Iglesia parroquial de la Asunción

Callejón de la Iglesia, 4. 23430, Rus How to get

Monument, Asset of Cultural Interest. Started 02/08/1983. On the old Gothic church, of which some remains are preserved in the feet, the current temple was carved in stone throughout the sixteenth century. Documentary news about the construction process is scarce, but some inscriptions and the episcopal heraldry preserved in its factory can mark the rhythm of the works.

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Professor Pedro Galera includes this temple within the artistic production of Andrés de Vandelvira, as this is supported by certain data discovered by him in the Diocesan Historical Archive of Jaén. Diego Angulo is of similar opinion, expressed in the report of the Royal Academy of History for the declaration as a historical-artistic monument.

Under the episcopate of Don Francisco Delgado (1566-1576) a good part of the factory must have been carried out, with its coat of arms in the arch of the main chapel. Several years earlier, a chapel was built on the Gospel side, dated 1561. According to VM Ruiz Fuentes, in 1572 the church was still unfinished, this year the stonemason Pedro Hernández de Cantabrana was obliged to “(...) remove the stone that was necessary to make two pillars in the church of Santa Maria in the place of Rus with certain arches and carvings at my expense (...) ”. The following chronological data appears on the access cover on the Gospel side, dated 1583. The tower, with a rectangular plan, seems to have been built under the mandate of Bishop Sancho Dávila (1600-1615), whose coat of arms appears on it. In 1820 it presented serious problems, which motivated the drafting of a project for its rebuilding.

Other works were carried out in 1950, according to an inscription carved around Bishop Dávila's coat of arms. The floor plan is a living room, with exterior buttresses (those with the pierced feet), of almost quadrangular proportions, which increases the feeling of centralization, its flat headboard not standing out on the outside, but on the inside with a powerful semicircular arch . It is divided into three naves with two sections and columnar supports on semicircular arches; the space in front of the presbytery is covered with a half orange, with the Evangelists on the pendentives, of Baroque style; the central vaulted vault is decorated with a mixtilinear rhombus combined with triangular frames at the angles; the rest of the roofs are covered with ribs, except the choir - located at the foot of a gallery - which is made with a half barrel. The access covers, as well as the chapels-niches and other construction elements denounce a simple aesthetic, but clearly classicist.

Andrés de Vandelvira in this case draws a church according to the economic conditions of his factory, but the result is not without a certain elegance thanks to the columnar supports provided, the cornices, arches and vaulted vaults. The architectural articulation shows a clearly Vandelvian atmosphere.

OTHER NON-ARCHITECTURAL ARTISTIC MANIFESTATIONS.

The main altarpiece, a piece of little merit, houses the image of Our Lady of the Assumption, carved in 1964 by the Malaga sculptor Francisco Palma Burgos. Of interest is the set of pieces that make up the museum of goldsmithing, installed in a small room at the foot of the church.