Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.
With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

To start your visit, please head to the back of the church.

The Church of L’Assumpció de Cóll dates back to the second half of the 12th century, but it has undergone significant changes over the years. This is particularly evident in its bell tower, where the lower section is Romanesque, while the two upper levels are Gothic, as indicated by the shape of the windows.

The stone ashlars used here are considerably larger and more uniform than those found in other churches in the Vall de Boí ensemble, reinforcing this observation.

Now, to continue your visit, please make your way to the entrance of the church.

Here on the façade lie the most fascinating features of the Church of L’Assumpció de Cóll: the decorative elements of the portico. The entrance to the church is framed by a chequered border and topped with a Christogram, which represents Christ using his initials in Greek. If you look closely, you will see two peacocks at the upper corners of the Christogram, symbolising the resurrection of Christ. In the lower corners, there are two human figures, one of whom is sounding a horn to herald the apocalypse.
The sculpted capitals of the columns are equally remarkable. The outer capitals are adorned with floral motifs, while the inner ones combine human and animal figures, depicting the struggle between man and beast as a representation of the battle between good and evil.
Also worth noting is the beautifully crafted medieval wrought-iron latch, one of the finest in the Vall de Boí ensemble, alongside those found at the churches of Santa Maria de Cardet and La Nativitat de Durro. Observe that the bolt is topped with an animal head, and the iron plate features an engraved bell.
Now, to continue your visit, please make your way inside. However, do bear in mind that this church is not open year-round; if you find it closed, you can explore its interior using the virtual resource available in your guide.

Please take a position in front of the first row of pews. From this vantage point, you can observe the various architectural features that comprise the Church of L’Assumpció de Cóll.
As you can see, this is a single-nave church, topped with a barrel vault and it features a semicircular apse at the front. The bell tower, which has a square base stands three storeys high, is located on your right.
In the original design, two side chapels were added: the chapel on the left, facing the altar, is covered with a barrel vault, while the one on the right is Gothic in style.
Originally, the nave was illuminated by two circular windows – known as oculi – one at each end of the building, along with two additional windows that let in sunlight. One of these oculi is situated quite high above the church entrance, allowing in the afternoon light. The other is on the east wall, above the apse roof, bringing in the morning light. A bit lower on this same wall, is an elongated window; this is the most symbolic source of light, representing the rising sun, understood as divine illumination. The other window is on the south wall, letting in the midday light.

Ambient background sounds.
Priest (an older man): It’s getting dark. You can light the lamps now.
Young man: Father, they’re empty. And there’s not much oil left in the basin; maybe just enough for one or two more days.
Priest (an older man):Go and fill them up! Then put them back in place with the ladder. I’m too old for climbing ladders now.
Young man: Right away, Father!
Priest (to himself): We’re running low on oil. The harvests haven’t been good this year. And the parishioners have contributed less than usual. I’ll need to ask them to make an effort; the church can’t be left in darkness.
Ambient background sounds.

Now, make your way to the entrance, where you will find the three stone basins.

The Church of L’Assumpció de Cóll still retains the three basins, likely of Romanesque origin: the baptismal font, the holy water font and the oil basin used for the lamps that illuminated the church – the largest of the three.
To continue your visit, head up to the choir using the staircase next to the entrance.

The choir was added a few centuries later, at the far end of the nave.
Here, you will notice an intriguing detail: the railing of the choir, which features beautiful Gothic tracery with intricate geometric patterns.
Before you head down, take a moment to appreciate the view of the church. From this vantage point, you can clearly see the wrought-iron lamp supports, one of which is shaped like a rooster, as well as the oculus above the altar, designed in the form of a cloverleaf.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.
With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

To start your visit, please head to the back of the church.

The Church of La Nativitat de Durro features distinct architectural features that set it apart from most other churches in the Vall de Boí ensemble. Its monumental scale, in particular, is a testament to the significance of the village of Durro during the Middle Ages.

What you see of La Nativitat today has undergone numerous modifications and extensions over the years. The oldest section dates back to the 12th century and corresponds to a Romanesque single-nave temple, which originally included a now-missing apse, as well as the portico and the bell tower.

The bell tower is particularly noteworthy, standing at an impressive 26 metres tall, making it the highest in the Vall de Boí ensemble. You may wonder why such tall towers were built. On one hand, there was a religious consideration: the higher you are, the closer you are to God. On the other hand, this height offered an excellent vantage point for spotting any approaching enemies, which was crucial during a time of frequent conflict.

The bell tower comprises five storeys, each with its own unique features due to the many changes it has undergone over the years. At the base, you will notice an arcade that once led to a side apse. The windows on the two lower floors have been bricked up, while the original Romanesque windows on the second and third floors have been replaced with Gothic windows featuring pointed arches. The top floor, which is shorter, appears to have been lowered at some point in its history.
From this viewpoint, you can also see the sacristy, which was constructed in the space where the main apse used to be.

To continue your visit, please walk around the church to your right and stand at the portico in front of the side door.

The nave of La Nativitat de Durro is built from large granite ashlars, with decorative elements adorning the façades. Take a moment to look at the top of the walls: a frieze of blind arches runs the length of the nave, topped by an additional decorative border featuring small squares that resemble a chessboard.
At the end of the 15th century, the church may have suffered a fire related to the Catalan Civil War: Hug Roger III, the last Count of Pallars, attacked the village in a desperate attempt to reclaim his county. The villagers barricaded themselves inside the church for protection, and in his fury, the count is said to have set it ablaze.

Ambient background sounds.
The atmosphere inside the church is thick with nerves and tension.
Woman: Don’t be afraid! These walls will protect us!
Man: Hug has lost his senses! He shows no respect even for the church.
Woman: Pray to God. He will not let us die.
Man: He won’t stop until he recovers his county. He has come with reinforcements from France – a cohort of savages.
Woman: Have faith.
Man: Faith? The fire is spreading around the church. Only the troops of the Viscount of Cardona can save us, but where are they?
Ambient background sounds.

