CHRISTMAS LIGHTS SWITCH-ON December 5th TAPIA DE CASARIEGO
FROM 18:00 TO 20:00 HRS CHRISTMAS FACE PAINTING, CHRISTMAS PHOTO BOOTH AND 360 VIDEO BOOTH.
AT 20:00 HRS COUNTDOWN, PARK LIGHTING CEREMONY AND MUSICAL PERFORMANCE BY THE MARINO-TAPIEGA PIPE BAND.
FUNDRAISING STALLS TO SUPPORT THE SCHOOL TRIP FOR THE 6TH GRADE PRIMARY STUDENTS FROM PRÍNCIPE DE ASTURIAS SCHOOL AND THE 4TH YEAR SECONDARY (ESO) STUDENTS FROM IES MARQUÉS DE CASARIEGO.
TAPIA de Casariego Tapia de Casariego Smart Destination
Located in the village of Castrovaselle, the Chapel of Saint James in the Valley of San Agustín was built in 1844 and follows the traditional style found in other chapels of the parish of A Roda (such as those in Acebedo, A Veguía, and Matafoyada).
It is constructed using typical local materials: irregular slate masonry, fully plastered and whitewashed on the outside. The roof is made of slate, with Arabic tiles along the ridges. It features a gabled roof over the nave, a triple-sloped roof over the porch, and a single-sloped roof over the sacristy.
The floor plan follows a typical popular architecture layout, with a single nave and no division between the space for the faithful and the main altar. The end wall is straight. The chapel lacks a porch or external courtyard (known locally as antojana), which is more common in inland religious architecture than along the western coastal areas. Inside, the ceiling is not vaulted but constructed of wood with a gabled structure.
From the outside, the chapel is hermetic and receives light through small pointed-arch openings in the walls, a feature inspired by Gothic architecture. There is also an oculus on the main façade, which is plain and unornamented, ending in a simple bell gable with two pointed arches supported by pillars and crowned with three stone crosses.
The chapel houses a 19th-century statue of Saint Anthony of Padua, a modern image of the Virgin of Remedies, and a Baroque-style figure of Saint Augustine.
Originally, along with the chapels of Acebedo and A Veguía, it belonged to the church of San Andrés de Serantes until 1892, when it became part of the parish of El Monte.
Since the 19th century, the Fonte dos Viermos supplied fresh spring water to the residents of the area. Its name comes from the fact that fishmongers would climb from the port to this fountain to wash their goods before selling them in Plaza Veya, often leaving waste that attracted viermos (maggots), resulting in unpleasant odors. This led to its closure in the 1960s, when the town’s water system was modernized.
Recently restored, the fountain once again provides fresh water to the people of Tapia.
The Fonte del Trobo is already mentioned in the records of the old Church of San Martín de Tapia. It was connected to the Camino de Santiago and has since disappeared.
For generations, this fountain served as a watering place for livestock. Its name derives from the trobo—a wooden container, either circular or square, traditionally used by local women to carry laundry from their homes to the communal washbasin across from San Martín Street.
San Agustín (El valle de San Agustín, A Roda)
Santos Mártires (A Roda)
Quincena deportiva (Tapia)
Nuestra Sra. de las Nieves (Pico de Faro, A Roda)
Campeonato Tapiego de Surf (playa de Anguileiro)
Historic Gateway of Tapia de Casariego: “Lords of the Manor Houses” Museum
Located on the ground floor of the Casa de Cultura in the center of Tapia de Casariego, this space serves as one of the official entry points to the Navia Historical Park, dedicated to The Lords of the Manor Houses. Alongside the main hubs in Grandas de Salime and Puerto de Vega—focused on The First Settlers and Sea Stories, respectively—Tapia’s gateway is one of the key access points to the park.
In addition to serving as information and visitor centers, these themed spaces act as starting points for routes that explore the cultural heritage of the region.
This museum uses advanced lighting, visual, and sound technology to provide an immersive experience throughout the exhibit.
Visit the website for “The Lords of the Palace Houses” Visitor Center
The Everardo Fernández Cadenas Photographic Camera Museum is located inside the “Marqués de Casariego” Secondary School (IES) in Tapia de Casariego. The museum offers a journey through the history of photographic cameras from the 19th century to the present day, showcasing a collection of over 120 photographic and film devices, along with various accessories.
The museum is open to visitors during school hours, and admission is free.
This chapel, built in the second half of the 19th century or later, is a traditional construction located in the upper part of the village, surrounded by a natural and secluded environment.
It is made of irregular slate masonry, plastered and whitewashed. The chapel has a gabled slate roof with Arabic tiles at the ridges and pyramid-shaped stones near the main altar to prevent collapses.
Its layout is simple, very similar to that of the Acebedo chapel, with a single rectangular nave and a straight end wall, without any division between the congregation area and the main altar.
The building lacks a porch or external paved area (“antojana”), and the interior does not feature a vaulted ceiling but instead a wooden gabled framework.
The main façade is plain and unornamented, with two small square windows on the southern side providing natural light. The main entrance consists of a square doorway topped by a simple bell gable with a round-arched niche and a triangular peak, crowned by an iron cross.
In the nearby hamlet of Matafoyada, there is also a chapel dedicated to Saint Anthony of Padua, now in ruins. The Chapel of Saint Roch (San Roque), built to replace it, celebrates its feast day on August 16th. Among its furnishings, the most notable is a 17th-century altarpiece featuring images of Saint Roch and Saint John the Baptist, along with several smaller devotional figures of lesser artistic value.
This chapel, dedicated to Our Lady of Contemplation of Acebedo, is a traditional structure likely dating from the second half of the 19th century. It is located in the lower part of the village of A Veguía.
Built with irregular slate masonry, fully plastered and whitewashed, it features a triple-pitched slate roof. Instead of the typical Arabic tiles used in the region, the ridges are topped with pyramid-shaped stones to prevent collapses.
