In the 70s Álava left an entire town under its airport. What I didn’t know was that it was hiding a treasure of 5,000 medieval coins.

He Vitoria airport It may not be the largest, the best connected or the busiest in the country, but it stands out for the volume of merchandise it moves. Last month it exceeded 5,400 tonswhich consolidates it as Aena’s fourth busiest aerodrome, only behind Barajas, El Prat and Zaragoza. If the Alava terminal works, moving cargo, planes and hundreds of thousands of passengers, it is thanks to an old village that ended up buried in the 70s: Otaza. The most curious thing is that he did it with a hidden medieval treasure. The price of growing. In the 1970s, Álava businessmen found themselves with a dilemma. If they wanted to continue growing, they needed better connections, regular flights that would allow them to reach the rest of the metropolises in Spain and Europe. They had the Salburua airfieldinaugurated in 1935, but it did not seem like the best solution, so the technicians had to look for alternatives. And they found her. After evaluating several locations in the region, such as Ullibarri Arrazua. Salvatierra or Zurbano concluded that the best solution was to set up a new aircraft facility on the land of the town of Foronda. A work in record time. The project had the support of the Provincial Council and moved forward with astonishing speed. At least for the deadlines that infrastructures the size of an airport usually handle today. The construction of the aerodrome was approved in 1972 and in 1976 Civil Aviation gave its OK to the first phase. The works, remember The Mailinvolved the construction of a 2,200 x 45 m flight runway, in addition to the operating systems. The work (and procedures) continued to advance at a good pace during the following years. In 1978, the institutional machinery was launched to contract the control tower, accesses and urbanization and just two years later (the January 30, 1980) the ministry officially opened Vitoria Airport to national and international passenger traffic. In April of that same year Iberia inaugurated one of its most important lines, the one that exalts it with Madrid. Sew and sing, right? Not at all. The construction of the terminal encountered a problem: the proximity of a small village that ended up being located 370 meters from the runway. His name: Otaza. The population had a long history and it even had its own church, but it was not what is said to be very populous. It is estimated that at the beginning of the 19th century it hosted only about thirty of people, more or less what there were in 1974, when according to The Mail 26 neighbors lived there. The Álava authorities were therefore faced with a dilemma: What should take priority, the new airfield or a village with a handful of families? And the pickaxe arrived. The expropriation was not what is called simple. Not all the neighbors willingly agreed to leave their homes and in fact there were a few ‘numantinos’ (not many, it is true) who did not leave until the end. Their efforts did not prevent the bulldozers from taking Otaza away. In October 1979, the regional press reported how, after a break and despite not yet having reached a total agreement with the neighbors, the authorities had resumed the demolition work. The Bishopric had fewer objections, which reached an agreement that allowed the village temple to be demolished. The pickaxe had to work little. A few days later, on November 2, the demolition was completed. A town to remember. That was the end of Otaza. Although in its day the town had welcomed dozens of people, had a church and services, the expropriation of the land and the demolition works sealed its fate. Shortly after completing the works, the authorities agreed the disappearance of the council, which is now part of Astegieta. However, as EITB recalls, it was not the only town affected by the works on the new terminal. Antezana of Foronda He also paid a ‘toll’ for Álava to have its own flights. One last surprise. Otaza’s story could have ended there if it weren’t for the fact that shortly after his ‘death’, in April 1980, a family decided to take a walk through the grounds. During the walk, as they passed near the church of San Emeterio and San Celedonio, they found a jar with coins. The piece caught their attention enough to report it to the authorities, who confirmed that it was a curious treasure: more than 5,000 coins of copper and silver minted during the reigns of Alfonso I of Aragon and Alfonso VIIIbetween the 12th and 13th centuries. Today it is known as “the treasure of Otaza”. Images | WikipediaGoogle Earth and Mikelo (Flickr) In Xataka | Barajas needed to improve its roads but a baroque hermitage made it complicated. Solution: put it in a roundabout

The walls of a medieval church of Álava hid figures of wild boars, turkeys and discs. No one knows what they do there

