The Hidden Side of Dallas: 5 Quirky Adventures

What to do in Dallas? Try these unusual gift experiences, from a murder mystery to racing in a Ferrari. 

When you think of Dallas, you might picture its towering skyline, bustling streets and that unmistakable Texas pride. 

But this city is more than what meets the eye. Beneath the iconic sights and well-worn tourist trails, there’s a softer, lesser-known side of things to do in Dallas waiting to be uncovered. 

“ There’s a quiet, hidden magic in Dallas if you’re willing to look for it. ”

Dallas invites you to look closer, wander a bit further and discover the unexpected. Here are five unique experiences that led me off the beaten path and into a different Dallas entirely — one I never saw coming.

1. Grapevine Lake Sunset Glow Clear Kayak Tour

There’s something magical when the sun starts its slow descent and paints the sky in shades of marigold and lavender. It’s like the whole world is holding its breath. I was there, in a see-through kayak, the kind that makes it feel like you’re barely floating above the surface, with the lake’s wake calmly lapping at the sides.

All around, the sky reflected off of the glass-like water, stirring the colors of twilight. And it wasn’t just gorgeous; it was humbling. For those quiet, perfect moments, it felt like the world shrunk — all that existed was me and the gentle hues swirling through the water. I’ve never experienced anything so pure. I’m not sure I ever will again.

2. Murder Mystery Dinner Show in Fort Worth

Then came the murder. I didn’t expect to fall in love with a murder mystery dinner. “I’m not that kind of person,” I thought, as a card pinned to my sundress announced my new role: potential suspect.

But then — mid-bite of my steak — the server slipped away, the lights dimmed, and diners at my table leaned in, exchanging hurried whispers. We were sure we’d cracked the case. And isn’t that the thrill? Strategizing for the solution in the midst of a story that’s still unfolding, woven between courses. Actors drifted in and out, someone in the corner laughed too loudly, while another guest quietly pieced together clues. It felt like stepping into a play — without ever having learned my lines. We were all in it together, strangers turned co-conspirators. My team lost, I think, but by the time we surrendered, I was all in, laughing harder than I had in years.

3. Italian Supercar Racing Experience at Texas Motor Speedway

I don’t quite know how to explain what it feels like to drive a Ferrari. Once it’s in gear, sure, it’s all flash, speed and horsepower. But there’s something else — a feeling in your arms, a pull in your chest. It’s as if the road beyond the track has vanished, and the whole world is somewhere outside of you. Champagne bubbles in the pit of your belly; there’s just the car and the low, thrilling growl of the engine beneath you. It’s… intimate. That’s the best way to describe it — intimate and intense, an unexpected emotion for a souped-up machine. Alive? Yes, alive — fully, fiercely, incandescently alive.

4. Zipline and Treetop Adventures

If one thing brought out my inner child, it was ziplining through the treetops. The rush of air as I flew, the way everything below blurred, and the laughter that bubbled up when I landed on a platform more than 60 feet above the ground. The silences up there, the open emptiness, the blend of exhilaration and peace, the feeling of flying while being connected to something real.

It’s when you’re standing still, high above, surrounded by sky and leaves, that the magic truly happens. That’s when the perspective hits — how far you’ve come, how high you are, how small you feel, and how incredibly good that is.

5. Fluid Art Workshop

I had no expectations going into the fluid art workshop. I showed up with a blank canvas (literally) and an open mind. The instructor pointed me in the right direction to start, and then it was just me, some colors and a quiet space — to pour paint, to watch it blend and bleed, with no rules, no wrong ways, no real… anything other than watching the colors mix and mingle.

For two hours, I didn’t think about anything other than where the paint was going, how it was moving. I watched the canvas come alive, and when it was over, I wasn’t just walking away with a painting; I was walking away with a feeling. A sense of peace. A sense of having let go of everything and just… been. It was art therapy, minus the therapy part.

Rediscovering Dallas

Dallas isn’t just for the big moments, the big ideas, the grand experiences. There’s a quiet, hidden magic in Dallas if you’re willing to look for it. And for me, those experiences weren’t just about doing them. They were about finding myself in them, learning what it means to slow down, to do something new, and to let myself be present in a moment that’s anything but ordinary. And that’s why experience gifts are the best way to explore Dallas. Because they reveal a side of the city — and maybe a side of yourself — you didn’t know was there.

And while these experiences led me to unexpected self-discoveries, they’re also unforgettable gift ideas for others. With each unique adventure, you’re offering a chance to see the city from a new angle, and maybe even a little self-discovery of their own. –Maria Nowak

Iglesia de San Luis de los Franceses: The Baroque Brilliance of Seville’s Hidden Gem

This little-known chapel will have your head spinning, with gorgeous art and jaw-dropping details in every direction.

When we returned to Sevilla, our friend José told us of a little-known but absolutely gorgeous church, the Iglesia de San Luis de los Franceses (the Church of Saint Louis of France). His partner Jo, who I once dubbed the Rock ’n’ Roll Nanny, gave Duke and me a tour of her favorite spots in Sevilla. In between stuffing our faces with delectable tapas dishes and sipping sherry, she took us to see José’s secret spot.  

We arrived during the lull of siesta, so we bided our time the best way we knew how: by indulging in yet more tapas, finding a quaint café in the Macarena neighborhood. 

When we returned to San Luis and entered the main chapel, we stood stock still as we took in the sheer spectacle before us. We understood immediately why José was so captivated — even for us recovered Catholics. Baroque churches have a way of being extravagantly maximalist, but even by those standards, San Luis packs so much into a small space. 

The chapel is a visual feast, where every surface competes for your attention. We moved from one altar to the next, making our way around the circle, grinning immensely and excitedly pointing out strange details to each other. You could spend an hour here and still not catch every detail.

The Schizophrenic History of the Iglesia de San Luis de los Franceses

Built between 1699 and 1730, this Baroque marvel was the crowning achievement of Leonardo de Figueroa, an architect celebrated for his role in shaping Sevilla’s grandest religious spaces. 

The church was originally part of a Jesuit novitiate, meaning it was designed not only for worship but to serve as a spiritual training ground for novices. 

This complex was built on land donated by a noble family with French ties, hence the dedication to Saint Louis, the French King Louis IX.

In those early years, the church was a prime example of Jesuit opulence and influence. Every inch of the building seemed designed to overwhelm with splendor, drawing viewers into a theatrical experience. 

The main chapel, a circular space devoid of traditional seating, was meant to stand as a monument to Jesuit ideals, immersing novices and visitors alike in an atmosphere where spiritual grandeur took precedence over community worship. 

However, in 1767, the Spanish crown expelled the Jesuits. For a time, the building served as a Franciscan convent. 

As the 19th century rolled in, the property underwent secularization and was turned over to the state. The grand altarpieces designed to showcase Jesuit saints were stripped, and the space was adapted for pragmatic uses, including functioning as a factory. 

The building’s role shifted once again as it became a hospice for the city’s elderly and sick. For several decades, the church was a place of stark contrasts — its Baroque details and gilded interiors juxtaposed with the somber reality of its new short-term inhabitants. 

The 20th century saw further change. The once-sacred site became a stage for performances, with productions like Don Juan Tenorio taking advantage of the church’s dramatic acoustics and architecture to tell the tale of the infamous lothario. 

A lightning strike in the 1920s pierced the vault, destroying an oil painting — perhaps serving as a grim suggestion that God wasn’t happy with how the church was being used?

After decades of neglect, San Luis was finally restored in the late 20th century. This revitalization effort sought to reclaim the site’s former glory, reopening the doors of the church, domestic chapel and crypt to the public. 

Architectural Highlights of the Iglesia de San Luis de los Franceses 

The façade alone is a visual feast. Ornate Solomonic columns twist skyward, framing a riot of Baroque symbolism covering the pale pink building. Statues of saints and angels stand guard like sentinels, their expressions a mix of stern devotion and regal authority. Above the entrance, the coat of arms of Spain is crowned by three archangels.

The Surreal Spirituality of the Main Chapel

But it’s when you step inside that the full spectacle begins. The church was designed in a Greek cross layout, and from the moment you cross the threshold, your gaze is drawn upward to the magnificent dome. Light filters through the lantern high above, illuminating frescoes that swirl like divine visions. Painted by Lucas Valdés, these frescoes depict scenes of Christian virtues — obedience, chastity, humility — interspersed with symbols of Solomon’s Temple. (Side note: Did King Solomon really exist?)

The main chapel is something of an enigma. Circular and intimate, it has no pews. Jesuit novices would have stood in silent contemplation, absorbing the intricate carvings, gilded reliefs and soaring altarpieces that fill the space. This is Baroque at its most intense. 

At the center of the main altar is a painting of San Luis, the church’s namesake, attributed to the school of Zurbarán. Flanking this are paintings of the Immaculate Conception and the Virgin of Bethlehem, all framed by mirrors that multiply the radiance of the gold. (Learn more about the various depictions of the Virgin Mary.)

But what really caught our eye are the relics embedded within this luxurious setting. Encased in delicate reliquaries, you’ll find a skull, ribs, and fragments of bones belonging to Jesuit holy men like Saint Ignatius of Loyola and Saint Francis Xavier. Vials of blood, believed to belong to lesser-known saints, are encased in gold and glass. There’s also a piece of cloth from Saint Stanislaus Kostka’s robes to honor this Polish saint who died at the age of 18. 

Each side altar tells a different story through its artwork and relics. On one side are scenes celebrating Jesuit virtues (devotion, sacrifice, spiritual fortitude), while the other side showcases key moments from the lives of saints who exemplified those ideals. 

The black-and-white checkered floor calls to mind dualities — light and dark, good and evil, the sacred and the profane — echoing the spiritual journey of navigating moral choices central to Jesuit teachings. In a space filled with opulence, the simple geometry of the floor offers a grounding presence, representing the balance between the earthly and divine realms. 

This is a chapel designed not just to be seen but to be felt — a place where spiritual reverence mingles with a sense of the macabre. 

The Domestic Chapel

As you wind through the quiet corridors of the Iglesia de San Luis de los Franceses, following almost inconspicuous signs, you find yourself in another part of the complex. This secluded space, the Domestic Chapel, hidden within the old Jesuit novitiate, was designed for private worship by the novices. It’s a single-nave chapel, but, like the Main Chapel, don’t let its size deceive you — its beauty and detail are breathtaking.

The chapel is lavishly adorned, featuring stunning frescoes by Lucas Valdés and Domingo Martínez, and sculptures by the renowned Duque Cornejo. 

The richly ornamented altarpiece is a visual celebration of the Eucharist. At its center is the Virgin Mary, a gift from Saint Francis Borgia, flanked by statues of Saint Stanislaus Kostka and Saint Aloysius Gonzaga. Above the Virgin, a relief depicts Saint Stanislaus’ reception into the novitiate in Rome, surrounded by medallions illustrating the lives of Saint Francis Xavier and Saint Francis Borgia. Saints alive!

The Crypt

The crypt, once sealed off and hidden, has now been opened to the public. That being said, there’s not much to see here. The crypt of the Iglesia de San Luis de los Franceses is a subdued space — especially when contrasted to the crazily ornate rest of the church or something like the catacombs of Paris — primarily intended for meditation and remembrance. 

Over 300 bodies are buried in the crypt — though you’d never know that. There’s not a single marker. So who’s buried down there? Some members of the Jesuit order and other notable figures associated with the church, although specific records of who’s interred there are sparse. 

Haunting Tales of San Luis de los Franceses

One of the most unsettling tales of this church is that of Manuel Cantelar. In the 1990s, this troubled man is said to have staggered toward the church one fateful night, a knife clenched tightly in his trembling hands. Eyes glazed with despair (or madness), he pressed the blade against his chest and threw himself against the cold stone façade in a bizarre form of suicide. It’s said his spirit never left. 