The layout is very simple, consisting of a single rectangular nave and a straight end wall, with no separation between the space for the faithful and the main altar.
Inside, it houses a Neo-Gothic altarpiece with three niches framed by pointed arches, columns, and capitals, which enshrine the images of Our Lady of Contemplation, Saint Anthony of Padua, Saint John the Baptist, and Saint Isidore the Laborer. The most notable piece is a depiction of an Evangelist from the 15th–16th century.
Like most chapels in the area, it does not have a vaulted interior ceiling but rather a wooden gabled framework. From the outside, it appears as a closed structure, lit only by three small openings. The main façade is austere and unornamented, crowned by a simple bell gable with a single round-arched niche and a triangular peak, topped with an iron cross. The interior is whitewashed and paved with tiles.
According to oral tradition, the chapel belonged to the Brul de los Acevedo house, founded by Juan Álvarez de Acevedo, and is closely tied to the history of the Acevedo and Álvarez Villaamil families of Serantes. This connection gave the village its current name, as it was previously called Cincobre. Until the late 19th century, Acebedo was part of the parish of San Andrés de Serantes.
The Chapel of Santiago in A Veguía (La Veguina), built around 1959, is a solid, traditional-style structure located near the Cancio-Donlebún Palace and next to the public schools.
It is built with irregular slate masonry, plastered and whitewashed. The chapel features a gabled slate roof over the nave and a triple-sloped roof over the side atrium, with Arabic tiles crowning the ridges.
Its layout is simple, consisting of a single nave with no division between the congregation area and the main altar.
The chapel does not have altarpieces but houses small devotional images from different periods and artistic styles, such as Santiago Matamoros (Saint James the Moor-slayer), Saint Anthony of Padua, a 19th-century Child Jesus, a 20th-century female saint, and a San Cayetano in the Baroque tradition.
In the sacristy, there is a silver and gilded silver chalice from the 18th–19th century, also crafted in the Baroque tradition.
From the outside, the building has a hermetic appearance, receiving light through two small windows and an oculus on the main façade. The façade itself is austere and unadorned, featuring a square lintelled doorway and, above it, the oculus with two-tone stained glass. It is topped with a convex-shaped bell gable holding two bells and finished with a triangular peak crowned by a stone cross.
This chapel is located in the parish of A Roda, specifically at Pico de Faro.
There is no written record, to date, of when or by whom it was built. Locals say that around 1930, the parish priest at the time, Don Jesús María Rodríguez, fearing the chapel would collapse, decided to move the image of the Virgin to the parish church of El Monte.
Shortly afterward, a fire ravaged Monte Faro and the chapel was left in ruins, overrun by vegetation.
On August 5th, 1997, the Day of Our Lady of the Snows (la Virgen de las Nieves), thanks to the hard work and dedication of the local people and several supporting organizations, the chapel was reopened. The image of the Virgin was returned to its original home in a procession from the Sanctuary of the Martyrs.
Pico de Faro is also known for giving its name to a local theatre group, who proudly carry it with them to every stage they perform on.
This chapel, dedicated to Saint Pelayo, once served as the chapel for the old cemetery, which was relocated in 1986.
It is a modern-looking building in Neo-Gothic style, although its origins may predate the 20th century. It is built with irregular slate masonry, visible in the lower part of the walls, while the rest is plastered and whitewashed.
The building has a rectangular floor plan with a single nave, and a gable slate roof supported by a wooden framework. The walls are made of slate and quartzite masonry. Inside, the nave has no separation between the congregation area and the main altar, which is slightly elevated and paved with slate slabs, while the rest of the floor is tiled.
The main façade features a pointed arch doorway, matching the Gothic-style side window openings, and is topped with a stepped single-arched bell gable that houses the bell. Above it, a cross crowns the structure.
The main altarpiece houses a Baroque-style image of Saint Pelayo.
This church, built between the 16th and 19th centuries, features slate masonry façades reinforced with stonework at the corners, doors, windows, and bell gable — the latter dating from the 18th century.
It has a slate roof with Arabic tiles along the ridges.
Its complex floor plan is the result of successive additions over time. Originally, the church had a Latin cross layout with a single nave, a choir loft at the rear, a modestly sized presbytery, and two square chapels on either side. Later additions included a sacristy, a porch, and a parish hall. The central nave has a flat false ceiling, the apse is covered with a barrel vault, and the two chapels feature groin and ribbed vaults, all accessed through semi-circular arches on stone pillars.
The church is illuminated by semi-circular openings that resemble Romanesque arrow slits. On the exterior, the most striking feature is the main façade, with a rectangular doorway framed by two pilasters topped with imposts, and a monumental bell gable made of fine stonework. It houses two bells on the lower level and a single arched opening on the upper level.
The interior features tile flooring and whitewashed walls, and includes a classical-style entrance to the Gospel-side chapel, dated 1672.
The church originally began as a family monastery founded in the mid-10th century, part of which soon came under the jurisdiction of the Monastery of Corias. It was expanded in the 12th century and later underwent modern-era renovations. In 1672, a new chapel was added, and in 1918, the main altarpiece, carved by Marcelino Candosa, was installed. The rectory was built in 1959, along with the installation of the bell tower clock and tile flooring. The nave also houses two Baroque altarpieces from 1761.
This chapel, located in Santa Gadía, is a vernacular construction from the late 19th century, built to replace an earlier one documented in 1606.
The previous chapel was larger and included an attached council hall (cabildo). The current structure is simple and unadorned, with plastered façades and slate detailing at the base, around the bell tower, window openings, and main door. It has a gable slate roof with Arabic tiles along the ridge.
The floor plan is straightforward, consisting of a single space with a wooden choir loft at the rear and a raised main altar, with no current separation between the congregation area and the altar.
From the outside, it presents as a solid, enclosed structure, typical of chapels along the western Asturian coast. Light enters through three openings: one small window on the front façade and two larger ones on the side walls, aligned with the altar. The main entrance is topped with a simple belfry featuring a single arched opening.
