San Julián de los Prados Church: monuments in Oviedo, Asturias at Spain is culture.

Styles

In this section you can search all our contents throughout the different stages in the history of art in Spain, to find styles such as Baroque, Gothic, Mudejar and many, many more.

Modernism and Avant-garde movements The turn of the century brought new winds of modernity. The aesthetic sensibility of the time was marked by a different, freer attitude towards art and life.

Topics

In this section you can search among all our contents by topic to find the different resources available in Spain, such as museums, routes, destinations, monuments and many, many more.

Audience

This section provides access to all the contents in a personalised way, according to your own particular interests and socio-demographic profile.

Professionals

Innovation in culture

Autonomous Regions

This section provides access to the contents in each autonomous region by browsing through maps.

Architecture and monuments / Asturian pre-Romanesque, Visigoth and Mozarabic / Oviedo

San Julián de los Prados Church

Share
Tickets
Locate

Add to favourites

San Julián de los Prados Church. Oviedo, Asturias © Principado de Asturias. Photographer: J. Santullano
Interior of the church of San Julián de Prados. Oviedo, Asturias © Turespaña

World Heritage

San Julián de los Prados is also known as Santullano, and was the largest Christian construction in Spain up until the ^11th century.

The church of San Julián de los Prados, or Santullano, is among the monuments in Oviedo and Asturias designated a World Heritage site by the UNESCO. It is located in Pumarín, a suburb of Oviedo located to the right of the A-6 motorway. The church is in pre-Romanesque style and was built between 812 and 842, in honour of the martyrs Julián and Basilisa, a married couple who retired into monastic life. The roof of the building is made of wood, apart from the three apses at the head which are crowned with barrel vaults. It has a basilical floor plan with three naves, a transept and three doorways, two of which are lateral. The naves are separated by pillars and semi-circular arches. Above the central chapel there is a closed room which, according to current authors on the subject, may have had a merely aesthetic function. The mural paintings at Santullano are worthy of special mention. They are packed with geometrical symbols and figures in a wide variety of colours.