Strange occurrences continue to plague the church. Workers involved in restoration projects have spoken of tools vanishing, only to have them reappear in baffling places. Even the bravest of them have confessed to hearing ghostly whispers and feeling a sudden chill as if unseen eyes were fixed on them. And then there are the dogs. They growl and snarl at empty spaces, their hackles raised, as if warning off an unseen presence.

Even now, the murmur of phantom voices and the chill of restless spirits might greet anyone daring enough to explore the forgotten corners of San Luis de los Franceses.

Visiting the Iglesia de San Luis de los Franceses

As we left the church of San Luis de los Franceses, we couldn’t help but feel a sense of awe at the beauty and history of this often-overlooked treasure — from the grand Main Chapel with its imposing dome and intricate altarpieces to the almost-as-impressive Domestic Chapel tucked away from the main church. 

While most visitors will make sure to see the Seville Cathedral, we found its beauty to only be skin deep: The façade is much more impressive than its interior. That’s why we were so happy to marvel in surprise at the unexpected tiny-by-comparison grandeur of San Luis. We owe our heartfelt thanks to our friends Jo and José for encouraging us to explore this hidden gem, a reminder that some of Seville’s most stunning spaces lie just beyond the well-trodden paths. –Wally

The deets

Hours
Monday: Closed
Tuesday to Sunday: 10 a.m. to 2 p.m. and 4 p.m. to 8 p.m. 
Summer hours (July 1 to August 31): 9 a.m. to 5 p.m. 
Note: Ticket sales end 15 minutes before closing time, and visitors are asked to leave 10 minutes prior to closing. 

Cost: €4, with discounts for students, seniors and local residents

Tour options: Guided tours are available as are audio guides in multiple languages. 

Iglesia de San Luis de los Franceses

Calle de San Luis, 37
41003 Sevilla
Spain 

 

Weird and Wonderful Woodstock, New York

Woodstock unplugged: The site of the 1969 music festival is an artsy, laidback town in the Hudson Valley, where cool shops, great eats and local treasures abound.

A glimpse of the adorable backyard of Tinker Taco along Tannery Brook in Woodstock, New York

When you hear the name Woodstock, do you picture Snoopy’s little yellow sidekick from the Peanuts comic strip, or do peace-loving hippies, patchouli and that legendary rock and folk music festival held in the summer of 1969 come to mind?

Well, here’s the twist, man: Technically, the historic lovefest didn’t even happen in Woodstock! It actually took place on a 600-acre dairy farm, in the neighboring town of Bethel, about 60 miles southwest. Although it was a success in terms of cultural significance, it was a logistical failure — there wasn’t enough food or enough toilets. But according to Wally, they were high, they were hippies, and they couldn’t have cared less.

Despite this misconception, I imagine Woodstock had a better ring to it than Bethel, and the name stuck. 

Papa, Wally and Duke on Tannery Brook Bridge, enjoying their time in Woodstock, New York

Woodstock’s laidback, artistic spirit continues to evolve and thrive, and this small town, nestled in the foothills of the Catskill Mountains along the Hudson River, turned out to be exactly the vibe we were looking for during our four-day Hudson Valley weekend.

Read on for our list of our favorite spots along Mill Hill Road and Tinker Street in the charming burg of Woodstock, including a couple of recommendations on where to stop and refuel along the way. 

Tinker Street and Mill Hill Road

The main thoroughfares of Woodstock are Tinker Street and Mill Road, a walkable stretch lined with locally owned shops, restaurants, galleries and other businesses catering to residents and visitors alike. 

The Mud Club 

We started our day at the Mud Club (a nod to the famously muddy aforementioned festival in Bethel). We headed straight to the hulking brown barn to order four of their Montreal-style bagels from the service window. 

Established in 2017 by brothers Nicolas and Gray Ballinger, along with their father Doug, their irregularly shaped hand-rolled bagels are briefly poached in honey-sweetened water and baked in a wood-fired oven, resulting in a bagel with a crisp exterior and a denser chew than a New York-style bagel. 

The Mud Club vibe? Think rustic yet quirky mountain lodge with a side of artisanal coffee. Their rotating selection of single-origin beans, sourced from regions like Ethiopia, Kenya, Peru and Honduras, expertly roasted by Brooklyn-based Mud Club, are sure to satisfy even the most discerning caffeine connoisseur.

The Mud Club
43 Mill Hill Road

Bread Alone Bakery

You know what they say: Man cannot live on bread alone. But if we did — we’d be happy getting our sustenance at Bread Alone. Even though we had already eaten bagels at Mud Club, we couldn’t resist stopping at this local bakery. What started as an entrepreneurial endeavor by artisan baker and educator Daniel Leader in the early ’80s, with loaves being sold out of the trunk of the family station wagon, has grown into a trailblazing bakery with a big following, with additional locations in Boiceville and Rhinebeck. 

This is the place to find an assortment of breads made with certified organic grains milled in Halifax, Pennsylvania, along with a pastry counter filled with sweet and savory treats. I purchased a chocolate caramel cake to enjoy later for Wally’s birthday, and trust me — it was a winner!

Bread Alone Bakery
22 Mill Hill Road

Candlestock

Beyond the white picket fence with yellow flame-topped posts at 16 Mill Hill Road is Candlestock, a one-of-a-kind family-owned business offering a wide selection of beeswax, drip and handmade candles in every shape, size and color imaginable. 

Wally and I purchased a few hand-dipped tapers and were in awe of the impressive, rainbow-colored “Drip Mountain,” a towering 8-foot-high by 3-foot-wide wax creation dramatically lit by blacklight that has been steadily growing since 1969. 

Candlestock
16 Mill Hill Road

The Golden Notebook 

This small but impressive independently owned bookshop, named after the original owner’s favorite Doris Lessing novel, has been a local staple for nearly five decades. Among the shelves and tables, you’ll find a mix of popular and rare titles spanning both fiction and nonfiction, as well as a selection of signed books and graphic novels by acclaimed author Neil Gaiman. His writing often features darkly whimsical themes, complex characters and richly imagined worlds.

A section at the front of the shop is dedicated to local history and the surrounding Hudson Valley, with a selection that highlights the region’s storied past. 

Whether you’re looking for books for adults or children, you’ll easily find your next read among the thoughtfully curated selections on display.

The Golden Notebook
29 Tinker Street

Timbuktu 

You’ve probably heard or even uttered the phrase, “from here to Timbuktu” to describe a faraway place. Well, just a few doors down from the Golden Notebook is a shop with that name, filled with global and one-of-a-kind goods. You’ll find a diverse array of handmade home goods, pillows, quilts and jewelry by the shop’s owner, Jaime Surgil. Wally and I especially loved the whimsical aquatint etchings by New York-based artist Stephen Francis Duffy. Whether you’re browsing or buying, you’re likely to leave this boutique feeling inspired.

Timbuktu
2 Tannery Brook Road

Woodstock Leisure Syndicate 

When Wally and I spotted a sign across the street with two bears hugging beneath a radiant moon, we had to check it out. It turned out to be tied to the concept shop Woodstock Leisure Syndicate, a collaborative project by the design duo Grant Krajecki and Ryan Kelly.

The shop is housed in the historic Old Forge House, a building that formerly served as the village blacksmith’s workshop and home. Stop by to browse quilted seating upholstered in nylon, as well as apparel, books, artwork and chunky, oversized Grey Ant eyewear — designed in New York by Krajecki and produced in Italy. I especially loved their playful take on the classic smiley logo, with “NY” for the eyes and “Woodstock” forming the smile. It’s available as a patch, tie-dyed T-shirt and super soft hoodie.

Woodstock Leisure Syndicate 
54C Tinker Street

Tinker Taco

By this time, we had worked up an appetite and decided to try the cute spot we had seen earlier. Plus, you can never go wrong with Mexican. 

To reach Tinker Taco, you have to walk behind the Old Forge. It’s a relaxed, order-at-the-bar-and-find-a-seat kind of place. We chose a picnic table on the banks of Tannery Brook, a stream that runs through town. 

The tortillas are handmade from local non-GMO corn, and the taco options range from chicken to barbacoa to vegetarian. Plus, the frozen margaritas are muy ricas!

Tinker Taco
54 Tinker Street

Village Green Bed & Breakfast 

In the center of Woodstock, you’ll find a small square and a charming storybook Victorian B&B. Known as the Village Green, it features the fantastical assemblages Merlin and Fantasy Boy, whose faces are embellished with hundreds of lustrous glass beads and whose bodies are covered in ceramic figurines, which instantly caught our attention. 

Village Green Bed & Breakfast
12 Tinker Street 

Tinker Toys Too

Tinker Toys Too, named after the street, not the toy, has been delighting kids of all ages for over three decades, thanks to its owner, Suki Beeh. Whether you’re looking for stuffed animals, storybooks, or educational wooden puzzles and games, you’ll find imaginative items throughout the store. Every shelf is filled with a delightful selection of classic and new toys, from Colorforms to Kewpie-like Sonny Angel figurines. These are toys made to last for years of play and discovery.

Tinker Toys Too
5 Mill Hill Road

WAAM (Woodstock Artists Association & Museum) 

WAAM, bam, thank you ma’am! This gallery is a great spot if you’re looking for a break from shopping. Since 1919, WAAM has been showcasing an eclectic mix of local talent and celebrating Woodstock’s long history as an arts haven. Whether you’re into paintings, sculptures or photography, there’s always something fresh to catch your eye. The museum also houses an impressive permanent collection, featuring works by notable artists like Milton Avery and Yasuo Kuniyoshi, giving you a peek into the creative roots that helped shape this quirky town. There’s a $10 suggested donation. 

WAAM (Woodstock Artists Association & Museum)
28 Tinker Street

Casa Ziki

The eye-catching entrance of Casa Ziki drew us in like a brightly colored flower attracting a pair of hummingbirds. There was no turning back once we saw the Georgian-style pediment, awash in a combination of tangerine and lavender — a custom design by the local duo Headspace. It definitely sets the tone for what awaits within. 

This modern homewares boutique, with locations in Brooklyn and Woodstock, is co-owned by wife and husband Sylvanna Kiss and Sasha Zinshtein. Inside, you’ll find a colorful selection of well-designed décor, playful accessories, lighting, art and pieces by local makers. Whether you’re shopping for yourself or someone else, you won’t regret stopping by.

Casa Ziki
35 Mill Hill Road

Early Terrible

We ended our delightful day in Woodstock at Early Terrible, the wine and cocktail bar and sister property next door to the Mud Club. A twisted column topped with a silver tankard and a peculiar-looking ogre (or perhaps a golem or troll?) peeking out from behind it marked the start of the gravel path that led us there.

The interior is dark and moody, while the patio fits in with the whimsical aesthetic that’s simultaneously rustic and glam. It’s filled with delightful details, from glittering disco balls and weathered wood planks to tufted leather couches and ornate cut-glass chandeliers. 

A sprawling root structure climbs above the bar and stretches outward, leaving you feeling as if you’ve followed Alice down the rabbit hole and tumbled into a magical place.

The cocktail menu offers an imaginative selection of signature drinks. I ordered the Smoke Signals, a blend of Banhez mezcal, a dash of amaro, tamarind purée and pineapple in a glass rimmed with a smoky house-made chili salt, while Wally opted for the Bramble, a refreshing concoction made with gin, crème de cassis and lemon juice. My parents each ordered beer, and the four of us shared a wood-fired sourdough pizza. Note: If you’re visiting on a weekday, don’t get your hopes up — pizza is only served on the weekends.