The Romanesque portico was added during the second phase of construction, designed to shield parishioners from the elements while they waited to enter the church. Whether it’s sunny, raining or snowing today, you’ll be grateful for it. However, it also served as a stopping point for processions and a space for liturgical and social events, such as trials. What’s more, the porch held a symbolic significance, acting as a transition between everyday life and entry into the house of God.

Here we have the entrance, one of the building’s most interesting features. It comprises three graduated semi-circular arches and is adorned with two archivolts supported by four columns with decorated capitals. If you look closely, you can spot floral motifs and zoomorphic reliefs – shapes of animals. There’s also a small face hidden within. See if you can find it!

The entire structure is framed by a decorative frieze with chess-like patterns, and above that, within a circle, is the Christogram, the symbol of Christ represented by his initials in Greek.
This imposing entrance bears many similarities to that of the church of L’Assumpció de Cóll, particularly in terms of the archivolts and the capitals featuring animals, as well as the Christogram. Might it have been crafted by the same workshop, or was it merely an inspiration? This remains a mystery yet to be resolved.

Another interesting feature of the entrance is the medieval latch. Take note of the reinforcing plate, adorned with borders of geometric motifs and four shapes that evoke the silhouettes of medieval castles. In the centre, a very schematic human figure points to one of the towers surrounding the lock. Completing the scene is a plant detail that could be a tree, along with two quadrupedal animals resembling horses. We are unsure of their significance, which allows our imagination to run wild: could this be a tribute to the Count of Erill and his castle for financing the church? Who knows?
Before we move on to the next point, notice one last detail: the bolt of the latch is decorated with geometric motifs and reinforced at the right end with an animal head, perhaps a serpent. This wouldn’t be the only serpent on a door of the churches in the Vall de Boí ensemble; for instance, there is another painted one in the Church of Santa Eulàlia. Could it be a warning against sin? Or what if it is actually a dragon?

Having said that, you may now step inside the church.

As you step into the Church of La Nativitat de Durro, the first thing that grabs your attention is the Baroque decoration and the altarpieces.
The closest altarpiece on the right is dedicated to St. Anthony and dates back to the 18th century. At the top, you’ll see St. Anthony the Abbot, while St. Anthony of Padua is depicted below.

On the opposite side, the first altarpiece on the left is dedicated to the Virgin Mary and originates from the 17th century.
Next to it, the second altarpiece on the left is dedicated to the Holy Christ, also from the 18th century, which commemorates the Passion of Christ. The figure of Christ you see was crafted by the sculptor Josep Viladomat in the 1960s.
The second altarpiece on the right is dedicated to St. John. Finally, at the back, on the altar, stands the main altarpiece, dating from the mid-18th century. At the bottom, you will find the four virgin martyrs: St. Agatha, St. Barbara, St. Lucia and possibly St. Engratia. The altarpiece sustained damage during the Spanish Civil War, so the figures you see today are modern replacements. In the upper section, you can see the double Sacred Heart; just below it are Mary and the Infant Jesus; with St. Joseph on the left and St. Joachim alongside a young Mary on the right.

Now, look upwards to spot an architectural feature that makes this church truly special. This relates to the roofs of the central nave and the side chapels. Note that the central nave has a barrel vault, while the left side chapel boasts ribbed vaulting, and the right chapel is designed in the Baroque style. Both were constructed later.
You might also notice two large white birds adorning the walls near the altar. These are Baroque lamp holders designed to hold oil lamps.
Finally, while you are still on the lower level and facing the entrance, take a moment to notice the stone baptismal font topped with a green pyramidal lid. This is the Romanesque baptismal font. The wooden structure that surrounds it, dating back to the 18th century, was designed to protect the water and store liturgical items.
To continue your visit, head up to the choir of the church. You can access it via the stairs located at the entrance, near the ticket desk area.

You are now standing in front of the church’s most remarkable piece: the wooden carving of Nicodemus. This figure was part of a larger ensemble known as the Descent from the Cross of Durro, created in the 12th century by artisans from what is known as the Erill workshop. Of the seven figures that made up the original set, only three are known to survive today: this one, the Virgin Mary, which is housed in the MNAC, the National Art Museum of Catalonia, and the figure of Christ, which was lost during the Spanish Civil War. You can still see remnants of the original polychrome on his arm and torso.
If you are struggling to remember who Nicodemus was, let me jog your memory: he was the one responsible for taking Jesus down from the cross.

So, how has this carving of Nicodemus managed to survive to the present day? It remained hidden for many years and was only discovered in 2001 while dismantling an altarpiece in the church for restoration.

If you would like to see what the entire Descent ensemble looked like based on the information we have, you can explore that through the virtual resource.
While you are still in the choir, you will notice a bench and some other elements. These are movable items that have accumulated inside the church over the centuries and are now regarded as artistic treasures.
One of these items is a Renaissance wooden bench, which features two particularly special pieces: the two panels on the left side of the backrest. The two tables, made from pine wood, likely date back to the Romanesque period and originally formed part of another piece of furniture.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.

With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

To start your visit, please head to the back of the church.

The Church of Sant Climent is perhaps the most famous of the entire Vall de Boí ensemble. This reputation largely comes from the stunning paintings inside, renowned for their quality and beauty. I am sure you have heard of them. However, the exterior of this church is just as captivating as the interior.

Originally, the site where Sant Climent de Taüll now stands housed another church from the 11th century. Today, only a few remnants of that original building remain, including the stone ashlars at the base of the three apses and the side façades.
The church you see now was constructed in the first quarter of the 12th century, built over the remains of that earlier temple.
As you observe the building, you can identify the three main types of stone used in the churches of the Vall de Boí ensemble: granite for the walls, slate for the roofs and pumice for the decorative elements.

