Iglesia de la Asunción

Calle Francisco López Navarrete, 6. 23370, Orcera How to get

Monument started 02/08/1983. In Orcera, suburb of Segura de la Sierra, although with its own Council, according to the 1525 visit there was a small church dedicated to San Mateo located on the outskirts. The increase in population and a greater economic capacity determined the construction of a new temple in the public square; As was mandatory, the petition was requested from the Council of the Order of Santiago and from King Carlos I as its supreme master. Carlos I in a letter, dated in Madrid on February 8, 1535, ordered that the appropriate proceedings be made regarding the convenience or not of said works, teacher expenses, etc. On February 28 of that year the license was granted.

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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 is an expense that links Andrés de Vandelvira with the project of the new factory next to the Juan de Mojica stonemason; the church steward justified a total of 30,000 maravedís paid to these teachers "(...) for en quenta of the work of the yglesia that is avia to be done in the plaça (...)".

The design of the new church fell to Francisco de Luna, a renowned stonemason master at the service of the Order of Santiago, who in turn was the one who led Vandelvira and Mojica to stay with the work in the first place. However, a certain documentary void has generated confusion in the construction process of this church, since if at first the commission to Mojica and Vandelvira is clear, months later as is clear from another letter from the king -of October 12, 1537 - The factory was finished in the Juan Martínez stonemason, although the Juan de Mojica stonemason remained on site for many years. Of Vandelvira and Francisco de Luna we do not know more data related to the church of Orcera, but they must have influenced Juan de Mojica, a stonemason after all professionally related to them. Perhaps Vandelvira also influenced the intervention made in the church by stonemasons Martín López de Alcaraz and his father Antón Sánchez, active in the city of Úbeda, 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 single nave, divided into three sections covered with tercelete vaults plus a fourth or main chapel with a starry vault. The perpal arches of the sections are semi-circular and the parietals -slightly pointed- are lowered in raised semi-columns on bases of a more classical composition. The classicism is more forceful on the outside: large windows, side portal, cornices and vases that crown the buttresses. At the foot of the 20th century a monumental and superb 16th century portal was incorporated from the disappeared Franciscan convent of Santa María de la Peña, in which a beautiful Gothic image with this dedication was venerated, currently preserved in the Parish temple of Santa María del Collado de Segura de la Sierra.

OTHER NON-ARCHITECTURAL ARTISTIC MANIFESTATIONS

Almost all its personal property lost in 1936, a Mannerist-inspired Crucified Christ - preserved in the sacristy - is worthy of note within the imagery, which has the particularity that it was made of wood pulp, and an Ecce Homo, baroque carving venerated in the town under the invocation of El Señor de la Caña, located at the entrance of the Sagrario chapel. The main altarpiece, in gold leaf, was built in the postwar period and occupies most of the head of the head.