Patron Saint ‘Virgen del Pino’
The history of Teror cannot be appreciated without the Virgen del Pino, Patron of the Diocese of the Canary Islands and an important religious symbol for many Canarian generations. The date of its appearance still remains a mystery although tradition marks the 8 September 1481 as the day the image appeared at the top of a pine tree near the Green Cross in the ‘Virgen del Pino’ Square. Devotion to this Virgen goes back to the early years of the conquest and makes Teror the religious centre of the island.
La image of the ‘Virgen del Pino’ is the most valuable statue in the Basilica, not only for what it represents but also for its age. The custom of dressing and decorating it with jewels dates back to the XVI century. The dresses and jewels exhibited in the niche are a fine example of the local embroidery and precious metalwork. There are also the offerings and donations placed by it that represent the devotion and enthusiasm towards the Virgen del Pino by the parishioners.
Basilica of the Patron Saint ‘Virgen del Pino’
The historic part of the centre of Teror is one of the most important cultural heritages in the Canary Islands. Its religion and social influence flood the streets, houses, squares and monuments. In April 1979, the surrounding areas of the church were declared a historic-artistic site.
1.00 to 8.30pm
Tuesday - Friday
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9.00am to 8.30pm
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The Council House
This building was acquired in 1909 by the City Council with the intention of establishing public schools in it. However, it became the Town Hall where a second floor was added between 1945 and 1952.
Until the late 80s in the 20th century, all municipal services were located in this building, but from the beginning of 1990 the expansion of the City Council’s local services and functions made it necessary to locate several offices outside the original building of the Council.
At present, it houses the offices of the Equality Division and it is where the plenary sessions take place.
The Yellow Tower
The yellow tower known for the colour of its stone was officially opened in 1708 and it is one of the few remaining architectural elements of the second temple that presides over the current building.
It has an octagonal base and rises up seven floors. The Manueline or Portuguese late Gothic construction is a replica of the towers that the facade of the Cathedral of Las Palmas used to have up until the XIX century.
The former Episcopal Palace
This is another symbolic monument in the old town and is located behind the Basilica. It was built around the same time as the Basilica to take advantage of the left over materials.
Since its restoration in 1982, a part of it is now used for the Cultural Centre and the oldest part is used by the parish for religious events.
Plaza del Pino (Patron Saint ‘Virgen del Pino’ Square)
This large square is the entrance to the Basilica and as it is the central part of the historic centre it is where the town’s most significant events take place.
The irregular shape of the square does not have a defined architectural design; it has come about by the urban development mainly over the XVIII and XIX centuries. The most distinguished family homes are located surrounding the Marian shrine. Over the centuries, this square has become home to local festivals and fairs as well as for the local Sunday markets.
The Green Cross
Uno de los elementos más destacados de la Plaza del Pino es la Cruz Verde, situada junto al frondoso Laurel de Indias. Esta Cruz de hierro situada en lo alto de una columna representa el lugar donde estuvo el Sagrario de la primera Ermita del Pino.
La actual Cruz de hierro fue colocada a finales del s. XIX, sustituyendo a una de madera (actualmente en el Camarín de la Basílica) que, según cuenta la leyenda, se hizo con los restos del pino desaparecido en 1684, en el que tuvo lugar la aparición de la Virgen.
La ubicación actual de la Cruz está desplazada unos metros de su emplazamiento original desde la década de 1970, para facilitar en esa época el tráfico rodado.
La Alameda (Local Square)
Also known as Pío XII Square, it is situated in front of the Episcopal Palace. It was originally designed in 1844, but its current appearance was created in 1981, along with the restoration of the Episcopal Palace. Up until this era, there was a kiosk dating back to 1926, which turned the square into the main meeting point and outdoor recreational area for most of the XX century. Nowadays it is also used for cultural events and festivals and has become one of the most transited places in the historic quarter of the town.
Real de la Plaza Street
This is the main Street that runs from the entrance to Teror ‘Muro Nuevo’ to the Patron Saint ‘Virgen del Pino’ Square, where you can catch a glimpse of the breath taking views of the Basilica. The street dates back to the beginnings of the urban centre of Teror but its appearance nowadays started to develop from the XVIII century and the second half of the XIX century. The architecture of the houses is odd but it still has quite a distinguished stately character where the balcony represents a common element among them.
It’s traditionally the main shopping Street of the town and some of the oldest shops in the municipality still remain.
One of the symbols that represent the historic centre is the balcony, mainly seen in the houses around the ‘Virgen del Pino’ Square and the surrounding side streets.
Balconies made of different styles; wooden, wrought iron, with banisters and those with or without roofing… However the oldest and the ones that stand out are those with pine tiled roofing in the square and ‘Real’ main Street, which tend to be used as stage-like balconies for the streets at processions and social events.
The balcony represents social distinction. This can be observed by the houses of the heirs located next to the Basilica and also in those built by the upper-middle class at the end of the XIX century and beginning of the XX century in the streets of the old town.
The Square of Tereza Bolivar
This is the artistic evidence that the versatile Néstor Álamo and the Canarian artist Santiago Santana left in this town. It was designed in 1958 as an outlet to the ‘Virgen del Pino’ Square for the large number of pilgrims and visitors. It is named after Simón Bolívar’s wife, Bernardo Rodríguez del Toro’s great grand-daughter, a distinguished character born in Teror in the XVII century.
The two fountains stand out, one next to the far wall with a pine tree carved into the stone where the coat of arms of the Rodríguez del Toro Family Emblem is; and the other one has a pillar shape made out of yellow stone.
Fuente Agria de Teror (the Bitter Fountain)
This fountain has given the municipality its greatest reputation over history because of its excellent natural spring water. It is located in the Teror Ravine, less than a kilometre of the historic centre and midway between sea and mountain top.
For centuries, the water of this fountain has catered to many generations of Teror residents and has been one of the main natural resources of the municipality.
It is located on the highway from Las Palmas to Teror, around 2 km from the historic centre.
It is the oldest bridge in the island of Gran Canaria. It was built between 1824 and 1828 and it became an important advance in connecting Teror with the capital of the island as well as with the districts of the municipality on the other side of the Pino Ravine.
Viaduct of Teror
It opened in December 2010 and represents future and progress. The bridge is a distinct feature of the municipality that meant a significant advance in the history of communications. Unique in design and original significance, it raises over the Teror Ravine at 70 metres high and 261 metres long.
House museum of Patron of the Diocese
This is one of the historic houses of the municipality located in a privileged place in the ‘Virgen del Pino’ Square. It originated towards the end of the XVII century although its current appearance is from the XVIII century. In its interior there are a number of objects and furniture belonging to the heirs of Manrique de Lara, including photographs, tapestries, porcelain, cabinets, paintings and various pieces of great historic value.
On the ground floor of the house museum to the left is the bedroom where Néstor Álamo, the journalist and forefather of the Local Festival ‘Romería del Pino often stayed in. On this floor there is also a wonderful extensive private library and room where the Manrique de Lara family used to keep the old silver throne and treasures of the Virgen saint. In the upper floor a special small chapel lies under the watch of the image of the ‘Virgen del Pino’.
This is one of the most modern buildings in the municipality.
It opened in 2006 and contemplates a contemporary space near the historic centre. Its architectural design offers a lineal and austerity model and incorporates older elements (like stone) and modern ones such as glass which gives a contrasting image against the mountainous scenery in the background.