The image of the Virgen of Covadonga reminds us and brings to life what she meant in the salvation story, for Jesus and for his disciples past and present. The "Santina" is an image of Mary which forms an integral part of the Asturian people through history, through ancient tradition, through word of mouth from generation to generation, and through personal religious experience. Deeply rooted in the people of this land, it constitutes one of the strongest, most powerful convocational symbols that the Asturians have.
 
     
 
REALITY AND MEANING
 
 
 
 

Covadonga is a name which designates a reality. This reality contains several meanings. Covadonga is in Asturias. Its physical dimensions are contained within the natural evolution of this land. Its historical and cultural dimension is integrated in the millenarian progress of this society. More than that, Covadonga is at the very origins of what has been and still is Asturias. From this seed Christian Spain grew and developed into a wall which stopped and defeated the Islamic invasion. Thus it was here that Europe was saved as a universe of rational enlightenment, liberty, humanism and transcendence. It is therefore well worth coming with open eyes to this place where nature and history, height and depth, strength and beauty, intimacy and universal projection all merge.

 
How was this landscape formed? The geological foundations are divided into two different areas. The first is the earlier western area, formed by silicon rocks, with its rounded, dark forms of severe beauty which dominate this part of our region. The central-oriental area was formed in the carbon period, due to which the area is dominated by limestone rocks, which are easily eroded. Here these conditions have created the Picos de Europa mountains, on the edge of which lies Covadonga valley.
Thus mount Auseva, the surprising mouth to the Cave, the waterfall underneath it, are all the final product of an erosive action which started millions of years ago. The vegetation which cover them combines species which survived the glacial period with others which developed after the warmer climate of the Neolithic period. This brought agriculture, the taming and use of animals, and, in the end, the use of metals which allowed man to work on and form his environment, which explains many aspects of the today"s landscape.
Why is this sunken cavity in the grey limestone wall which the mountain rests on known as Covadonga? This is not an ambiguous flourish or a linguistic whim. It is not something vague creating confusion or ambiguity. It is a strong presence which imposes a precise definition; Moreover, a woman, and not subject to any yoke. The Latin title is: Cova Dominica o or Cave of the Lady. Linguistic evolution through abbreviation has converted dominica into donga, hence Covadonga. domínica acabó en donga . Y resultó Covadonga.Let us approach and contemplate this extraordinary Lady.
 
     
 
Our Lady of Covadonga


Her presence shines through an image. Since her coming to the Cave more than 1300 years ago the aggressions of the inhospitable climate may have forced a change of image on numerous occasions. Now we are interested in getting to know the one we have before us.
Its figure was carved, incarnated, gilded and polychromed from oak in the 16th century. She measures 71.4cm tall, including the pedestal, with a girth of 46 cm at her widest point, and a depth of 21 cm. The current child was placed there in 1704 on the left hand of the Mother.
Standing out from her clothing is the mantle that Our Lady wears from her shoulders to her feet, which falls at an angle down her back to the base of the pedestal. Its colour changes according to liturgy times. The normal mantle is a reddish-purple colour with a golden trimming, complemented by the jerkin, long-sleeved shirt fitted to the figure, and the skirt stamped with simple floral motifs.
Throughout her life she has received meticulous attention and constant care. She was touched up in 1820, readjusted in 1874, and lastly restored by the National Institute of Conservation and Restoration of Fine Arts in 1971 and 1986.
The current image of Covadonga was to be found in the chapel of San Fernando Collegiate Church from 1778 to 1820, when it was taken to the Cave where a small chapel had been prepared to house her.
 