The interior is whitewashed, with a slate floor, and the chapel does not have an altarpiece. It houses three modern statues of Saint Lawrence, Saint Anthony of Padua, and Saint Clare of Assisi, as well as three Baroque-style figures: Our Lady of Mount Carmel, a holy deacon, and Saint Dominic.
Each year on August 10, the feast of Saint Lawrence is celebrated in the area surrounding the chapel.
The construction of this sanctuary, built on the foundations of a previous medieval structure, began in 1778.
The building features irregular slate masonry in the naves and buttresses, more regular slate on the main façade, and stonework in the arches, openings, imposts, and corners of the façade. It has a gable and hipped slate roof, and the main façade is crowned by a two-level belfry.
The temple, accessed through a semi-circular doorway resting on stone pillars, has a rectangular floor plan without a transept, a side chapel, and a sacristy added in 1780. The main nave, which includes a wooden choir loft, and the presbytery are covered with groin vaults. The triumphal arch leading to the presbytery is semi-circular and supported by stone pillars and imposts. The floor is made of slate, and the interior walls are whitewashed.
The main altarpiece, in Churrigueresque style, features six niches and polychrome wooden statues.
The sanctuary houses relics of the Holy Martyrs: Saint Amandi, Saint Gaudencio, Saint Feliciano, Saint Victoria, and Saint Jesús Prieto. It is a place of pilgrimage and was already listed in the inventory commissioned by the Bishop of Oviedo, Gutierre de Toledo (1385–1386), under the name Santa María del Monte.
During restoration work in 1993, a funerary stele reused as a lintel in 1779 was discovered. This piece — a medieval tombstone with a relief of a warrior — can now be seen mounted on the column at the entrance to the chapel where it was found.
Additionally, near the sanctuary, there is a processional altar, built in 1825 from masonry and carved stone. It is vertically oriented, with a stone base as an armrest, a semi-circular niche between Ionic columns, supporting an entablature featuring the symbol “JHS” and a relief of the Cross.
The Church of Santa María de A Roda was built in 1929, with some later additions.
Originally founded as the Chapel of Santa María, by 1956 it was already functioning as a parish church.
In the second half of the 20th century, a porch and a sacristy (attached to the rear wall) were added. The building is constructed from irregular slate masonry, plastered on the outside, with a gable slate roof topped with Arabic tiles. It has a single nave that includes both the congregation area and the presbytery.
The main façade, in Neo-Gothic style, is notable for its double-arched belfry, with pointed arches on pillars and Gothic pinnacles. The interior flooring is modern tile, and the walls feature wood paneling on the lower half and whitewashed surfaces on the upper half.
Although the church does not have a traditional altarpiece, it houses a Baroque-style Assumption, as well as modern images of the Sacred Heart of Jesus and a Crucifix. Also noteworthy are a 19th-century bell, originally from the Sanctuary of the Holy Martyrs, and a silver and bronze monstrance in the sacristy, dated 1898.
This church was built in the late 19th century in a historicist Neo-Gothic style with Classical elements, following the merging and demolition of the former churches of Santa María de Campos and San Salvador de Salave. Construction, funded by Indianos (emigrants who returned from the Americas) and parish donations, began in 1896 and was completed in 1899.
The building is made of irregular slate masonry, with stonework on the corners and cornices, a slate gabled roof with Arabic tiles along the ridge, and a brick spire crowning the tower. The church has three naves, separated by semi-circular arches resting on square pillars, all covered with ribbed vaults. The structure emphasizes spatial clarity and brightness, with numerous semi-circular windows and a three-tiered tower topped with pinnacles and a spire.
On the south side, there is a portico supported by wooden posts, with a wooden framework roof. The interior flooring is modern tile, and the walls are whitewashed.
Inside, the highlight is the main altarpiece from the 18th century, which features statues of Saint Salvador and Saint Matthias, although the most prominent image is that of the Immaculate Conception, placed in the central niche. Nearby are the altarpiece of the Immaculate Conception (currently without images) and that of Saint Isidore the Laborer, dating from 1930.
The church also preserves a silver and gilt-silver ciborium from the 16th century, along with several chalices from the 17th and 18th centuries.
One of the oldest chapels in the municipality, this chapel was founded in 1660 in the San Antonio de Mántaras neighborhood, near the town of Tapia.
It was built and funded by the residents of Mántaras and the parish of San Martín. Its construction coincided with the founding of a confraternity dedicated to Saint Anthony of Padua, which remained active until 1898. Since 1660, the feast of Saint Anthony has been celebrated here.
Built with slate masonry reinforced with stonework around the openings, doorway, and belfry, the main façade is covered with a lime and sand render. It has a gable slate roof with Arabic tiles along the ridge. The floor plan is very simple, with a single nave and no separation between the congregation area and the main altar, which is distinguished only by a slightly raised floor. The presbytery is covered by a groin vault with wooden elements.
From the outside, the building is compact and enclosed, illuminated by small openings on the side façades. The entrance is flat-linted, and the belfry features a semicircular arch.
The chapel is topped with a simple belfry, with a single opening supported by stone pillars, finished with moldings, finials, and pyramidal elements in a classical tradition.
Closed for worship since December 28, 1974, when the last wedding was held there, the chapel opens occasionally on June 13 for the feast of Saint Anthony.
Construction of this new church in Mántaras began in December 1973. It was funded and built by local residents together with the parish priest of Tapia, to replace the old Chapel of San Antonio.
Since 1974, this church has hosted the religious celebrations of Saint Anthony’s feast day, held on June 13.
One of the oldest chapels in the municipality of Tapia de Casariego, this chapel appears to date from the 16th or 17th century, although it was significantly renovated in the late 19th century, when the main façade and interior were completely refurbished, including the addition of a pointed triumphal arch in Neo-Gothic style.
