807 Best Sights in Spain

Old Ronda—20 km (12 miles) north of Ronda—is the site of this old Roman settlement, a thriving town in the 1st century AD that was abandoned for reasons that still baffle historians. Today it's a windswept hillside with piles of stones, the foundations of a few Roman houses, and what remains of a theater. Views across the Ronda plains and to the surrounding mountains are spectacular. The site's opening hours vary depending on staff availability and excavations—check with the Ronda tourist office by phone before visiting.

This beautiful freshwater lagoon was named by Moorish poets—albufera means "the sun's mirror." The park is a nesting site for more than 300 bird species, including herons, terns, egrets, ducks, and flamingos. Bird-watching companies offer boat rides all along the Albufera. You can also explore the park on foot or by bike. 

It's believed that the Walt Disney logo is modeled after the silhouette of this turreted castle. Possibly dating to Roman times, the Alcázar was expanded in the 14th century, remodeled in the 15th, altered again toward the end of the 16th, and completely reconstructed after being gutted by a fire in 1862, when it was used as an artillery school. The exterior, especially when seen below from the Ruta Panorámica, is awe-inspiring, as are the superb views from the ramparts. Inside, you can enter the throne room, chapel, and bedroom used by Fernando and Isabel, as well as a claustrophobia-inducing winding tower. The intricate woodwork on the ceiling is marvelous, and the first room you enter, lined with knights in shining armor, is a crowd-pleaser, particularly for kids. There's also a small armory museum, included in the ticket price.

Founded in the 10th century, one of Europe's earliest medical complexes contains some of Barcelona's most impressive Gothic architecture. The buildings that survive today date from mainly to the 15th and 16th centuries; the first stone for the hospital was laid by King Martí el Humà (Martin the Humane) in 1401.

From the entrance on Carrer del Carme, the first building on the left is the 18th-century Reial Acadèmia de Medicina de Catalunya (Royal Academy of Medicine); the surgical amphitheater is kept just as it was in the days when students learned by observing dissections. (One assumes that the paupers' hospital next door was always ready to oblige with cadavers.) The Academy is open to the public for guided tours on Wednesday and Saturday mornings.

Across the way on the right is the gateway into the patio of the Casa de la Convalescència, where patients who survived their treatment in the hospital were moved for recuperation. It now houses the Institute for Catalan Studies. The walls of the forecourt are covered with brightly decorated scenes of the life of St. Paul in blue and yellow ceramic tiles. The story begins with the image to the left of the door to the inner courtyard, recounting the moment of the saint's conversion: Savle, Savle, quid me persegueris? ("Saul, Saul, why do you persecute me?").

The ceramicist, Llorenç Passolas, also designed the late-17th-century tiles around the inner patio. The image of St. Paul in the center of the pillared courtyard, over what was once a well, pays homage to the building's first benefactor, Pau Ferran. Look for the horseshoes, two of them around the keyholes, on the double wooden doors in the entryway: tokens of good luck for the afflicted who came here to recover—again, in reference to benefactor Ferran, from ferro (iron), as in ferradura (horseshoe).

Through a gate to the left of the Casa de Convalescència is the garden-courtyard of the hospital complex, the Jardins de Rubió i Lluc, centered on a baroque cross and lined with orange trees. On the right is the Biblioteca de Catalunya ( Carrer de l'Hospital 56  93/270–2300  www.bnc.cat  Closed Sun.), Catalonia's national library and—with some 2 million volumes in its collection—second only to Madrid's Biblioteca Nacional. The stairway under the arch, leading up to the library, was built in the 16th century. The Gothic well to the left of the arch is from the 15th century, as is the little Romeo-and-Juliet balcony in the corner to the left of the doors to the Escola Massana academy of design. The library itself is spectacular: two parallel halls—once the core of the hospital—230 feet long, with towering Gothic arches and vaulted ceilings, designed in the 15th century by the architect of the church of Santa Maria del Pi, Guillem Abiell. This was the hospital where Antoni Gaudí was taken, unrecognized and assumed to be a pauper, after he was struck by a trolley on June 7, 1926.

Among the library's collections are archives recording Gaudí's admittance and photographs of the infirmary and the private room where he died. The staggering antiquarian resources here go back to the earliest history of printing, and range from silver medieval book covers to illuminated manuscripts from the Llibre Vermell (Red Book) of medieval Catalonian liturgical music, to rare editions of Cervantes. 