 

La antigua talla del siglo XVI fue en 1874 transformada en la Santina que hoy conocemos por el imaginero y dorador valenciano Antonio Gasch, responsable también de la brillante decoración del camarín de la Cueva, diseñado por Roberto Fransinelli. Igualmente a Gasch se debe la hechura de la artística peana con tres cabezas de querubines sobre la que descansa la venerada figura. La imagen de la Virgen de Covadonga nos recuerda y hace vivir lo que ella representa en la historia de salvación para Jesús y para sus discípulos de ayer y de hoy. La Santina es una imagen universalmente conocida. Preside calles, fachadas y el interior de los hogares. Tras una cierta decadencia a finales del siglo XVIII y parte del siglo XIX, su devoción ha crecido y se extiende sin cesar.
She is affectionately rooted in the Asturian people and above all among the immigrants who, away from home during long periods, on returning feel the need to go to Covadonga as if they were going to the home of their Mother. It is a symbol that, stronger than any divisive force, unites all the children of this historic community we call Asturias
 
     
 
ORIGINS OF THE CULT OF SAINT MARY IN THE HOLY CAVE

Early history has left us with no written record on the beginnings of the cult of the Virgin Mary in the Cave of Covadonga, and any information from that time is to be found in tradition. This refers to the Cave of Covadonga as a retreat for a hermit who dedicated it to the cult of the Virgin, the image of whom he venerated there..

On one occasion Pelayo, hiding in these mountains with other Christian, entered the Cave chasing a wrong-doer. The hermit begged him for mercy on the grounds that he had commended himself to the protection of the Virgin, and the day would come when Pelayo himself would look for the solace and help of Our Lady in the Cave.
Some historians say that it is more likely that Pelayo and the Christians, fleeing to the mountains, brought an image of the Virgin with them, which they placed in the Cave to beg her protection, or perhaps put it there after gaining victory in order to render "Maria Santisima" homage in gratitude and memory of the triumph obtained through her mediation. Later Pelayo, wanting to make that homage pernmanent, built an altar to the Virgin Mary within the Cave.


When the Arabian Chronicles talk about Covadonga they refer to Pelayo"s depleted forces taking refuge in the Cave, eating the honey which bees had produced in hives between the rocks. .
What was later called the "Battle of Covadonga", to become "one of the first stones of Christian Europe", was fought before it. The older chronicles put these words into the mouth of Pelayo: "Our hope is in Christ, and the salvation of Spain will come from this small hill." A church was constructed by Alfonso I and his wife Hermesinda, and three altars, one dedicated to the Holiest Virgin in the mystery of her birth, another to St. John the Baptist and the other to St. Andrew, were contained therein. Moreover, to ensure that cult was rendered to the Mother of God, these monarchs also founded a monastery.

 
 
 

The foundation deeds which are attributed to Alfonso I state that he grants the church to the Benedictine monks and include a list of privileges and objects donated to the cult, and is signed by the King, the Queen, three bishops, two abbots and a number of knights, as well as ordering the transfer of an image of Our Lady from the Monsacro. This temple, built in wood into a hollow in the rock face, was called the temple "of miracle" since it was an authentic miracle that it managed to stay in place rather than fly into the abyss.
 
     
 
THE CONSTRUCTION OF CHURCH AND MONASTERY

 

The foundation deeds which are attributed to Alfonso I state that he grants the church to the Benedictine monks and includes a list of objects donated to the cult and privileges, and is signed by the King, the Queen, three bishops, two abbots and a number of knights.

 
     
 
COVADONGA IN THE 16TH AND 17TH CENTURY

 

After a silence of two centuries, when Covadonga is hardly mentioned in any document at all, King Philip II sent his chronicler Ambrosio de Morales to the Sanctuary in order to report on its state. Morales arrived in Covadonga in 1572 and described the conditions of the Holy Cave and its chapel in his interesting work "Holy Journey":    
Dice así

