The Priory Church (Iglesia Mayor Prioral) is documented from 1486 when the building was under construction. It was damaged by an earthquake in the 17th century and was partly rebuilt in the Baroque style. As a result of being constructed in two phases, the church contains both Gothic and Baroque architecture, exemplified in its portals.
The church was built in a Gothic style, although it has baroque and Plateresque elements, as the original structure has been expanded and altered since its construction.
The church has doorways from different periods. One of the entrances, known as the 'Door of Forgiveness', is constructed in the Gothic style and dates from the original construction. The doorway currently used as the main entrance is the 'Sun Portal' (Puerto del Sol), which gives access from the Plaza España to the nave of the Epistle.
The Puerto del Sol was added to the church in the 16th century, probably between 1535 and 1544, and is attributed to Martin Gaínza, an architect who also worked on Seville Cathedral. Its original construction was finances by Don Juan de la Cerda, the Duke of Medina at the time. Additions were made in the 17th century, when rebuilding work was carried out following the earthquake. There is a series of sculptures depicting the Christian virtues of faith, hope and charity. The niches between the lower columns contain small sculptures depicting the Church Fathers.
The church's interior, which displays a number of different styles due to restoration work during its history, has several important architectural features and works of art. This includes two altarpieces, one cast in silver by Jose Medina in 1682, which is currently located in the Chapel of the Shrine, and another in the Chapel of Our Lady of Miracles, which was created in the 16th century by a member of the Pedro Duque y Cornejo school.References:
Built around AD 90 to entertain the legionaries stationed at the fort of Caerleon (Isca), the impressive amphitheatre was the Roman equivalent of today’s multiplex cinema. Wooden benches provided seating for up to 6,000 spectators, who would gather to watch bloodthirsty displays featuring gladiatorial combat and exotic wild animals.
Long after the Romans left, the amphitheatre took on a new life in Arthurian legend. Geoffrey of Monmouth, the somewhat imaginative 12th-century scholar, wrote in his History of the Kings of Britain that Arthur was crowned in Caerleon and that the ruined amphitheatre was actually the remains of King Arthur’s Round Table.
Today it is the most complete Roman amphitheatre in Britain.