The three apses are adorned with various motifs characteristic of Romanesque architecture, although they come from different periods. The central apse is decorated with groups of four blind arches, arranged in pairs and separated by engaged semicolumns. Above them runs a frieze of sawtooth patterns. You will notice that these ornamental pieces are quite different in colour from the stones below, appearing more reddish. This is because they are made from pumice, a soft and easily worked material. In contrast, the ashlars are made of granite, which is much harder and has thus weathered better over time.

Like the other churches in this Romanesque ensemble, this one was originally plastered on the outside, so the ashlars or stone blocks were not visible. Remnants of this plasterwork, featuring some red lines from the original decoration, can still be seen in several places, such as inside the small round window or oculus on the side of the central apse, in the elongated window nearby, and in some windows on the eastern façade.
Some remnants can also be found in various windows of the bell tower. For example, you can see them beneath the sawtooth frieze on the penultimate floor.
In the bell tower of Sant Climent, you can clearly see how these towers were constructed: by reducing weight from the upper floors, narrowing the walls inside, and gradually enlarging the window openings.

When you have finished admiring the bell tower, please make your way inside the church to continue your visit.

The Church of Sant Climent is designed in a basilica layout, featuring an elongated central nave flanked by two side naves, all separated by cylindrical pillars. The chancel includes a main apse accompanied by two smaller apses on either side.

On one of the pillars nearest to the apse, specifically the one on the left, there was an inscription that marks the date of the church’s consecration. This inscription revealed that the church was consecrated on 10 December 1123 by Ramon Guillem, Bishop of Roda-Barbastro, just one day before the consecration of Santa Maria de Taüll.

What truly stands out in this church is an image you are likely already familiar with, as it has been depicted in many places. This is the Christ in Majesty of Taüll, one of the most iconic representations of Catalan Romanesque art. It is worth noting that what you see here is a projection of the surviving fragments; the original paintings were removed to prevent looting and are now housed in the National Art Museum of Catalonia. After the video mapping presentation, you will have a few minutes to view the remaining original paint in the apse. At the interpretation centre in Erill la Vall, you can learn more about the circumstances that led to the relocation of these works.

Ambient background sounds.
Master of Taüll: Why have you summoned me, Your Excellency and Reverend Sir?
Bishop: I am a great admirer of the paintings you created in Roda de Isábena, as well as the majesty and harmony of your representations of Christ.
Master of Taüll: Thank you for your kind words. I, too, am truly impressed by this church you have just built.
Bishop: : Yes, it’s been a considerable effort. But now it’s time to decorate it. To get straight to the point: I believe that a master like you would bring the Church of Sant Climent de Taüll the splendour it deserves.
Master of Taüll: Me? I’m not sure what to say. It would be an honour, but also a significant responsibility. Just look at all these walls…
Bishop: I want the faces you paint to be perfect. I want everyone who enters this church to feel the power of Christ in His triumphant figure.
Master of Taüll: And what do you have in mind, Your Excellency?
Bishop: I envision a grand Christ in Majesty in the main apse. The finest work ever painted.
Master of Taüll: Then let’s not delay any further! When can I get started?
Ambient background sounds.

To discover all the secrets of the Christ in Majesty, please take a position in front of the first row of pews.

The mural in the central apse is divided into three sections, symbolising heaven, earth and the space in between.
At the top, you will find heaven, where the divine is depicted – Christ in Majesty. He is shown within a mandorla, an almond-shaped frame that highlights His divinity as He blesses with His right hand and holds a book in His left.
Surrounding Christ are angels, seraphim and the symbols of the Evangelists: St. Matthew, represented as an angel or a man; St. Mark, depicted as a lion; St. John, as an eagle; and St. Luke, as a bull.

In the middle section, you can see five apostles along with Mary.
In the lower section, elements from the earthly realm are present, along with ornamental designs of a vegetal or geometric nature, representing the earth.
In an outer part of the vault above, you will see a lamb with seven eyes, a manifestation of God described in the Book of Revelation.
Now that you are acquainted with the characters, all that is left is to watch the video mapping presentation to learn how these paintings were created.

Mapping (Screening at Scheduled Times)

At this point, you might be wondering about the purpose of all these paintings. Were they just for decoration, or did they serve another function? During the Middle Ages, mural paintings played a crucial role. They not only glorified God and served as symbols of power, but also fulfilled an important educational function. With the majority of the population being illiterate, images, along with the spoken word, became the most effective means of spreading the Christian gospel.
Despite some wear and tear, Sant Climent still has original fragments of the paintings in situ, which you will be able to discover at the next stop on the tour.

In the Church of Sant Climent, you can find fragments of original paintings from various periods, primarily located in the apse.
The oldest original paintings are the interior decorative bands found in the lower windows of the main apse. These bands feature plant motifs in shades of red and ochre set against a white background.
Now, take a look at the right side of the central apse, at the top. Here, you can see fragments of the biblical scene in which Cain kills his brother, Abel, out of jealousy. Cain and Abel were the first two sons of Adam and Eve, the first inhabitants of the Earth. You can see how Cain is holding Abel by the hair with one hand while striking him on the cheek with an axe in the other. Next to Abel’s face, you can read the inscription “ABEL”.
To find more original paintings, look at the front of the main apse, right at the top on the right. Here, you need to locate a figure dressed as a soldier playing a long wind instrument, which could be announcing the apocalypse – the arrival of the Lord at the end of time. In fact, there are two soldiers, but the one on the left is a projection.
There are even more original paintings on both sides of the upper part of the main apse. Here, you can see the images of three saints. The best-preserved figure is St. Clement, the church’s patron, located on the left. Next to him, a bit further in, is the image of St. Peter. On the opposite side, on the right front, is the image of another saint, possibly St. Cornelius. There is also another painting situated at the top of the front of the left absidiola; it depicts a kind of black dog or wolf. Can you see it?
To continue your visit, look for three sculptures housed in display cases in the right nave, facing the altar.

