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Second Cities and Third Spaces
  • Jolene Unland
  • Jolene Unland

Second Cities and Third Spaces

Second Cities, Third Spaces. Powerful cities that shape/d how empires actually worked.
They were and are hubs, borderlands, faith crossroads, and money centers where goods and ideas move, and so did/does power between rulers and cultures. Leggi altro
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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Casa del Capitán Medina, 15th century

    16 marzo, Spagna ⋅ ☀️ 18 °C

    Today was moving day. For the next week we’ve rented this house in Úbeda.

    The Casa del Capitán Medina, dating to the late 15th century, was originally the home of the Medina family, notable for their military and noble lineage. Its design blends Gothic-Mudéjar elements—such as an octagonal-columned courtyard and intricately carved wooden corbels—with later Renaissance additions, including a grand staircase adorned with plasterwork and frescoes of exotic animals and heraldic motifs.

    The house passed through generations of military officers and aristocrats, including the Marqués de Casa Madrid, and retains its original character, offering a tangible link to Úbeda’s noble past.

    The house is located in Úbeda’s Plaza de San Lorenzo, a historic square that encapsulates the city’s golden age. The buildings around this square are a living center for artistic innovation, reinforcing Úbeda’s status as a UNESCO World Heritage site and a beacon of Andalusian cultural heritage.

    €109.00 a night for three bedroom fully furnished house (⭐️⭐️⭐️⭐️), shared with a friend.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    1.2 million acres of olive trees

    18 marzo, Spagna ⋅ ☁️ 12 °C

    We walked from Úbeda to Baeza in Jaén, Spain, one of the most iconic routes in Andalusia, renowned for its Renaissance architecture and UNESCO World Heritage sites.

    The walk between the two cities was 14 miles round trip.

    We passed through olive groves, a hallmark of the region, as Jaén is the world’s largest producer of olive oil.

    The path is well-marked and offers views of the Sierra Mágina in the distance.

    The province of Jaén, Spain, is home to approximately 550,000 hectares of olive orchards, making it the largest olive oil-producing region in the world.

    The province produces more olive oil than the entire country of Italy, and its landscape is so densely planted that it’s said a squirrel could cross the province without ever touching the ground.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    2

    Baeza Cathedral

    18 marzo, Spagna ⋅ ☁️ 15 °C

    The Cathedral of the Nativity of Our Lady in Baeza is a landmark building combining Gothic and Renaissance architectural styles, with significant Renaissance reconstruction led by Andrés de Vandelvira in the 16th century following a roof collapse in 1567.

    The interior features a notable 19th-century bronze and crystal chandelier suspended from the transept vault, a piece of artistic and historical value believed to have come from the nearby Jabalquinto Palace.

    The cathedral is dedicated to the Nativity of the Virgin Mary and has been recognized as a National Monument since 1931, as well as a UNESCO World Heritage Site.

    During Semana Santa, it is customary in Baeza—as in much of Andalusia—for statues of the Virgin Mary to be dressed in elaborate robes for the processions, adding to the solemnity and spectacle of the Holy Week celebrations.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Old school crushing
    Old school crushingOld school filterMarch olive flowersReceiving pitCrushersInside the crusherCentrifugesPits become fuelOlive oil storageTasting

    Olive Oil Cooperative Facility

    20 marzo, Spagna ⋅ ☁️ 15 °C

    We visited one of the largest cooperatives in Úbeda to see how extra virgin olive oil is made.

    Olives are harvested between October and February in the Jaén regio. Mechanical shakers or hand-held vibrating combs detach olives from the trees, which are then collected on nets spread beneath the groves. Timing is critical: early harvest yields greener, more peppery oil; later harvest produces milder, fruitier oil.

    Transport and Cleaning
    Olives are transported to the mill within 24 hours to prevent fermentation and oxidation. At the facility, leaves, twigs, and debris are removed using blowers and vibrating screens. The olives may be washed with water.

    Crushing and Malaxation
    The cleaned olives are crushed into a paste using stainless steel hammer crushers (historically stone mills). The paste is then slowly churned (malaxed) for 20–40 minutes at controlled temperatures (25–30°C) to coalesce oil droplets. Overheating or excessive malaxation degrades quality.