Early Terrible
45 Mill Hill Road

Feeling Groovy

Woodstock turned out to be our favorite spot in the Hudson Valley. The town’s blend of artistic spirit, quirky shops and laidback atmosphere make it the perfect place to explore and chill. Whether you’re browsing the boutiques or taking in some local art, it’s hard not to fall under Woodstock’s groovy spell. –Duke

Centre Pompidou Málaga: A Modern Art Marvel

El Cubo, as locals call it, a museum located in Málaga’s vibrant port, is anything but boring. This dazzling structure, designed by Daniel Buren, houses a captivating collection of avant-garde art.

The surprising multicolored cube on Málaga’s port is a branch of the Centre Pompidou, Paris’ modern art museum.

When I was in high school, my French class took a trip to Paris, and it was there that I first laid eyes on the Centre Pompidou. The building’s exterior, with its industrial ductwork winding up like a scarlet-bellied serpent, and a pair of cherry red lips spouting water in the fountain, captivated my youthful imagination. 

But if you thought the Centre Pompidou was just that quirky building in Paris, think again. The avant-garde behemoth has spawned a sibling in Málaga, Spain; the city famous for its hometown homeboy, Picasso, and amazing Moorish landmarks like the Alcazaba and Gibralfaro, got a bit of Parisian modern art chic.

“The project was initially conceived as a limited five-year venture.

It has proven so successful, Málaga has decided, with Paris’ agreement, to extend its lease until 2034.”

Various sculptures are put on temporary display outside of the museum.

Why Málaga?

The project was initially conceived as a limited five-year venture between Málaga’s mayor, Francisco de la Torre, and the Centre Pompidou’s president, Serge Lasvignes. The French institution agreed to lend its brand name, curatorial expertise and artworks from its Paris HQ to the chic port city of Málaga in the South of Spain. This cultural experiment provided the perfect canvas for the Centre’s first foray outside France. It has proven so successful, Málaga has decided, with Paris’ agreement, to extend its lease until 2034.

Daniel Buren came up with the whimsical design.

The Colorful Genius and Bold Design of Daniel Buren

The Centre Pompidou Malaga isn’t just a museum — it’s a statement. You can’t miss it. Its design is as bold as its Parisian parent’s. But instead of resembling a building turned inside out, the Pompidou Málaga looks like a giant Rubik’s Cube made of glass was plopped down in the city’s port. It’s the brainchild of French artist Daniel Buren, renowned for his use of bold colors and geometric patterns.

Buren takes an in situ approach, which is a fancy way of saying he integrates his pieces directly into their environments, creating site-specific art that interacts with its surroundings. And that’s certainly the case with El Cubo (the Cube), as the Málaga Pompidou is affectionately called. A transparent, multicolored structure serves as the entrance to the subterranean museum space. Its design is a sharp contrast to the traditional Spanish architecture around it, making it a standout landmark. 

Buren’s use of color and light transforms the cube into a dynamic piece of art, changing its appearance with the movement of the sun and the seasons. It’s as much a work of art as those found within. Try walking by at different times (sunrise or night, in particular) to see how light plays upon the façade.

The museum opened in 2015 for a short stint — but it has obviously done well enough to extend its agreement through 2034.

The Pompidou Málaga’s Opening Act

When it first opened in 2015, the Centre Pompidou Málaga was met with a mix of excitement…and skepticism. Art critics and the public alike were curious about how this Parisian transplant would fit into the cultural tapestry of Málaga. But The Guardian gushed, “The Centre Pompidou in Málaga represents a bold cultural experiment, bridging the artistic ethos of Paris with the vibrant spirit of southern Spain.”

Meanwhile, El País highlighted the architectural contrast: “Daniel Buren’s colorful cube stands as a beacon of modernity against Málaga’s historic skyline, symbolizing the city’s commitment to contemporary art.”

Wally and Duke can find modern art to be hit or miss — but the Centre Pompidou Málaga was filled with cool, thought-provoking works.

Art and Exhibitions at the Pompidou Málaga

But the Centre Pompidou in Málaga isn’t just a pretty cube — it’s a treasure trove of modern masterpieces that would make any modern art lover swoon.

The permanent collection is a curated selection of works from the vast repository of the Centre Pompidou in Paris. It spans the 20th and 21st centuries, showcasing iconic pieces from celebrated artists such as Francis Bacon, Frida Kahlo, Joan Miró — and, por supuesto, Pablo Picasso. 

Lipstick by František Kupka, 1908

Bal au Moulin de la Galette by Raoul Dufy, circa 1943

Children and Lanterns by Tadé Makowski, 1929

These works are arranged thematically rather than chronologically, providing visitors with a fresh perspective on modern art movements and their interconnectedness. The themes often explore major artistic movements and their cultural contexts. You might find rooms dedicated to Cubism, Surrealism or Abstract Expressionism. This approach not only highlights the evolution of styles but also the ongoing dialogue between artists across different periods and geographies.

Hollywood Sleep by Jean Cocteau, 1953

Suddenly Last Summer by Martial Raysse, 1936

During our visit, we caught the temporary exhibition Un Tiempo Propio (or Time for Yourself for those of you who don’t speak Spanish), a spirited rebuke of the relentless demands imposed by our digital calendars. Showcasing the works of 90 artists, the exhibit delved into the theme of leisure, encouraging a pause from the daily grind. It served as a refreshing reminder to reclaim our time and disconnect, if only momentarily, from the buzz of notifications and schedules — a true celebration of the art of relaxation and the simple joys of free time.

We Stopped Just Here at the Time by Ernesto Neto, 2002

One of our favorite exhibits in Un Tiempo Proprio was by Ernesto Neto, the Brazilian maestro of the bizarre: We Stopped Just Here at the Time. This artwork was a captivating display of suspended bags filled with aromatic herbs like rosemary, parsley and thyme. The installation reminded me of a forest of hanging testicles (paging Doctor Freud!), creating a whimsical and immersive environment that invited visitors to bask in the earthy fragrances and stare, mesmerized, at the organic forms swaying gently.

Ettore Sottsass’ Flying Carpet Armchair

Sottsass’ designs are somehow retro and modern at the same time, like this minimal mint green cabinet.

We also enjoyed the Ettore Sottsass: Magical Thinking exhibition, which showcased over 100 pieces of Sottsass’ groundbreaking work. These retro-futuristic items in bright colors reminded me of Fisher-Price children’s toys, highlighting the designer’s playful approach. Sottsass was a key figure in the Memphis movement of the 1980s, which revolutionized design with its bold use of color, geometric shapes and whimsical patterns. The postmodern movement rejected minimalism in favor of a more expressive, emotionally engaging style. The exhibit captured this ethos, blending fun and sophistication in a way that made each piece feel both nostalgic and cutting-edge​. 

The Basilico Teapot

Cherry Model Teapot

it wouldn’t be a modern art museum without a creepy clown.

Discovering the Unexpected at the Pompidou Málaga

Duke and I were thoroughly impressed with the Centre Pompidou Málaga, where we encountered a captivating variety of art that was both thought-provoking and immersive. We spent a delightful couple of hours there, exploring the museum’s strange and intriguing pieces, each offering a unique perspective on modern art. The experience exceeded our expectations and was a refreshing contrast to what we consider the less inspiring exhibitions that the Museum of Contemporary Art in Chicago has featured in recent years. 

The variety of exhibits at the Centre Pompidou Málaga ensures that whether you’re a seasoned art critic or a curious traveler, there’s something that will capture your imagination and perhaps even challenge your understanding of what art can be. So, the next time you find yourself in Málaga, make sure to descend into El Cubo — you just might discover your new favorite artist or a whole new way of looking at the world. –Wally

There are lots of different areas to explore at the Centre Pompidou Málaga, but they can all be done in a couple of hours.

The lowdown

The Centre Pompidou in Malaga is located in the city’s vibrant port area, making it easily accessible. 

Hours of operation

Monday, Wednesday, Thursday, Friday: 9:30 a.m. to 8 p.m.

Saturday and Sunday: 9:30 a.m. to 8:30 p.m.

Tuesday: Closed (except on public holidays)

Holidays: Open with extended hours; always check the official website for up-to-date holiday hours.

Admission costs

General admission: €9

Reduced admission: €5.50 (available for seniors over 65, students under 26 and large families)

Free admission: For children under 18, unemployed individuals and visitors with disabilities (with one companion)

Special free hours: On Sundays from 4 p.m. to closing, and all day on certain designated dates (such as International Museum Day)

Exit through the gift shop.

Tips for visitors

Advance tickets: It’s a good idea to purchase tickets online in advance to avoid long lines, especially on weekends and holidays.

Guided tours: Consider booking a guided tour to get the most out of your visit. Tours are available in multiple languages and offer deeper insights into the exhibitions.

Accessibility: The Centre Pompidou is fully accessible to visitors with disabilities. Elevators and ramps are available, and wheelchairs can be borrowed at the information desk.

Photography: Photography without flash is allowed in most areas.

Coat/bag check: Leave your bags and coats to make it easier to enjoy the exhibits unburdened.

Gift shop: Exit through the gift shop, where you can pick up some cool souvenirs or gifts.

Centre Pompidou Málaga

Pasaje Doctor Carrillo Casaux
Muelle Uno
Puerto de Málaga
29001 Málaga
Spain

 

Descriptions of God’s Body in the Bible

From his massive member to a horned head, there are plenty of references to God having a corporal body in the Old Testament. Some shocking findings from “God: An Anatomy.”

Perhaps the most famous depiction of God is this detail of the Creation of Adam, painted by Michelangelo on ceiling of the Sistine Chapel.

What does God look like? 

Most people nowadays probably fall into two camps: those who say God is incorporeal, an entity without form — and those who imagine him as Michelangelo painted him, a powerful if elderly man with a flowing white beard and a penchant for long white robes.  

Those who think of God as bodiless haven’t paid enough attention to their Old Testament, though. In fact, the first clue is right there…in the beginning.

“So God created mankind in his own image, in the image of God he created them; male and female he created them” (Genesis 1:27). 

That means God is humanlike — or should I say, humans are godlike?

It’s not so strange that God had a body. All his fellow gods did, from his competition in the Middle East to the pantheons of Ancient Egypt, Greece and Rome. 

Add up all the descriptions of God in the Old Testament, and you get a red-skinned, powerfully built older man.

So what does he look like? Take all the Old Testament mentions of God, add them together and here’s what you get, according to Francesca Stavrakopoulou in her 2022 book God: An Anatomy:

A supersized, human-shaped body with male features and shining, ruddy-red skin, tinged with the smell of rainclouds and incense. His broad legs suggest he was accustomed not only to straining, leaping and marching, but sitting and standing resolutely stiff, posing like a ceremonial statue. His biceps bulge. His forearms are hard as iron. There are faint indentations around his big toes, left by thonged sandals. Beneath his toenails there are traces of human blood, as though he has been trampling on broken bodies, while the remnants of fragrant grass around his ankles suggest strolls through a verdant garden. The slightly lighter tone of the skin on his thighs indicates he was most often clothed, at least down to his knees, if not his ankles. Minute fibers of fine fabric — a costly linen and wool mix — indicate that his clothing was similar to the vestments of high-status priests. His penis is long, thick and carefully circumcised; his testicles are heavy with semen. His stomach is swollen with spiced meat, bread, beer and wine. The chambers of his heart are deep and wide. His fingers are stained with an expensive ink, and there are remnants of clay under his fingernails. On his arms are faint scars left from the grazes of giant fish-scales, and the crooks of his elbows, slightly sticky with a salty oil, bear the imprint of swaddling bands, suggesting he has cradled newborn babies. Traces of the tannery fluid used by hide-workers wind in a stripe around his left arm and down to the palm of his hand — a residual substance left by a long leather tefillin strap.