Inside the Church of Sant Climent de Taüll, you will find three Romanesque wooden carvings representing the Coronated Christ the Saviour, Christ on the Cross and the Virgin Mary.
The Coronated Christ the Saviour is a carved and polychrome sculpture from the 13th century that most likely once adorned the main altar. In the early 20th century, it was situated within a Gothic altarpiece in the central apse, dating back to the 16th century, which is now housed in the Museu Diocesà de la Seu d’Urgell (Diocesan Museum of La Seu d’Urgell).
The Christ on the Cross is a magnificent example of the crucifixes often used in processions and liturgical ceremonies. It retains exquisite polychromy, particularly on the back. The original church of provenance is not precisely known.
The Virgin Mary dates from the 12th or 13th century. In the early 20th century, it was displayed in a small wooden chapel, but it is possible that it originated from the neighbouring Church of Santa Maria.
Within the naves, you will discover other movable items that are detailed on the information panels provided.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.

The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.

But what connects these churches? Why are they so remarkable? And what’s the history behind them?

All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.

Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.

With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.

One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

If you have made your way to the church from the village, you have likely crossed the road along the way. This gives you an important clue about the church’s origins; it, like the other churches in the Romanesque ensemble – except for Santa Maria de Taüll –, was built outside the urban area.

To your left, you can see the parish cemetery, a feature common to churches in the Vall de Boí ensemble, and just like the others, it is still in use today.

Ambient background sounds. 

Joan, an elderly man: Good morning, Maria. Could you possibly lend me your pruning shears?

Maria, an elderly woman: Of course!

Joan, an elderly man: I need them to tackle the weeds; they’re sprouting up everywhere, and soon the cross won’t be visible at all.

Maria, an elderly woman:  Tell me about it! I come by every week to clean my husband’s grave. It gets so messy with the rain. And while I’m here, I like to change the flowers.

Joan, an elderly man: I have quite a bit to do. Besides the crosses and headstones of my family, I’m also tending to those of Manel’s family, as the poor chap can’t make it anymore. I spend the whole day here.

Maria, an elderly woman:  Well, at least we get to see each other, even if it is in the cemetery.

Ambient background sounds. 

While you are still in the area around the church, it is worth taking a short walk to the river to see “the footbridge”. This structure used to connect the villages in the Vall de Boí and has now been completely rebuilt. You can visit it at the end of your tour.

Now, make your way to the back of the church. Just follow the path that descends to your right.

The Church of Sant Feliu has seen many changes over the centuries. Take a moment to appreciate the fascinating perspective created by its various volumes.
The apses are particularly striking, displaying architectural features from different construction periods. The largest apse dates back to the 11th century and is clearly built from irregular stones, adorned with blind arches and bands or lesenes typical of the early Romanesque style. In contrast, the smaller apse, from the 12th century, is constructed with regular stones and has very little decoration.
You will also find several examples of Romanesque windows in the apses of Sant Feliu.
To continue your visit, please enter the church and take a position in front of the pews.

The central apse of the Church of Sant Feliu is just as intriguing on the inside as it is on the outside. Inside, you will discover two particularly interesting features.
The first relates to the materials used in its construction. If you look closely, you will see that the quarter-sphere vault covering the central apse is made of pumice stone, which is lighter than granite and was most likely sourced from the nearby Noguera de Tor river.
Also worth noting are the remnants of the original plaster and decorative border from the 11th century. You can spot an example of this between the central window and the one on the left. The decorative border consists of the white lines drawn on the stone, which create an illusion of symmetry that does not actually exist. You will find similar decorative borders in the churches of Sant Climent de Taüll, Sant Joan de Boí and Santa Eulàlia d’Erill la Vall.
If you would like to see how the entire apse of Sant Feliu de Barruera was originally adorned with these borders, activate the virtual resource.

The renovations of the church and the movable furnishings preserved inside show how the churches of the Vall de Boí ensemble have evolved to meet the tastes and needs of the community that has used them continuously from the Romanesque period to the present day.
Two images of Christ stand out: one at the high altar and another on the floor, which is brought out on Holy Thursday for the Stations of the Cross, commemorating the final moments of Jesus’s life.
Within the collection of movable items in Sant Feliu, you will find a confessional and a bench.
There are also several sculptures, such as “the armed ones”, the two soldiers flanking the altar on the right, as well as an altarpiece at the entrance. For more details, please take a look at the information panels.
Lastly, you can head up to the choir, where you will enjoy a privileged view of the interior of Sant Feliu.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.
With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.
To start your visit, please head to the back of the church.

Sant Joan de Boí is the church that retains the most architectural elements from the first phase of construction in the Vall de Boí, dating back to the 11th century. The walls of the church and the base of the bell tower, built with irregular ashlars, are what remain from this period.
Two of the original apses, the central one and the one on the left, disappeared, most likely during renovations in the 17th and 18th centuries.
The bell tower is a clear example of the church’s architectural evolution: the base belongs to the first Romanesque period of the 11th century, the next two storeys are from the 12th century, and the top storey was added during a 16th-century renovation.
One interesting feature of this bell tower is that it is perfectly aligned with the towers of the churches of Santa Eulàlia d’Erill la Vall and Sant Climent de Taüll.
To continue your visit, head towards the side façade on your right, the one with the paintings.

One of the most striking features of the Church of Sant Joan, and something you have probably already noticed, are the mural paintings on the north façade, around what used to be the original entrance. Sant Joan, along with Sant Climent and Santa Maria, are the only churches to have retained exterior paintings. However, what you see here are replicas, as the originals are now housed in the MNAC (National Art Museum of Catalonia). The plaster on the façade, though, is the original.
The paintings depict a vision of God, represented by the Christogram, the symbol of Christ, formed from His Greek initials. While the Christogram itself is no longer visible, it would have been inscribed within the central circle, held aloft by four angels. To one side of this scene is a saint holding a book, and on the other side, three figures gazing at the vision in the centre. The entire composition is framed by a border of geometric patterns.