  "In order to construct the church within the Cave itself, and since the surface area of the ground was small, beams were pushed into the rock face, going so far over the edge and without any further support that it seems a miracle that the building does not fall., which is feared by whoever looks down. The ground, part of the rock face and part of the wood remained like this to make a longer church, not all of which was high enough, and there are smaller openings and hollows which they did not want to destroy, I imagine in order to leave it as natural as possible. There is the form of a Chapel with a stone arch and another at the other end, thereby seeming to form a nave. Everything is so small that with the priest and minister at Mass there is no room for anyone else within the Chapel. The church has width, but uneven and not at all conforming to the other side, made of wood; and because the choir could not all fit in the lower part, it was shared between this and another altar. Thus within the church there is a Chapel with sides, a choir and something representing a transept. They say that this church was built as it is by King Alfonso the Chaste (Alfonso I), and has miraculously lasted since then without the wood rotting. God can do more than this; I see more manifest signs in new works, and not from the time of that king. A well-made image of Our Lady is on the main altar. Great devotion is given in this land through this image, and celebrations are made, and there is a great event on the day of Our Lady in September, due to which it is given the name "Monastery of St. Mary of Covadonga." There is always a large, silver cross on the altar."

The church of St. Fernando, still in a good state of conservation today, was constructed during the pontificate of Bishop Diego Aponte de Quiñones (1585 – 1599). It has a square tower, vault and choir. The choir school, which in time became known as the "House of the Novenas", is annexed to this church, built on the remains of the early housing of the Benedictine monks.

 
 
 
Las partes más antiguas de este edificio corresponden a dos sepulcros de abades de estilo románico y que se encuentran en el claustro bajo flanqueando la entrada del actual “Cementerio de los Canónigos”. En este claustro bajo, en la pared de una de sus crujías, se encuentra el sepulcro de D. Pedro José Pidal y Món, primer marqués de Pidal, concedido por el Cabildo de Covadonga en la segunda mitad del siglo XIX. Felipe IV sería el gran impulsar de Covadonga al facilitar el paso del Cabildo regular a secular aumentando la dotación y elevando el número de los capitulares. Para ello se construyeron once casas como lugar de vivienda para seis canónigos y cinco beneficiados y un albergue de peregrinos.
The reign of Carlos II brought the construction of a stairs to go up to the Holy Cave, replacing the old wooden one. This is the so-called Stairs of Forgiveness. Philip V"s reign was also beneficial for Covadonga. He granted the rents from the old abbey at Muñon to the Collegiate Church.            

 
 
 
FIRE IN THE CHURCH OF THE HOLY CAVE
 
 

En 1.676, siendo obispo D. Alfonso Antonio de San Martín, era de la manera siguiente: En el interior de la iglesia de la Santa Cueva, según el inventario del año “El templo de Santa María tiene altar y retablo de cuatro columnas, entorchados a los lados en que está la imagen de A Nuestra Señora en su caja sobre un trono de bulto de madera, estofado de plata con su media luna del mismo género y pintura con lámparas de plata siempre ardiendo, estrechado coro de trece sillas y en la cajonería ricas alhajas y primorosos ornamentos.
Entre las alhajas se cuentan cuatro lámparas de plata, una de ellas regalo de Carlos II; dos Cálices donados por Felipe II; un viril guarnecido de rubíes, diamantes y esmeraldas, por Felipe IV; un magnífico terno de tisú de oro, de la casa de los Duques de Gandía, que había servido en el oratorio de San Francisco de Borja”. Tal era el estado de la Santa Cueva cuando un incendio producido, dicen por un rayo, la redujo a cenizas, pereciendo entre las llamas la imagen de la Virgen y todas las riquezas que eran muchas, en materia de joyas y ornamentos sagrados. Comisionado por el Cabildo de Covadonga el Abad.
Nicolás de Campomanes, informó a la Corte de la situación en la que se encontraba el Santuario, al enterarse el Rey Carlos III, movido por el Conde de Campomanes, ordenó se levantara un nuevo templo monumental, para ello mandó a su arquitecto de cámara Ventura Rodríguez a que "go to Covadonga and raise a building corresponding to the celebrity of the Sanctuary."
An estimate of fourteen million "reales" was presented. The King ordered a nationwide collection to be made. The Project for the temple was grand and in a Greco-Roman style of architecture. The work on it started in May 1781, with Manuel Reguera as the architect in charge of the construction process. . However, due to the opposition of the Chapter because of "hiding the wild beauty of the Cave" " and the high costs, only the foundations, which today can be found at the foot of the cave channelling the River Deva, were built.
Meanwhile the cult of the Virgin continued after the fire of 1777 in a chapel situated next to the Holy Cave, with an image donated by the Chapter of Oviedo on 17 June 1778. Religious services were held in the Church of St. Fernando.
 