Built with slate masonry, the chapel features whitewashed façade and side walls and a gabled slate roof. Its floor plan is very simple, consisting of a single space that includes both the nave and the main altar, accessed through the mentioned triumphal arch, which rests on stone pillars.
From the outside, it appears as a closed and austere structure, with small pointed-arch openings. The chapel is accessed through the main entrance on the front façade, although it also preserves a secondary entrance on the eastern side.
The interior is covered by a flat false ceiling, gabled in shape, although it is likely that the original apse featured a vaulted ceiling. The flooring is modern, and the walls are whitewashed. The chapel is topped with a simple belfry, featuring a single pointed opening for the bell and a top element inspired by Gothic architecture.
In 1975, the chapel’s original altar was replaced, and the figures of Saint Sebastian and Saint Peter were placed on individual pedestals, with a newly crafted image of Christ of the Sailors placed between them. During this renovation, the very old image of Our Lady of the Snows, which had been displayed there for centuries, was removed.
This chapel belonged to the former parish of San Martín de Tapia. In a contract signed on January 20, 1636, Basque fishermen engaged in the hunting of right whales along the Tapia coast agreed to donate the largest of the whales’ fins each year in exchange for burial rights in that parish.
Founded in 1567 by the Pardo Donlebún family, this is one of the oldest chapels in Tapia de Casariego.
Its construction appears to date back to the 15th–16th centuries, although only the main entrance and triumphal arch remain from the original phase, due to successive renovations.
The chapel is built with irregular slate masonry, reinforced with granite ashlar at the main entrance and the triumphal arch. However, the main façade is plastered and painted. As is common in Tapiego architecture, the exterior roof is made of slate, with a gabled structure and Arabic tiles along the ridge.
The floor plan is very simple, with a single nave and a square presbytery, which is slightly lower in height and depth than the nave, accessed through a semi-circular arch resting on stone pillars and imposts.
The side walls do not extend forward beyond the façade, which means the typical porch or antojana is absent. From the outside, it appears as a solid, enclosed structure, illuminated by two small semi-circular openings in the nave, two square openings in the presbytery, and an oculus with inward splaying on the main façade.
The chapel is accessed through a single semi-circular doorway, with voussoirs resting on stone pillars. Inside, all spaces are covered by a wooden gabled roof, although the presbytery was likely originally covered with a barrel vault. The floor is paved with slate slabs, and the interior finishes are whitewashed. The chapel is topped with a simple belfry, featuring a single semi-circular opening for the bell and a triangular top, with no cross.
It houses a neoclassical or academic-style altarpiece, from the first half of the 19th century, designed to resemble the facade of a classical temple with four Ionic columns on tall plinths supporting a triangular pediment. The altarpiece holds images of Our Lady of Lourdes, Saint Blaise, and Saint Apollonia. On the back wall are additional figures of Saint Augustine and Saint Bartholomew.
The Chapel of San Esteban in Tapia de Casariego is the only remaining part of the old Church of San Esteban, which was demolished, along with the Church of San Martín de Tapia, in 1898 to make way for the construction of the current parish church. It is important to note that although both churches were dismantled, their main chapels were preserved.
What we see today is the Main Chapel of the former Church of San Esteban.
The original church began as a high medieval monastery, the Monastery of San Esteban de Mántaras, founded by Flaginus and Todisla before the year 1100. It later came under the control of the Benedictine Monastery of San Juan Bautista de Corias in Cangas del Narcea. In 1611, permission was granted to rebuild the Main Chapel — a project led by Don Gonzalo Méndez de Cancio.
Historical records indicate that the old church contained at least five altars — four in the side chapels and one in the Main Chapel. Each altar had its own altarpiece. The main altarpiece was donated by the Casariego family and was crowned with the coats of arms of the Cancio and Donlebún families. The Main Chapel was reserved as a burial site for Don Gonzalo and his family (the pantheon of the Casa de Casariego).
The church also housed a chapel dedicated to Our Lady of Mount Carmel, endowed and founded by Domingo Pérez de Merniés, lord of the Casa del Campo de Tapia and one of the founders of the Confraternity of Our Lady of Mount Carmel (de Nuestra Señora del Carmen), according to its founding document from 1622.
Built between 1896 and 1940, the Parish Church of San Esteban is located next to Plaza de la Constitución in Tapia de Casariego. This eclectic-style church combines classical and neo-Gothic elements, featuring a three-nave layout, ribbed vaulting in the central nave, and semicircular arches in the side aisles. It is notable for its monumental three-tiered tower and numerous openings with modern stained glass windows installed in 1992.
Among its furnishings, the main altarpiece crafted by Don Arturo Álvarez in 1899 stands out, as does the altar of Saint Joseph, built by Marcelino Candosa in 1946. The four-meter-tall image of the Sacred Heart of Jesus, made of cement in 1940, is an emblem of the church.
This church replaced the former churches of San Esteban and San Martín. Its construction was sponsored by Fernando Pérez Casariego and designed by Lorenzo Álvarez Capra.
The building is listed in the Cultural Heritage Inventory of the Principality of Asturias as a Registered Building (IPCA-EI-70-63).
The feast of Saint Stephen is celebrated on December 26.
The SAC Penarronda–Barayo encompasses a protected coastal strip stretching from Penarronda Beach to Barayo Beach.
This area provides a vital habitat for a wide variety of plant and animal species, contributing significantly to biodiversity conservation along the Asturian coast.
The protected shoreline includes dune systems, vegetation-covered cliffs, and marine zones where protected species such as dolphins and salamanders can be found.
The Porcía River, designated as a Special Area of Conservation (SAC) within the Natura 2000 Network, features habitats of community interest such as dry heathlands and alluvial forests. This ecosystem supports species like the freshwater pearl mussel and the Eurasian otter, playing a key role in the conservation of both aquatic and terrestrial biodiversity in the region.
Since time immemorial, this spot has served — and continues to serve — as a lookout to monitor any potential dangers and all activity in the harbor.