Cruces, Statues of saints, fresh with biblical scenes, representations of the Virgin Mary or the apostles, even devil figures twisting. Within a church one expects to find a wide range of Christian imagery, but when A few years ago Historians began to clean the oldest wall of The Church of ArbuloIn Álava, they found something very different. Under layers and layers of lime and paint began to appear something other: figures of the 12th century that show mysterious quadrupeds with claws, faced birds and wheels. Now the experts They wonder What the hell do they mean. In a place in Álava … More specifically in Arbulo, in the municipality of Elburghe stands An ancient church in honor of San Martín de Tours. Most of the temple we see today rose between End of the fifteenth century and the beginning of the XVI, but its builders left the remains of a previous building, from the Romanesque era. Despite its historical value over time the Church ended in a dilapidated state. At the end of the XX its roof deteriorated and began to leak water through the vaults, which among other things ended up the furniture. Rescue Restorers. The temple situation was so critical that it was closed Between 1999 and 2008 and by 2004 a restoration was launched that included the disenchanted of the walls. The specialists had good reasons to do so. As remember Historian Gorka López de Munain, from the University of the Basque Country (UPV), moisture forced to remove the altarpiece and disagree with the walls of the apse, which left the layers of paint accumulated over the centuries, including what seemed “strange motifs of reddish hue.” What kind of paintings? The experts appreciated several layers on the walls, but there was a specific one that caught so much the attention of López de Munain that he decided to dedicate A broad article in Of half avo. Which? The first, located in the Apsid wall and that in the absence of more detailed analysis the researcher date between the twelfth and thirteenth centuries, so it is associated with the primitive Romanesque temple. Today we know that their author (or authors) traced them using ocher pigments mixed with binder and that they did not remain too exposed. Before the XV they were already covered with a new layer of lime. And the big surprise arrived. The most curious thing is not, however, with what pigments were prepared, but what they were used for. In a Christian temple one would expect to meet symbols associated with that creed: crosses, representations of Christ and the Virgin, biblical scenes … not on the wall of the Church of Arbulo. Over there, In words of the UPV teacher, what appeared were representations of animals and geometric shapes “in a seemingly random disposition.” In a wide surface, of just over 24 square meters (m2), experts found remains that at origin had to decorate the head of the primitive church and have bullow the curiosity and imagination of historians. “In this first layer, reasons of great variety and formal wealth were painted: swine -siled quadr The article of Of half avowhich recognizes that the figures of the absidal wall of the Church of Arbulu “do not respond to the best known repertoires of their time.” “Something unexpected”. López de Munain is not the only one to which the images of the temple have surprised. In 2018, in An interview With eitb.eus, Isabel Mellén, of the project ‘Medieval Álava’, I recognized His enthusiasm. “What was painted, in our eyes, is something unexpected. What we hope to find in a church are religious paintings, with Christian scenes or symbology, but what is shown in Arbulo has nothing to do with all that,” collects the analysis of the Basque chain. Instead of pantocradors or crosses What they show The walls of the temple with thick strokes and reddish tones are beasts: birds, animals with pigs or wild boars, discs with radios, asterisk shape of lis flowers drawn with basic and rough lines … a peculiar iconography that leaves a question as fascinating as difficult to answer: What do you mean exactly? Questioning the story. From the outset and after clarifying how difficult it is to interrogate the images in search of meanings with the eyes of the 21st century, the researcher slides an idea: at least part of the figures seem to reveal a funeral connotation. For example, among the images rescued in Arbulo there are real turkeys, a recurring theme throughout the Middle Ages, loaded with polysemy and has been used regularly in mortuary contexts. “The fated birds painted in Arbulu inevitably evoke those that drink together of a crater or peck a cluster of grapes, common in the steles and romantic and very frequent tombst Point out The Basque researcher, who recognizes in any case that in the images of Arbulu the birds do not appear with other icons, such as drinks, so “its nature is difficult to identify” and “elusive”. Are there more meanings? Yes. In his analysis the researcher pays attention to other elements that have emerged on the Arbulu wall, such as eight radios albums. “Those wheels or radiated stars appear frequently in the discoude steles of both the Basque Country and of nearby regions,” Slide. Its meaning is also suggestive and invites you to look, rather than consecration crosses, to designs that can often be seen in medieval funeral steles. The tree figures have also led him to slide the hypothesis that they can be linked to the paintings of a historical character, Gastea de Arburu, of Gallic origin but buried in the region. But … why? The big question. Why paint a Christian temple with birds, solar disks and quadrupeds with claws, some with the appearance of wild boars? In An interview with The country López de Munain slides some theories, such as their creators wanted to represent on the walls what they saw in their most immediate environment or … Read more

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