    Centrifugation (Extraction)
    The paste enters a two-phase or three-phase decanter centrifuge. In two-phase systems, oil is separated from vegetation water and pomace (solid residue); in three-phase, water is added to aid separation, yielding oil, water, and pomace. Modern facilities favor two-phase for its lower water and energy use.

    Separation and Clarification
    The oil is spun in a vertical centrifuge to remove residual water and fine solids. Some producers use natural settling or filtration to clarify the oil further, though unfiltered oil retains more flavor and antioxidants.

    Storage
    The oil is stored in stainless steel tanks under nitrogen to prevent oxidation. Tanks are kept in temperature-controlled (15–18°C), dark environments to preserve quality. Oxygen exposure and light accelerate rancidity.

    Quality Testing
    Samples are analyzed for free fatty acid content, peroxide value, and sensory defects (e.g., rancidity, fustiness) by certified labs. Extra virgin olive oil (EVOO) must have <0.8% free acidity and no sensory flaws.

    Bottling
    Before bottling, oil may be lightly filtered or left unfiltered, depending on market preferences. Bottles are typically dark glass or tin to block light. Filling lines use inert gas to minimize oxygen contact. Labels indicate harvest date, origin, and quality grade (e.g., EVOO, virgin, refined).

    Packaging and Distribution
    Bottles are sealed, labeled, and boxed for shipment. High-quality producers often use anti-counterfeit measures. Distribution prioritizes cool, dark conditions to maintain freshness.

    Two hour tour plus 30 minutes tasting €12.00 each.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Iglesia de Santa Cruz, Baeza

    21 marzo, Spagna ⋅ ☁️ 11 °C

    The old Romanesque church in Baeza, the Iglesia de Santa Cruz, is a fascinating layer cake of history. Its exact age remains uncertain, but recent discoveries have shed light on its complex past.

    During restorations in the 1990s, mural paintings from the 15th and 16th centuries were uncovered and restored.

    More intriguingly, a Visigoth-style horseshoe arch was found in the epistle area, suggesting that the current church was built atop an earlier Christian temple, possibly dating back to the Visigothic period (5th–8th centuries).

    This arch, along with other architectural clues, hints at a much older origin than the visible 13th-century Romanesque structure, which itself is rare in Andalusia.

    The church’s austere exterior and the remnants of frescoes, further underscore its layered history and the blending of Visigothic, Romanesque, and later Gothic influences.

    For Semana Santa in Baeza, the statues—known as "tallas"—are dressed in elaborate, often centuries-old robes and adornments, transforming them into dramatic representations of biblical figures.

    These statues are clothed in rich fabrics, sometimes embroidered with gold or silver thread, and accessorized with real lace, jewelry, and even wigs or crowns of thorns, depending on the scene they depict. The Virgin Mary statues, in particular, wear sumptuous, layered gowns and mantles, often in deep blues, blacks, or purples, symbolizing mourning.

    The effect is heightened by candlelight, incense, and the rhythmic movement of the floats as they are carried through the streets by costaleros (bearer teams), creating a powerful visual and emotional spectacle.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Puerta de Jaén & Fuente de Los Leons

    21 marzo, Spagna ⋅ ☁️ 11 °C

    Puerta de Jaén & Arco de Villalar
    Baeza’s Puerta de Jaén was once the main exit toward Jaén and the launch point for Reconquista troops. Demolished in 1476, it was rebuilt in 1526 and adorned with imperial shields to honor Charles V’s visit. Beside it, the Arco de Villalar (1521) celebrates the royal victory over the Comuneros rebels, a pointed arch with battlements and heraldic symbols. Together, they stand in the Plaza del Pópulo as reminders of Baeza’s strategic past and Renaissance loyalty to the Crown.

    Fuente de los Leones
    This 16th-century fountain, moved from the ancient city of Cástulo, features four sculpted animals (two lions, two bulls) spouting water, guarding a central female figure—possibly Imilce, wife of Hannibal. A blend of Iberian, Roman, and Renaissance influences, it was the city’s main water source and a social hub.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Roman Lion and snack
    Roman Lion and snackMuseum courtyardDoor with threshing spikesRoman monument pieceRoman monument pieceRoman monument pieceVisigoth pieceMuslim steleStonemason's marksMuseum entrance

    Úbeda’s Archaeological Museum

    22 marzo, Spagna ⋅ ⛅ 14 °C

    The museum is set in a beautifully restored 14th–15th century Mudéjar house, a rare example of domestic architecture from that era, organized around a central patio with four open galleries. This building itself is a highlight, blending Islamic and Christian design elements.