Few towns along the Asturian coast offer such a breathtaking panorama as the one enjoyed from this viewpoint — a true natural balcony overlooking the port of Tapia.
From here, the harbor breakwaters and lighthouse stand out. The Tapia Lighthouse is the westernmost on the Asturian coast and the only one in the region located on an island. Connected to the mainland by the “Entreislas” breakwater, its light has guided sailors since September 1, 1859. With a range of 25 nautical miles, it is visible on clear days from Estaca de Bares to Cape Peñas.
To the right of the lighthouse, rising from the harbor with the Casa del Muelle as its landmark, is a small peninsula home to the chapel and the San Sebastián neighborhood, featuring the Mentidero square and a lookout used by local fishermen and sailors.
In the background, to the far right, stands the Casa del Mar, built in 1988, near one of the oldest parts of the port, known as El Revertedoiro. In 1932, a water tank was built there to supply steamships docking at Tapia.
To the left, the port is enclosed by the “Rocín” breakwater, 105 meters long. Nearby was the site of “a cucía” (meaning “the kitchen” in Tapiego), where large vats were used by fishermen to dye their cotton nets with boiled pine bark. This treatment, called “encascar”, helped make the nets more resistant and long-lasting.
This viewpoint, located in the parish of A Roda at around 180 meters above sea level, offers a spectacular panorama where three distinct landscapes come into view: to the north, the westernmost edge of the Asturian coastal plain and the Cantabrian Sea; to the west, the Mariña Lucense with Mount Mondigo; and in between, the Eo Estuary.
The landscape is dominated by a vast, narrow, and flat surface — the result of past marine erosion — which today supports intensive human activity: villages, forage crops for dairy cattle, pine plantations, and transport infrastructure.
Nearby, you’ll find the Church of Santa María del Monte, also known as the Sanctuary of the Martyrs, one of the most renowned in western Asturias, famous for housing relics of various martyred saints.
Although its origins date back several centuries, the sanctuary took on its current form in 1778. It was built with irregular slate masonry, and finely crafted stonework in the arches, openings, imposts, and corners of the façade. It has a rectangular floor plan, a single nave, and a slate gable roof over the nave and a triple-sloped roof over the apse.
Inside, its modest decoration highlights several important features: a medieval tombstone with the figure of a warrior, an ancient gilded wooden reliquary containing relics brought from Rome in 1781, and three Baroque altarpieces from the 18th century.
Just a few meters from the sanctuary stands one of the few remaining roadside altars in the municipality, with richly decorated façades, except for the niche and columns, which are made of exposed stonework.
Situated on the island of Tapia’s lighthouse, this viewpoint provides spectacular views of the town and the western Asturian coastline. The lighthouse, operational since 1859, is a third-order light with a range of 15 nautical miles.
Located at Cape Cebes, this viewpoint overlooks a shoreline of rounded stones that is home to a rich variety of marine species.
This promontory, formerly known as “Punta del Perigote,” offers spectacular views of the Cantabrian coast, but it also holds many stories.
In need of protection, the San Martín cove — today’s harbor, before the construction of breakwaters — was vulnerable to attacks by corsairs or foreign invaders. In 1780, a defensive fort was built here, with a curved masonry wall housing two cannons and an auxiliary building. From then on, the site came to be known as “Os Cañois” (Tapiego for “the cannons”). A small part of that wall still remains today — known as “El Torrín.”
When the Rocín breakwater was built in the 1870s, the old cannons were removed, though one was preserved and now serves as a mooring post on the same dock.
In this spot, you can also see two old gas-powered beacons from Tapia’s harbor, donated by the Ports Authority of the Principality of Asturias.
“Os Cañois” is also connected to the buildings in Plaza de la Constitución, as part of the stone used in their construction was extracted from this very site.
Next to the viewpoint, you’ll find a natural saltwater pool, inaugurated in 2010. Located on the site of a former seafood hatchery, it recalls the days when Tapia exported several tons of lobsters each year for sale in France.
From here, the walk invites you to continue towards the harbor or into the San Blas neighborhood, known for the small houses built in 1956 and the fishermen’s homes from 1958. San Blas remains one of the town’s most important neighborhoods, with a strong identity and beautiful spots such as A Ribeiría beach. Along with San Martín, it formed one of the two original “bands” that gave rise to the first settlement of Tapia.
Located near Porcía Beach, at the mouth of the river of the same name, this area offers a stunning natural setting.
Equipped with picnic tables and barbecue grills, it’s the perfect spot to enjoy the outdoors and relax while taking in the coastal scenery.
Situated by the Tol River in Serantes, this small area is perfect for a break along the Corn Route.
Here you’ll find a covered washhouse, known as “As Donas,” built in the 1950s–60s with a rectangular floor plan.
Nearby are the Church of San Andrés, the parish church of Serantes, and the Chapel of San Pelayo.
Located near the natural monument of Penarronda Beach, this area offers stunning views of the coastline and unforgettable sunsets.
Equipped with a children’s play area, a fountain, and picnic facilities, it’s the perfect place to relax after a day at the beach or a walk along the coastal trail.
Located in the village of Casariego, about two kilometers from the town of Tapia, this area is the perfect place to rest after visiting the Cancio Palace, the Chapel of La Encontrela, the Eucaliptón, or the Virgin’s Fountain.
Near the Chapel of La Encontrela, the Eucaliptón was also a filming location for the award-winning movie O que arde by director Oliver Laxe.
Also located in Tapia’s port, this monument honors the patron saint of the town’s seafarers. Created by artists J. Trelles and G. Feal, and funded through public subscription, it was inaugurated on July 16, 1992.
This monument stands as a testament to the deep local devotion to the Virgin Mary, reflecting her central role in the spiritual life of the town’s fishing community.
For over four hundred years, every July 16th, Tapia has celebrated a moving and heartfelt procession in honor of La Virgen Nuestra Señora del Carmen—a tradition that continues to stir both locals and visitors alike.