Originally, both the paintings and plaster were protected by a portico, which was removed at some point. This portico would have provided shelter for worshippers, shielding them from the weather. However, it also served as a stopping point for processions and a space for liturgical and social events, such as trials. What’s more, the porch held a symbolic significance, acting as a transition between everyday life and entry into the house of God.
But this wall holds yet another hidden treasure. On either side of the door, you will find graffiti, left behind by people long ago, scratched into the wall with something sharp. Like the paintings, these graffiti are copies of the originals. If you look closely, you will make out several military scenes, featuring towers, horses, stars and even a soldier blowing a horn – a glimpse into popular expression from centuries past.

Ambient background sounds.
Boy (nervously): Could you stop for a moment?
Girl: Look at that horse! My mum made it. And see that soldier on the castle? She made that too.
Boy: Soldiers don’t look like that.
Girl: This soldier’s playing the trumpet. A battle is about to happen!
Boy: Don’t draw anything! If the priest catches you, he’ll get angry.
Girl: I’ll just add some lines here. They’ll look like rays of sunshine.
Boy (very nervously): Watch out, the priest is coming!
Ambient background sounds.

Before you enter, here’s one last interesting detail: on this wall, you will notice some figures or stains in shades of red and ochre. These marks are remnants from the ritual of consecration, which is the act of making the church sacred and suitable for divine worship.
To continue your visit, go through the door on your right. The door directly in front of you was the original entrance but has not been in use for quite some time.

Inside the Church of Sant Joan, you will be struck by the abundance of mural paintings, the vibrancy of the colours used and the variety of themes depicted. Like those on the exterior, these are not the originals but rather faithful reproductions of the ones preserved in the MNAC (National Art Museum of Catalonia).
But what was the purpose of all these scenes decorating the walls of a church? During the Middle Ages, mural paintings played a crucial role. They not only glorified God and served as symbols of power, but also fulfilled an important educational function. With the majority of the population being illiterate, images, along with the spoken word, became the most effective means of spreading the Christian gospel.
The themes of the paintings you will see are quite diverse and can be divided into two levels of representation. On one level, you have the saints or blessed figures, which cover most of the walls and represent the celestial realm. On the other level, you will find the creatures from the bestiary – beings that inhabit the earthly world – depicted in scenes situated below the saints, beneath the arches. Completing this visual narrative, the wall next to the door features a depiction of the Last Judgement, although these particular paintings are not reproduced in the church.
As for the saints, one of the most important scenes is the stoning of St. Stephen. To find it, head to the end of the left nave and look up and to the right, just above one of the arcades. This scene represents the strength of the martyr, serving as an example to follow, highlighting the trials and challenges that the faithful must overcome.
The next notable scene can be found on the wall to your left. It features a lively display of jongleurs, including a musician, a juggler and an acrobat who, hanging upside down, tries to catch swords with his mouth. This scene is one of the most intriguing in the collection, as it is one of the few that lacks a religious theme. It portrays festivity and celebration in the celestial realm, showcasing the music and joy shared by the sacred figures. Interestingly, it may also relate to the celebration of the church’s consecration – a rather unusual theme in Catalan Romanesque art.
Now, let us turn our attention to the creatures from the bestiary, which include both real and mythical animals located mainly on the columns. These beings were depicted with moral significance, embodying human vices and virtues through their behaviours. Look for an elephant, a lion, a panther or a camel. And on the side door, there’s a rooster, symbolising the arrival of a new day and the resurrection of Christ.
Would you like to see how this church was painted? Click on the virtual resource to discover how the masters worked in the 12th century. After that, head towards the church’s entrance and find a spot in the left nave, facing the door.

On the wall to the left of the exit door, there is an extraordinary creature associated with the apocalypse. It is a monster with seven heads and ten horns. Terrifying scenes like this were always painted on the exit wall to remind the faithful, before returning home, of the dire consequences they might face if they strayed from the path of righteousness.
There is another striking scene that you may have already spotted. If you turn your back to the seven-headed monster and look up, within the second arch, you will see the sinner. This character has a prosthetic leg and his genitals are visible – though it seems someone took the liberty of erasing them – appearing to be engaged in masturbation. In this case, religion associates physical defects with moral flaws.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.
With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

As you can see, the Church of Sant Quirc de Durro is set in a stunning location on a high plateau on the Durro mountain, at an altitude of 1,500 metres.
You might be wondering why it was built all the way up here, in such a remote and difficult-to-reach spot, far from the village. Well, there are two reasons for that.
Firstly, the church marked the boundary between the grazing pastures and the cultivated fields. The pastures, which stretch down to the village, are privately owned, whereas the mountain land belongs to the whole community.
But the church also had another, more symbolic role, linked to the ancient pagan tradition of running with fire torches, known as falles. Sant Quirc is the location of the Faro de Durro, the pine tree that marks the starting point for the torch procession in this village. Depending on the time of year, you can still see the tree, half-burnt, standing at the edge of the cliff. The descent of the falles marks the arrival of summer and was originally meant to purify the pastures and drive away evil spirits. When Christianity arrived, this tradition was adapted to the veneration of saints, who became the protectors of the land.

Ambient background sounds.
Woman: I’ve heard that tonight, a few girls are going to run with the torches.
Man: What? That’s ridiculous. The torch run is done by men.
Woman: Don’t you think it’s time for that to change?
Man: It’s tradition. It’s always been done like that.
Woman: We’re in 2010. 2010! Durro is the only place in the Pyrenees where women still can’t take part in the torch run. So, I really hope what they’re saying is true and that these girls are bold enough to do it.
Man: I won’t believe it until I see it.
Ambient background sounds.

