Miramar Palace above the "Pico del Loro".
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Miramar Palace above the "Pico del Loro".
Also known as the Royal Country House of Miramar, the Palace marks the city's historical origin, because it is based on the plan of the old church of San Sebastián, the original urban centre of the town of San Sebastián.
The first religious settlement in this place goes back to the second half of the 11th century. A resting place for pilgrims on the road to Santiago de Compostela, the monastery located there was Catalina de Erauso's home, "the Lieutenant Nun", who is famous for her military adventures, mainly in South America.
In 1836, and in one of its attacks against the town, the Carlist army destroyed the Church and the Monastery of San Sebastián El Antiguo. The church was rebuilt after the war, but the community of Dominican nuns that had lived there before did not settle there again.
As already pointed out, Miramar Palace, built by Queen Cristina de Habsburgo Lorena, is situated above the so-called "Pico del Loro", whose name derives from the chapel devoted to Our Lady of Loreto, located on the rocky break-water that separates the two beaches. This rocky spur which goes into the bay is called "Loretopea" in Basque, which means "under Loreto". All memory of the chapel now lost, and even of the meaning of its name, popular etymology has changed substantially the name of this little corner of San Sebastián.
Returning to the Palace, this complex with its park, several buildings, gardens and outbuildings, covers a surface of approximately 34,000 square metres, and commands an outstanding position, dividing Miraconcha from Elizalde development.
The building was designed in 1888 by the English architect Selden Woknum, and the work carried out by José de Goikoa, the municipal architect. In a pure English style, it could fit into what is known as a "Queen Anne cottage".
The roof is made of English flat tile, and the profuse use of brick on tha outside faces and support areas gives the Palace an undeniably British look.
As in other buildings in San Sebastián from that period and although they show a French influence, there are eclectic features in the outward decoration and in the moulding.
The whole building belongs to the City Council, and the park is open to the public, so everyone can enjoy the wonderful view across the bay.
Like the Plaza de Gipuzkoa, the park was first landscaped by Pierre Ducasse, and the works completed in 1893.
The magnificence of this summer palace may be seen in the 5,600 square metres building surface, and in its nine halls, each one bigger than 50 square metres.
Continuing in the direction of "El Antiguo", we arrive at Ondarreta promenade (Ondarreta Gardens are located there).
Buildings along La Concha promenade.
Although the promenade was built later than the places and buildings already described, it has many features in common with La Concha promenade.
The usual tamarinds and flower beds with several plant species grow in the gardens, where pedestrians can go for walks and pause to rest on the benches.
As for Ondarreta Beach, it is different from La Concha Beach.
Ondarreta Beach and El Antiguo district.
While the latter is more stylized and longitudinal, with a clear division from the urban area by the cornice and the wall, the former, although perhaps less well proporcioned, blends more fully into the surrounding promenade.
The group of sculptures "El Peine del Viento".
At the end of the promenade, and as the finishing touch for the city's seafront, we find one of the latest architectural works in San Sebastián: the "Plaza del Tenis", and "El Peine del Viento". The work, half architectural, half sculpture, was designed by the architect Luis Peña Ganchegui, and the sculptor Eduardo Chillida. It blends in well with its physical environment, and fits into the rugged Gipuzkoa coasline.
The whole unit is made up of rows of pink granite seats, platforms and flat spaces facing the sea, the unifying element in this work. The platforms create different views and atmospheres, until one unexpectedly arrives at the sculpture "El Peine del Viento". Three solid iron sculptures, ten or twelve tons in weight, form the perfect finish for this urban area, and prepare the transition towards the rocky coast.
The promenade is divided into three parts. The first one on the way up, prepares us for the rest. The different heights above sea level help us to perceive the change in character at the far end of the promenade.
The second one is made up of a higher platform, reached by tiered rows of seats. It is an intermediate area, and faces the sea.
In the final one, the setting for the sculptures, there are some apertures in the pavement through which large jets of water are thrown up, when the sea is rough. At high tide and quiet calm days, one can listen to the sea breathing in time to the waves.
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