to paint this scene in around 1586 by the priest of the church. But the scene was not to be purely historical, for El Greco’s contract stipulated that he must include portraits of many of the well-to-do men in Toledo, for obvious pecuniary reasons.
The painting is magnificent. The shining, golden armor of Count Orgaz, the flowing, finely patterned robes of the saints, the way the dead man’s body lies limply in the arms of his holy companions—all this put to rest any doubts I had about El Greco’s technical mastery. The man could have painted with as much facility as any of the finest artists of the Italian Renaissance.
But this realism is integrated into El Greco’s characteristically unreal style. The mourners gather round the grave in an absent space with no volume or depth. Each of the men wears a frilly collar and a black shirt, and seem remarkably unsurprised by the appearance of the saints. Of course, showing shock would have spoiled the portraits that El Greco integrated into the painting; for here El Greco displays most powerfully his skill as a portrait artists. All the mourner’s faces are wonderfully individual and expressive. El Greco has snuck in an entire gallery of first-class portraits into this religious work.
Above this earthly scene flies the heavenly host, with Mary, Peter, John the Baptist, and Jesus in the center, surrounded by angels and saints.There is an interesting mix of contrast and continuity between the lower and the upper halves. The otherwordly observers glow with eternal life, while the black funeral scene below reeks of human mortality and decay; and yet all the figures seem to occupy the same continuous space. The descent of the two saints, garbed in bright yellow robes, bolsters the impression that the boundary between heaven and earth has been ruptured. And if you look long enough at this painting, you may feel this rupture all the more powerfully, as El Greco’s spiritual beauty shines into our profane world.
The Alcázar of Toledo
The largest building in Toledo is its Alcázar, a word that comes from Arabic, meaning “fortress.” Crowning the city at its highest point, it is indeed an ideal spot for a fortification, as the Romans realized thousands of years ago. Roman, Moorish, and medieval Christian ruins still lay in the basement of the building.
But the Alcázar’s most famous battle occured far more recently. During the Spanish Civil War, the Francoist colonel José Moscardó Ituarte held out in a prolonged siege against vastly superior Republic forces. Before even the end of the war, this siege became part of the Spanish fascist mythology. In particular, it was told that the colonel willingly let the Republic forces execute his son—whom they had captured—rather than give up the fortress. Whether truth or exaggeration, the fortress became an iconic symbol of Francoist Spain.
That siege almost entirely destroyed the building. It has since been rebuilt, just as splendid as ever. Though the spot has been continually occupied for hundreds of years, the building’s current design hails from Spain’s Golden Age. Juan de Herrera, who helped to design El Escorial, also contributed to this equally severe structure.
The fortress is now home to a military museum, normally free to visit. It is a mixed bag. There are life-sized models of soldiers, fully equipped; there are old cars and helicopters; there are weapons and armor from Roman times to the present day, and explanations of battles and tactics. Most unexpected was the museum’s massive collection of toy soldiers. But the building itself proved more interesting than any of these displays, continually surprising the visitor with its vastness.
The Cathedral of Toledo
By now I have seen enough cathedrals that I can say with confidence that the Toledo Cathedral has the finest interior of any in Spain, and perhaps in Europe. It is a jewel in the crown of Spain and obligatory if you visit the town.
To buy tickets, you must go to a small building across the street from the cathedral, where you will be herded through the gift shop before you can make your purchase. The ticket comes with an audioguide, with is extremely well-made. You will enter through a door in the cathedral’s side—a really ugly portal. It has four tasteless Corinthian columns built into the façade. I don’t know why this was done to the cathedral, but whoever did so should be kept away from all religious structure in the future.
Generally speaking, the Toledo Cathedral is not remarkably attractive from the outside. It has one impressive tower; but on the other side is a stumpy Renaissance cupola that throws the whole structure off balance. Certainly the cathedral cannot compare with the mountains of spires you find in Burgos. Nevertheless, the three portals in the front are truly splendid; and the building is covered with dramatic robed figures, preaching to eternity with arms outstretched.
It is the inside that is so impressive. Every inch of space is covered with decoration, in a dazzling mixture of styles, and all of it first-rate. I wish I could give a full overview of every little piece of the building but there is simply too much to see. Here are some highlights.
Like any respectable gothic cathedral, the Toledo Cathedral was built to emphasize height. The vaulted ceiling hangs more than a hundred feet above you, supported by impossibly tall columns of stone. The stained glass windows allow a dull glow to reach the interior, enough to fully illuminate the top but not the bottom of the building; thus a spooky and somber darkness pervades the whole space.