His thick hair is oiled with a sweet-smelling ointment, and shows evidence of careful styling: the hair-shafts suggest it was once separated and curled into thick ropes, while slight marks on the back of his scalp indicate it has been partly pinned beneath some sort of headgear, and his forehead is marked with the faint impression of a tight band of metal. Although his beard reaches beneath his chin, it has been neatly groomed, while his mustache and eyebrows are thick and tidy. The hair on his head and face shimmers — first dark with blue hues, like lapis lazuli, then white and bright, like fresh snow. And one glance, he has the beard of his aged father, the ancient Levantine god El; in another, it is the stylized beard of a youthful warrior, like the deity Baal. His ears are prominent, and their lobes are pierced. His eyes are thickly lined with kohl. His nose is long, its nostrils broad — the scent of burnt animal flesh and fragrant incense lingers inside them. His lips are full and fleshy, his mouth large and wide. It is at once the mouth of a devourer and a lover. His teeth are strong and sharp, his tongue is red hot. His saliva is charged with a blistering heat. The back of his throat is a vast, airy chamber, once humming with life. Below it is an opening of a cavernous gullet. Shadowy scraps of another powerful being, the dusty underworld king, cling to its walls.

The depictions of Yahweh in the Bible are disparate, but some common themes emerge.

Quite a picture, eh? All these details appear in various books of the Old Testament. Here’s a sampling.

God liked to walk in the Garden of Eden with Adam and Eve … before they dared to eat of the Tree of Knowledge of Good and Evil.

Walking and Talking With God

Later in Genesis, Adam and Eve have eaten of the forbidden fruit and hide from God when they hear him “walking in the garden.”

Enoch, Noah and Abraham go for walks with God as well — as did Moses. Sure, God showed up as a burning bush when they first met, but after that, “the Lord used to speak to Moses face to face, as one speaks to a friend” (Exodus 33:11). 

Yahweh first showed himself as a burning bush to Moses, but after a while they became good friends and would often take walks together.

Holy Shit! God’s Ground Rules 

With all that walking, God had to be careful he didn’t step in something unpleasant. 

When the Israelites flee Egypt en route to the Promised Land during the Exodus, God declares, “You shall have a designated area outside the camp to which you shall go; with your utensils you shall have a trowel; when you relieve yourself outside, you shall dig a  hole with it and then cover up your excrement, because Yahweh your God walks in your camp” (Deuteronomy 23:12-14). 

Apparently his omniscience doesn’t extend to knowing how to avoid excrement. It’s heartening to know that God steps in shit just like we do. 

The prophet Ezekiel saw God in a chariot supported by hybrid heavenly creatures.

The Cherubim Chariot 

After the Babylonians destroyed and plundered the Temple, the worshippers of Yahweh surely wondered if their god had also been vanquished. So the book of Ezekiel offers up a scene of Yahweh’s escape. He is seated on his supersized throne, using the Ark of the Covenant as his footstool (!). Cherubim (not the chubby baby angels you’re thinking of but four-winged celestial beings with four faces — that of a man, lion, eagle and cherub) perch upon wheels and bear the throne aloft. 

You didn’t want to be on Yahweh’s bad side; he was prone to violent reactions — including stomping people to death.

God’s Stomping Grounds

But God doesn’t only walk and rest his feet. Sometimes he goes on a murderous rampage. Yahweh marches back from a massacre in the enemy kingdom of Edom: “I trampled down peoples in my anger, I crushed them in my wrath, and I poured out their life blood on the earth,” he tells a sentry in Isaiah 63:6. 

“This is a god who has felt the crunch of bones and skulls under his feet; the warm, wet mulch of human flesh around his ankles; the heart spray of blood on his legs,” Stavrakopoulou writes.

In Isaiah’s vision of God, is that a massive robe filling the Temple — or something more phallic?

God’s Genitals on Display

A couple of prophets even boasted of seeing God’s oversized genitals — and yes, this is all in the Bible. Isaiah, in the middle of the 8th century BCE, entered the inner sanctum of the Jerusalem Temple, where he beheld a surprising sight. 

“My eyes have seen the King, Yahweh of Hosts!” the prophet declares in Isaiah 6:1. “I saw the Lord sitting on a throne, tall and lofty! His lower extremities filled the temple!”

But the Hebrew word he used for “lower extremities” was shul, which actually means “genitals,” Stavrakopoulou informs us. (It’s worth pointing out that many scholars argue that the word actually means the hem of a robe.)

So Isaiah is saying he saw God naked — and, um, let’s just say he was impressed. I guess we shouldn’t be surprised to learn that God’s hung. 

Another prophet, Ezekiel, describes a much stranger encounter: He sees God and focuses on what “looked to be his motnayim” — another Hebrew word for genitals, Stavrakopoulou writes. He looks above and below and sees the rest of the Lord’s body engulfed in flames (Ezekiel 1:27). 

I’m not sure why Ezekiel seems hesitant about if he’s looking at God’s groin or not — perhaps all that fire is blinding him a bit — but heavens knows Isaiah had no doubts about what he was seeing. 

The Ancient Egyptian god Min was usually depicted as having a massive erection.

‘The Imposing Erect Virility’ of the Gods

As shocking as this might seem, depictions and stories of gods having erections were common at the time these Bible books were written. A carving of the Egyptian god Min at Luxor Temple, for example, shows the fertility deity with a massive hard-on as he greets Alexander the Great. 

“In the ancient cultures of southwest Asia [Stavrakopoulou’s non-Western-centric terminology for the Middle East], a sizable penis, and even its occasional overt exhibition, did not render male deities less godly, but appropriately divine. The imposing erect virility of masculine gods was vividly celebrated in these ancient societies and the religious literature they produced,” Stavrakopoulou writes. “[T]he penises of ancient southwest Asian gods embodied a conspicuous and powerful hyper-masculinity deemed essential to the ordering, fruitfulness and well-being of the cosmos and its inhabitants.”

Cain, who killed his brother, Abel, might have been God’s son, not Adam’s!

Cain’s Baby Daddy Isn’t Adam…But God?!

Most of us assume that Adam and Eve had children — but if you look at the Bible, Eve declares that Cain at least was actually the offspring of her and God: “I have procreated with Yahweh!” she shouts in Genesis 4:1. 

“The more literal translation of the Hebrew is rarely seen,” Stavrakopoulou writes. “Most renderings of this verse default to a theologically fudged interpretation, so that Eve is merely presented as claiming that Yahweh has ‘helped’ her to ‘acquire a man,’ as any good fertility god might.”

Yahweh, like the Greek gods, who had sex with many unwilling women, could be prone to lust.

God as a Sexual Predator 

In the book of Hosea, God not only has a body — he actually gets it on with a young woman who’s the personification of Israel. 

“Here, Israel is a capricious teenager whose sexual allure so intoxicates God, he falls to scheming obsessively and possessively to make her his wife,” Stavrakopoulou writes. “‘I will take her walking into the wilderness and speak to her heart … and there she will cry out.’ 

“These words betray more than the romantic fantasy of a love-struck deity,” she continues. “God’s language here marks a shift from passion to threat: In claiming he will ‘seduce’ her, he uses a Hebrew expression more usually employed in the Bible to describe the rape of captive women.”

This idea of God as a sexual predator — or even just a sexual being — has been problematic for centuries, and that’s certainly true with our current sensibilities. 

“Theologically, the sexual grooming and graphic violence God inflicts on his young wife is immensely difficult for some modern-day believers to reconcile with their idealized constructs of God,” Stavrakopoulou says. “But for many Jewish and Christian readers, it is more specifically the graphic portrayal of a sexually actively deity that has proved unbearable: It has been mistranslated, dismissed as ‘mere’ allegory, or simply ignored.”

Foreign books are immensely dependent upon their translations — all the more essential for the Bible, a book so many people take literally. That’s what makes this softening of the original message so alarming. 

“In standard modern translations of the Tanakh [the Hebrew Bible] and the Christian Bible, the graphic sexual imagery of these troubling texts is softened or obscured with sanitized vocabulary and clunky euphemisms,” Stavrakopoulou writes. 

Yahweh knew Moses couldn’t handle seeing him all in his glory — so he offered just a peek of his cheeks.

God Shows Moses His Glorious Backside 

Up on Mount Sinai, Moses asks God to reveal himself: “How shall it be known that I have found favor in your sight, I and your people?” he asks in Exodus 33:16-18. “Please, show me your Glory.”

But God says that Moses can’t handle his awesomeness — he’ll only allow him to see his backside. It’s the same term used elsewhere in the Bible to describe the buttocks of an animal, according to Stavrakopoulou. 

God adds that no mortal could gaze upon his face and live. “In its narrative context, it is a capricious assertion, for Yahweh and Moses have already enjoyed a number of conversations ‘face to face’ — and Moses has survived,” Stavrakopoulou points out. 

Like other deities of the Middle East, Yahweh’s body is engulfed in a dazzling aura: He is “wrapped in light as with a garment” and “clothed with glory and splendor.” 

It’s all too easy to think of these descriptions as hyperbolic — but they’re meant to be taken literally, Stavrakopoulou asserts. 

Whether they were literal or beams of light, Moses came back from a convo with God bearing horns.

The Glory of God Makes Moses Horny

“In Exodus, however, God’s luminescent backside clearly gives off something more powerful than a wondrous afterglow. When Moses finally descends from the Holy Mountain, clutching the Ten Commandments, his own face is startlingly transformed,” Stavrakopoulou writes. “But quite how is a matter of some debate, for the ancient Semitic root of the Hebrew term used to describe this transformation probably means ‘horn,’ but is also associated with light. The earliest translations of this peculiar story indicate that, from at least the 3rd century BCE, Moses was understood to have developed horn-like rays of light, so that his face beamed with a divine radiance. Other ancient scholars would assume Moses’ face literally grew horns — a symbol of the divine elsewhere in the Bible — giving rise to startling medieval images of Moses as a double-horned being. Either way, Moses undergoes a bodily transformation so profound that the Israelites cannot look him in the face and are afraid to go near him. Moses’ visual encounter with God has left its mark on him, rendering him more divine than human.”

Poor Moses never entered the Promised Land — but was it God who took the care to bury him?

God the Gravedigger

Moses seems to have been the Old Testament character with the most face time with God. And that lasted right up until the moment of his death. The poor guy — being a favorite of Yahweh doesn’t get you much. Moses dramatically led the exodus of escaped Israelite slaves out of Egypt, delivered the Ten Commandments and wandered the desert for 40 years. Finally, the time has come to enter the Promised Land. But, in a shocking twist, God shows Moses the beautiful sight of their hard-earned payoff — and then tells him to literally drop dead: “Moses, the servant of Yahweh, died there in the land of Moab, at Yahweh’s command. And he buried him in the valley in the land of Moab” (Deuteronomy 34:5-6). 

“In the book of Deuteronomy, Moses’ gravedigger is God himself,” Stavrakopoulou writes. “Appalled by the idea that God could contaminate himself with the impurity of a corpse — even the corpse of so holy a man as Moses — some Jewish and Christian translators corrected what they perceived to be an error in the text: ‘he buried him’ simply became ‘he was buried’ or ‘they buried him,’ leaving generations of readers to assume that mourning Israelites or weeping angels had performed Moses’ mortuary rites, rather than God himself.”

Baal, one of Yahweh’s biggest rivals in the ancient Middle East

God Gets Horny

It’s an image that wouldn’t sit well with most modern Christians or Jews — especially given its connections to the Devil and demons — but one of the earliest descriptions of God describes him as having horns. “God, who brought [Israel] out of Egypt, has horns like a wild ox!” the prophet Balaam declares in Numbers 23:22. 

“In the Western imagination, a horned being tends to conjure images of the diabolical, and the grotesque. From the man-eating bull-headed Minotaur of Greek myth to the cloven-hooved goat-faced Devil of Christianity, horns have long served as a hallmark of horror,” Stavrakopoulou writes. “But in the world of the very ancient gods, horns were the most prestigious and alluring manifestations of divinity, and most deities would be equipped with them.”