Leave the complex through the heavy wooden doors to Carrer Hospital, and turn left toward La Rambla. The next set of doors leads to the Capella (Chapel) of the hospital, an interesting art space well worth a visit. Built in the early 15th century, on the site of what had been the old Hospital de Colom (founded in 1219), it is now a showcase for promising young artists, chosen by a jury of prominent museum directors and given this impressive space, with its Romanesque tunnel vault and medieval arches, to exhibit their work.

Segovia's Roman aqueduct is one of the greatest surviving examples of Roman engineering and the city's main sight. Stretching from the walls of the old town to the lower slopes of the Sierra de Guadarrama, it's about 2,952 feet long and rises in two tiers to a height of 115 feet. The raised section of stonework in the center originally carried an inscription, of which only the holes for the bronze letters remain. Neither mortar nor clamps hold the massive granite blocks together, but miraculously, the aqueduct has stood since the end of the 1st century AD.  Climbing onto the aqueduct for photos or otherwise is strictly prohibited.

Officially named the Centro-Museo Vasco de Arte Contemporáneo, this former bus station is regarded as the third corner of the Basque modern art triangle, along with the Bilbao Guggenheim and San Sebastián's Chillida–Leku. The museum's permanent collection—including 20th- and 21st-century paintings and sculptures by Jorge Oteiza, Eduardo Chillida, Agustín Ibarrola, and Nestor Basterretxea, among others—makes it one of Spain's finest treasuries of contemporary art.

One of Spain's best-kept secrets, this spectacular stretch of sand, also known as Praia de Augas Santas (Beach of the Holy Waters) features vast rock formations, domes, arches, and caves that were naturally formed by wind and sea. In high season (July--September) it is mandatory to reserve a ticket to access the actual beach via  ascatedrais.xunta.gal. The arches are accessible for walks when the tide goes out; otherwise, the beach can be completely covered. Amenities: parking. Best for: beach walks; rock formations; spectacular natural scenery.

On the Atlantic coast, 24 km (15 miles) north of Tarifa, stand the impressive Roman ruins of Baelo Claudia, once a thriving production center of garum, a salty, pungent fish paste appreciated in Rome. The visitor center includes a museum. Concerts are regularly held at the restored amphitheater during the summer months.

The highlight of Nerja, this tree-lined promenade is on a promontory just off the central square, with magnificent views of the mountains and sea. You can gaze far off into the horizon using the strategically placed telescopes, or use this as a starting point for a horse-and-carriage clip-clop ride around town. Open-air concerts are held here in July and August.

Explore the narrow alleys of old Jaén as you walk from the cathedral to the Baños Árabes (Arab Baths), which once belonged to Ali, a Moorish king of Jaén, and probably date to the 11th century. In 1592, a viceroy of Peru named Fernando de Torres y Portugal built himself a mansion, the Palacio de Villardompardo, right over the baths, so it took years of painstaking excavation to restore them to their original form. The palace contains a fascinating, albeit small, museum of folk crafts and a larger museum devoted to native art.

This interesting Roman forum remained buried for over 20 centuries until excavations in 2008 and 2009 into the hillside revealed an entire block of Roman buildings. Highlights here include a thermal bathing complex, atrium, and the Decumano Calzada Romana, a section of the Roman road that originally joined the harbor and forum. The paintings on the walls of the banquet hall in the atrium and the mosaics in the baths are of particular note.

Tucked away on the north side of the old quarter and founded in 1998, this is one of the city's youngest bodegas, but it has the oldest sherry. The five types sit in the casks for at least 20 years—most for longer. Visits (book in advance by phone or email) include a tour of the winery, a lesson in how to pair each sherry type, and a tour of the unique Spanish art collection that includes works by El Greco, Zurburán, Goya, and Velázquez.

The Casa de las Veletas (House of the Weather Vanes) is a 12th-century Moorish mansion that is now used as the city's museum. Filled with archaeological finds from the Paleolithic through Visigothic periods, the museum also includes an art section with works by El Greco, Picasso, and Miró. The highlight is the superbly preserved Moorish cistern—the aljibe—with horseshoe arches supported by mildewy stone pillars.

The 1911 Casaramona textile factory, a neo-Mudejar Art Nouveau masterpiece by Josep Puig i Cadafalch (architect of Casa de les Punxes, Casa Amatller, and Casa Quadras), is now a center for temporary art exhibits, as well as concerts, live performances, and other cultural events. The original brickwork is spectacular, while a 2002 restoration added sleek white modern entryway designed by Japanese architect Arata Isozaki, also responsible for the nearby Palau Sant Jordi. 

