Description
This church can be placed within the Renaissance art, with a nice cover stands out for its tower, of proportionate measures and the outer walls that lay in the church where a little elaborate quarry stands out. These walls, of masonry, are reinforced by quadrangular contrasts and covered in two waters by brick tile. Within it, clarity and amplitude are notable. By retomating its cover, it is located on one of the sides of the church giving the entrance to the Plaza de la Constitución with an arch of a half point of simple character on which we find a second body with venerea, which is intended to welcome the image of Santiago Apostle. The tower, following the line, is square-based and articulated in two bodies, the second being the one with gaps formed by half-point arches, where the church bell tower resides.
When we enter the interior of this church we are drawn to the attention of the amplitude given by the great deafan ships, which are supported by a square section machons, all arranged in an orderly manner and giving a harmonious character to all the interior construction.
Another of the most prominent aspects is the body of the church composed of three ships of three tranches each and with the same height, which house spherical vaults in advocation to James the Apostle. As we enter through the main entrance, on our left we find a chorus above the arista vaults, under which is the baptismal pile.
Another of the most prominent aspects of this church are the altarpieces, which were created after the Civil War. The altarpiece on the main altar is made by Francisco Cerezo, a jiennese painter born in Villargordo. But we can also find an image of St. Joseph, whose author is unknown and an image of the Virgin of the Dolores, which as discussed above is taken in procession during Good Friday.