Horns were a sign of power, designating that the gods who sported them “were beings of bullish virility and ferocious strength,” Stavrakopoulou explains. 

There’s a horrific description of a fiery God — right before he gobbles up a roasted king of Assyria.

The Nose Knows: God’s Wrath and a Kingly BBQ

“The God of the Bible was particularly proud of his nose,” Stavrakopoulou tells us. “In his lengthy monologue on Mount Sinai, he reels off a list of his best qualities, not only describing himself as merciful, gracious and abounding in steadfast love and faithfulness, but ‘long-nosed,’ too.” 

This is a way of saying he has deep nostrils, she says — meaning slower breathing, and by extension, being patient and slow to anger. 

But once that temper raged, you didn’t want to be anywhere near him. 

In the book of Isaiah, a seer spies Yahweh in the distance, his nose ablaze, “his lips full of fury, his tongue a devouring fire; his breath an overflowing stream, reaching up to the neck!” (Isaiah 30:27-28). 

What’s God up to? Oh, just sacrificing an Assyrian king upon a pyre and feasting on his charred corpse.

The ancient Levantine deity El

The Ancient Almighty: God’s Golden Years 

Our current image of God as a powerful older man comes from a portrayal in Daniel 7:9-10 from the 2nd century BCE. As Stavrakopoulou states, “God himself remains a picture of perpetual purity: Enthroned, in fiery splendor, and surrounded by thousands of divine courtiers, he is called ‘an Ancient of Days,’ dressed in robes ‘white as snow,’ with hair ‘like a lamb’s wool.’”

Again, this iconography is borrowed from neighboring deities, including El, whom Stavrakopoulou describes as Yahweh’s father — before Yahweh was retrofitted as the sole true god. El’s (and Yahweh’s) gray hair and beard were seen as signs of immortality and wisdom. 

Unseen and Unsculpted: The Theological Dance Around God’s Corporality

When thinking about this article, I realized something that shocked me: While I’ve seen a few paintings of God — Michelangelo’s Sistine Chapel depiction of God (looking suspiciously like Zeus) reaching out to Adam springs to mind — I couldn’t think of a single sculpture of him.

Part of this is due to the fact that the mentions of God as having a body in the Bible make many Christians uncomfortable. They want the only depiction of God as corporeal to be that of Jesus. 

“Those troublesome verses in the scriptures attesting to God’s body would be smoothed, smothered or superseded by new interpretive frameworks and some fancy philosophical footwork,” Stavrakopoulou writes. “A favorite tactic employed by early Christian theologians was simply to reduce all biblical references to God’s body to the symbolic.” 

Even further back than that, after the Jerusalem Temple had been rebuilt in the 5th century BCE, Yahweh’s worshippers understood all too well the vulnerability and lack of transcendence of a corporeal god. 

It was around this time one of the Ten Commandments became “You shall not make for yourself a carved image.”

Once a vividly described giant, God lost his body. 

Are there few statues of God because one of the Ten Commandments forbids “carved images”?

And therein lies the main controversy around God: An Anatomy. The book has ignited a theological firestorm, dragging Yahweh off his lofty pedestal and into the gritty, grimy realm of human physicality. Some scholars are applauding Stavrakopoulou’s daring approach, while others are reaching for the nearest exorcism manual.

Biblical scholar Joel Edmund Anderson isn’t holding back. On his blog, Resurrecting Orthodoxy, he accuses Stavrakopoulou of having a “tin ear to the literary artistry and nuance of the biblical texts,” arguing that her interpretations are overly literal and lack proper contextual grounding. 

So, even though many Christians believe everything in the Bible to be literal, they prefer to skip over references to God’s form — it’s all too close to those pagan deities. Team Symbolic has won out; no one really talks too much about God’s body nowadays. It seems that the divine anatomy lesson is one lecture most would rather miss. –Wally

Museo de Málaga: Art, Archaeology and Awe

Explore the Malaga Museum, a tribute to the past that feels completely current in the Palacio de la Aduana. 

The Malaga Museum has an impressive fine art collection, including Gladiadores/La Meta Sudante (Gladiators/The Meta Sudans) by José Moreno Carbanero from 1882.

Málaga, one of the world’s oldest cities, isn’t short on sunlight, history or art. With its dizzying array of attractions, the city offers much to explore. The Centro Histórico, a pedestrian-friendly area, is home to many notable sites, including the Museo de Artes y Costumbres Populares (Museum of Popular Arts and Traditions), the Renaissance-style Catedral de Nuestra Señora de la Encarnación (Málaga Cathedral) and modern art institutions like the Centre Pompidou Málaga. Nearby, the Alcazaba fortress stands guard on the hillside above a Roman amphitheater, connected to the Gibralfaro Castle by a fortified walkway.

The building that houses the museum is called the Palacio de la Aduana and was the customs house for the busy port.

History of the Museum of Málaga

A standout among these cultural treasures is the Museo de Málaga (Museum of Málaga). Housed in the Palacio de la Aduana (Customs House), this magnificent 17th century Neoclassical landmark is nestled between the verdant Parque de Málaga and the Ayuntamiento de Málaga (Málaga City Hall) in the heart of the Old Quarter.

Its construction was initiated in 1787 under King Charles III in response to Málaga’s growing maritime trade, and was conceived by architect Manuel Martín Rodríguez, who drew inspiration from Madrid’s palatial Real Casa de la Aduana (Royal Customs House). 

“With over 2,000 works of art and more than 15,000 artifacts in its archaeology collection, the museum offers a vast and captivating chronicle of Málaga’s history.”

Although the project actually started in 1791, it encountered several delays, including Napoleon’s failed attempt to conquer Spain during the Peninsular War, which pushed its completion date to 1829.

Nearly two centuries after its construction, the renovated venue reopened to the public, preserving the building’s original character while updating its interior to meet 21st century standards for accessibility. 

The museum unites the collections of the Real Academia de San Telmo (Saint Elmo Academy of Fine Arts) and the Museo Arqueológico de Málaga (Málaga Archaeological Museum) under one roof. With over 2,000 works of art and more than 15,000 artifacts in its archaeology collection, the museum offers a vast and captivating chronicle of Málaga’s history.

A mix of unmarked artifacts, including green glazed pottery and religious statuary, is displayed on wooden shelves inside the Visitable Warehouse section of the Museum of Málaga.

Ground Floor Visitable Warehouse

After paying the admission fee of €1.50 (approximately $1.63) per person, Wally and I began our visit on the ground floor with the Almacén Visitable (Visitable Warehouse), a storeroom of sorts, where objects are organized by time period and displayed in drawers and on shelves and wooden platforms. (It reminded us a bit of the ramshackle Egyptian Museum in Cairo.)

A collection of Hellenistic pottery, including terracotta heads, pig figurines and feet fills one of the display cabinets.

Among the artifacts were ancient vases, pots and fragments of centuries-old marble column capitals, feet, torsos and heads, displayed alongside 19th century oil paintings culled from the Fine Arts collection.

The warehouse is fun to explore, with its jumble of marble architectural fragments, a pair of Christ figures missing their crosses and a cathedral bell.

Look for the scale models, including one of the Roman amphitheater and (we think) the interior of Málaga Cathedral.

Wally and I oohed and ahhed over a scale model of the Alcazaba and Gibralfaro. In another part of the room, a glass display case held several devotional sculptures, including religious images of the Virgin Mary, underscoring the reverence and care with which these objects are treated.

A view of the palatial courtyard of the Museum of Málaga. The classical terracotta busts were added in 1885 to commemorate Queen Isabella II’s son Alfonso XII.

Central Courtyard 

Following our tour of the storehouse, we wandered through the expansive central courtyard, graced with palm and orange trees, a fountain and informational panels recounting the building’s history, including Queen Isabella II’s visit in 1862. Terracotta busts, added to honor her son Alfonso XII’s visit 23 years later, have adorned the uppermost balustrade of the courtyard gallery ever since.

When we visited, there was a special exhibit on the hometown hero Picasso.

Special Exhibit on Picasso

The port city is the birthplace of Pablo Picasso and, during our visit, it was hosting the exhibition La presencia de Picasso (The Presence of Picasso) to mark the 50th anniversary of his death. 

A selection of lithographs from Picasso’s Faunes et Flore d’Antibes series at The Presence of Picasso exhibition.

On a separate note, the Museum of Fine Arts previously occupied the Palacio de Buenavista (Buenavista Palace), but it was unceremoniously packed up and placed in storage in 1997 to make way for the Museo Picasso Málaga (Málaga Picasso Museum).

Fauno Blanco Tocando el Aulós (White Faun Playing the Flute) by Pablo Picasso, 1946

The exhibition featured lithographs from the Faunes et Flore d’Antibes series and engravings from Deux Contes, both drawn from the Fine Arts permanent collection. Wally, a big fan of mythology (and the male form), especially liked the collection. 

A glimpse of what awaits you at the beginning of the Fine Arts section of the museum.

First Floor: Fine Arts

Upstairs (keep in mind that in Europe the first floor is what we Americans would call the second floor), the Fine Arts section covers a broad spectrum of 19th century artworks, including pieces by old masters like Antonio Muñoz Degrain, Bernardo Ferrándiz y Bádenes, Fernando Ortiz y Comarcada, José Gutiérrez de la Vega and Pedro de Mena, among others. It also features works by prominent members of the Málaga School of Painting, such as Alfonso Ponce de León y Cabello, José Suárez Peregrin and Pedro Sáenz Sáenz.

Los Saltimbanquis (The Acrobats) by José Suarez Perigrín, 1932

El Juicio de Paris (The Judgment of Paris) by Enrique Simonet y Lombardo, 1904

Después de la Corrida (After the Bullfight) by José Denis Belgrano, 1890

Estudio de Anatomía Masculina (Study of the Male Anatomy) by Bernardo Ferrándiz y Bádenes, 1862

Tarquin y Lucrecia (Tarquin and Lucretia) by José López García, 1988

Alegoría de la Historía, Industría y Comercio de Málaga (Allegory of the History, Industry and Commerce of Málaga) by Bernardo Ferrández and Antonio Muñoz Degrain, 1870

The first piece you’ll see as you enter these galleries is a maquette, a final study for the ceiling of the Teatro Cervantes by the Valencian-born painter Bernardo Ferrándiz. In 1870, he and Degrain were commissioned to decorate the theater. Ferrándiz depicted himself as Mephistopheles, the demon who barters for Faust’s soul, on the stage set. 

The female figure, possibly a symbol of the city, sits atop a shrine holding a caduceus— a symbol associated with Mercury, the god of commerce and prosperity. Other aspects of the city’s booming cultural and economic success, including agriculture, industry, transportation and fishing, highlight its strategic location as a trading port.

However, to me, some of the most interesting pieces came from religious institutions. Like the Museo de Bellas Artes de Córdoba, this museum’s collection includes significant works of art, images and architectural elements seized from the deconsecrated monastic properties, including the ex-convents and monasteries of the Poor Clares of Santa Clara, San Bernardo, La Merced and San Pedro de Alcántara.

Mudejar ceiling corbels 

Next, you’ll notice a set of four carved oak corbels, or brackets. They originally adorned the ends of timber beams in the Convent of La Merced and became part of the academy’s collections in 1915. These architectural elements illustrated the sins and vices parishioners were expected to renounce before entering the holy space.

Head of Saint John of God by Fernando Ortiz y Comarcada, circa 1755-1765

Fernando Ortiz y Comarcada’s sculptural style was greatly influenced by Pedro de Mena — in fact, for many years, this work was attributed to Mena. However, documents found for the production of four sculptures at Parroquia Santiago Apóstol in Málaga confirmed Ortiz as the artist. This head is the only surviving piece from that series, which was largely destroyed during the protests of 1931. An anonymous citizen saved this from the flames and left it at the parish door in a basket, ensuring that future generations could appreciate its artistic quality.

