Single-nave church with lower side aisles. Keyed ribbed vaults separated by four pointed transverse arches. A series of transverse arches separate the nave from the side aisles. It has a polygonal apse, ribbed vault and triumphal arch on pilasters. The side chapels are unfinished. On the exterior, the remains of the old 18th-century sacristy can be seen (to one side of the apse). The church has a concrete structure, common masonry and brick walls with bush-hammered stone cladding. 1308: The city councillors give permission to the Carmelite Fathers to found a convent and a church. 14th century: Construction of the two buildings in the Gothic style. 19th century (1835): The Gothic church remains with its façade unfinished. 1936: The church burns down. 1940-52: Reconstruction of the church in the Neo-Gothic style.

A bridge with a Gothic structure and eight semicircular arches, located on the road to Cardona, next to the cemetery over the Cardener river. It is a construction made of stone blocks, with a completely flat road surface. The arches have the same dimensions in height and width. The angled water cutoffs rise up to the railing of the bridge, creating triangular shelters on the road.

The collegiate church of Santa Maria, also known as Santa Maria del Alba and popularly, although incorrectly, as La Seu, is the most representative monument in the city of Manresa and one of the most important buildings of Catalan Gothic art. The church stands on the upper plateau of Puigcardener, dominating the city, on the site of an earlier church mentioned in the 10th century and replaced in the 12th century by a Romanesque temple. The church, in the Catalan Gothic style, has a single nave with a polygonal apse, side chapels and an ambulatory, covered with a ribbed vault on 18 octagonal pilasters. The nave, which is exceptionally high for Catalonia, is supported on the outside by 18 flying buttresses and illuminated by around thirty large windows with polychrome stained glass. These two elements bring it closer to the European Gothic style. The temple measures 68 metres long, 33 metres wide and around 30 metres high. The width of the nave (18.5 m) makes it one of the widest Gothic naves in Europe after the cathedral in Girona. The square bell tower is 50.5 m high. It was topped by a balustrade replaced by a neo-Gothic railing, the work of A. Soler i March. From an architectural point of view, the church is of great interest due to the intermediate solution it adopts between the structure of a single-nave temple and a three-nave structure, in which the side chapels, thanks to the large arches that connect them, give the visual effect of side aisles. This made it necessary to build flying buttresses, as the lower section, which was perforated with large arches, had to be supported in order to achieve this three-nave effect. However, some authors believe it is more accurate to refer to deep buttresses on two levels rather than flying buttresses. The interior, dominated by a carving of the Virgin of Alba (a copy of a late 14th-century original destroyed by fire in 1979), houses a valuable example of Catalan Gothic painting: the altarpiece of Sant Marc and Sant Anià, by Arnau Bassa (1346), the monumental altarpiece of the Holy Spirit, by Pere Serra (1394), and that of Saint Michael and Saint Nicholas, by Jaume Cabrera (1406). There is also a long predella from the lost altarpiece of Saint Anthony the Abbot, by Lluís Borrassà (1411). And the altarpiece of the Trinity, by Gabriel Guàrdia (1501), a follower of Jaume Huguet. Under the main altar there is a crypt, built between 1576 and 1578 and significantly enlarged in 1973, which houses the relics of the martyred saints Mauricio, Fructuoso and Agnés, patrons of the city. The marble decoration is the work of the Bages sculptor Jaume Pedró (1781) and is one of the finest examples of Catalan academic Baroque. Pedro later settled in Cervera, where he made the altarpiece for the university chapel. Next to the basilica, which makes use of the north wall of the old Romanesque church, is part of an old 11th-century Romanesque gallery with two floors, the upper one with four round arches with carved capitals. Also nearby is the Gothic north portal, a doorway with a tympanum and capitals attributed to the sculptor Arnau Cadell, from the old 12th-century Romanesque church. The original tympanum, badly damaged, is kept in the collegiate museum and has been replaced by a good reproduction. The cloister, located to the north of the church, is Renaissance in style and has a central courtyard occupied by a Baroque chapel. Southern doorway Side door formed by five sets of columns supporting the rectangular lintel of the door, crowned by five capitals on both sides from which the wide pointed archivolt emerges. The dust cover is decorated around the edges with stylised imitation foliage and topped by the corresponding ‘artichoke’. The capitals are purely decorative with floral motifs and human and animal figures. Where the archivolt begins, there are two corbels. North Portal A portal of great beauty and a fine example of Catalan Gothic architecture. It consists of a general tangential frame on a chamfered corner or at an angle of forty-five degrees with mouldings and all the moulded elements perpendicular to the viewer's line of sight. It is a Roman-style portal: the most visible pointed arch is an equilateral triangle and the gable forms an isosceles triangle. These figures are complemented by circles (oculi or blind rosettes) to create the desired visual effect. On either side, there are two wide bands of slender cylindrical columns set on bases decorated with geometric motifs. Portal of the Cloisters It has a structure formed by a semicircular arched arch in which two degrade archivolts are inscribed. The outermost one has a helical shape and rests on two stylised columns with historiated capitals that are fairly well preserved