A few yards off the northeastern corner of the mezquita, this tiny street has the prettiest patios, many with ceramics, foliage, and iron grilles. The patios are key to Córdoba's architecture, at least in the old quarter, where life is lived behind sturdy white walls—a legacy of the Moors, who honored both the sanctity of the home and the need to shut out the fierce summer sun. Between the first and second week of May—right after the early May Cruces de Mayo (Crosses of May) competition, when neighborhoods compete at setting up elaborate crosses decorated with flowers and plants—Córdoba throws a Patio Festival, during which private patios are filled with flowers, opened to the public, and judged in a municipal competition. Córdoba's tourist office publishes an itinerary of the best patios in town (downloadable from  patios.cordoba.es/en); note that most are open only in the mornings on weekdays but all day on weekends.

Clinging to the cliff side in the valley, the "King's Walk" is a suspended catwalk built for a visit by King Alfonso XIII at the beginning of the 19th century. It reopened in March 2015 after many years and a €9 million restoration and is now one of the province's main tourist attractions—as well as one of the world's dizziest. No more than 400 visitors are admitted daily for the walk, which includes nearly 3 km (2 miles) on the boardwalk itself and nearly 5 km (3 miles) on the access paths. It takes four to five hours to complete, and it's a one-way walk, so you need to make your own way back to the start point at the visitor center at the Ardales end (shuttle buses take you back). A certain level of fitness is required and the walk is not permitted for the under 8s or recommended for anyone who suffers from vertigo.  This is one of the Costa del Sol's busiest attractions; book well ahead.

Gaudí at his most spectacular, the Casa Batlló is actually a makeover: it was originally built in 1877 by one of Gaudí's teachers, Emili Sala Cortés, and acquired by the Batlló family in 1900. Batlló wanted to tear down the undistinguished Sala building and start over, but Gaudí persuaded him to remodel the facade and the interior, and the result is astonishing. The facade—with its rainbow of colored glass and trencadís (polychromatic tile fragments) and the toothy masks of the wrought-iron balconies projecting outward toward the street—is an irresistible photo op. Nationalist symbolism is at work here: the scaly roof line represents the Dragon of Evil impaled on St. George's cross, and the skulls and bones on the balconies are the dragon's victims, allusions to medieval Catalonia's code of chivalry and religious piety. Gaudí is said to have directed the composition of the facade from the middle of Passeig de Gràcia, calling instructions to workmen on the scaffolding. Inside, the translucent windows on the landings of the central staircase light up the maritime motif and the details of the building; as everywhere in his oeuvre, Gaudí opted for natural shapes and rejected straight lines. 

A visit to Casa Batlló is more than a traditional tour of a museum or monument. The fully restored house is packed with state-of-the-art technologies, including immersive rooms, surprising audiovisual productions, and an intelligent audio guide available in 15 languages. Children especially will enjoy an Augmented Reality SmartGuide: a fun, interactive way to discover the genius of Gaudí. From May to October, finish your visit with an open-air concert on the roof (starts at 8 pm) and a drink, as part of the "Magic Nights" program.

Budget-conscious visitors take note: The admission fee is rather high but there are discounts for booking in advance online; you can also just take in the view from outside the Casa Batlló and instead visit the Casa Milà, up the Passeig de Gràcia on the opposite side.

Over five times the size of New York's Central Park, Casa de Campo is Madrid’s largest park and a nature-lover’s paradise, complete with bike trails, picnic tables, pine forests, lakeside restaurants (seek out Villa Verbena, run by the folks behind Triciclo in Barrio de las Letras), and a public outdoor pool (€5 entry). See if you can spot wildlife like hawks, foxes, hares, and red squirrels—and, from November to May, a flock of sheep cared for by a real-deal shepherd. The park's name ("country house") is a holdover from when the grounds were the royal family's hunting estate. It became public property in May 1931 with the arrival of the Spanish Second Republic, which dissolved royal landholdings.

Usually referred to as "La Pedrera" (the Stone Quarry), this building, with its curving stone facade undulating around the corner of the block, is one of Gaudí's most celebrated yet initially reviled designs. Topped by chimneys so eerie they were nicknamed espantabruixes (witch scarers), the Casa Milà was unveiled in 1910 to the horror of local residents. The exterior has no straight lines; the curlicues and wrought-iron foliage of the balconies, sculpted by Josep Maria Jujol, and the rippling, undressed stone, made you feel, as one critic put it, "as though you are on board a ship in an angry sea."

Gaudí's rooftop chimney park, alternately interpreted as veiled Saharan women or helmeted warriors, is as spectacular as anything in Barcelona, especially in late afternoon when the sunlight slants over the city into the Mediterranean. Inside, the handsome Àtic de la Balena (Whale Attic) has excellent critical displays of Gaudí's works from all over Spain, as well as explanations of his theories and techniques. The Pis dels veïns (Tenants’ Apartment) is an interesting look into the life of a family that lived in La Pedrera in the early 20th century. People still occupy the other apartments.

