In a quiet corner of the Spanish province of Zamora, within the wine-producing region of Tierras del Vino, lies the small village of Fuentesaúco. Here, a seemingly modest yet truly remarkable medieval structure awaits discovery. Its ancient stones guard a secret that has been intriguing historians, art experts, and curious travelers alike for years. Amid the typical reliefs and capitals of that era’s architecture hides a detail that stands out from the classical canon, sparking questions about the morals and symbolism of a distant age.
At the heart of this story is the iconic Church of the Invention of Saint Stephen (Iglesia de la Invención de San Esteban). Construction on this landmark began in the second half of the 12th century and concluded in the 13th, earning it recognition as a Site of Cultural Interest. The original plan was far more ambitious: the building was designed as a basilica with three naves, divided by massive arches, and a striking tower at its main entrance. However, the turbulent 20th century, with its reforms and partial demolitions, took a heavy toll on this ancient monument. After several reconstructions, the church lost one of its naves and the tower, so today only two naves, the main chapel, and a later-added sacristy remain. Despite these losses, the church has retained its greatest treasure—the lavish sculptural decorations that showcase the extraordinary skill and imagination of medieval stonemasons.
The most intriguing and ambiguous element awaits the observant visitor at the northern portal. The entrance ensemble, designed as a triple archivolt, rests on columns with capitals adorned with intricate vegetal and geometric motifs. And there, among rather conventional crosses and floral patterns, a distinctly recognizable five-pointed cannabis leaf is carved. The appearance of such an image on the exterior wall of a 12th-century religious building raises many questions and inspires the boldest of theories. Of course, this is not the only botanical motif in the decor, but it is undoubtedly the most provocative and widely discussed. Was it a craftsman’s joke, a secret symbol of some heretical sect, or simply a depiction of a common plant used for making ropes and fabrics? There is no answer. Yet this small detail has brought unexpected nationwide fame to the modest rural parish, turning it into a magnet for those seeking something truly extraordinary in history.
However, it would be a mistake to attribute the building’s appeal solely to this intriguing feature. The structure also boasts other architectural and artistic highlights. A large quatrefoil rose window on the facade immediately catches the eye, as do the intricately carved corbels (canesillos) beneath the roof cornice. Inside, the original columns with capitals have been preserved, featuring bizarre figures of humans and mythical creatures. The interior also houses the image of the Virgen del Villar—an object of veneration for the faithful. This is a so-called ‘dressed’ statue, yet some fragments of the original 12th-century wood carving remain intact. Another relic here is a unique Crucifix with a lowered arm, dating back to the 16th century. This piece was brought from the now-lost Valparaíso monastery, adding to its historical value.
All these elements together—from the controversial depiction to the ancient relics—make the site in Fuentesaúco a true architectural gem of the Zamora province. It’s a remarkable place where deep devotion and rich history are closely intertwined with an unresolved mystery carved in stone centuries ago—a secret that still sparks fierce debates among experts and brings a knowing smile to visitors.