    Inside, the collection is small but significant. The standout pieces include two impressive Iberian lions from Úbeda la Vieja, Roman tombstones (notably one inscribed to a Roman named Acoaistus), and large Iberian millstones. These artifacts trace the region’s layered history—Iberian, Roman, and Muslim—with a focus on daily life and funerary practices. The courtyard also features remnants of an ancient mill.

    Entrance €1.50 each.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Basílica de Santa María, Úbeda

    22 marzo, Spagna ⋅ ☁️ 16 °C

    The Basílica de Santa María de los Reales Alcázares in Úbeda is the city’s principal church.

    Built on the site of the city’s former main mosque after the Christian conquest in 1233, the basilica incorporates Gothic, Mudéjar, Renaissance, Baroque, and Neogothic elements. Its foundations rest on Bronze Age archaeological remains, underscoring the site’s significance over millennia.

    Key features include a Gothic cloister from the late 14th century, vaulted ceilings added in 1512, and the famous Sacra Capilla, a Renaissance masterpiece built between 1536 and 1559.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    1

    Palacio de Francisco de Los Cobos

    22 marzo, Spagna ⋅ ☁️ 15 °C

    Palacio de Francisco de los Cobos is a Renaissance palace located in the historic center of Úbeda and was across the street from our lodging.

    Its stone facade is decorated with a cross of Santiago and scallop shells, iconic symbols of the Camino de Santiago pilgrimage.

    The palace is a prime example of Úbeda’s Renaissance architecture, a style for which the city is renowned and which earned it UNESCO World Heritage status alongside nearby Baeza.

    The San Lorenzo area, where the palace is situated, is rich in such heritage buildings, including churches and other palaces from the same era    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    We’re staying in a clerical prison

    23 marzo, Spagna ⋅ 🌙 8 °C

    This week we are staying in a fully furnished two bedroom apartment in Toledo, Spain.

    The Cárcel del Vicario in Toledo (⭐️⭐️⭐️⭐️) is a building steeped in history, with architectural roots tracing back to an ancient Islamic house from the 9th–12th centuries.

    Over time, it evolved into a prison used by the Archdiocese of Toledo, specifically for detaining clergy, and remained in use as such until the late 19th century. Clergy were detained in the Cárcel del Vicario primarily for disciplinary or legal infractions within the ecclesiastical jurisdiction. During the Middle Ages and early modern period, the Church had its own legal system and courts, separate from civil authorities. Clerics who violated canon law—such as those accused of moral misconduct, heresy, insubordination, or involvement in civil disputes—could be imprisoned by Church authorities rather than secular ones.

    The current structure dates primarily from the year 1900, though parts of the building are as old as the 1500s. The site is notable not only for its role as a jail but also for its possible connection to the composition of the "Libro de Buen Amor" aka The Book of Good Love by the Archpriest of Hita, who may have written parts of the work while imprisoned there in 1343.

    The building has been carefully restored and now serves as a boutique apartmenthotel, retaining many original architectural features such as Mudéjar wood ceilings, horseshoe arches from the Islamic period, and elements that evoke its past as a prison, like built-in cabinets reminiscent of old cells.

    €860.00 pet week.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Consuega

    23 marzo, Spagna ⋅ ⛅ 15 °C

    Consuega’s castle and windmills stand as enduring symbols of Spain’s medieval and literary heritage.

    The castle, originally a 10th-century Muslim fortress, was later rebuilt by the Knights Hospitaller in the 12th and 13th centuries, becoming a strategic stronghold with its distinctive square layout and four semi-circular towers.

    After periods of decline and restoration, it now offers visitors a glimpse into its military past and sweeping views of La Mancha.

    Adjacent to the castle, twelve of the original thirteen 16th-century windmills—each named after characters from Cervantes’ "Don Quixote"—still crown the Cerro Calderico ridge. These iconic structures, once vital for grinding grain into flour, now serve as cultural landmarks, with a few like Molino Rucio and Molino Sancho still operational for demonstrations.

    Today, Spain’s flour industry remains vibrant, blending tradition with modernity. Major producers such as Harivasa and La Meta Group prioritize sustainability and quality, with Harivasa earning certification for sustainable flour production in 2022.

