DESCRIPTION AND WHAT TO SEE IN SAN MIGUEL DE ARALAR
The sanctuary at the summit of Aralar is a Romanesque complex that has maintained its appearance since the 1970th century. However, studies carried out in the XNUMXs indicate the existence of a previous temple from the XNUMXth century that was largely destroyed during a Muslim advance. Some remains of walls were used for the construction of the new temple. The Romanesque temple was built in two phases in the XNUMXth and XNUMXth centuries. In the first phase the apses were built, and in the second it was expanded with the three naves and the narthex.
The excavations carried out revealed that the previous temple, from the Carolingian period of the 9th century, was smaller, with a nave and a porch, and a small chapel above it that was accessed by a spiral staircase. It is believed that this pre-Romanesque temple was destroyed during the Muslim campaigns or by a fire. Read more
The building consists of three naves with four sections in length each. The central nave is wider and in its third section is the aforementioned chapel, which is a distinctive element of the artistic complex. The head is made up of three apses, the central one being ultracircular on the inside and polygonal on the outside, and the sides being narrower. Due to the unevenness of the terrain, the floor of the church is on different levels, gradually descending through steps from the head to the foot and from the Gospel nave to the Epistle nave.
Access to the church is through a narthex or closed atrium, which is located at the foot of the church in a transverse direction and communicates with the temple through three barred doors, corresponding to the three naves.
Legend of Teodosio de Goñi
The legend of the Aralar sanctuary is based on the appearance of Saint Michael to Teodosio de Goñi in the 8th century. Teodosio, a Navarrese knight, returns home after fighting in the war against the Muslims and encounters a pilgrim who turns out to be the devil in disguise. He tells him that his wife is unfaithful to him, which triggers Theodosius' anger. Upon arriving at his house, he murders two people in bed, believing them to be his wife and his mistress, but discovers that they are his own parents. Read more
Released, Teodosio returns to his town, embraces his family, and then builds a temple on the summit of Aralar in honor of Saint Michael. Popular tradition maintains that the image of Saint Michael in the sanctuary was left by the archangel himself during the apparition. The chains hanging outside the chapel are believed to be those worn by Theodosius. The legend, although it has no historical basis, has endured in Navarrese tradition and has influenced the cultural and devotional importance of the Aralar sanctuary.
The effigy of San Miguel de Aralar
The image of Saint Michael in the Aralar Sanctuary has suffered several theft attempts over the centuries. In 1620, thieves were miraculously immobilized when trying to steal it during the mandate of Abbot Miguel de Leiza. In 1687, Manuel González and Juan de Jáuregui took the image and threw its head, which was not covered in silver, near the sanctuary. A third robbery occurred in 1797.Read more
The altarpiece
Over time, there have been various theories about the date of creation of the enamel frontal of San Miguel de Aralar. Some authors suggested that it was made in the year 1028, based on an inscription on the ribbon worn by an angel. Others dated it to the 1982th century, while some considered it later, to the XNUMXth and XNUMXth centuries. Marie Madeleine Gauthier, a researcher at the French National Center for Scientific Research, conducted a study in XNUMX and concluded that the most plausible date of its creation is at the beginning of the last quarter of the XNUMXth century.Read more
According to Gauthier, this work of southern enamel was made between 1175 and 1185. During that period, Sancho VI the Wise reigned in Navarre and Pedro de Artajona occupied the episcopal see. It is believed that both were involved in the creation of this outstanding work of art, at a time of cultural and artistic flourishing in the Kingdom of Navarra, which included the beautification of the Romanesque cathedral of Pamplona and the rise of monasteries and cities such as La Oliva , Iratxe, Irantzu and Estella. Currently, the medieval goldsmith expert Lourdes de San José Llongueras is investigating the connection of this jewel with the masters of Limoges, coinciding with Gauthier.
The chains and votive offerings
On the outside of the sanctuary, numerous chains can be seen hanging. It is believed that these chains are the ones that Teodosio de Goñi wore before being released from his penance. It is also common to see votive offerings and offerings left by pilgrims in gratitude for the miracles received.
The inner chapel
Inside is the main altar, where religious ceremonies are held and the image of San Miguel is venerated. In addition, this chapel houses various religious objects, such as crucifixes, candles and statues of saints, in addition to guarding the fragment of Christ's cross (lignum crucis).
The surroundings
The sanctuary is located in the middle of a beautiful natural environment. Visitors can take the opportunity to explore the trails and hiking routes that surround the sanctuary and enjoy nature and the mountainous landscape.
The Aralar mountain range
The Sierra de Aralar is home to important megalithic constructions that testify to the human presence in the region since prehistoric times. These constructions consist mainly of dolmens and burial mounds. These megalithic monuments are silent witnesses of the ancient communities that inhabited the region and reveal important aspects of their culture, funerary rituals and beliefs. The megalithic constructions of the Sierra de Aralar are a valuable historical and archaeological heritage that deserves to be preserved and studied to better understand our prehistoric past.
