In January 1817 General José de San Martín led an army out of Mendoza and over the Andes to free Chile from Spanish rule. The crossing took 21 days, and the feat has been compared to Hannibal's and Napoleon's crossings of the Alps.
The route follows the campaign from the hill monument in Mendoza and the El Plumerillo camp, over the two passes the columns used, to the victories at Chacabuco and Maipú. The mountain stops are pinned approximately; the passes are long, and the army's exact tracks are not.
In November 1532 Francisco Pizarro reached Cajamarca with 110 foot soldiers and 67 cavalry. Within a day he had captured the Inca emperor Atahualpa, and a year later the Spanish entered Cusco, the Inca capital.
The route follows Pizarro from his first landfall at Tumbes in 1528 through the first Spanish town in Peru and the Ransom Room in Cajamarca to the Sun Temple in Cusco and, finally, Lima, the city he founded and where he was killed. The conquest is told from the places where it happened; the first two pins are only approximate.
In April 1519 Cortés landed on the coast of Veracruz; in August 1521 the Aztec capital fell. In between came alliances, a massacre, a night of disaster on a causeway and an eight-month siege.
The route follows the campaign from Villa Rica to Tlatelolco and sets the Spanish accounts of Cortés and Díaz beside Tlaxcalan and Aztec ones where they are known. Where the accounts conflict, the stop says so.
In August 1492 three small ships slipped down the Río Tinto from Palos with a plan to reach the Indies by sailing west. By mid-March 1493 Columbus was back in Palos without his flagship, which had been wrecked off Hispaniola, but with captives, samples of gold and plants unknown in Europe.
The route follows the voyage in order: the friary where the plan found friends, a stopover in the Canaries, the first landfall in the Bahamas, the wrecked flagship and the fort of La Navidad, a storm-driven stop in Lisbon, the return to Palos and the report to the monarchs in Barcelona. The landfall island and the fort site are both debated, and the pins say so.
The French Way is the most popular route of the ancient pilgrimage to Santiago de Compostela, It starts at Saint-Jean-Pied-de-Port, crosses the Pyrenees, and from Roncesvalles on the Spanish side still runs about 780 kilometres west to Galicia. It is on the UNESCO World Heritage List.
This route follows it through seven landmarks: a mountain gate, a village of legend, a pilgrims' bridge, a great cathedral, a knights' tournament, a Galician hilltop and the tomb of St James.
Pixar's Coco follows the boy Miguel from his shoemaking family's town of Santa Cecilia into the Land of the Dead on the Day of the Dead. Neither world exists on a map, but the filmmakers drew on real Mexican villages, families and festivals, and Mexican guides have since linked more places to it.
This route follows five of those places in the order the story needs them. Almost every link is an inspiration, not a filming location, and the pins say so.
In Alfonso Cuarón's Roma, a live-in maid named Cleo moves through a year of heartbreak in Mexico City's Colonia Roma, from her employers' house on Tepeji Street to the street violence of 10 June 1971 and a rescue on the beach at Tuxpan. Cuarón built the story from his own childhood memories.
The route follows the film in order across five places: the house, the Teatro Metropólitan, a rebuilt cinema corner, the Corpus Christi massacre site and the beach. Several were rebuilt or filmed elsewhere, so the pins are marked approximate.
Sergio Leone's "spaghetti westerns" put the American West in southern Spain. Their Almería desert towns and the sets built for those films still stand.
The route follows the desert and the white village of Los Albaricoques through three Leone films: A Fistful of Dollars, For a Few Dollars More and Once Upon a Time in the West. One stop lies over the border in Granada province.
Pedro Almodóvar has shot the majority of his films in Madrid, and Madrid's tourism office lists the exact streets, bars and squares where his scenes happened.
The route follows eight filming spots in order of release, from the El Rastro bar of Labyrinth of Passion in 1982 to the Comendadoras square of Parallel Mothers in 2021, with one detour to Almagro in La Mancha for Volver.
Contains difficult themes: the murder of a poet in the Spanish Civil War.
Federico García Lorca was born in a farming village in the Granada vega and wrote his rural plays in the family's summer house on the city's edge. In August 1936, weeks into the Civil War, he was arrested in Granada and killed near Víznar.
The route follows his life from the birthplace to the orchard house, then the last days in 1936 and the memorials in the hills. The exact place of his death and grave is still disputed, and the final stops are marked as approximate or speculative.
Washington Irving came to Granada in 1829 and ended up living in a palace of the Moorish kings. With a 17-year-old local guide named Mateo Ximenes at his elbow, he gathered the legends that became Tales of the Alhambra in 1832.
This route follows the book through six places: the gate with the magic hand and key, Irving's rooms, the Hall of Ambassadors, the Court of Lions, the Generalife and the Tower of the Princesses. Several tales are legend as much as history, so the pins mark the places where Irving tells them.
Clarín's novel hides Oviedo behind the name Vetusta, a provincial capital of gossip, piety and boredom where Ana Ozores, the Regenta, is slowly worn down. It begins with the Magistral watching the town through a telescope and ends with Ana fainting in his chapel.
The route follows seven scenes from the tower to the duel and the confessional, and ends at the modern statue of Ana. Spanish guides tie some scenes to real Oviedo; where they do not, the pin is approximate or absent.