The Vall de Boí ensemble has several churches, but Sant Quirc de Durro is the only one that still preserves its original 12th-century structure. This is why it was included as part of the World Heritage Site, along with the other churches.
From where you are, you can clearly see the bell tower of Sant Quirc, a later addition after the Romanesque period. Unlike the typical church bell towers of the Vall de Boí ensemble, this one has a bell gable design.
Another unique feature of Sant Quirc is that its walls are made of slate, unlike the other churches in the Vall de Boí ensemble. The design of the chapel is quite similar to the portico of the Church of La Nativitat de Durro, just over two kilometres away, suggesting they were built around the same time, in the second half of the 12th century.
Now, move towards the entrance and take a closer look at the voussoirs – the curved stones that frame the arch above the door. You will notice they have a pinkish tone, different from the rest of the stonework. This is because they are made from pumice, a softer material that is easier to carve, perfect for decorative features.
At Sant Quirc, one of the things you will notice is the limited number of openings that allow light into the interior. In fact, the only window that illuminates the interior is in the central apse, along with the oculus at the front, just below the roof.
To continue your visit, you will need to go inside the church. However, at certain times of the year, it may be closed. If you are unable to enter, you can still get a good sense of the interior by viewing the virtual tour available in the guide.

As you step inside the Church of Sant Quirc de Durro, you will notice how its interior has evolved over the centuries, showcasing a blend of different styles. There is the Romanesque altar frontal, the Gothic image of St. Quirc and St. Julita, along with a Baroque altarpiece positioned in front of the apse.
The Romanesque altar frontal is a reproduction of the original, which is housed in the MNAC (National Art Museum of Catalonia). This piece is dedicated to the church’s patrons, St. Quirc and his mother, St. Julita. It strikingly depicts the brutal martyrdoms these saints endured before their deaths. You can see St. Quirc being sawn in half from top to bottom or having nails driven into his face, while St. Julita is shown pierced by swords. In one dramatic scene, both saints are depicted in a boiling cauldron. After all that they suffered, dedicating a church to them is considered the least that could be done!

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.
With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

In Santa Eulàlia, you will find one of the most prominent bell towers in the Vall de Boí ensemble. This slender, square tower rises six storeys high and is adorned with features typical of early Romanesque architecture, such as blind arcades and sawtooth friezes.
This bell tower aligns with those of Sant Joan de Boí and Sant Climent de Taüll, allowing visibility of the other two towers from this vantage point. Today, however, the trees that have grown in the meadows obstruct this view.
Religiously, the tower was an architectural element that symbolically reached towards the sky. It also served practical functions, acting as a lookout point and a means of communication with surrounding villages.
Before continuing your visit, take a moment to appreciate the solidity and simplicity of this church. If you have the chance, enjoy the sound of the bells echoing through the village – it’s truly a worthwhile experience.
Afterwards, make your way to the entrance of the church.

Just like the bell tower, the church served a dual purpose: both social and religious.
The church’s entrance and exit have always been key gathering points for the community. This is why the portico you are in was designed to protect worshippers from the weather while they waited. However, it also served as a stopping point for processions and a space for liturgical and social events, such as trials. What’s more, the porch held a symbolic significance, acting as a transition between everyday life and entry into the house of God. Inside the arch of the door, known as the intrados, you can see the depiction of two serpents facing each other – a clear warning against sin. There are also remnants of original paint in shades of red and black, and if you look closely, you will spot an ancient graffiti depicting a small fish.
Still within the portico, on either side of the door, you can see two stones featuring intriguing white drawings: a three-pronged cross on the left and a star on the right. These designs were made during the church’s consecration process to protect it from evil.
On the same wall to the left, you can observe remnants of a painted stone border or strip, which creates the illusion of symmetry that the actual structure lacked. You will find similar grid patterns inside the church as well.
You can now enter the church.

From your current position, you can clearly see the church’s cross-shaped layout, featuring a trefoil design formed by the main apse, which is painted white, and the two secondary apses on either side, completing the structure with the nave.
You may have noticed that the floor of the church slopes downwards; this slope has been preserved because the original pavement was designed that way, which is evident from the different heights of the remaining pillars.
In the 12th century, the nave was expanded, and the bell tower and portico were built. During that time, the vault and façade accidentally collapsed, leading to the first reconstruction.
In the 16th century, a retable was constructed in the central apse, a choir was added and part of the exterior portico was converted into a chapel.
The retable in the central apse was taken down between 1907 and 1911 to create a sacristy. The modern restoration carried out at the end of the 20th century restored the apse to its original appearance.
To continue your visit, please make your way up to the choir at the end of the nave.

You are now in the choir. As you may know, this section is a 16th-century addition that was built to accommodate the clergy and singers. From the front of the balcony, you have a clear view of the wooden collection of sculptures above the altar. This piece is a reproduction of the Descent from the Cross from Erill la Vall, the only complete example preserved from the so-called Erill workshop.
From left to right, the figures include: Dimas (the Good Thief), the Virgin Mary, Joseph of Arimathea, Christ, Nicodemus, St. John and Gestas (the Bad Thief).
The scene depicts Christ being lowered from the cross and is filled with drama. This representation may have been inspired by the liturgical plays performed during the celebrations of Holy Week.
In the churches of La Nativitat de Durro and Santa Maria de Taüll, parts of other descents are also preserved.
The figures in this collection are reproductions based on the original carvings held in the Museu Episcopal de Vic (Episcopal Museum of Vic) and the Museu Nacional d’Art de Catalunya (National Art Museum of Catalonia). The original figures were discovered in very poor condition in a small room attached to the church’s exterior wall.
In the augmented reality resource, you can see the Descent as it originally appeared.

In the choir, you will find a variety of liturgical items that illustrate the evolution of ecclesiastical furnishings. Among these are altarpieces from different periods, showcasing the changes in worship practices and artistic styles from the 16th to the 18th centuries. These wooden pieces exhibit varying degrees of polychromy, reflecting their age and history.