The cathedral has many portals. From the inside, the most impressive of these is the Portal of the Lions. Over the doorway, a breathtaking series of friezes have been carved in the plateresque style, the distinctive ornamental style of the Spanish Golden Age. We see the genealogy of Mary, a tree that begins with Abraham and ends with the Coronation of the Virgin in the center. Emerging from the top of this work is the organ, its pipes jutting from the wall.
After you walk around the main chapel, exploring the lovely decorations that cover both the inside and outside of the central choir and the resplendent golden central altarpiece, you will come upon the most striking and original artwork in the cathedral: El Transparente. This is a marvelous altar that incorporates both painting, stucco, and statues in marble and bronze, which stretches from the ground all the way up to the ceiling and beyond. Right behind the main altar is a marble sculpture of the Virgin Mary seated, Jesus in her lap, surrounded by white angels with bronze wings. Above her is a heavenly glow, with bronze shafts of lights emanating in all directions; and baby-faced cherubim fly around, basking happily in the sunshine. Really, there are too many figures to describe or identify. It is absolutely stunning.
But the work doesn’t stop there. A hole has been made in the thick ceiling above, allowing sunlight to shine directly onto the work. And surrounding this opening are colorful paintings and seated statues, all of them holy figures who calmly look down on you from several stories up, as the light of heaven pours in from beyond. I cannot fathom the technical challenges of such a work. The vertical arrangement of the figures, the mastery of so many different artistic media, the engineering problem involved in cutting a hole in the roof—and yet the final effect is not strained at all, but tasteful and magnificent.
All this is just a taste of the beauty you can find in the main chapel; but there is much more to see. One of the most impressive rooms in the cathedral is the Chapterhouse. This room was used for meetings with the Archbishop of Toledo, a position which has long been the most powerful religious title in Spain. The archbishop’s golden chair stands in the center of the room, opposite the door; running along the rest of the walls is a wooden bench, where everyone else would sit. The coffered roof is of gilded wood, divided into geometrical shapes. On the upper half of the wall is a series of frescos, showing scenes from the life of Jesus; above the door is an excellent portrayal of the Last Judgment. Running below this, above the wooden bench, is a series of portraits of the Archbishops of Toledo, going back to the very beginning. It is fascinating to see how the style of portraits changes throughout the many years.
Surpassing even the Chapterhouse is the Sacristy—traditionally, where the archbishop would prepare to give services. Nowadays, the huge room is used as an art museum. An enormous fresco covers the entire barrel-vaulted ceiling; it depicts a massive host of angels gathered around a heavenly light, which shines from the word “Yahweh” written in Hebrew. This style of ceiling decoration was common enough in the Spain of the 17th century, but this is the most stunning and successful example I have seen. I once caught myself drooling as I stared up at it, lost in the illusion that I was looking into heaven itself.
Excellent paintings are hung all along the walls, many by El Greco. The most notable of these is his Disrobing of Christ, which stands in the very center of the room. El Greco captures the moment right before Christ is stripped of his clothes. Jesus stands in the center, staring up into heaven, his bright red robe enveloping his body. He is looking into heaven with a serene and sad expression. His eyes seem moist with tears. A noisy, chaotic rabble surrounds him. But what is most striking is that none of them seems to be paying attention to Christ; instead they are absorbed with each other, seemingly consumed with petty argument. Thus the figure of Jesus stands isolated among the crowd, untouchable, unearthly, abandoned by humanity but not abandoning us in return. In short, it is a masterpiece of religious art.
The Toledo Cathedral also has a lovely cloister. On the outside wall is a series of frescos depicting the doings and lives of several saints from the history of Toledo. From this cloister you can access the Chapel of Saint Blaise. This is an octagonal room, built in the 14th century. Originally the walls were covered with a series of medieval frescos. But unfortunately, since the chapel was built below street level, water has destroyed many of these. This is a real shame, because the remains are utterly enchanting. In style, they strongly remind me of images I have seen of Giotto’s work, and indeed the artists (their names are unknown) may well have been directly influenced by Giotto, as they were from Florence.
This is just a taste of what you can find in the Toledo Cathedral. Inside you can find superb examples in every medium—friezes, paintings, sculptures, architecture, the decorative arts—of nearly every phase and style of Spanish art: plateresque, Mudéjar, neoclassical, renaissance, baroque, and of course gothic. But what is most miraculous is that all these disparate elements combine to form a perfect whole. It is one of the greatest artistic projects in the world, and something I will always recall with awe.