Located in Tapia’s port, this bronze monument pays tribute to the men and women of the sea. Inaugurated in July 1999, the sculpture was funded by the Virgen del Carmen Neighborhood and Cultural Association along with the generous contributions of the people of Tapia de Casariego.
The monument honors the sailors who have disappeared in the Cantabrian Sea. A plaque reads:
“To the men and women of the sea, brothers and sisters united in their love for this land, who go out at dawn each day to earn their bread. And to those who one day departed and never returned.”
Located in Plaza del Campogrande, this monument was inaugurated on July 3, 1998, in memory of the sailor, engineer, politician, and Cuban War hero born in Serantes in 1845.
Villaamil was a renowned Spanish naval officer, admired for his professionalism and discipline. He was a dedicated naval warrior, but also an intellectual with a passion for books and scientific specialization.
He designed a ship to help modernize the Spanish Navy—the world’s first destroyer—and commanded the first circumnavigation voyage of a Spanish training ship under sail, aboard the corvette Nautilus. From this journey, then-Frigate Captain Villaamil wrote Voyage of Circumnavigation of the Corvette Nautilus, a work in which he described both the development of the voyage and the places visited around the world between December 1892 and August 1894.
Villaamil is also remembered for his role aboard the destroyer Furor during the Cuban War. On July 3, 1898, with the ship severely damaged and taking on water, he ordered the crew to abandon ship and remained aboard, dying from a grenade blast before going down with the vessel.
In 1902, a commemorative plaque with his bust was placed in the church of Serantes, his hometown. Another honors him in the Pantheon of Illustrious Sailors in San Fernando (Cádiz). A monument in Castropol Park, created by sculptor Cipriano Folgueras in 1912, also pays tribute to his legacy.
More information about Fernando Villaamil y Fernández Cueto (Link: https://dbe.rah.es/biografias/16345/fernando-villaamil-y-fernandez-cueto)
Located in Plaza de la Constitución, this bronze monument, created by Asturian sculptor Arturo Sordo, pays tribute to Fernando Fernández Casariego y Rodríguez Trelles—first Marquis of Casariego and Viscount of Tapia. Born in Tapia on February 19, 1792, and deceased in Madrid on March 22, 1874, the statue was inaugurated on July 15, 1930.
The monument stands atop a stone pedestal featuring the coat of arms of the marquisate, an allegorical figure, and a commemorative inscription. Funded by public subscription, the monument represents the community’s recognition of the man regarded as the greatest benefactor in the history of Tapia. He was responsible for the construction of key infrastructure such as the Town Hall, the Primary and Secondary Schools, Tapia’s port, and its first sewer system.
This distinguished Tapia native (tapiego) fought in the Spanish War of Independence and later settled in Madrid, where he amassed great wealth through commerce. He was instrumental in the founding of the Bank of Spain. King Amadeo I of Savoy granted him the titles of Marquis of Casariego (December 12, 1873) and Viscount of Tapia (February 11, 1873).
More information about Fernando Fernández Casariego y Rodríguez Trelles.(Link: https://historia-hispanica.rah.es/biografias/15595-fernando-fernandez-casariego-y-rodriguez-trelles)
Peter Gulley, along with his brother Robert, introduced surfing to Tapia de Casariego in the summer of 1968. After his passing in 1991, the town of Tapia dedicated this monument to his memory in 1992, located at “Alto de los Campos,” near Anguileiro Beach.
Since then, Tapia has hosted the Peter Gulley Memorial every year—an international surf competition that draws surfers from around the world.
Also known as Puente Veyo, this bridge was traditionally believed to be Roman, though it is now thought to date from the medieval period. Features such as the narrow path and steep entrance and exit slopes are typical of medieval bridges, unlike the broader and more level Roman ones.
The bridge has a single semicircular central arch, flanked by smaller side openings that widen toward the center, creating a pitched profile. Though the semicircular arch is characteristic of Romanesque architecture, the vault design and uniformly cut voussoirs suggest it was built between the 11th and 13th centuries.
Constructed of irregular slate masonry and reinforced with ashlar at the central arch, the bridge may have been erected over a Roman structure, as suggested by the presence of a nearby Roman road and ancient mining sites.
Located in Plaza de San Martín, the Fonte Veya is a symbol of the town. Originally built around the 18th century, it was reconstructed in 1848, as recorded by the inscription on its front: “REHEDIFICOSE / EL AÑO DE / 1848”. Its water is believed to come from two springs located above the “Casa del Costureiro.”
The water flows through a long, vaulted channel, with one spring feeding into a barrel-vaulted tunnel perpendicular to the main conduit.
Built with irregular slate masonry joined with clay and reinforced with ashlar, the fountain’s façade is plastered and topped with a cornice and curved pediment. Slate paving and a small well complete the surroundings.
Restored in 2023, the fountain gave its name to the historic Casa da Fonte, which in the early 20th century housed the La Occidental chocolate factory, founded by Félix Martínez.
A Fontenova is Tapia’s most popular fountain—a circular structure with two spouts supplying water. In the 19th century, before the installation of a formal water supply system, it was the town’s main source of water.
Another public infrastructure promoted and funded by Don Fernando Fernández Casariego, it was later repaired and improved by José García Villamil “Patega,” a local who returned wealthy from the Americas.
Over the years, this fountain has remained an important meeting point for Tapia’s residents. The small square where it is located still plays a central role in the town’s social life.
The Tapia Lighthouse, the westernmost on the Asturian coast, is the only lighthouse in the region located on an island.
Connected to the mainland by the Entreislas pier, its light has been guiding ships since September 1, 1859, and is visible on clear days from Estaca de Bares to Cabo Peñas. It is a third-order lighthouse with a fixed light varied by flashes every 2 minutes and a range of 15 nautical miles.