    While the windmills no longer drive large-scale production, they symbolize the region’s agricultural roots, now complemented by industrial mills that ensure a steady supply of high-quality flour for bread, pasta, and other staples.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Architectural fragments, 6th to 8th century.
    Architectural fragments, 6th to 8th century.Architectural fragments, 6th to 8th century.Reign of VisigothsArchitectural fragments, 6th to 8th century.Architectural fragments, 6th to 8th century.Architectural fragments, 6th to 8th century.6th-c. Toledo under Visigoths: oysters, a coastal luxury, reached inland via Roman trade routesArchitectural fragments, 6th to 8th century.Architectural fragments, 6th to 8th century.1Architectural fragments, 6th to 8th century.

    Visigoth Museum, Toledo

    24 marzo, Spagna ⋅ ☀️ 13 °C

    The Visigoth Museum in Toledo, located in the striking Mudéjar church of San Román, presents a focused but modest collection of artifacts from the Visigothic era (6th to 8th century).

    Inside, we encountered replicas of the legendary votive crowns from the Guarrazar Treasure—originally belonging to kings like Suintila and Recesvinto—as well as grave goods from the Carpio de Tajo necropolis, including jewelry, pottery, architectural fragments, and religious objects.

    The exhibits also featured capitals, reliefs, and epigraphic samples dating from the 6th to 8th centuries, all set against the backdrop of the church’s own layered history, which reflects Visigothic, Moorish, and Christian influences.

    While the collection is small, it provides a tangible link to the craftsmanship, social structures, and religious life of the Visigoths. Most labels and explanations are in Spanish only, easily translated with Google Translate.

    Visigoth history remains underrated largely because it is sandwiched between the more visually and culturally dominant Roman and Moorish periods. Their three-century rule is often dismissed as a "dark" or transitional phase, overshadowed by the grandeur of Roman engineering and the enduring legacy of Al-Andalus.

    Unlike these empires, the Visigoths left behind few monumental structures; even Toledo, their capital, retains almost no significant Visigothic architecture.

    The narrative of their rule—marked by unification, legal reforms, and the conversion to Catholicism—is rarely emphasized in popular history or media, which tend to focus on the Romans’ "civilizing" influence or the Moors’ architectural and scientific achievements. This lack of visibility is compounded by the scarcity of physical remains: most original treasures, such as the Guarrazar crowns, are housed in national museums (Madrid) rather than regional ones, and the Visigoths’ relatively short tenure in Iberia means their material culture is inherently less abundant.

    The result is a historical blind spot. The Visigoths played a crucial role in shaping the Iberian Peninsula’s transition from antiquity to the medieval world, yet their contributions—legal codes, religious councils, and early efforts at political unification—are often glossed over in favor of more dramatic or better-preserved eras.

    Their story is one of quiet but foundational influence, making the Toledo museum a rare, if understated, window into a pivotal but overlooked chapter of Spanish history.

    Museum entry is free.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    1

    Virgen Blanca, 12th century

    25 marzo, Spagna ⋅ ☀️ 14 °C

    The Virgen Blanca (White Virgin) statue of Mary and Jesus in Toledo Cathedral is of French origin, dating from the 12th century and crafted from polychromed alabaster.

    Its arrival in Toledo was innovative for the time, as it introduced a new level of naturalism and intimacy in religious sculpture—particularly the tender interaction between Mary and Jesus, with the Child’s hand caressing His Mother’s face, earning it the nickname the "Smiling Virgin of Toledo".

    The French Gothic influence—with its emphasis on human emotion and refined detail—was groundbreaking in Castile, where such naturalism was still rare.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Toledo Cathedral
    Toledo CathedralToledo CathedralToledo CathedralPuerta de los Reyes Nuevos1Retablo Mayor (Main Altarpiece)1El Transparente, a Baroque masterpieceEl Transparente, a Baroque masterpiece1El Transparente, a Baroque masterpiececeiling of the Sacristy, painted by Luca Giordano 17th centuryEl Greco’s "The Disrobing of Christ" (El Expolio)El Greco’s "Saint Peter in Tears"Chapel of Saint Blas 14th centuryPuerta de la Sala Capitular (Chapter House Door)Piedra de la Virgen (Stone of the Virgin) 7th century, Jasper caseVisigoth column 6th centuryMudéjar-style columns, which incorporate red marble or jasperIron grille characteristic of blending Gothic with Mudéjar

    Toledo Cathedral

    25 marzo, Spagna ⋅ ⛅ 22 °C

    Toledo Cathedral, formally the Primatial Cathedral of Saint Mary, is one of Spain’s most significant Gothic structures, with construction beginning in 1227 and completing in 1493.