Ecce Homo by Pedro de Mena, circa 1676-1680

Throughout his lifetime, Pedro de Mena was in high demand, securing a steady stream of public and private commissions across Spain and Latin America. It’s believed that Ecce Homo came from the estate of El Retiro in Málaga and was first owned by Bishop Alonso de Santo Tomás, who hired Mena to carve images for his private oratory while the sculptor was working for the bishop’s order at the Monastery of Santo Domingo.

(Postrimerías) A Moro Muerto, Gran Lanzada, or (Dying Moments) Kicking a Man While He’s Down by Bernardo Ferrándiz y Badenes, 1881

This small painting might seem unremarkable at first glance, but it has an interesting story behind it. The artwork was inspired by an actual event that forever changed the artist’s life. Bernardo Ferrándiz y Badenes had a physical confrontation with Juan Nepomuceno Ávila, a fellow academy member, municipal architect and close friend of the Marquis of Salamanca. The dispute arose because Ávila denied financial support to the San Telmo Fine Art School, where Ferrándiz was the director at the time.

Ávila used the incident to have Ferrándiz expelled from the institution. Ferrándiz subsequently was accused of attempted murder and imprisoned. Although the exact details of the altercation remain unclear, the event left Ferrándiz shaken. The once-prominent artist faced social ostracism, which plays out in his artwork, where he depicted himself as the skeleton of a cat, with Ávila as a mouse. He inscribed the following on the frame: “Fierce king, yesterday I gave you my laws to respect, and today, with death upon me, even you come to trample the dust of what I was.”

Additionally, the museum has a small collection of Spanish modern art up to the 1950s, including works by José López García, José Moreno Villa, Juan Fernándo Béjar and, yes, Picasso. 

This Italo-Corinthian helmet most likely belonged to a high-ranking warrior. It was unearthed in 2012 by archaeologists excavating a site between Calles Jinete and Refino in Málaga’s historic quarter.

Second Floor: Archeological Section 

The second floor (third floor to you Americans) galleries focus on archaeology, with the first two rooms dedicated to the private collection of Jorge Loring Oyarzábal and his wife, Amelia Heredia Livermore, also known as the Marquis and Marquesa de Casa Loring.

The Lorings had a passion for antiques and collecting. One of their most important acquisitions was several pieces from the collection of 18th century Córdoban antiquarian Pedro Leonardo de Villacevallos, which included capitals from Medina Azahara, Umayyad-period tombstones and sculptural relics from Ancient Rome.

A collection of marble busts, and funerary plaques from the Villacevallos collection acquired by the Lorings

This 18th century religious sculpture, depicting the realistic severed head of Saint John the Baptist, is paraded through the streets of Málaga during Holy Week. 

A mosaic fragment depicting Priapus, the son of Venus and Bacchus. Commonly shown with a massive erection and basket of fruit, it’s no surprise he’s a god of fertility.

The remaining halls cover a vast historical timeline, showcasing how each civilization — from prehistory through the Phoenician, Roman, al-Andalus and Christian Reconquest periods — contributed to the city’s cultural mosaic. In recent decades, artifacts unearthed during construction and in excavations carried out by the University of Málaga have been added to the collection.

A detail of the center of a 1st century Roman mosaic depicting the goddess Venus surrounded by a menagerie of birds.

Speaking of mosaics, a 1st century floor panel depicting the birth of Venus, the goddess of love, sex and beauty, takes center stage in the museum’s Roman galleries. Discovered in 1956, it was found lining the floor of a Roman villa in the nearby town of Cártama. This impressive mosaic measures 13 by 20 feet (4 by 6 meters). It shows the naked goddess reclining on a giant scallop shell above a couple of dolphins.

The 2nd century Roman statue known as La Dama de la Aduana, discovered while digging the foundations of the museum in 1791, welcomes visitors at the entrance.

A Trip Back in Time at the Museo de Málaga

To sum up our experience, the Museo de Málaga was more than just a tourist attraction. It was a journey through epochs that celebrates Málaga’s multifaceted identity and enduring spirit. Its artworks and archaeological objects are well organized and clearly marked in both English and Spanish. As you walk through its halls, the city’s colorful history comes alive. –Duke

Museo de Málaga

Plaza de la Aduana 1
29015 Málaga
Spain

 

The Joyful, Colorful World of Randyland in Pittsburgh

From the imagination of Randy Gilson: how this haven of whimsy and reclaimed objects has helped revitalize the Steel City.

Randy Gilson, the mad genius behind the folk art spectacle Randyland

Nestled in the heart of Pittsburgh’s Mexican War Streets neighborhood is the vibrant and colorful landmark known to locals as Randyland. The historic district was developed in the mid 19th century, shortly after the Mexican-American War — which is why its streets are named after battles and generals from the war.

“In 1995 Randy purchased the building on the corner of Jacksonia and Arch Streets for $10,000.

He used his credit card.”

Rubble, rubble: Randy working on Randyland in the ’90s

The History of Randyland

The story began when its imaginative creator, Randy Gilson, moved to the Central Northside neighborhood in the early ’80s. Randy saw the district’s potential, despite its decline, and became a community activist. He started clearing trash and converting city-owned vacant lots into green spaces. Fueled by a singular vision and a knack for repurposing discarded objects into art, Randy embarked on a mission to create a public space that embodied joy and positivity.

In 1995 he purchased the building on the corner of Jacksonia and Arch Streets for $10,000. He used his credit card. But there was no stopping his vision: to transform the space into a haven of creativity. Over the following decades, the whimsical outdoor oasis of Randyland emerged.

When Randy creates his artwork, it looks like he gets as much paint on his pants as he does on the house.

What started as a single house adorned with colorful murals has blossomed into a sprawling art collection. Found objects — everything from plastic pink flamingos to mannequin heads to bottle caps — are given a new lease on life, meticulously incorporated into the ever-evolving landscape. Whimsical sculptures welcome visitors, their painted surfaces reflecting the playful spirit of the place. 

Local residents and volunteers rallied behind Randy’s vision, donating materials, time and expertise to help bring Randyland to life. Over the years, Randy has created numerous pieces of art and has planted more than 800 trees and 50 vegetable gardens around Pittsburgh.

Families mill about Randyland during the Mexican War Streets House & Garden Tour.

Bringing Together the Community

Randyland’s artistic style is a delightful combination of folk and outsider art. There’s no adherence to established artistic conventions; the beauty lies in the sheer exuberance and the personal touch evident in every detail. The three-story house itself is a canvas, its bright yellow exterior adorned with fantastical scenes and characters.

The whimsical wonderland of Randyland

But Randyland is more than just a visual spectacle. It’s a space that fosters a sense of community. Randy, with his infectious enthusiasm, is a constant presence, engaging with visitors and sharing the story behind his creation. The museum has become a gathering place for locals and tourists alike, a vibrant counterpoint to the industrial backdrop of Pittsburgh.

Step this way! A cutout of Randy greets visitors to Randyland in Pittsburgh.

The impact of Randyland extends far beyond its physical boundaries. It has played a pivotal role in the cultural revitalization of the North Side, inspiring other institutions such as the Mattress Factory, a contemporary art space, to flourish in the area. And its fame has transcended geographical borders. Randyland had been featured on viral listicles and in a steady stream of social posts, thanks to its numerous photogenic vignettes.

Mac, who sadly passed away, helping his partner, Randy upkeep the attraction. Their hard work has helped revitalize the Mexican War Streets neighborhood.

Not All Rainbows and Unicorns

However, Randyland’s journey hasn’t been without its challenges. The extensive use of found objects means constant maintenance and repair. And the recent passing of Randy’s longtime partner, David “Mac” McDermott, who played a crucial role in the attraction’s operation, left a void. 

Yet the spirit of Randyland remains undimmed.

Randy’s work never ends — so while the attraction is free to visit, consider leaving a donation.

Visiting Randyland

The museum is a nonprofit organization, with donations from visitors forming the backbone of its financial support. Volunteers play a vital role in keeping the installations fresh and vibrant. You can also buy Randy’s merch in his store.

The museum is open every day of the week from 10 a.m. until 5:30 p.m. but may be closed during winter due to the weather.

If you’d like to experience the magic of Randyland yourself, find the perfect place to stay. Sites like Cozycozy make it easy to search for accommodations near Randyland and other Pittsburgh attractions, ensuring a comfortable and convenient stay in the Steel City. –Tímea Nguyen

There’s lots of fun, artsy things to buy at the general store.

“Fueled by a singular vision and a knack for repurposing discarded objects into art, Randy embarked on a mission to create a public space that embodied joy and positivity.”

You can’t miss Randyland, a fun activity for kids of all ages.

Randyland

1501 Arch Street
Pittsburgh, Pennsylvania 15212
USA

 

Pittsburgh Is Anything But the Pits

Mansions, Monuments and Museums of the Plaza de Jerónimo Páez in Córdoba

While exploring the historic quarter of Córdoba, Spain, admire the Palacio de los Páez de Castillejo and Casa del Judío before you stop in the archaeological museum.

It’s easy to understand why Córdoba’s entire historic quarter earned its UNESCO World Heritage Site designation in 1985. As Wally and I explored the narrow cobblestone streets of la Judería, the city’s former Jewish quarter, our wanderings led us to charming plazas that opened up to reveal historic homes and restaurants with inviting outdoor seating, where you can sit and relax with the locals. 

Among these squares is Plaza de Jerónimo Páez, named after a descendant of the influential Cordobesan family responsible for the Renaissance-style Palacio de los Páez de Castillejo and the equally historic Casa del Judío. Having endured years of neglect, the plaza was renovated in the 1990s, when the archaeological museum was expanded.

During the city’s era of Roman occupation, known as Corduba at that time, this square served as the entertainment district, boasting one of the largest theaters in the empire. The partial remains of this historic structure are now displayed beneath the modern Archaeological and Ethnological Museum of Córdoba, located next to the atmospheric 16th century Palacio de los Páez de Castillejo.

From palace gardens to private residence to school to museum, the Palacio de los Páez de Castillejo has had a rich history.

Palacio de los Páez de Castillejo

What initially caught our attention as we walked through the square was the gloriously decayed sandstone façade of the Palacio de los Páez de Castillejo family — aptly named, considering their surname, Castillejo, translates to “Little Castle” — which is essentially what this home was.

A pair of life-size marble korai, female figures dressed in long tunics, and a Corinthian capital with acanthus leaves creates a striking vignette.

This lovely Roman mosaic includes motifs such as interlaced Solomon’s knot, vines, pomegranates and crescent-shaped pelta shields.

One of the many beautiful Mudéjar-style niches with scalloped arches within the palace courtyard — and the equally dashing Wally. 

The residence was renovated in the 16th century by Luis Páez de Castillejo and stands on the grounds of what were once the gardens of Ybrahim Ben Nacer Alfaqui’s palace. In 1538, he commissioned the prominent Spanish architect Hernán Ruiz II to oversee the redevelopment of the main courtyard, Renaissance-style façade and sculpted railing of the main staircase. Ruiz II collaborated with his father, Hernán Ruiz the Elder, on the contentious construction of the Capilla Mayor within the Mosque-Cathedral of Córdoba.

The silhouettes on the cloth added a modern art feel to this area of the courtyard.

Besides serving as the Páez de Castillejo residence, the building was used as a school at the end of the 19th century, known as the Polytechnic Academy. And in 1959, it became the Archaeological and Ethnological Museum of Córdoba.

This impressive sculpture, known as the Thoracata of Córdoba and named after a type of Roman battle armor, depicts the massive torso of a hero — possibly Aeneas in his escape from Troy — wearing an intricate breastplate adorned with a pair of griffins.