The original project included a single-story main building for two keepers, with a square layout surrounding a central courtyard and cistern. The lighthouse tower, attached to the north face, stands 9.80 meters tall, with its light positioned 23.60 meters above sea level.
After several renovations, the current structure was completed in 1962 with a new tower and a modern maritime lantern. The word “TAPIA” is emblazoned on the north face of the building.
The Tapia Lighthouse is one of nine in Asturias included in Spain’s Catalogue of Lighthouses of Cultural Interest, recognized for its historical, social, and architectural value.
In the words of renowned writer Álvaro Cunqueiro:
“The lighthouse I loved most… was the lighthouse of Tapia de Casariego, to the east, in the sea of the Asturias of Oviedo.”
Located in a sheltered cove, this port has been used since time immemorial for mooring boats. Known in the Middle Ages as Puerto de las Tapias, its activity increased in the 17th and 18th centuries due to the hunting of right whales, a practice introduced by Basque whalers.
As whale hunting declined in the 18th century, coastal fishing (cabotage) became the main economic activity, transforming Tapia into a traditional fishing town.
The current port, consisting of four granite piers (using stone from Galicia), was built between 1870 and 1880 thanks to the initiative and funding of Don Fernando Fernández Casariego and the direction of his nephew, Fernando Pérez Casariego. These piers, which still preserve their original features, are: the Dique de Afuera (Fora Pier), stretching 135 meters from the lighthouse island; the Rocín Pier to the west (105 m); the Entreislas Pier, connecting the island to the mainland (55 m); and the Tierra or Commerce Pier (140 m), where Pérez Casariego’s house is located.
This construction boosted the fishing and canning industries, enabled the arrival of larger vessels, and improved the lives of the town’s maritime community.
Later developments included a water tank for ship supply and the rula (fish auction building), as well as a “net-dyeing facility” in San Martín, where fishermen boiled their nets with pine bark to protect them from humidity and extend their lifespan.
The port became the heart of the young municipality of Tapia—and it remains so today.
The Palacio de As Nogueiras was built between 1736 and 1743.
It has an apparent U-shaped plan, though more complex due to an eastern wing that extends at a right angle along the road. A standout feature is its sturdy crenellated wall, whose central entrance gate opens into a large courtyard, above which sits a heraldic shield—likely belonging to the Villamil family.
This solid-looking, low-rise building is composed of several cubic volumes with no ornamentation, evenly distributed windows with flush carpentry, and built from irregular slate masonry. The exterior is topped with a slate roof, reinforced with Arabic tiles on the ridges and pyramid-shaped stone elements. It includes two floors: the lower used for stables and service areas, and the upper as the residential space, with a wooden gallery and side verandas.
Attached to the building is a chapel dated 1725, easily recognizable by its semicircular arched doorway with a cross at the keystone and a small bell gable. On the chapel’s outer wall, a genealogical plaque commemorates members of the Villamil family of As Nogueiras.
The palace, with its large estate, dovecote, and Ribadeo-style granary, is a fine example of traditional noble rural architecture and the residences of important families—particularly members of the local nobility.
The Palacio or Tower of Lindoy, built in the 17th century by a member of the Villaamil family known as El Salinero, is the most architecturally significant noble house in the parish of Serantes and a fine example of Asturian manorial architecture.
It has an irregular floor plan made up of various adjoining volumes, which gives it more the character of a traditional rural complex than of a formal palace with central courtyards and towers.
Surrounded by a defensive wall, the main entrance features a straight lintel flanked by heavy ashlar towers topped with decorative balls and pyramids, evoking a fortress-like style.
Constructed of irregular slate masonry, reinforced with ashlar at corners, doors, and windows, the palace has a mix of four-sloped roofs on the towers and gable roofs on other sections, with Arabic tiles along the ridges. The unadorned façade and evenly spaced square windows reflect a sober, traditional style.
The ground floor was used for storage and services, while the upper level served as the noble residence.
The property also includes a rare Mondoñedo-type cabazo (granary), which is uncommon in the municipality of Tapia de Casariego.
Also known as Casona de los Magdalena or Palacio de Santa María del Villar, this is a prime example of Asturian noble architecture. While its origins date back to the 15th century, the current building was renovated in the 19th century and includes a ground floor and an upper level.
Built with irregular slate masonry and ashlar detailing, it features a four-sided slate roof. The layout shows clear influence from Galician pazos, with 1,700 m² dedicated to residential use and another 1,700 m² for storage and service areas. The horizontal and robust design, with small windows and a low façade, highlights its simplicity and functionality.
Its historical importance as both a noble residence and an economic hub is evident in the size of the building—one of the largest in the region—and in the presence of numerous cellars, pantries, stables, and a private chapel. The estate included extensive farmland, orchards, vineyards, and fruit plantations. Historical records also show the collection of rents, tributes, and noble taxes, as well as an 18th-century inventory (from 1779) detailing a large number of valuable furnishings and objects.
In 2005, Campos Palace was declared a Bien de Interés Cultural (Asset of Cultural Interest), listed as a monument (RI-51-0011099). It remains the only officially protected BIC in the municipality, underlining its historical and architectural significance.
More information on Campos Palace
Also known as Casa de La Veguina, this manor dates back to 1660, as stated in the inscription above the main door. However, records mention the Señorío and estate of La Veguina as early as the 15th century, when Alonso Nuñez de Presno was the lord of the house.
The building is made of irregular slate masonry, reinforced with ashlar at the corners, doors, and windows, and topped with a slate roof featuring Arabic tiles on the ridges. The walled estate includes a residence and a Mondoñedo-type cabazo (typical granary of the area), though it lacks a chapel. The main entrance stands out with a semicircular arch over stone pillars, crowned by a triangular pediment bearing the coat of arms of the Villamil and Belderraín families. This lineage came into possession of La Veguina after the 1639 marriage of Antonia de Presno Villamil, lady of the estate, to Antonio Pérez de Belderraín y Ochoa Salazar.