Archaeologist: Before we move on, let’s take a quick look beneath the choir. You never know what we might find.
Art Historian: Over there! Shine your torch on that pile of wood.
Archaeologist: Is it what I think it is?
Art Historian: There are quite a few! They’re all severely rotted! This one just fell apart in my hand.
Archaeologist: We’ll need to restore them carefully.
Art Historian: It is worth it. These altarpieces will be essential in reconstructing the history of this church. And once restored, they should be displayed right here.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.
With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

Welcome to Santa Maria de Cardet, the smallest church in the Vall de Boí ensemble. This might explain its charming and welcoming appearance, especially with the lovely little porch at the entrance. Without the bell tower, you might easily mistake it for a house in the village – don’t you agree?
As you can see, the bell tower is designed as a bell gable and was added during the Baroque period. Cardet and the Church of Sant Quirc de Durro are the only two churches in the ensemble featuring this style of bell tower.
Another interesting detail is the latch. If you take a closer look, you will notice that the bolt is adorned with a beautiful human head.
However, what truly makes Santa Maria special is its stunning apse. To see it, you will need to step outside the church grounds and take a left in the direction you’re heading. Then, simply walk down a couple of streets until you reach a wooden platform.

From this vantage point, you can admire the beauty of the apse of Santa Maria de Cardet and its views.
The apse of Santa Maria de Cardet features two levels and is one of the most impressive among all the churches in the Vall de Boí ensemble. This is because the church was built on the steep slope of the mountain, taking full advantage of the terrain’s elevation.
At the lower level, you will find a small crypt, the only one in the entire group of Romanesque churches. It aligns with the lower window, and you can visit it once you are inside.
Here’s an intriguing detail: to the upper left, in the second arch that adorns the top of the apse, there is a human head carved in relief. Can you find it?
To continue your visit, make your way back inside the church.

As we have mentioned, Santa Maria de Cardet is the smallest church in the Vall be Boí ensemble, and its interior feels even more compact due to the Baroque altarpiece that partially obscures the apse.
This church, like the others in the ensemble, has undergone restoration, but in this case, the decision was made to preserve the interior as it was in the early 20th century. Architectural additions and furnishings from after the Romanesque period have been retained to illustrate its evolution. It is worth noting that the other churches in the Vall de Boí ensemble also had a similar appearance once, but their restorations have returned them to a more traditional Romanesque style.
From your vantage point, you can also see a replica of the altar frontal, dedicated to the Virgin Mary and Christ’s childhood. The original is housed in the Museu Nacional d’Art de Catalunya and dates back to the second half of the 13th century.
The altar frontal features various scenes from the life of the Virgin. At the centre, Mary holds the Infant Jesus on her lap. In the upper left, there’s a depiction of the angel’s visit to Mary, while to the right is the birth of Jesus. Below, on the left, is the arrival of the Three Wise Men, and on the right is the moment when Mary and Joseph flee to Egypt with the young Jesus to escape the Romans.
The altarpiece was crafted by the so-called Ribagorça workshop, known for several works that share a similar technique and style.

Ambient background sounds.
Master: You need to focus on the stucco reliefs, Jaume.
Jaume: But, Master, I’ve been working with stucco for quite a while now. I want a chance to paint the figures. I know I can do it.
Master: Don’t rush; your opportunity will come in time. For now, concentrate on the frames and backgrounds.
Jaume: How long will this go on, Master? This feels like a minor task. I’ve been preparing for this for ages. I’ve studied your work closely, and I know the craft well.
Master: Jaume, you’ll be ready when you understand the importance of the frames and backgrounds with stucco reliefs. Each element is part of the final piece, and all must be crafted with the same skill and humility. Now, get back to work; you still have much to learn.
Ambient background sounds.

Behind the altarpiece, there is a grain store, providing a fresh perspective on how religious spaces were once used. Though hidden from view, it can be accessed through a small door to the right of the altarpiece. The grain store is waist-height and features a small wooden lid. While inside, you will also notice a sawtooth frieze, typical of early Romanesque decoration. What makes this particularly unique is that such decorations were rarely found in interior spaces.
Inside the Church of Santa Maria de Cardet, an original crossbeam adorned with painted decoration was preserved until the early 20th century. At the top of the beam, you will notice two holes that once held a group of sculptures, most likely depicting a Calvary scene featuring Christ on the cross, St. John, and the Virgin Mary. While this beam is now housed at the MNAC (National Art Museum of Catalonia), virtual reality allows you to see it in its original setting.

To visit the crypt, head down the stairs in the centre of the nave and follow the narrow corridor.

You are now in the crypt, directly beneath the presbytery. Crypts were typically used to house tombs or the relics of saints. This one mirrors the semicircular shape of the apse and is covered by a barrel-vaulted ceiling. If you look up, you will notice the imprints left by the reeds used as a framework when building the roof. In the centre of the wall, there is a small window, providing the crypt’s only source of natural light. You will also see the oil basin, once used to light the lamps that illuminated the church.
Now, make your way to the choir, where there’s one more surprise waiting for you.

Up to this point, you have explored three distinct levels of the church: the lowest, the crypt; the main floor, where ceremonies take place; and the choir, where you are now. But if you climb the small staircase behind you and take a look, you will notice there is yet another space above, created when the 18th-century vault was added.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!

Welcome to the Vall de Boí! We invite you to discover its extraordinary collection of churches, regarded as one of the finest examples of Catalan Romanesque art and listed as a UNESCO World Heritage Site in 2000.
The Romanesque Ensemble of the Vall de Boí comprises nine churches: Sant Climent de Taüll and Santa Maria de Taüll, Sant Joan de Boí, Santa Eulàlia d’Erill la Vall, Sant Feliu de Barruera, La Nativitat de Durro and Sant Quirc de Durro, Santa Maria de Cardet and L’Assumpció de Cóll.
But what connects these churches? Why are they so remarkable? And what’s the history behind them?
All were built between the 11th and 12th centuries, during a time of power and economic prosperity for the local nobility. They share a common architectural style: Romanesque, which was widespread across Europe.
Today, many of the original paintings, sculptures and furnishings are housed in various Catalan museums, especially in the Museu Nacional d’Art de Catalunya, the National Art Museum of Catalonia. However, some of the churches still preserve significant fragments of original murals and sculptures, alongside replicas of pieces now on display in museums.
With this guide, you’ll uncover the exceptional heritage of this Romanesque ensemble and explore each of the nine churches, discovering their secrets and fascinating details.
One last thing! These mountains are steeped in mystery, and in the valleys, the words of those who once lived here seem to linger, echoing through time like a faint whisper. This guide is equipped with a sensor that is activated whenever it picks up one of these echoes. Don’t be alarmed; just keep listening.

