The examples of Romanesque buildings in the central area of the peninsula are sparse and of the latest period, with virtually no presence south of the Ebro and the Tagus.
[3] The earliest works of Romanesque sculpture in the Hispanic-Christian peninsular kingdoms are two lintels of the Roussillon area which share similar iconography.
To the late 12th century belong the facades of the Church of Santa María del Camino (Carrión de los Condes) and Santo Domingo (Soria).
The transition to Gothic is visible in some works of this period: the apostolate of the Cámara Santa (Oviedo), the facade of San Vicente (Ávila) and the Portico of Glory of the Cathedral of Santiago de Cosmpostela authored by Master Mateo.
[8] The preparation of manuscripts in the monasteries and cathedrals scriptoriums was an outstanding activity that continued the tradition of Beatus de Liébana's Commentary on the Apocalypse and incorporated European influences.
Goldsmiths produced elaborated pieces such as the Cáliz de las Ágatas also called "of Doña Urraca" -ca 1063-[9] and the Ark of San Isidoro.
Map depicting the spread of Romanesque. In pink, the areas of the Catalan Romanesque. In red, the areas of the Aragonese Romanesque. In blue, the areas of the Navarrese Romanesque. In orange, the areas of Castilian and Leonese Romanesque. Between these two, in yellow, the current autonomous communities of La Rioja and Basque Country, which at the time were disputed by both kingdoms (eventually incorporated into Castile). In various shades of green, Asturian Romanesque, Galician Romanesque and Portuguese Romanesque.
The
Camino de Santiago
enters in the Hispanic Christian kingdoms of the Iberian Peninsula for its Aragonese branches (
Canfranc
) and Navarre (
Roncesvalles
). From
Logroño
goes through the kingdoms of Castile and León, ending in
Santiago de Compostela
. The Cantabrian branch is diverted to pass through
Oviedo
, route coined one of the first tourist slogans. "Who go to Santiago and not see The Savior, visits the servant and forgets the lord".