    It stands on the site of a former Visigothic church (6th century) that was later converted into a mosque during Muslim rule. The cathedral’s dimensions are impressive: the nave alone is over 400 feet long and 200 feet wide, making it one of the largest cathedrals in Europe.

    The cathedral is architecturally special for its synthesis of Roman, Visigothic, and Islamic influences—a reflection of Toledo’s layered history as a capital of Visigothic Hispania, a center of Muslim learning, and a Christian stronghold after the Reconquista.

    Notably, the Muslims preserved the Visigothic stone columns and horseshoe arches from the earlier church when they converted it into a mosque, and these elements were later incorporated into the Gothic structure. This preservation was part of a broader agreement to respect existing institutions during the transfer of power.

    Among its most celebrated features are the cherubs and angels surrounding the light hole (oculus) in the dome, part of a riotous display of Gothic carvings and paintings. The cathedral also houses the famous “El Transparente,” a Baroque masterpiece that uses light and sculpture to dramatic effect, and the Monstrance of Arfe, a 16th-century gold and silver processional piece.

    The cathedral’s art and architecture embody the coexistence of Christian, Muslim, and Jewish cultures in medieval Toledo, and its treasury and chapels contain works by El Greco, Goya, and Velázquez, further cementing its status as a repository of Spanish art and history.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Toledo Cathedral Choir

    26 marzo, Spagna ⋅ ☀️ 8 °C

    The Toledo Cathedral (Catedral de Toledo) in Spain is renowned for its historical and artistic significance, including its choir area.

    Choir Area Highlights
    Wood Carvings: The choir stalls are a masterpiece of Gothic and Renaissance craftsmanship, featuring intricate carvings depicting religious scenes, grotesques, and heraldic symbols. The stalls date from the late 15th to early 16th century and are among the finest in Spain.

    Metalwork: The cathedral’s choir screen (transaltare) and surrounding grilles often feature wrought iron or bronze, sometimes gilded, with elaborate patterns or religious iconography. The metalwork may include candelabras, lecterns, or decorative fencing.

    Statues: The choir area and surrounding chapels are populated with statues of saints, apostles, and biblical figures, often in polychrome wood or stone. Some may be attributed to prominent sculptors of the period.

    Alabaster: Used in altarpieces, tombs, and decorative elements, alabaster in the cathedral is typically carved with high relief and sometimes inlaid with other materials. The transparency and luminosity of alabaster were prized for their ability to diffuse light dramatically.

    Notable Features
    Choir Stalls: The upper and lower levels of the choir stalls are adorned with misericords (small carved brackets on the underside of folding seats), often depicting mythical creatures, scenes from daily life, or symbolic motifs.

    Organ and Choir Loft: The cathedral’s organ case and choir loft may feature carved wooden panels, sometimes with musical angels or coats of arms.

    Reliquaries and Tabernacles: Small metalwork reliquaries or tabernacles, often in silver or gilded bronze, may be present, housing relics or serving liturgical functions.

    Artistic Context
    The choir’s design reflects a blend of Gothic verticality and Renaissance humanism, with a focus on symmetry and hierarchical arrangement. Many elements were created by artists from the school of Toledo or by itinerant masters who worked on other major Spanish cathedrals.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Firearm mechanismsThe Spanish RoadFlorida"A giant and fearsome colossus". 1783.View from museum

    Military Museum

    26 marzo, Spagna ⋅ ⛅ 12 °C

    Toledo’s Military Museum (Museo del Ejército) is housed in the historic Alcázar of Toledo, a fortress with Roman, Visigothic, and Arab origins, later expanded by Charles V in the 16th century. The museum’s collection spans Spain’s military history, but its most compelling artifacts date from antiquity to the early modern period.

    Highlights include Roman weaponry and armor from the 1st–3rd centuries AD, reflecting Toledo’s role as a key Roman stronghold. The Visigothic era (5th–8th centuries) is represented by swords, shields, and decorative metalwork, showcasing the craftsmanship of the period. The museum also features Moorish arms and armor, including scimitars and chainmail, from the Islamic rule of Al-Andalus.

