Description
Monument opened on 8 February 1983. In Orcera, in the area of Segura de la Sierra, although with its own council, there was, according to the visit of 1525, a small church dedicated to San Mateo on the outskirts. The increase in population and greater economic capacity determined the construction of a new temple in the public square; as it was mandatory the request was requested to the Council of the Order of Santiago and King Charles I as the supreme master of it. Carlos I in a letter, dated February 8, 1535 in Madrid, ordered that appropriate steps be taken on whether or not such works were appropriate, teachers' expenses, etc. On 28 February the licence was granted.
The works had to begin shortly after, and when on January 26, 1537 a visit was made by the visitors of the Order of Santiago, in the inspection of the accounts there was an expense that linked Andrés de Vandelvira to the project of the new factory next to the cantero Juan de Mojica; the church butler justified a total of 30,000 maravedis paid to these teachers "(...) for the quenta of the work of the yglesia that is being avened from haçer in the plaça (...)."
The trail of the new church was set up in Francisco de Luna, a master of canteria of recognized prestige at the service of the Order of Santiago, which in turn would be the one that encouraged Vandelvira and Mojica to keep the work at first. However, a certain documentary vacuum has generated confusion in the constructive process of this church, since if at first it is clear the commission to Mojica and Vandelvira, months later as it appears from another letter from the king - of 12 October 1537 - the factory was rekilled by the cantero Juan Martínez, although at the foot of the work was left Juan de Mojica for many years. De Vandelvira and Francisco de Luna do not know any more data related to the church of Orcera, but they must have influenced Juan de Mojica, a bartender at the end and after all professionally related to them. Perhaps Vandelvira also influenced the intervention made in the church by the singers Martín López de Alcaraz and his father Anton Sánchez, active in the city of Ubeda, in the years 1567 and 1568.
In the church, finally built throughout the 16th and 17th centuries, once again the Gothic-Renaissance duality is maintained in the approach of its unique ship, divided into three sections covered with tercelette vaults plus a quarter or major chapel with a starved vault. The arches perpiaños of the sections are half-point and the parietal - slightly pointed - are placed in semi-columns raised on bases of more classical composition. The classicism is more forceful on the outside: windows, side cover, cornels and vases that crown the contrasts. At the beginning of the 20th century, a monumental and proud 16th-century cover came from the late Franciscan convent of Santa María de la Peña, in which a beautiful Gothic image was venerated with this advocation, now preserved in the parish temple of Santa María del Collado de Segura de la Sierra.
Lost almost all of its movable goods in 1936, they are worthy to describe within the imagination a Crucified Christ of Manierist inspiration - preserved in the sacristy - which presents the particularity of which it was made in wood paste, and an Ecce Homo, a baroque size venerated in the town under the advocation of El Señor de la Caña, located at the entrance of the chapel of the Sagrarian. The major altarpiece, in gold bread, was built in the post-war and occupies most of the header's tester.
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