Description
Monument, Good Cultural Interest. Incoado 08 / 02 / 1983. On the ancient Gothic church, of which some remains are preserved on the feet, the present temple was carved in a quarry stone throughout the 16th century. There are few documentary news about the constructive process, but some inscriptions and the heraldic episcopal preserved in its factory can mark the pace of the works.
Professor Pedro Galera includes this temple in the artistic production of Andrés de Vandelvira, as this is the basis for certain data discovered by him in the Diocesan Historical Archive of Jaén. The opinion is Diego Angulo, 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 large part of the factory had to be carried out, placing its shield on the arch of the major chapel. Several years ago, a chapel on the side of the Gospel, dated 1561, was erected. According to V. M. Ruiz Fuentes, in 1572 the church is still to be completed, in this year the cantero Pedro Hernández of Cantabrana being forced to "(...) remove the stone that was necessary to make two pillars in the yglesia of Santa Maria from the place of Rus with certain arches and labrallos on my coast (...)." The following chronological data is on the Gospel side access cover, dated 1583. The tower, of a rectangular floor, appears to have been raised under the command of Bishop Sancho Dávila (1600-1615), whose shield appears on it. In 1820 there were serious problems, which led to the drafting of a project for its reconstruction.
In 1950, other works were carried out, as recorded in an inscription carved around the blasphon of Bishop Dávila. The plant is of living room, with external contrasts (those of the baked feet), of almost quadrangular proportions, which increases the sense of centralization, not highlighting to the outside its flat header, but in the interior with a powerful arc of half point. It is divided into three ships with two sections and supports columnated on half-point arches; the space in front of the presbyterium is covered with an orange half, with the Evangelists, with a baroque bill, on the breast; the central vault is decorated with a mixtilineum rhyme combined with triangular frames at the angles; with bays are covered the rest of the covers, except the cor- located at the feet on a trib- that is made with a half-barrel. The access covers, as well as the capillas-hornacinas and other constructive elements denounce a simple, but clearly classical, aesthetic.
Andrés de Vandelvira in this case traces a church according to the economic conditions of its factory, but the result is not exempt from some elegance thanks to the columnated supports provided, to the cornices, arqueries and vaults laid. The architectural joint shows a clearly vandelvirian environment.
OTHER ARTISTICAL MANIFESTIONS NOT ARCHITECHANIC.
The main altarpiece, a piece of little merit, houses the image of Our Lady of the Assumption, a size made in 1964 by the Malagasy sculptor Francisco Palma Burgos. Of interest is the set of pieces that make up the museum of goldsmiths, installed in a small room at the foot of the church.
Is part of