    The Reconquista (8th–15th centuries) section displays swords, crossbows, and siege engines used in the Christian reconquest of Iberia. Toledo’s famed steel blades, renowned since the Middle Ages, are prominently featured, alongside suits of armor from the 15th–17th centuries, illustrating the city’s pivotal role in arms manufacturing.

    The Alcázar itself is a draw, with its Moorish foundations, medieval towers, and Renaissance courtyards, offering a tangible link to Toledo’s layered military past.

    Entrance fee €5.00 each    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Floor tiles

    Sinagoga de Santa María la Blanca

    26 marzo, Spagna ⋅ ☀️ 17 °C

    The Sinagoga de Santa María la Blanca in Toledo is one of the most emblematic examples of Mudéjar art in Spain.

    Built in 1180 as the main synagogue of Toledo’s Jewish quarter, it was financed by the Jewish community and constructed by Muslim builders under Christian rule. The building functioned as a synagogue until 1391, when it was converted into a Christian church following anti-Jewish riots. It later served as a military barracks and a warehouse before being declared a national monument in the 19th century and restored for public visits.

    Architecturally, the synagogue is renowned for its white horseshoe arches, delicate columns, and austere elegance, reflecting strong Andalusian and Islamic influences. The interior features 32 octagonal pillars with uniquely carved capitals, no two of which are alike, and a wooden roof with intricate Mudéjar carpentry. The exterior is notably plain, contrasting with the elaborate interior. Today, it is owned by the Catholic Church but is not used for worship; instead, it is open to the public as a museum and a symbol of Toledo’s multicultural history.

    Entrance fee €4.00 each.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    15th-century Mudéjar-style coffered ceiling
    15th-century Mudéjar-style coffered ceilingChrist and the ApostlesView and Plan of ToledoView and Plan of Toledo

    El Greco Museum, Toledo

    27 marzo, Spagna ⋅ ☀️ 17 °C

    The El Greco Museum in Toledo is a unique institution dedicated to the life and work of Domenikos Theotokopoulos, known as El Greco.

    The museum is housed in a restored 16th-century mansion and a purpose-built 20th-century annex, both located in Toledo’s historic Jewish Quarter.

    While the building is not El Greco’s actual home, it is meticulously reconstructed to evoke the domestic environment of his era, complete with period furniture, ceramics, and architectural elements.

    A highlight of the museum is its 15th-century Mudéjar-style coffered ceiling, which was installed in a chapel added in 1925 to contextualize Saint Bernardine’s altarpiece. This ceiling is a fine example of the intricate wooden craftsmanship typical of Toledo’s cultural fusion during the late Middle Ages and Renaissance.

    The museum also features a collection of El Greco’s late-period works, as well as paintings by other 17th-century Spanish artists, offering a comprehensive view of the artistic milieu in which El Greco worked.

    As for famous painters who admired El Greco, my favorite artist John Singer Sargent was among them. Sargent, along with other modern artists like Edgar Degas and Pablo Picasso, was deeply influenced by El Greco’s distinctive style. Sargent’s admiration for El Greco is well-documented, and he even owned a version of one of El Greco’s paintings, reflecting the broader rediscovery and appreciation of El Greco’s work by 19th- and 20th-century artists.

    The El Greco Museum in Toledo houses a notable work called "View and Plan of Toledo" (Vista y plano de Toledo), painted by El Greco between 1610 and 1614. This painting is one of the few urban landscapes he created and is considered a masterpiece of his late period.

    And in his “Christ and Apostles” series, El Greco’s figures are elongated, with exaggerated proportions and intense, almost spectral lighting. This distortion was not just a mannerism but a deliberate spiritual expression, breaking from the naturalistic ideals of the Renaissance. His apostles are imbued with emotional intensity, their gestures and gazes conveying inner turmoil and divine revelation. This approach anticipated the emotional rawness of 20th-century Expressionism, making his work feel startlingly modern even today.

    Admission €3.00 each.    Leggi altro

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    The Burial of Count Orgaz, El Greco

    28 marzo, Spagna ⋅ ⛅ 18 °C

    "The Burial of the Count of Orgaz," housed in the small Church of Santo Tomé in Toledo, Spain. This painting is widely regarded as one of El Greco’s greatest works and a defining piece of Spanish Renaissance art.