     
 
BUILDING OF THE MONUMENTAL TEMPLE

Para emplazar el templo monumental que se proyectaba, se eligió el cerro situado entre el Monte Auseva y el Monte Ginés. El primer proyecto se debe a Roberto Frasinelli, también llamado el “Alemán de Corao”. Comenzaron las obras el 30 de julio de 1.877, poniendo el primer barreno el rey Alfonso XII, iniciando el desmonte de veintisiete mil metros cúbicos de piedra que fue necesario extraer para llegar el nivel conveniente.
El 11 de noviembre del mismo año el Obispo Sanz y Forés bendijo y colocó la primera piedra del templo que no logró ver terminado por haber sido trasladado a Valladolid. El 14 de octubre de 1.882 se suspendieron las obras por falta de medios económicos. Después de una breve residencia del Obispo Sebastián Herrero Espinosa, fue nombrado Obispo de Oviedo Fray Ramón Martínez Vigil. Éste continuaría con las obras de construcción de la Basílica encargándole para ello los planos al Arquitecto Federico Aparici, a quien la Junta de Oviedo había encargado últimamente la dirección de las obras del templo de Covadonga.

This was not an easy task, as the new architect found himself without any previous plans, and there was only a drawing by Frasinelli.
El 15 de noviembre de 1.891 inauguró el Obispo Martínez Vigil la cripta del templo. Al mismo tiempo que realizaban las obras del templo, se construyó el palacio episcopal, con la sala capitular, archivo, biblioteca y otros inmuebles. También dieron comienzo, por estas fechas, las obras de construcción del “Hotel Pelayo”.
E1 28 de abril de 1.886, se procedió a construir el templo sobre la cripta y, desde esta fecha, se continuaron las obras sin interrupción. El presupuesto del templo ascendía a la cantidad de 1.226.120 Ptas. Por fin, después de veinticuatro años, el 7 de septiembre de 1.901, el Obispo Martínez Vigil lo vio terminado y elevado a la categoría de Basílica por el Papa León XIII. Era Abad de Covadonga D. Nemesio de Barinaga anteriormente párroco de Pola de Siero. 		 

 
 
 
CORONATION OF THE VIRGIN
On 18 September 1918, in celebration of the 12th centenary of the Battle of Covadonga, the Virgen of Covadonga was solemnly crowned by the Archbishop of Toledo, the Asturian Victoriano Guisáosla, in presence of King Alfonso XIII and Queen Victoria Eugenia. The idea of the coronation had come from the then Bishop of Oviedo, Doctor Baztán y Urniza.    


The crown was paid for by donations of jewels and money from all over Asturias, and made by Felix Granda Buylla, a priest born in Pola de Lena, in his Madrid workshop (Talleres de Arte Granda), according to the canonical Act of Coronation of Our Lady of Covadonga on the 12th centenary of the Battle of Covadonga.
 
     
 
COVADONGA AT THE BEGINNING OF THE 20TH CENTURY
 
 

En el siglo XX Covadonga experimenta una actividad muy enriquecedora para el Real Sitio. Se inaugura la línea del tranvía de vapor “Arriondas-Covadonga” en el año 1.908 junto con el “Hotel Pelayo” construido también según los planos de Federico Aparici. Se Construye el “Hostal Favila”, edificio de singular nobleza que actualmente ocupa en parte la Escolanía y en parte el Museo. Este edificio había sido construido para, como propiamente su nombre dice, hostal de peregrinos modestos según los planos de Miguel García-Lomas y Manchobas.
In addition, "Bendita la Reina" ("Blessed be the Queen"), the hymn of Covadonga, was composed by Restituto del Valle and Ignacio Busca Sagastizábal; and "Covadonga" magazine began to be published on 15 June 1922, although special numbers had been published before, in 1917 and 1918.
 
