Corpus Christi Convent. Old Main Sinagogue It is the synagogue that has been best preserved of the five that existed in the Segoviana aljama. This fact is due to the conversion that since 1410 was to a Catholic church. It is located between the Jewish Quarter, the Puerta del Sol and the wall. The first documentation about the temple dates back to the 14th century but everything seems to indicate that the construction would be from the 13th century. Currently belongs to the Order of Poor Clares who are responsible for its opening The synagogue that can be visited today is a restoration, since the building suffered a great fire that began on the night of August 2, 1899. The most interesting thing about this building is that it is sacred to two religions, the Christian and the jewish. It was no longer used as a synagogue since 1410. Nine years later it was already consecrated to the Christian cult, named as “new church”, and in 1428 it is already known under the invocation of Corpus Christi.
The Royal Mint of Segovia is placed in a unique space in the Valley of the Eresma River. This place was declared picturesque spot in 1947. The building was designed to host modern machinery, they were called “ingenios”. The new system produced coins in a mechanised and serial way, becoming the precursor of the modern factories of the industrial revolution. Philip II would attain a faster and more accurate coining system in Segovia. The Royal Mint of Segovia is regarded as one of the oldest and most important samples of industrial architecture in Europe. It was Built by King Philip II in 1583, it was the first mechanised Mint in Spain, apart from being the first which belonged to the Crown.
Monasterio de San Antonio El Real El rey Enrique IV era un gran amante de la naturaleza. En 1455. mandó construir en la finca “El Campillo” un palacio de recreo. Esta finca de campo había sido mandada construir por su Padre, Juan II. Poco después lo donó a los franciscanos convirtiéndolo en convento. Los Reyes Católicos, ceden a las Clarisas franciscanas convirtiéndolo en un convento de clausura. El mismo se mantiene hasta la actualidad En la parte del monasterio que se puede visitar, pueden verse la Sacristía, la Sala del Trono y la Sala Capitular, el Refectorio, con un bello púlpito de decoración mudéjar; y el claustro gótico-mudéjar. En la capilla mayor sobresalen los artesonados mudéjares de madera. El claustro es de ladrillo combinando los colores rojo y blanco. En el interiordel Monasterio se encuentran techos con una colección única de artesonados mudéjares del siglo XV. La entrada se hace por la Iglesia, de planta rectangular. Sigue las directrices franciscanas respecto a los templos de los monasterios de la orden: carece de vidrieras y la campana no va en una torre, sino en una espadaña. Tres son los retablos que podremos ver en la nave del templo. Uno de ellos es el que sobresale por todos: el llamado Retablo de la Pasión. Esta obra de arte flamenca que, probablemente, pudo ser importada de Bruselas, Brujas, o Tournai, todas ellas ciudades belgas. En él, 135 pequeñas tallas de madera policromada y dorada representan las escenas de la Pasión de Cristo. Destaca en el centro, al pie de la cruz, la figura de la Virgen. Completan la nave, dos retablos, éstos situados junto al arco que da paso a la Capilla Mayor: el de San Antonio con el Niño y el de San Francisco con el Crucifijo.
Wall Of Segovia The wall of Segovia already existed when Alfonso VI of Castile took the city to Arabs. Sent to expand it, reaching a radius of 3 kilometers, eighty towers, five doors and several gates. Its construction is carried out mainly with blocks of granite, although also is reused tombstones of the necropolis Roman. The wall runs through the old town, and currently retains three gates: San Cebrián, Santiago, and San Andres. This last was gateway to the Jewish quarter. Retains also the gates of the consolation, of San Juan, of the Sun and of the moon. The loss of the defensive value of the wall during the 16th century influenced the urban planning of the city, as they were built houses attached to it and even on her. Starting from the century XVII, the doors and their labors of portazgo is abandoned. The wall then lost its defensive, territorial and symbolic value. During the 19th century the wall is already considered as an urban nuisance and its demolition served in some cases as an excuse to reduce the labor stoppage. In the century XX brings a change of mentality and with it, the need of keep and rating the wall is makes patent. It then starts a continuous work of restoration and conservation, arriving to our days. In 1941, all old part of the city within the old walled enclosure is declared historic-artistic. Construction and materials The wall of Segovia is executed using traditional techniques: ordinary masonry, in others, with mud of stone with wooden formworks and other areas in the formwork formed directly by a row of masonry properly locked. The mortar is lime and sand, sand of low quality with a high content of lean and silt, reason by which, observed that predominates the color reddish.
Sanctuary of Our Lady of the Fuencisla The Virgin of Fuencisla is the patron saint of the city of Segovia. Its Sanctuary was built between the years 1598 and 1613 by Francisco de Mora having been small the Renaissance extension of the original medieval hermitage there. In its interior we find an altarpiece by Pedro de la Torre in the Altar Mayor. It is worth noting a remarkable Baroque grille from the 18th century that closes the presbytery and was donated by the drapery guild. It is a small but very welcoming church. The Feast of our Patron takes place on September 25. Next to the Sanctuary is the Arco de la Fuencisla, which was the gateway to Segovia through the San Marcos neighborhood. We also found the San Lázaro bridge, which communicated with the old San Lázaro hospital. Outside the church there is a non-potable water source from 1824, next to which there are public restrooms that groups can use in this area. There is a legend emerging around the image of the Virgin. She maintains that she was brought to the city in the year 71 by St. Jericho, who was the first bishop of his diocese, whose sculpture had been made by St. Luke. Hidden during the Muslim occupation, it was found by chance by a Jewish woman from the city, reestablishing her veneration. It was canonically crowned on September 24, 1916. It was awarded the Gold Medal of the province of Segovia in 1957