    The painting depicts the miraculous burial of Gonzalo Ruiz de Toledo, a nobleman known for his piety, who died in the early 14th century. The composition is divided into two distinct sections: the earthly scene below, where saints and clergy lower the count’s body into his tomb, and the heavenly scene above.

    El Greco’s signature elongated figures and luminous colors create a dramatic, almost mystical atmosphere, blending the sacred and the terrestrial in a way that was revolutionary for its time.

    The church itself is modest, but the painting’s presence makes it one of Toledo’s most visited sites. Visitors can stand just feet away from the canvas, marveling at its detail and the artist’s ability to convey both the physical and spiritual worlds in a single frame.

    The Church of Santo Tomé, with its blend of Gothic and Mudejar architecture, provides a fitting setting for this masterpiece. The painting remains in its original location, exactly where El Greco intended it to be seen—an experience that connects viewers directly to the art and its history.

    El Greco’s approach—with its dramatic use of space, color, and form—challenged traditional Renaissance conventions. The swirling robes, intense expressions, and dynamic composition create a sense of movement and emotional intensity, drawing viewers into the scene and inviting them to contemplate the mysteries of faith and mortality.

    Admission: €4.00 each.    Leggi altro

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    13th century murals, San Román

    29 marzo, Spagna ⋅ ☀️ 4 °C

    The 13th-century Mudéjar church of San Román house Romanesque mural paintings from the 13th century.

    These frescoes are remarkably well-preserved and adorn the interior of the church, featuring warm hues of orange and red, and are considered some of the most significant examples of Romanesque wall painting in the region.

    The Romanesque frescoes in Toledo’s San Román church are renowned for their vivid depictions of apocalyptic scenes, including what is often interpreted as a "coffin scene" and imagery associated with plague and death—sometimes featuring dragons or serpentine creatures.

    Entrance fee: free    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Goodbye Toledo
    Goodbye ToledoIn flight beverage and snackHello Hotel Beijers, UtrechtQuick dinner with friendsPoké bowl salmon

    Moving Day

    30 marzo, Spagna ⋅ ⛅ 0 °C

    Today we returned our rental SUV to Enterprise in Madrid. After checking our bags, we flew from Madrid on KLM to Amsterdam.

    As we were departing MAD, the baggage handlers went on strike. All our bags made it to AMS except my Rimowa bag.

    The folks at AMS KLM lost luggage made the process fun and we got our lost luggage claim info quickly. I was able to provide them with our Apple Air Tag, which helped them locate my bag quickly. It is scheduled to arrive on Tuesday.

    We then took a direct 33 min train from AMS airport to Utrecht, Netherlands (€11.60 each) where we are staying for a few days before our Tulip/Beer cruise.

    We are organizing the pre cruise events here in Utrecht. Which includes renting an entire 16th century boutique hotel (Hotel Beijers ⭐️⭐️⭐️⭐️), beer and food tasting events, and more!    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Utrecht

    31 marzo, Olanda ⋅ ☁️ 11 °C

    Utrecht, a historic Dutch city, blends medieval charm with modern vitality. Its iconic Dom Tower, the tallest church tower in the Netherlands, anchors a labyrinth of canals and cobbled streets.

    The city’s unique wharf cellars, repurposed into cafés and shops, line the Oudegracht, offering a glimpse into its medieval past.

    Our visit included a beer tasting, showcasing Utrecht’s thriving craft beer scene, and a stop at a brewery in the city’s oldest building—a nod to its deep-rooted brewing traditions.

    Indonesian cuisine, a Dutch culinary staple, added a flavorful contrast, reflecting the country’s colonial history.

    A walking revealed Utrecht’s architectural layers: Romanesque churches, Gothic facades, and the Rietveld Schröder House, a UNESCO-listed modernist gem.

    Hotel Beijers, a boutique stay, offered a blend of comfort and local character.

    Utrecht’s cultural pulse is strong, with vibrant markets, the Centraal Museum, and a youthful energy fueled by its university.