Its exterior is similar to Ruiz II’s work on the Puerta del Puente, the principal gateway to the Roman Bridge in town, and, like the monument, was designed in the style of a triumphal arch. Among its notable features are a pair of porticos supported by Doric columns, with heroic figures positioned between them. Above the entablature, classical figures hold the family coat of arms. This imagery aimed to immortalize the Páez de Castillejo family as the living embodiment of discipline, loyalty and self-sacrifice to the people of Córdoba. 

This staircase features a sandstone railing designed by Hernán Ruiz II as well as a Roman mosaic depicting rearing horses drawing a chariot.

Be sure to go through that gorgeous gateway — it’s free and only takes a short while to stroll around the courtyard.

Initially, Wally and I stood there, gawking and uncertain about entering, but after we saw a man speaking to the guard stationed at the entrance, we decided to ask about the building. The guard informed us that it’s an extension of the modern archaeological museum and welcomed us to take a look around the interior courtyard. We walked around the first courtyard, which is dedicated to Roman archaeology, including mosaics and sculptures. However, unlike the adjacent institution, the artifacts on display here are not clearly marked.

Although it’s not open to the public, the exterior of Casa del Judío is worth pausing to take a look at.

Casa del Judío

Over the centuries, the enigmatic building located across from the Palacio de los Páez de Castillejo has been inextricably linked to the Castilian royal family and the generations of noble lineages connected to them, including the Sousa, Haro, Armenia and Cárdenas families.

Originally a Mudéjar palace, the stately manor is also called the Palacio del Duque de Medina Sidonia, or the Palace of the Duke of Medina Sidonia. For, it was within these walls that the bastard son of Juana de Sousa and Henry II of Castile, Enrique de Castilla y de Sousa, aka the first duke of Medina Sidonia, was born.

While eating at La Cavea, we spotted a cool couple in front of the Casa del Judío.

Although it’s not open to the public, you can still admire its ceramic-tiled roof, vibrant fuchsia bougainvilleas and square tower with a hipped roof enclosed by a latticework screen. To the left of the doorway, sheltered by greenery, is a bronze bust perched atop a marble plinth immortalizing the Roman poet Marcus Annaeus Lucanus (39-65 CE), better known in English literature as Lucan. 

Lucan was the nephew of the philosopher-statesman Lucius Annaeus Seneca (Seneca the Younger). He attracted the favorable attention of the Roman emperor Nero but conspired with Gaius Calpurnius Piso in a scheme to assassinate Nero and install Piso as his successor. Ultimately, its failure led to Lucan’s arrest and his subsequent suicide at the age of 26. 

Today the home is more commonly referred to by locals as la Casa del Judío, or in English, the Jew’s House, in reference to Elie J. Nahamias, a Judeo-Greek businessman and its most recent owner, who passed away in 1994. Nahamias was a descendant of the pre-exile Sephardic communities that inhabited the Iberian Peninsula and assembled an impressive library of printed books and manuscripts spanning six centuries of Jewish history. His collection is held by the Library of the Alliance Israélite Universelle based in Paris, France. And although the property is privately owned by his children, you can still admire its beautiful exterior.

A cute location and a good option if you want a snack or drink while visiting the archeological museum — but otherwise you can find better food elsewhere in town.

Café-Bar La Cavea

The center of the square is taken up with a casual resturant, with tables placed under the shade of trees (with white umbrellas an additional barrier from the heat when needed), all sitting amid broken remnants of Roman columns. When we stopped by, there was live music, with a performer taking up station by the fountain.

Beware choco! Although our Spanish friends say it’s actually good, this one was rubbery and flavorless. If you really want to cringe, do a search for “cuttlefish.”

While the café gets points for its setting, the food didn’t impress us — especially since we ordered calamari but where told they had choco instead, which is very close. Imagine our dismay when we discovered that it not only looked like and and was practically the size of a bleached, deflated football, it tasted like one, too. (Wally had also made the mistake of Googling what cuttlefish look like, which didn’t do him any favors). I was recovering from heat stroke, so he choked down as much choco as he could before giving up.

Detail of an intricately carved Mudejar relief featuring sebqa work, a decorative technique characterized by the repetition of geometric and vegetal forms.

Hidden Gems

Our wanderings through the historic Plaza de Jerónimo Páez offered glimpses into Córdoba’s rich history, through its ruins, artifacts and storied mansions. This square is no longer the bustling entertainment district it was when it was home to one of the largest theaters in the Roman Empire. But it still captivates visitors with its antique structures and inviting energy. Be sure to admire your surroundings before you head into the archeological museum, which is worth visiting. –Duke

Plaza de Jerónimo Páez

 

Museo de Bellas Artes de Córdoba: Local Artists Through the Ages

Looking for things to do in Córdoba, Spain? Take a detour at the Cordoba Museum of Fine Arts and explore the city’s historic and artistic legacy.

The Cordoba Fine Arts Musuem is unassuming but provides an educational diversion for an hour or so. One gallery is dedicated to the works of sculptor Mateo Inurria and his works, including Les Tres Edades de la Mujer (The Three Ages of Woman) from 1923.

While looking for things for Wally and me to do beyond the remarkable Mosque-Cathedral of Córdoba, I stumbled upon an image of a room featuring a vibrant yellow totemic sculpture. The picture, which intrigued me, was from the Turismo de Córdoba website and was one of the galleries inside the Museo de Bellas Artes de Córdoba (Cordoba Fine Arts Museum). 

Colt Fountain in Plaza del Potro is an homage to the livestock that was once sold here.

Plaza del Potro: Where Livestock (and Sex) were Sold

The modest museum is tucked into a courtyard off the Plaza del Potro (Colt Square) and a short walk from where we were staying at Los Patios del Pañuelo. While commonly called a square, the plaza has evolved over time and is now a rectangle that stretches down to the Guadalquivir River. It contains two monuments: a fountain crowned with a sculpture of a rearing colt (hence the “potro” in its name), balanced atop a pineapple-shaped vase, and a statue of the archangel San Rafael, the city’s patron saint. 

Fun fact: Once a bustling hub for livestock traders, artisans and travelers, the square included the Posada de Potro (Colt Inn), a medieval brothel that was frequented by celebrated Spanish novelist Miguel de Cervantes. The author mentions the inn in his novel Don Quixote, referring to it as a “den of thieves.”

Sadly, the inn (a nicer way of saying whorehouse?), has since closed. Today, the storied property is home to the Centro Flamenco Fosforito, a small museum dedicated to renowned singer, Antonio Fernández Díaz, aka Fosforito, and the art of flamenco. 

To reach the museum, Wally and I went through a passage on the exterior of the former Franciscan Hospital de la Caridad (Charity Hospital), where the words “Museo Provincial de Bellas Artes” are carved in stone above the doorway. Once inside, we found a peaceful courtyard with a fountain surrounded by orange trees and a pair of busts. One pays homage to the museum’s first director, painter Rafael Romero Barros, while the other honors novelist, diplomat and politician Juan Valera. 

You enter the museum courtyard through the arched doorway seen here, underneath the fancy writing.

Andalusia is filled with charming courtyards, and this one doesn’t disappoint, with its beautiful stonework paths.

The museum’s collections span centuries and encompass paintings, drawings, sculptures and engravings by Cordoban artists from the 16th to the 21st century. 

After purchasing our entrance tickets, we noticed the bronze head of Gonzalo Fernández, the “Gran Capitán,” attributed to sculptor Mateo Inurria. 

Fernández earned his nickname “the Great Captain” by leading successful campaigns during the Conquest of Granada and the Italian Wars while serving the Catholic Monarchs, Ferdinand and Isabella.

Cabeza de Gonzalo Fernández de Córdoba para el Monumento al Gran Capitán (Head of Gonzalo Fernández of Córdoba for the Monument to the Great Captain) by Mateo Inurria, 1915

Notice how the head of this statue is marble while the rest of it is bronze? The original metal head can be found in the Fine Arts Museum, though we’re not sure what prompted this odd decision.

Fun fact: This is the original head of an equestrian monument in la Plaza de las Tendillas, the town’s main square. For some reason, it was replaced by a head sculpted from white marble, in contrast to the rest of the figure.

You can start your exploration of the museum by turning left into the room covering the Baroque period and seeing religious art reappropriated by the government.

The Baroque in Córdoba 

We began our tour of the museum in Room IV, which held a number of impressive ecclesiastical works made at the height of Baroque painting in Córdoba. During this period, artists like Antonio del Castillo y Saavedra embraced naturalistic realism, employing chiaroscuro—the use of light and dark to emphasize the emotional narrative in their works. 

Inmaculada Concepción (Immaculate Conception) by Juan Antonio de Frías y Escalante, 1667

El Sacrificio de Isaac (The Sacrifice of Isaac) by Antonio del Castillo y Saavedra, circa 1650

The majority of these artworks were acquired from convents during La Desamortización, a period from 1835 to 1868, when the Spanish government seized monastic properties belonging to the Catholic Church, turning them into “national assets,” which were then sold at public auction to the highest bidder.  

One of the most coveted artistic projects after 1600 was the creation of 24 paintings for the altars of the cloister at the Franciscan Convent of San Pedro el Real by Antonio del Castillo. These canvases depict episodes from the life of Saint Francis de Assisi. In the museum’s painting, the scene depicts an angel holding the newborn saint above a baptismal font. 

Bautismo de San Francisco de Asis (Baptism of Saint Francis of Assisi) by Antonio del Castillo y Saavedra, circa 1664

Fun fact: The oil painting is signed “Non fecit Alfar” (Alfaro didn’t do it). This signifies that Castillo won the commission over his competitor, Juan de Alfaro y Gámez. How delightfully petty!

Bendición Sánchez by Julio Romero de Torres, 1904

The 18th and 19th Centuries in Córdoba 

The next gallery we visited contained works from the 18th and 19th centuries, predominantly featuring local landscapes, portraits and still lifes by the museum’s founder, Barros. 

Bodegón de Naranjas (Still Life With Oranges) by Rafael Romero Barros, 1863

The Baroque style eventually yielded to Rococo, and around 1775, in the wake of the Lisbon earthquake, it shifted once more, leading to a wave of local artists embracing Romanticism. Around this time, the Escuela Provincial de Bellas Artes was established, and within its walls, Barros emerged as a prominent figure. 

Barros assumed a dual role as both director and mentor to a group of art students, including Tomás Muñoz Lucena, Rafael Hidalgo de Caviedes and Inurria. Among them were his sons, Enrique, Rafael and Julio Romero de Torres.

Un Recuerdo de África, Novia Sefardí (A Memory of Africa, Sephardic Bride) by Rafael Romero Barros, 1878

Columbus Leaving the Mosque by Rafael Romero Barros, 1886

The painting Columbus Leaving the Mosque by Rafael Romero Barros was inspired by a poem by the Duke of Rivas titled “Romance of a Great Man.” It depicts Columbus leaving the Mosque-Cathedral after prayer and encountering his future mistress, Beatriz Enríquez de Arana, for the first time. According to legend, she brought Columbus to her home to protect him from mocking children who regarded him as a madman for seeking royal backing for his voyage to the New World.

We were pleasantly surprised to discover there was quite a large collection of modern art as well.

Art in the Modern Era: 20th Century and Beyond

Throughout the 20th century, local artists changed their styles to suit prevailing tastes, shifting from Realism to Modernism to Regionalism. They drew inspiration from contemporary artists like Rafael Botí, Pedro Bueno and Ángel López, who delved into Impressionism and Fauvism. In contrast, individuals like Antonio Rodríguez Luna and Alfonso Ariza embraced avant-garde movements such as Cubism, Abstraction and Expressionism.