The Church of Santa Maria was consecrated on 11 December 1123, just one day after the Church of Sant Climent de Taüll. This overlap in their construction highlights the significant resources the lords of Erill dedicated to the Vall de Boí in the early 12th century.

What makes this church stand out is its unique location in the heart of the village, setting it apart from the other churches in the valley.

Over the years, Santa Maria has undergone considerable changes. The current restoration, which began in 1950, aims to recreate the original Romanesque layout of three naves. If you are curious about the original floor plan, you can see a stone perimeter marked on the ground in the square.

The bell tower is the oldest part of the complex. If you look closely, you will notice it leans slightly – just a sign of its age!

Now, please move to your left towards the corner to observe another important detail of the bell tower. On the upper levels, you can still spot traces of the original decoration – borders of red geometric motifs set against the white plasterwork.

When you have finished exploring the bell tower, make your way to the apses at the back of the church.

The main apse of the Church of Santa Maria, the largest in the complex, features a unique decorative element not found anywhere else in the Vall de Boí ensemble: concentric circles beneath the set of blind arches, known as “recessed circles”.

It’s also worth mentioning that the left apse has been completely reconstructed.

Now, you are ready to enter the church and continue your visit.

The Church of Santa Maria de Taüll underwent extensive renovations in the 18th century during the Baroque period.
The side naves were transformed into chapels, and a dome with a drum was added near the apse. In addition, one of the side apses was replaced with a sacristy. All these modifications were removed during a restoration that returned the church to its original 12th-century appearance, featuring three naves separated by pillars and three semicircular apses.

One of the main highlights inside Santa Maria de Taüll is the mural paintings in the apse and on the right wall. What you are looking at are reproductions of the originals, which are now displayed at the Museu Nacional d’Art de Catalunya.

However, there are still some original fragments of the paintings here. The most notable can be found high up on one of the columns separating the central nave from the right. It depicts a scene from the Nativity of Christ, known as The Bathing of Jesus.
So, what was the purpose of these scenes on the church walls? During the Middle Ages, mural paintings played a crucial role. They not only glorified God and served as symbols of power, but also fulfilled an important educational function. With the majority of the population being illiterate, images, along with the spoken word, became the most effective means of spreading the Christian gospel.

The themes of the paintings were usually connected to the saint the church was dedicated to. Nevertheless, in this case, most of the paintings relate to the birth of Jesus and his recognition as a divine figure.

Ambient background sounds.
Woman 1: Late for mass again today… couldn’t rely on the bells, could I?
Woman 2: Well, the bell ringer’s not as young as he used to be. And those stairs are far too steep for him now.
Woman 1: Maybe it’s time we found someone else then.
Woman 2: Oh, don’t even think about it! Imagine how long it would take to train someone new… I’ve heard they’re planning to build him a little wooden hut up there, so he doesn’t have to climb up and down all the time.
Woman 1: A wooden hut? What, like he’s some sort of bird? [laughs]
Woman 2: You can laugh, but you’ll be glad of it soon enough!
Ambient background sounds.

The apse is divided into three sections. At the top, we see the Virgin seated on a throne with her child on her lap, both framed within a mandorla, which is an almond-shaped border. Surrounding the Virgin are the Three Wise Men, bearing their gifts.
In the middle section, on either side of the window, are six apostles, including St. Andrew, St. Peter, St. Paul and St. John the Evangelist.
At the bottom, you will find circular medallions featuring both real and mythical animals, typical of medieval bestiaries. Finally, at the very base, there is a frieze of paintings depicting curtains that imitate oriental silks.
If you would like to see how this church was painted, click on the virtual resource. Once you have seen it, head over to the wall on your right, the next stop on the tour.

The side walls of the church were once adorned with fresco murals. These paintings, now preserved in the MNAC, were created by the artist known as the Master of the Last Judgement, a different artist from the one responsible for the apse mural. He earned this name for painting the Last Judgement scene that originally decorated the wall near the exit. On the reproductions you see on the right-hand wall, facing the altar, various scenes from the New Testament are depicted. Starting from right to left in the middle register, you will find the Annunciation to Zechariah as he officiates in the temple, the naming of John the Baptist, and Mary with the Christ Child being adored by the Three Wise Men, who share the scene with Herod.
The upper register is more challenging to interpret, as only the lower halves of the scenes survive. One might show St. Martin’s act of charity, where he cuts his cloak to share it, while the far-right scene shows armed angels, with the Archangel Michael battling the dragon.
The lower part of the wall features a painted curtain motif, and below this, you will find more fragments of the original paintings.
Next, head over to the Baroque altarpiece near the entrance.

This Baroque altarpiece in front of you stood in the main apse from the 18th century until the 20th century. During that time, it concealed the Romanesque paintings beneath it. It’s likely that this altarpiece helped protect them from deterioration, and perhaps even from disappearing altogether.

The altarpiece is divided into two sections: the upper part depicts the Archangel Saint Michael, with St. Paul on the left and St. Peter on the right. The lower section features the Virgin Mary, with St. John the Evangelist on the left and St. Isidore on the right.

In this area of the church, you will also find three Romanesque fonts. The largest is the oil basin, used for storing the fuel that powered the lamps illuminating the church. Next to it is the baptismal font, and to the left, the holy water font.

That concludes your visit to this church. Now, we invite you to explore the others that make up the Romanesque Ensemble of the Vall de Boí. We look forward to seeing you!