In the summer, lines of visitors waiting to see the Pedrera can stretch a block or more; if you sign up for "Gaudí's Pedrera: Night Experience" you'll tour the building by night, with a spectacular illuminated projection. Check the website for tour times and book online. Bookings are essential. On La Pedrera Jazz (Friday and Saturday summer nights) the Àtic de la Balena and the roof terrace are open for drinks and jazz concerts; the doors open at 8:15 pm and concerts begin at 8:45. Priced at €38, admission includes a visit to the whale attic, the concert, and a drink.

Antoni Gaudí's first important commission as a young architect was built between 1883 and 1885 and it stands out for its colorful facade of green and white checkered tiles, in combination with tiles with floral patterns. The client, Manel Vicens i Montaner, a stock and currency broker, entrusted the young architect with designing his summer residence in the former village of Gràcia. The home is a triumph of early Catalan Modernisme, borrowing freely from architectural styles around the world including Moderniste (with its sinuous nature-inspired motifs) and Orientalist and Mudejar (Moorish-inspired) elements, evident in the ornate tile work. 

In 1925 Antonio Jover i Puig, a prominent local doctor, purchased the house and greatly altered the interiors; in 2014, it was sold to the Andorra-based MoraBanc which established a foundation to preserve this remarkable historic property, and opened it to the public in 2017. Recent renovations have restored much of Gaudí’s original design. The marvelous interiors feature trompe-l'oeil birds painted on the walls and intricately carved ceilings; the phantasmic Orientalist papier-mâché tiles and cupola in the smoking alcove on the main floor is enough to make you wonder what folks back then were putting in their pipes. In any case, it is a must-visit.

As if Cuenca's famous Casas Colgadas, suspended impossibly over the cliffs below, were not eye-popping enough, they also house one of Spain's finest museums, the Museo de Arte Abstracto Español (Museum of Spanish Abstract Art)—not to be confused with the adjacent Museo Municipal de Arte Moderno (Municipal Museum of Modern Art). Projecting over the town's eastern precipice, these houses originally formed a 15th-century palace, which later served as a town hall before falling into disrepair in the 19th century. In 1927 the cantilevered balconies were rebuilt, and in 1966 the painter Fernando Zóbel created the world's first museum devoted exclusively to abstract art. The works he gathered—by such renowned names as Carlos Saura, Eduardo Chillida, Lucio Muñoz, and Antoni Tàpies—are primarily by exiled Spanish artists who grew up under Franco's regime. The museum has free smartphone audio guides that can be downloaded from the website.

The best way to spend your time in Santiago de Compostela is to simply wander the old town, losing yourself in its maze of narrow stone-paved streets and postage-stamp plazas. In the process you'll stumble on old pazos (manor houses), convents, and churches. The most beautiful pedestrian thoroughfares are Rúa do Vilar, Rúa do Franco, and Rúa Nova—portions of which are covered by arcaded walkways called soportales, designed to keep walkers out of the rain. Don't miss Praza da Quintana, bounded by the majestic walls of the cathedral and the 9th-century Monastery of San Paio de Antealtares, a favorite summer hangout for buskers and young travelers.

Alarcón's fortress dates to the 8th century, and in the 14th century it came into the hands of the infante (child prince) Don Juan Manuel, who wrote a collection of classic moral tales. Today the castle is one of Spain's finest paradores. You'll have to be a guest at the hotel to actually enter, but day-trippers can explore the grounds and extensive patio. If you're not driving, you can take a bus to Motilla and from there take a short taxi ride to the castle.

One of the largest existing medieval fortresses in Europe, Castillo de Santa Bárbara sits atop 545-foot-tall Monte Benacantil. From this strategic position you can gaze out over the city, the sea, and the whole Alicante plain for many miles. Remains from civilizations dating from the Bronze Age onward have been found here; the oldest parts of the castle, at the highest level, are from the 9th through 13th centuries.

The castle also houses the Museo de la Ciudad de Alicante (MUSA), which uses audiovisual presentations and archaeological finds to tell the story of Alicante, its people, and the city's enduring relationship with the sea.

This castle, perched on a rocky crag 400 yards above the center of town, is Jaén's star monument. It may have originated as a tower built by Hannibal, but whatever its origins, the site was fortified continuously over the centuries. The Nasrid king Alhamar, builder of Granada's Alhambra, constructed an alcázar here, but Ferdinand III captured it from him in 1246 on the feast day of Santa Catalina (St. Catherine). Catalina consequently became Jaén's patron saint, so when the Christians built a castle and chapel here, they dedicated both to her. Guided tours are available twice daily.