     
 
THE IMAGE OF THE "SANTINA" IN EXILE
 
 
 
The image of the "Santina" was stolen and taken to Paris in 1939, although was not desecrated in any way. It was retained in France as a hostage, to be exchanged, should the case arise, for a high ranking military officer or politician. After the war Dr. Pedro Abadal, who was put in charge of the Spanish Embassy, described the finding of the image in the following way: “Practiqué por todo el edificio un reconocimiento y encontré muchas cosas...”
En el desván encontré una imagen de la Virgen...con el Niño en brazos. Era de madera policromada en su parte anterior... “La verdad es que no la identifiqué pero, avisado el portero de la finca, éste me aseguró que se trataba de la Virgen de Covadonga... ”Después de comunicado el hallazgo y dada la orden de devolverla a su lugar fue el mismo Sr. Abadal el que la trajera en su coche cerrado desde la embajada de España en París, donde fue encontrada, hasta la frontera con España. El día 11 de junio de 1.939 entraba triunfalmente en España la imagen de la Santina. La ciudad de Irún se disponía a recibirla con una extrema exaltación de religiosidad: las calles estaban engalanadas... volteaban las campanas.
The massive crowds received her on their knees with an ovation impossible to describe.
El mismo entusiasmo suscitó la Santa Imagen en San Sebastián, Loyola, Mondragón, Vitoria, Valladolid, y León. El día 13 llegaba a Asturias entrando por Pajares. El entusiasmo del recibimiento fue indescriptible. Pasó nueve días en la Catedral de Oviedo visitó Gijón, Avilés y un sinfín de pueblos hasta que por fin llegó a Covadonga donde con gran entusiasmo se entronizaría.
She was received by the Chapter of Covadonga in the field of the "Repelao" on the sixth of August, then deposited in the Auseva Cave at half past one in the afternoon.
 
     
 
RESTORATION OF THE HOLY CAVE CHAPEL

  La capilla de la Cueva, en su aspecto exterior, parecía tener poca estética, la belleza natural de la Cueva aparecía empañada por la capilla construida en 1.874.

The Chapter had always wanted to carry out a reform whereby the Cave, while conserving its primitive state, would serve as a natural temple to the image of the Virgin. None of the reforms proposed until then fulfilled this wish.

After the civil war, the Chapter began to make insistent requests to the national Government for help to repair damage done to Covadonga, and above all initiate the restoration of the Holy Cave. A Pro-Covadonga corporation, which solicited reports from the Royal Academies of St. Fernando, of History and of the General Direction of Fine Arts, was formed.
El Patronato encomendó al notable arquitecto asturiano D. Luis Menéndez Pidal, que hiciera el proyecto de reforma de la Cueva con arreglo al informe dado por las academias. Pronto dieron comienzo las obras de reforma tal como se contempla en la actualidad, desde el paso subterráneo en forma de túnel hasta la actual forma de la misma Cueva. En el interior se construye una Capilla-Sagrario cubierta con madera de castaño policromada y dorada por el Valenciano Juan García Talens.
A bell donated by Gijon town hall and forged in the Adaro workshops of that town was placed in the belfry. It has inscription which reads: “Llamo al peregrino a la morada Santa María de Covadonga, inspiradora de Pelayo, Rey de Gijón” The following inscription can be read on the walls inside the Chapel-Tabernacle: "From the Mother, Victory, and from the Son, the breath for the march, for he nurtured them with flowers from wheat and honey from the rock".
 
     
 
THE VISIT OF POPE JOHN PAUL II
 
 


On 21 and 22 August 1989, Pope John Paul II on pilgrimage to Santiago de Compostela wanted to visit this church of Asturias. After arriving in the airport of "La Morgal", in the municipality of Llanera, he came on pilgrimage to Covadonga, where he was received by the Chapel of the Sanctuary and the faithful of the Parish on the esplanade of the House of Exercises, where he spent the night.