Horacio Oliveira, in Paris, spends his nights walking the city with the Maga and the Club de la Serpiente, until a baby's death breaks the group apart. Then the novel moves to Buenos Aires: a circus, a psychiatric clinic and a window over a courtyard.
The route follows the book's real Paris places, from the Pont des Arts to the Montparnasse cemetery, then its Buenos Aires scenes. Most Paris stops come from the Rutas Cervantes literary route; the Buenos Aires ones are invented and unpinned.
Jorge Luis Borges is the writer who turned a library into a metaphor for the universe, yet his own life ran through very real places in Buenos Aires: a poor Palermo childhood, a basement library job, and eighteen years as director of the National Library.
This route follows him from his birthplace barrio and a famous café to the two library buildings he knew, with one fictional stop: the Calle Garay house where "The Aleph" sees everything at once.
Macondo is not on any map, but its author grew up on Colombia's Caribbean coast. Gabriel García Márquez was raised in Aracataca by grandparents who treated the extraordinary as perfectly natural, and that deadpan voice became the novel.
The route runs from Riohacha, where the Buendías begin, through the marsh and sierra country around Macondo to the railway, the banana company and the massacre, and ends in Mexico City, where the book was written. Macondo itself is fictional, so its stops are real stand-ins.
Lázaro, a hungry boy born in a river mill, serves a string of cruel masters on the roads of Spain. The picaresque classic is told in his own sly voice, and it lets a reader trace his path from the bridge in Salamanca to the streets of Toledo.
This route follows his early years: the stone bull, the grapes at Almorox, the revenge at Escalona, the miser priest at Maqueda and the squire's empty house in Toledo. Most places are named only as towns, so most pins are approximate.
Spain's oldest surviving epic poem follows Rodrigo Díaz, the Cid, from a humiliating exile out of Castile to the conquest of Valencia, and then to a trial in Toledo after his sons-in-law abandon his daughters.
The route runs from Vivar and Burgos through Cardeña and Valencia to Corpes and Toledo. The poem and the historical Cid differ in many details, and the site of Corpes is disputed.
A Russian legend, sometimes called the Russian Atlantis, says a whole city sank into a lake rather than fall to the Mongols, and that on calm days you can still hear its bells. Rimsky-Korsakov turned it into an opera, and Werner Herzog went looking for it with a camera.
The route follows the story from the folk etymology of the name, through the town said to be Little Kitezh and the forests of the Kerzhenets, to the lake itself and the St Petersburg stage where the opera first sounded. Kitezh is a legend: the places are traditional identifications, not proof.
The S.T.A.L.K.E.R. games send scavengers called stalkers through the Zone, a radioactive wasteland built from the real Chernobyl exclusion zone. The developers copied bridges, railways and buildings from photographs and visits, then bent the geography for gameplay.
This route goes from the edge of the Zone to the reactor, setting each game location beside its real counterpart. The real zone is restricted and trespassers are prosecuted, so this is a map to read, not a trip to plan.
Twenty years after a nuclear war, the survivors of Moscow live in the Metro, and a young man named Artyom must carry a warning from his home station across the whole network. The novel and the game built on it use real station names, so you can follow Artyom's trip on an ordinary city map.
The route runs from VDNKh in the north through Kitay-gorod, Paveletskaya and Kievskaya to the Ostankino Tower. The book and the game differ in places; where they do, the text says so. The library stop is a likely match, not a named place.
The novel was banned in the Soviet Union, so David Lean could not shoot his epic there. Instead he built Moscow in a field outside Madrid, turned the pine woods of Soria into the Urals and sent a second crew to the snows of Finland.
The route follows the story in order, from the dam of the frame story to the ice palace at Varykino, and shows where each scene was really filmed. Most pins mark general areas, not exact camera spots.
Andrei Tarkovsky's Zone, a fenced-off wilderness where a guide takes a writer and a professor toward a Room said to grant wishes, was largely shot around Tallinn, Estonia, among abandoned hydropower plants, a power station and an old chemical works.
This route follows the film's story through those places: the factory and power plant seen before the Zone, the gate, the river plants where the journey was shot, a highway bridge and the power station that smokes behind the final homecoming. Exact spots are often unrecorded, so most pins are approximate.
Vasily Livanov and Vitaly Solomin's Soviet Holmes and Watson were made when filming abroad was impossible, so a Riga lane became Baker Street, a Petersburg station became Victoria and a waterfall in Abkhazia became the Reichenbach Falls.
The route follows the Lenfilm television films of 1979 to 1986 from the Riga street with the screen 221b to Peterhof, Saint Petersburg, the Gega Waterfall and Tallinn.
Semyon Gorbunkov, a modest Soviet economist on his first trip abroad, slips on a watermelon rind in Istanbul, says "Damn it!" and ends up with a smugglers' plaster cast full of jewels on his arm. Gaidai's 1968 comedy needed a foreign city, and found it in Baku.
The route follows the film across its filming sites: the old streets and palace of Baku that play Istanbul, then the southern coast and a Moscow wasteland that play the heroes' home town. Only the Baku and Kiselyov Rock stops are pinned to a specific place; the rest are approximate.