The house features a U-shaped floor plan, with a horizontal central body of two floors and attic, and two side wings. As was common, the ground floor was used for storage and stables, while the upper floor served as the residential area.
Like other noble houses in the area, the architecture bears similarities to Galician pazos.
Located in Casariego and along the Camino de Santiago, this manor house—already documented in 1321—is a remarkable example of rural noble architecture.
Unlike typical Early Modern Asturian palaces, it is not organized around a central courtyard. Instead, it features an irregular floor plan composed of various adjoining volumes that resemble traditional rural buildings more than a conventional palace.
It is built from irregular slate masonry, reinforced with ashlar at the corners, entrance pillars, and window frames. The roof consists of two or three gables, covered with slate and Arabic tiles along the ridges. The structure is low, with a ground floor used for services and an upper floor for residential purposes. Its solid, unadorned design features small openings with flush carpentry. The estate wall is particularly notable for its main entrance: a semicircular stone arch set on ashlar pillars, flanked by masonry towers.
This was the residence of Don Gonzalo Méndez de Cancio y Donlebún (Casariego, 1554–1622), an important sailor, admiral, governor of the Royal and Supreme Council of the Indies, and Governor and Captain General of La Florida. The eldest son of Diego de Cancio Donlebún and María Méndez San Julián, he began his military career at the age of seventeen in the Royal Navy under Pedro Menéndez de Avilés.
In 1586, he married Magdalena de Luaces Estoa y Miranda, with whom he had many descendants. Thanks to his wealth and status, he participated in the Carrera de Indias with ships of his own. In 1595, he was named Admiral by King Philip II and played a crucial role in the defense of Puerto Rico against the English fleet led by Francis Drake and John Hawkins.
As Governor of La Florida (1596–1602), he became acquainted with maize and brought its seeds to Asturias, where he introduced its cultivation in 1605. In his later years, he held public office in his region and established a new mayorazgo (entailed estate). He was buried in the Chapel of San Esteban in Tapia, which he himself had built in 1611.
Also known as Casa de Tapia or Casa de Reguero, this is one of the few emblazoned buildings in the municipality, featuring the Casariego family crest on its main façade.
Its origins date back to 1613, making it the oldest civil building in the town of Tapia de Casariego. It is a two-story, rectangular building constructed with irregular slate masonry, plastered and whitewashed, and covered with a hipped slate roof. The door and window frames are reinforced with granite ashlar. Its main façade is distinguished by a gallery on wooden supports, housing the main entrance and the noble coat of arms.
After a period of neglect and deterioration—especially after the Spanish Civil War (1936–1939)—it was used as the local headquarters for the Movimiento Nacional and the Syndical Organization, and renamed Casa de España. In the 1970s, it became a preschool, and was eventually restored and transformed into the Municipal Library. In 1988, it was inaugurated as the Juan de Mairena Cultural Center, named after one of Antonio Machado’s fictional characters. According to local lore, Mairena was “born” in Seville in 1865 and “died” in Tapia in 1909—Machado’s most iconic pseudonym.
This house is a fine example of how traditional architecture can be adapted to urban spaces.
Inaugurated in 2010, this facility is located on the former town market square. It houses the auditorium, public library, telecenter, tourism office, and offices for various local associations. It also serves as the main entrance to the Navia Historical Park route: “The Lords of the Noble Houses.”
The Secondary School, rectangular in layout and well-proportioned, is built with irregular masonry reinforced by granite ashlar blocks in the portico, imposts, and pilaster bases. All exterior roofs are slate-covered. The contrast between the stone masonry around the pilasters and windows and the whitewashed façades is particularly striking.
The structure is organized around a two-story central courtyard with arcades.
The main façade features a lower-level porch with three semicircular arches resting on stone pillars, echoing the design of the Town Hall. The upper section mirrors the lower arrangement but adds a distinctive twist—playing with the contrast between materials (slate and ashlar) and structural elements (pilasters and pillars). The second level is especially noteworthy, with semicircular arches resting on slate masonry pilasters.
The façade is also adorned with medallions commemorating the diploma and bronze medal awarded at the 1878 Paris Universal Exposition for the architectural design and construction of the square’s ensemble.
Closing the square on its eastern side, the Primary Schools were built—according to an inscription on the main façade—at the same time as the Town Hall, between 1863 and 1865, to house the four schools then operating in Tapia.
Constructed mainly from slate masonry, the building features stone arches on the façades and stone cornices.
The structure is rectangular, with two floors and a slate gabled roof. It maintains perfect symmetry between the front and rear façades.
The main façade includes a ground-floor portico with three semicircular arches on ashlar stone pillars, three rounded windows on the upper floor, and smooth plastered walls with stone-framed doors and windows.
A plaque bearing the initials “F.F.C.” on the façade commemorates Don Fernando Fernández Casariego.
On the upper floor was a large hall that once housed the Círculo de Recreo (Social Club or Casino), founded in 1866, with Don Fernando Pérez-Casariego serving as its honorary president.
Built between 1863 and 1865 on the former Campo Grande, this rectangular building features a slate roof, a balanced and proportionate layout, and perfect symmetry between the front and rear façades.
The main façade includes a ground floor with a portico of three semicircular arches resting on ashlar stone pillars. The upper floor has three rounded windows, with smooth plastered walls and doors and windows framed in exposed stone.
This building could easily be mistaken for the others surrounding the square were it not for the distinctive exposed slate rustication along the lower sections of the north and south façades.
On the rear façade, a small tower houses what was for many years the only clock in the town. Below it, an inscription reads “PLAZA DEL MERCADO” in memory of the town market, also funded by Don Fernando and demolished in 1960.
On the main façade, two medallions from the 1878 Paris Universal Exposition are displayed, commemorating the design and execution of the square’s architectural ensemble, which received a diploma and bronze medal.
This building is a notable example of 19th-century public architecture and a powerful symbol of Tapia’s local history.