as they are made of limestone. The one on the left depicts two scenes from Genesis: the temptation of Adam and Eve, with the serpent challenging them from the tree, and their expulsion from Paradise. The image of God is majestic in contrast to the huddled figures of the two characters. On the right, there are two men fighting and decoration with plant motifs. The inner archivolt surrounds the tympanum, where we find the Virgin seated with the Child on her lap. Four angels holding censers, positioned among clouds as if they were in heaven, give a theophanic meaning to the scene, which completes the cycle of sin and redemption begun by Adam and Eve. The tympanum we see today is a copy of the original due to its poor state of preservation. Bounding the tympanum at the bottom and extending to the capitals, so that it becomes their abacus, is a 10 cm wide frieze with decorative motifs consisting of a pearl border, formed by medallions with plant decoration and squares with small human heads, except for two that feature a brave man. Gargoyles Overhanging stone channels in grotesque shapes and fantastic figures from the animal kingdom. The oldest are located at the top of the nave's buttresses, some of which are badly damaged by the ravages of time. The newer ones show a clear influence of French Gothic, while the original ones are much more archaic in style, with much more stylised and decorated forms. These are not located so high up and are only found in the newer part of the basilica, at the foot of the building, in the structure of the baptistery. Tower of Sant Pere de la Seu A small hexagonal tower located on the left side of the exterior of the apse, rising to the height of the highest roof of the temple. It replaces the buttress, while the upper bottle-shaped section serves as a bridge between the tower and the roof of the central nave. Inside there is a spiral staircase with an entrance from the interior of the basilica. At the top there are four windows with a trefoil design. It looks like a bell tower. Tomb of Bernat de Manresa Stone sarcophagus, on the lid of which the deceased is depicted, who died in 1339. He is dressed as a knight with his head resting on a pillow and his feet on a dog. On the front of the vessel we can see reliefs representing an open book flanked by two coats of arms. Tomb of a lady According to heraldry, she was a member of the Calders family. On the lid, the recumbent lady rests her head on a pillow and her feet on a dog. The front of the vessel is decorated with reliefs of trefoil arches inscribing figures mourning the deceased. Tomb of a priest The figure on the cover is dressed in vestments and rests his feet on a lion. The stone sarcophagus has very Gothic forms, with meticulous design and decoration. On the front of the vessel are two coats of arms with a fleur-de-lis and, in the centre, an open book dated 1380. Located on the main altar, in Gothic style from the 13th century, is a copy of the Virgin of the Dawn from La Seu de Manresa, carved in wood by Pere Puig. The existence of the church of Santa Maria dates back to the 10th century. Around 940, a temple dedicated to this saint was consecrated by the Bishop of Vic, but it was destroyed by the Saracen invasion in 999 and rebuilt during the time of Abbot Oliba, between 1020 and 1030. We know that it had a nave with a transept, a dome and three apses, which was demolished when the new church was built. The only information we have about this building comes from a document drawn up by the county vicar of the city in 1169 for the construction of this temple, but we have no information about the construction process. The most interesting remains of the Romanesque church are the Portal dels Claustres, formerly known as the Porta de l’Abadia. The original location of the portal is not known, but it is believed that it was probably an entrance to one of the arms of the transept. The original tympanum, badly damaged as it was made of sandstone, was replaced by the one we see today thanks to the sponsorship of the Friends of the Cathedral. A close look at the sculptures on the portal reveals similarities with those in the cloister of the monastery of Sant Cugat del Vallès, although these are more elegant, suggesting a direct link with one of the workshops that worked there. From the 11th century onwards, it was home to a community of canons, which in 1592 was converted into a secular collegiate church, abolished in turn by the concordat of 1851 and re-established in 1884 by Leo XIII, who granted the temple the honours of a basilica. The construction of the current church was agreed in 1301 by the municipal council, but did not begin until 1322 with the hiring of master builder Berenguer de Montagut (who was simultaneously entrusted with the construction of the church of Carme in Manresa). Montagut would soon after (1329) become the architect of Santa Maria del Mar (Barcelona) alongside Ramon Despuig. The works on Santa Maria del Alba, in which other master builders were involved, included Berenguer de Montagut (who was simultaneously commissioned to build the church of Carme in Manresa). The works on Santa Maria del Alba, in which other master builders such as Arnau de Velleres and Martí Ibar were involved, began in 1328 and lasted until the end of the 15th century. In 1371, the main altar was consecrated, and the work received a new impetus at the end of the 15th century. However, it was not until 1486-88 that the west wall was closed with a large rose window. Nevertheless, the façade was not completed until 1915-34 with the construction of the neo-Gothic baptistery and portico, designed by Alexandre Soler i March. The church suffered a fire at the end of the War of Succession (1714) and was damaged in 1936. The bell tower is the work of Joan Font and Guerau Cantarell, and dates from 1592 (1684?). Various restoration and maintenance works have been carried out.