    Its compact size made it ideal for exploring on foot, uncovering hidden courtyards and canal-side terraces. A city of contrasts, Utrecht balances history and innovation with effortless Dutch pragmatism.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Netherlands Estuaries and Seafood

    2 aprile, Olanda ⋅ ☁️ 9 °C

    The Netherlands is home to some of Europe’s most significant estuaries, both in terms of ecological importance and economic value.
    The Western Scheldt, for example, is one of the largest estuaries on the continent, spanning about 35,000 hectares and stretching 160 kilometers from Vlissingen to Ghent.

    Estuaries like this are vital for shipping, agriculture, and industry, and they also serve as critical migration routes for fish and other marine life. Their ecological diversity and productivity make them indispensable to both the environment and the economy, supporting everything from flood protection to biodiversity and commercial activities.

    In 2025, the total fisheries production in the Netherlands was around 309,200 metric tons, with the sector generating about €4 billion in revenue and supporting roughly 6,200 full-time jobs across 300 companies.

    The industry’s economic footprint extends beyond direct fishing, encompassing processing, export, and related services.

    The Dutch shellfish and shrimp sectors are economically significant and diverse, with brown shrimp, blue mussels, and lobster playing key roles:

    The Dutch shrimp fishing industry is robust, with revenues from shrimp alone reaching €69 million in 2024—a 73% increase from the previous year. The sector is known for its brown shrimp (Crangon crangon), which is widely processed and exported.

    Mussel farming, particularly blue mussels, is a traditional and important part of Dutch aquaculture.

    Oysters and razor clams are also farmed, though on a smaller scale compared to mussels.

    While not as dominant as shrimp or mussels, lobster is present in the Dutch market, often as a high-value, niche product.

    A sharing tower of fresh seafood for three people is about €92.00 total.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore

    Keukenhof Flower Gardens

    3 aprile, Olanda ⋅ ☁️ 8 °C

    Keukenhof, located in Lisse, Netherlands, is one of the world’s largest flower gardens, renowned for its vast displays of tulips and other spring flowers.

    Open annually from mid-March to mid-May, the 32-hectare park features over 7 million bulbs planted each year, showcasing more than 800 tulip varieties alongside hyacinths, daffodils, and orchids.

    Established in 1949 as a platform for Dutch flower growers, Keukenhof’s design includes themed gardens, pavilions with floral exhibitions, and art installations. The historic landscape, originally part of a 15th-century estate, also features waterways, woodlands, and a windmill offering panoramic views.

    Keukenhof attracts about 1.5 million visitors annually, making it a major tourist destination. The gardens emphasize sustainability, with bulb recycling and eco-friendly practices. Accessible from Amsterdam (35 km away), it’s a celebration of Dutch horticulture and seasonal beauty.    Leggi altro

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  • Jolene UnlandSecond Cities and Third SpacesViaggiatore
    Flowers in a Vase Jan Breughel Il Early 17th century
    Flowers in a Vase Jan Breughel Il Early 17th century"Pierre de Wissant" by Auguste Rodin 1884-Anonymous devotional case inspired by Beguines, symbolizing virginity, mysticism. 16th centuryAs the Old Sang, so Pipe the Young. 1638. Jacob JordaensEnthroned Madonna Adored by Saints. Peter Paul Rubens. 1628The Return of the Prodigal Son. Peter Paul Reubens. 1618Venus and Adonis. Peter Paul Rubens. 1614.The Cat’s Concert. Jan Brueghel the Elder. 16th centuryThe Fall of the Damned. Peter Paul Reubens. 1620.The Virgin and Child with Saints and Angels. Peter Paul Reubens. 1616.Saint Barbara. Jan Van Eyke. 1432.Pope Alexander VI Presenting Jacopo Pesaro to Saint Peter. Titian. 15th centuryCleopatra Testing Poisons

    Royal Museum of Fine Arts Antwerp

    4 aprile, Belgio ⋅ ☁️ 13 °C

    This museum houses an extensive collection of art, including a significant number of works by Peter Paul Rubens.

    The museum features several major works by Rubens, including religious, mythological, and portrait paintings. Notable pieces include The Descent from the Cross (a study for the famous triptych in Antwerp Cathedral) and The Adoration of the Magi.

    Beyond Rubens, the collection includes works by other Flemish artists like Anthony van Dyck, Jacob Jordaens, and Jan Brueghel the Elder.

    The museum is renowned for its Old Masters collection, spanning the Northern and Southern Renaissance, Baroque, and beyond.    Leggi altro

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