It's well worth the climb up to this castle, which dates from medieval times when it was the most important fortress in the area, due to its strategic position on the frontier between the fighting kingdoms of Christian Castile and Moorish Granada. The two watchtowers and main castle wall are from the 13th century, while the Jewish quarter and lovely synagogue date from the 1500s. Audio guides in English are included in the admission price.

The battlement apse of Ávila's cathedral forms the most impressive part of the city's walls. Entering the town gate to the right of the apse, you can reach the sculpted north portal by turning left and walking a few steps. The west portal, flanked by 18th-century towers, is notable for the crude carvings of hairy male figures on each side. Known as "wild men," these figures appear in many Castilian palaces of this period. The Transitional Gothic structure, with its granite nave, is considered to be the first Gothic cathedral in Spain. Look for the early-16th-century marble sepulchre of Bishop Alonso de Madrigal. Known as El Tostado ("the Toasted One") for his swarthy complexion, the bishop was a tiny man of enormous intellect. When on one occasion Pope Eugenius IV ordered him to stand—mistakenly thinking him to still be on his knees—the bishop pointed to the space between his eyebrows and hairline, and retorted, "A man's stature is to be measured from here to here!"

The cathedral contains such a wealth of art and other treasures that the local burghers lynched their civil governor in 1869 for trying to take an inventory of it, fearing that he was plotting to steal their riches. Just as opulent is the sculpted flamboyant Gothic facade. The cornerstone was laid in 1221, and the two 275-foot towers were completed in the 14th century, though the final chapel was not finished until 1731. There are 13 chapels, the most elaborate of which is the hexagonal Condestable Chapel. You'll find the tomb of El Cid (1026–99) and his wife, Ximena, under the transept. El Cid (Rodrigo Díaz de Vivar) was a feudal warlord revered for his victories over the Moors, though he fought for them as well; the medieval Song of My Cid transformed him into a Spanish national hero.

At the other end of the cathedral, high above the West Door, is the Reloj de Papamoscas (Flycatcher Clock), named for the sculptured bird that opens its mouth as the hands mark each hour. The grilles around the choir have some of the finest wrought-iron work in central Spain, and the choir itself has 103 delicately carved walnut stalls, no two alike. The 13th-century stained-glass windows were destroyed in 1813, one of many cultural casualties of Napoleon's retreating troops. The excellent free audio guide has a kid-friendly option.

At the heart of the Barri Vell, the cathedral looms above 90 steps and is famous for its nave—at 75 feet, the widest in the world and the epitome of the spatial ideal of Catalan Gothic architects. Since Charlemagne founded the original church in the 8th century, it has been through many fires and renovations.

Take in the rococo-era facade, "eloquent as organ music" and impressive flight of 17th-century stairs, which rises from its own plaça. Inside, three smaller naves were compressed into one gigantic hall by the famed architect Guillermo Bofill in 1416. The change was typical of Catalan Gothic "hall" churches, and it was done to facilitate preaching to crowds. Note the famous silver canopy, or baldaquí (baldachin). The oldest part of the cathedral is the 11th-century Romanesque Torre de Carlemany (Charlemagne Tower).

The cathedral's exquisite 12th-century cloister has an obvious affinity with the cloisters in the Roussillon area of France. Inside the Treasury there's a variety of precious objects. They include a 10th-century copy of Beatus's manuscript Commentary on the Apocalypse (illuminated in the dramatically primitive Mozarabic style), the Bible of Emperor Charles V, and the celebrated Tapís de la Creació (Tapestry of the Creation), considered by most experts to be the finest tapestry surviving from the Romanesque era.

The pride of León is its soaring cathedral, begun in 1205. It is an outstanding example of Gothic architecture complete with gargoyles, flying buttresses, and pointed arches. Its 2,000 square yards of vivid stained-glass panels—second only, perhaps, to those in Chartres, France—depict biblical stories and Castilian landscapes. A glass door to the choir gives an unobstructed view of nave windows and the painted altarpiece, framed with gold leaf. The cathedral also contains the sculpted tomb of King Ordoño II, who moved the capital of Christian Spain to León. The museum's collection boasts giant medieval hymnals, textiles, sculptures, wood carvings, and paintings. Look for the carved-wood Mudejar archive, with a letter of the alphabet above each door—it's one of the world's oldest filing cabinets. Guided tours can be scheduled by phone.