 
The next day he met the corporation of Covadonga in the old Collegiate Church, then went up to the Cave and prayed in front of the image of the "Santina" for a long while, reciting a beautiful supplication at the end. At ten o"clock in the morning he celebrated the Eucharist on the esplanade of the Basilica. The entire Spanish Episcopal Conference and a large part of the diocesan priesthood celebrated this with him, as well as a large number of the faithful. Before this event, Cardinal Roncalli, future Pope John XXIII, had visited Covadonga on 21 July 1954, and was very impressed by the Virgin of Covadonga and her Sanctuary.

He took a replica with him and on being elected Pope placed it in his bedroom in the Vatican, dedicating his first morning prayer to her.
 
     
 
 
THE RELICS OF ST. MELCHOR AND ST. PABLO POVEDA AT COVADONGA
 
 
El Arzobispo de Oviedo, doctor Díaz Merchán, presidió el día 10 de mayo de 1.997, en Covadonga, una solemne Eucaristía con motivo de la recepción, por parte del Cabildo Colegial, de las reliquias de San Melchor y del Santo Pedro Poveda, que se unirían a las de los Santos Padres del siglo V, San Atanasio y San Basilio. Las reliquias de San Melchor, cuyos restos descansan en la capilla de Covadonga de la Catedral de Oviedo, han sido donadas por el Cabildo Catedral Ovetense.
Las de San Pedro Poveda, fundador de la Institución Teresiana en 1.911 en Covadonga, se encontraban en la casa que la citada Institución tiene en Los Negrales (Madrid) donde reposan sus restos. Poveda fue canónigo en Covadonga entre los años 1.906 y 1.913. La arqueta, realizada por el orfebre Carlos Álvarez, imita en dimensiones y formato a la Caja de las Ágatas que se conserva en la Cámara Santa de la Catedral de Oviedo.

It has dimensions of 40 x 30 cm, with the Victory Cross and the crown of the Virgin engraved on it. It is also embellished with other symbolic decorative engravings, such as the laurel crown of victory or the palm of martyrs. The remodelling of the altar approach in the Basilica of Covadonga was finalised with the reception of the relics and the installation of a new arch.
En el año 2.001 se inauguró el nuevo órgano de la Basílica fabricado por la “Organistería Actores” de Torquemada (Palencia)


 
 
     
 
ICONOGRAPHY OF THE VIRGIN OF COVADONGA
What did the first image of the "Santina" look like? Nobody knows.
Si sabemos que tenía una hechura humilde, rústica, tosca escultura románica quizás como la que se guarda en la pequeña capilla del pueblo de Teleña (Cangas de Onís) a la que curiosamente también se le llama Santina. En la Parroquia de Cillaperlata, Diócesis de Burgos se encuentra una imagen de Ntra. Sra. de Covadonga que es la titular de la misma y que preside el retablo mayor; es de hechura más reciente, posiblemente de la Baja Edad Media. Ambrosio de Morales, en su ya citado “Viaje Santo” de finales del siglo XVI habla de una imagen de Ntra. Sra. de Covadanga de “obra nueva y bien hecha”. ¿Sería una copia de ésta imagen h que el Obispo Caba11era de Paredes colocó en un altar que se encontraba 'a la entrada de la Cámara Santa en dicha Catedral?.
Which was the one that perished in the fire of 1777?
Demasiadas interrogantes difíciles de responder. La que regaló el Cabildo de Oviedo ¿era una copia de la que allí se encontraba? Posiblemente si. De todas maneras la que actualmente se conserva en Covadonga, la llamada imagen de la Santina S. XV – XVI, fue restaurada par el Obispo Sanz y Forés en el siglo pasado modificándosele el rostro debido al deterioro en el que se encontraba. Con la inauguración de la Basílica de Covadonga, se volvió a la primitiva tradición al colocarse una imagen de Ntra. Sra. de Covadonga en actitud sedente a modo de Trono de la Sabiduría.
 
 


The image of Our Lady of Covadonga can be found on stamps and engravings. The Royal Congregation of Native Asturians in Madrid made a series of stamps with the image of the Virgin of Covadonga on the altar of the now disappeared church of St. Luis in Madrid in the XVIII century.