Sin Título (Untitled) by José Duarte Montilla, 1981

El Cante (Flamenco Song) by Julia Hidalgo Quejo, 2005

La Fuente del Patio del Museo (The Fountain in the Museum Courtyard) by Rafael Botí Gaitán, 1990

Mujeres Vela (Sail Women) by Antonio Rodríguez Luna, 1945

A key figure among this group of artists was the sculptor Inurria. The museum has a room dedicated to his works.

Un Náufrago (A Castaway) by Mateo Inurria, 1890

While exploring the gallery, I was captivated by a peculiar painting by Ginés Liébana. His dreamlike piece Buenas Mujeres para ser Caballos (Good Women to Be Horses) was painted in 1979. Liébana creates a surreal scene by combining elements: a woman’s head adorned with a flower-covered hat on a horse’s body. He integrates local landmarks, such as the rearing colt of the Plaza del Potro and the figure of the Archangel Rafael, into this otherworldly landscape.

Buenas Mujeres para ser Caballos (Good Women to be Horses) by Ginés Liébana, 1979

Fun fact: Liébana contributed his distinctive style to Cántico, an avant-garde artistic magazine led by poet Ricardo Molina. The publication used poetry and illustration to challenge the status quo during the Franco dictatorship. 

Faded religious frescos and graffiti scribbled by hospital patients line the staircase.

Stairway to Heaven: Frescoes and Graffiti

The staircase leading to the upper floor includes graffiti that most likely was the work of hospital patients. One of these is a labyrinth with seven concentric circles surrounding a central point—visible beneath a monochromatic mural of Saint Jerome. 

On the rear wall, a religious scene depicts Christ on the Cross between the Virgin and Saint John the Evangelist. Flanking this central image is Saint Jerome, clutching a stone for beating his breast in penitence, and Saint Francis of Assisi in prayer. 

El Retablo de la Flagelación (Altarpiece of the Flagellation of Christ), circa 1500

Gothic and Renaissance Art in Córdoba 

The Gothic movement gained popularity in Córdoba in the late 14th century. However, it wasn’t until the 15th century that painters’ guilds flourished, distinguishing Córdoba from other Andalusian cities, such as Sevilla and Granada.

This environment was conducive to establishing major workshops by artists, including Alonso Martínez, Pedro de Córdoba, Jorge and Alejo Fernández, and Baltasar del Águila. Under the reigns of Charles V and Phillip II, local art underwent a transformation, departing from Gothic influences and embracing new expressions of Renaissance humanism. This worldview focused on the nature and importance of humanity that originated from the study of classical antiquity.

Here you can see an altarpiece from the chapel of a hospital founded in the 14th century by alderman Antón Cabrera and his wife, Beatriz de Heredia. The facility closed down in 1837. 

El Retablo de la Flagelación (Altarpiece of the Flagellation of Christ) is a superb example of the Córdoba school’s work and showcases the unknown artist’s adept use of Renaissance techniques. The composition of the figures reflects the Northern European style, popularized through engravings, and the panel as a whole draws inspiration from a similar painting produced by the German artist Martin Schongauer around 1480. 

Its side panels depict Saint John the Evangelist and Saint Anthony of Padua on the right, and Saint Anthony Abbot and Saint Francis of Assisi on the left, each with their distinctive iconography.

Fun fact: The artwork was initially misattributed to Alonso de Aguilar due to the mistranslation of a document accompanying the piece when it was acquired by the museum in 1866. 

Retrato de Joaquín y Rafael Mir de las Heras Niños (Portrait of Joaquin and Rafael Mir de las Heras Children) by Enrique Romero de Torres, 1905

A Life Fit for a Museum

The final gallery featured the exhibition Museum Worthy Life, dedicated to painter Enrique Romero de Torres (yes, the entire family had serious skills). After his father, Rafael, passed away in 1896, Enrique stepped up to run the museum as the director and curator. His responsibilities for the next 30 years kept him from dedicating himself entirely to painting. But under his direction, the renovations and expansions of the museum were carried out, with him paying for part of the works and donating, along with his brothers, paintings by his father. 

Take a quick lesson in local art history at the Museo de Bellas Artes de Córdoba, from Baroque to modern.

Listen, there are a lot of things you’ve gotta do in Córdoba, including La Mezquita, the Alcázar and the Palacio de Viana (not to mention taking a picture of the Roman Bridge). But if you have some free time, I recommend visiting this museum. Admission is only 1.50 euros (about $1.60) and is free to EU passport holders. The curation of each gallery is well thought out, ensuring an easy and enjoyable experience. Plus it’s a cool experience that will expose you to the artistic talents of Córdoba. –Duke

Museo de Bellas Artes de Córdoba 

Plaza del Potro, 1
Centro, 14002
Córdoba
Spain

 

Saints, Statues and Semana Santa: A Tour of Iglesia de Santiago Apóstol’s Treasures

The oldest church in Málaga has a Picasso connection and is home to legendary Holy Week statuary, including El Rico, who pardons prisoners, and El Cristo de Medinaceli, who grants wishes.  

This figure depicts the Immaculate Conception of Mary. She stands atop a crescent moon and the world. Her left foot crushes a serpent, symbolizing the original sin assigned to all humans since Adam and Eve—except, of course, to the pure Virgin. 

You could easily walk past the exterior of the Parroquia de Santiago Apóstol without realizing the wonders that lie within. The church, which is dedicated to Saint James the Apostle, is located on Calle Granada and was under restoration when Wally and I visited our friends Jo and José in Málaga, Spain in 2015. We strolled by it multiple times, completely unaware of its spectacular interior and ended up buying a few whimsical wire and black glass marble ants from a street artist who had set up shop on a mat across from it.

The church’s wooden doors feature vieras, or scallop shells, the symbol of Saint James. 

Eight years later, we were back in Spain, and Jo and José suggested adding it to our itinerary. We’re fortunate to know some locals, and we’re never disappointed by what they share with us. Plus, Wally and I love visiting old Catholic churches. These places are not just architecturally stunning; they’re usually brimming with vivid devotional art. And it goes without saying that Spain takes this to a whole other level.

The pointed brick arch of the central doorway framed by tiles arranged in a geometric pattern is all that remains of the former mosque.

From Mosque to Gothic Church 

After digging around a bit, I found out that this particular church was the first and oldest of the four parishes commissioned in Málaga by the Catholic Monarchs, Isabella and Ferdinand II. In fact, it dates back to 1509. The structure fuses Isabelline Gothic (a late Gothic/early Renaissance style) with Mudéjar elements and was established on the site of a mosque during the early stages of the city’s Christian conquest. Remnants of the former mosque were incorporated and are visible in the façade, particularly in the central doorway, where a pointed ogee arch is framed by tiles arranged in a geometric pattern that reads as floral. This arch would later evolve into the distinctive Gothic rib vault. In keeping with Islamic tradition, a minaret was built adjacent to the mosque, which was converted into the church’s bell tower during the late 16th century.

A view of the ornate central nave, dome and altar. The carved central altarpiece holds a likeness of the church’s patron, Santiago Apóstol aka Saint James.

the Interior of the Church of Santiago 

Inside, the Gothic style reveals itself in the vaulted ceilings and chancel of the central nave, which comprises the sanctuary, altar, choir and main chapel. The late 18th century saw the addition of two more naves, embellished in the Baroque style. The handsomely carved altarpiece is fashioned from polychromed (painted in many colors) and gilded wood, and the central niche holds a realistic statue of its patron saint, Santiago Apóstol (Saint James).

A depiction of Mary as the Queen of Heaven

Legend has it that following the death of Christ, James traveled to Galicia in northern Spain to spread the word of Christianity. However, things took a dark turn upon his return to Jerusalem — he was beheaded under King Herod’s order, becoming the first disciple to be martyred.

Málaga local Picasso was christened in this baptismal font, located near the entrance of the church. 

Fun fact: Pablo Picasso was christened in this church on November 10, 1881, and his baptismal certificate is kept here. Although his family moved to A Coruña in the Galicia region of northwest Spain when the artist was 9 years old, he always considered himself a malagueño, that is, someone from Málaga. 

This diminutive likeness of the Virgin Mary, Nuestra Señora del Pilar (Our Lady of the Pillar), stands atop a small column. You can’t see it because it’s covered by the red and gold mantle. 

A Tour of the Art and Semana Santa Statues of Parroquia de Santiago Apóstol

Among the significant religious artworks that can be found in the church’s naves is the Virgen de las Animas (Virgin and the Souls) by Juan Niño de Guevara, a large oil painting depicting the Mary comforting souls condemned to Purgatory. According to popular tradition, the faithful offer prayers to the image and leave bottles filled with lamp oil to keep the flames of the glass votives burning in perpetuity for the souls doing penance before being able to enter the kingdom of Heaven.

This oil painting, Virgen de las Animas (Virgin and the Souls) by Juan Niño de Guevara depicts Mary seated on a throne of clouds, comforting souls condemned to Purgatory. 

Additionally, the statues of the Cofradía del Rico and Hermandad de la Sentencia religious brotherhoods are kept inside this church year-round, except during Semana Santa (Holy Week). That’s when they’re placed on massive tronos, quite literally thrones, weighing up to 2 tons and are carried through the streets of Málaga by penitents and members of their religious fraternity.

This nave holds the processional images of Jesús de la Sentencia (Jesus of the Judgement), María Santísima del Amor Doloroso (Holy Mary of Sorrowful Love) and San Juan Evangelista (Saint John the Evangelist) which belong to the religious brotherhood of the Hermandad de la Sentencia. 

There are the venerated mannequin-like processional figures of María Santísima del Amor Doloroso (Holy Mary of Sorrowful Love) and Jesús El Rico (Jesus the Rich). To impart a heightened sense of realism, glass was used for the eyes, hair for the eyelashes and ivory for the teeth. 

Jesús El Rico (Jesus the Rich) hides behind María Santísima del Amor Doloroso (Holy Mary of Sorrowful Love), which belong to the brotherhood of the Cofradía del Rico. El Rico pardons one prisoner each year.

The Ultimate Get Out of Jail Free Card 

El Rico has extended pardons as an act of grace every Holy Wednesday, a tradition that traces its roots back to 1759. The practice of extending a second chance to a prisoner originated during the plague epidemic that swept across Europe during the reign of Carlos III. 

It’s said that a riot erupted after inmates learned that Holy Week processions would be canceled due to contagion fears. In response to the news, prisoners mutinied, broke out of jail and carried the life-sized statue of Jesus through the streets of Málaga, praying for salvation from the plague. Rather than fleeing afterward, they chose to return to prison. Impressed by their act of piety, the king decided to grant the Cofradía del Rico brotherhood, the guardians of El Rico, the right to release one prisoner every year. To this day, El Rico symbolically performs this act.

On the first Friday of March, the venerated figure of El Cristo de Medinaceli is taken from his niche, redressed and placed upon a gilded platform. Devotees kiss his feet, leave three coins and make a wish for each — only one of which will be granted.

Make a Wish Foundation

If these treasures in this historic church aren’t enough to pique your interest, there’s one more notable devotional figure worth mentioning within the Iglesia de Santiago Apóstol: El Cristo de Medinaceli (Christ of Medinaceli). It received its name because the original was owned by the Duke of Medinaceli.

Every first Friday of March, devotees queue up outside the parish doors and wait their turn to kiss the statue’s feet. They also place three coins — they have to be of the same value — at his feet and make three different wishes. Be careful, though: Only one of your wishes will come true.

One of the most dramatic aspects of the Iglesia de Santiago Apóstol (and that’s saying something!) is the blue hue of this elaborate dome. 

This relief depicts a crowded take on the Last Supper. 

If you’re in the neighborhood, and you don’t stop by and admire the Semana Santa statues here, you’ll wish you had. –Duke

Iglesia de Santiago

Calle Granada, 78
29015 Málaga
España