Overview of the musical fact that develops in this era, contemporary to the splendor of Romanesque, and that extends into five chapters, each specifying the various aspects from which the subject can be treated.
It is varied the theme carved in stone framed in the eardrums of the covers that go from simple crismones to more complex biblical scenes or moments of lives of saints that will be described in a detailed way.
Contemporaries to the Romanesque works are these buildings that exerted such an active role in such turbulent times. We present a photographic catalog with brief information and links to deepen in each of them.
The group formed by the churches of the Serrablo has a series of common characteristics, with specific differences between them, that seek in the combination of architectural and aesthetic elements, the constructive and decorative solutions, forming a very well-characterized set.
In the first place, it should be noted that these are very small churches. Their ships are of rectangular plant, with the exception of San Pedro de Lárrede, that is of Latin cross, and have their apses in the Eastern side. In several cases they have side naves attached to the main one, such as Basarán, Oliván, Lasieso, etc., but always of construction much later than the original building.
The lateral walls are different, since the North-oriented ones are totally blind, being the South wall where both the doors and the vanes that illuminate inside are located (except for the case of Ordovés). To collaborate in this lighting, there is usually a gap in the gable of the feet. The factory of the walls is made with sillarejo little worked in general.
The doors are constituted by horseshoe arches, of half a point in other so many occasions, and linned to support an arc of unloading in enough occasions, but always to the interior, except for some very particular case. In certain cases they are framed with an alfiz (San Pedro de Lárrede and San Juan de Busa). The arches are always formed with voussoirs.
The apses are, together with the towers, the most typical constructive element of these churches. They are built on the eastern side and their shape is basically semicircular, but sometimes it is rectangular, in the case of San Bartolomé de Gavín, or in the shape of a horseshoe. They have a decoration composed of a series of blind wall arches (between seven and nine, depending on each case), and a bocel that goes on top of them, on which is placed a frieze of baquetones or semicircular columns that go through the entire apse . Immediately above these is a small course of wall on which the tejaroz stands directly.
The roofs of these churches used to be of wooden armor in practically all cases, although later reforms were made in stone in some cases, constituting barrel vaults, as in the case of San Pedro de Lárrede. To support the sustaining work of the walls, in some of them buttresses were built. The apses are covered with a shell vault.
The other most characteristic element of these churches is the bell tower. These are very slender towers, decorated with tríforas windows and friezes of baquetones in the most outstanding cases, which are reduced in size as they gain height. They are covered with vaulted vaults and roofs with two or four slopes.
The windows that are placed in these towers or sometimes in the walls, have a high decorative content and are of one, two or three spans, built with horseshoe or half-point arches. In some cases they are framed by an alfiz. Perhaps the most beautiful are those of San Pedro de Lárrede, San Bartolomé de Gavín or the parish of Susín.
It should be noted that the decoration in these churches is made with architecture, lacking any type of carvings or inscriptions (made the exception of San Bartolomé de Gavín in the tower or the Kufic characters on the cover of San Juan de Busa). This architectural decoration is based on the blind arches and the friezes of baquetones of the apses, in the tríforas or simple windows, and in the alfices that frame doors and windows. With these simple elements are achieved solutions of great aesthetic capacity, of which some churches take all the elements or some of them in isolation.
Apart from this stylistic singularity, both in the Serrablo and in the sierras of the middle course of the Gállego there are numerous examples of rural Romanesque, small rectangular churches with a simple drum apse without any decoration, which were parochial of small villages in many cases today abandoned or exercising chapels of cemeteries. Not for that reason there are some majestic examples of Romanesque architecture, such as Santiago de Aguero or the castle of Loarre, although more closely related.