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Heritage<\/p>\n
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Lucena has been both the birthplace and the setting for distinguished architects whose work has left a lasting mark on its religious heritage. Among them, Francisco Hurtado Izquierdo<\/strong>stands out as one of the leading figures of the Spanish Baroque. His distinguished career led him to serve as Master Architect of both the Mosque-Cathedral of C\u00f3rdoba and Cathedral of Granada, and to create landmark works such as the tabernacles of the Charterhouse of Granada and El Paular. Linked to his early years in Lucena, where he was born, he is credited with work on churches such as Saint Martin and the Sanctuary of Our Lady of Araceli.<\/p>\n Alongside him, the figure of Leonardo Antonio de Castro<\/strong>is equally significant. A native of Lucena, he carried out almost all of his work in the town and played a fundamental role in the development of the local Baroque style. He was the author of projects such as the Chapel of the Blessed Sacrament in St. Matthew, as well as fa\u00e7ades, altarpieces and architectural designs for various churches. His work combines architecture, sculpture, and paiting in a fully Baroque style.<\/p>\n As part of this group is Jos\u00e9 de Bada y Navajas<\/strong>, another native of Lucena, who trained under the influence of Hurtado Izquierdo and went on to enjoy a distinguished career in Granada and M\u00e1laga. His name is associated with major works such as the Basilica of Saint Juan de Dios in Granada, one of the finest achievements of the Andalusian Baroque, as well as the completion of Granada Cathedral\u2019s Tabernacle and interventions at M\u00e1laga Cathedral. His career reflects the ability of Lucena\u2019s artists to trascend the local sphere and leave their mark on some of the most important architectural ensembles in southern Spain. In Lucena, he is credited with the Church of Saint John the Baptist. <\/span><\/p>\n Alongside these names, it is also worth recalling the presence of other craftsmen who took part in bringing these projects to life, such as Jer\u00f3nimo and Acisclo Ram\u00edrez<\/strong>, master builders connected with the execution of the Chapel of the Blessed Sacrament in St. Matthew, or Juan del Pino Ascanio<\/strong>, responsible for work in polychrome marble that forms part of the decorative richness of these spaces.<\/p>\n Likewise, the influence of architects such as Hern\u00e1n Ruiz I and Hern\u00e1n Ruiz II<\/strong>, key figures of Andalusian Renaissance architecture, helps to explain the artistic evolution that culminated in the Baroque style which today defines much of Lucena\u2019s religious architecture. Also worthy of note is Brother Alonso de Jes\u00fas y Ortega<\/strong>, who promoted the constructin of the Church of Saint Juan de Dios in Granada, exemplifying the influence of notable figures from Lucena beyond their native town. Alongside them, other artists such as Jer\u00f3nimo Hern\u00e1ndez<\/strong>, in the field of sculpturer, or Brother Juan Rodr\u00edguez de Ocampo<\/strong>, in architectural design, complete a picture that helps explain the richness and distinctive character of Lucena\u2019s religious heritage, as well as the role the town played in the development of Andalusian art.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5376,5377,5378,5379,5380″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”88%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.12)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n The <\/span>Major Parish Church of St. Matthew the Apostle <\/b>is considered the cathedral of the Subb\u00e9tica region of C\u00f3rdoba. This church reflects the artistic principles of the Gothic-Mudejar and Renaissance styles. This was the site of the town\u2019s former synagogue and, later, its mosque, until it was adapted for Christian worship in 1240 following the conquest of the then town of Lucena by the forces of Ferdinand III. It was dedicated to this Evangelist because the surrender took place on his feast day. <\/span><\/p>\n The actual church began in 1498 with the chancel,<\/b>, together with the sacristy doorway and the exterior doorway of Our Lady of the Umbr\u00eda. The remainder of the building is Renaissance in style and consists of three aisles with large piers supporting pointed arches of Mudejar inspiration, together with a main fa\u00e7ade showing clear Classical influences. <\/span><\/p>\n Inside, the principal highlights is the Mannerist high altarpiece whose architectural structure was created by Jer\u00f3nimo Hern\u00e1ndez and whose sculptural figures were carved by Juan Bautista V\u00e1zquez the Elder. In addition, the church contains several smaller altarpieces and chapels housing the images that begin their Holy Week penitential processions from this church.<\/span><\/p>\n Also <\/span>of particular note is the magnificent Chapel of the Sagrario, built between 1740 and 1772<\/b> by the Confraternity of the Blessed Sacrament, following the designs of the local architect Leonardo Antonio de Castro. It is considered one of the jewels of C\u00f3rdoba\u2019s Baroque heritage and one of the finest sculptural work of the Andalusian Baroque. <\/span><\/p>\n The confraternities and brotherhoods with canonical seat here are the Brotherhood of Our Father Jesus in His Triumphal Entry into Jerusalem; the Confraternity of the Most Holy Christ of the Humiliation and Our Lady of Sorrows (\u201cServitas\u201d); the Pious, Humble and Fervent Brotherhood and Confraternity of the Most Holy Christ of Love and Mary Most of Peace (\u201cCampanitas\u201d); the Confraternity and Brotherhood of Mourning Drummers of the Most Holy Christ of Health and Mercy (Christ of Silence); The Brotherhood of Nazarenes of Our Father Jesus of Charity and Our Lady of Sorrows; and the Venerable and Illustrious Archconfraternity of the Most Holy Sacrament (not affiliated to the Agrupaci\u00f3n de Cofrad\u00edas).<\/span><\/p>\n It is the canonical seat of the following Passion confraternities and brotherhoods: <\/span><\/p>\n It is the canonical seat of the following Glory confraternity: <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n The<\/span>Parish Church of Santo Domingo de Guzm\u00e1n <\/b>is<\/span> one of the five parish churches in the municipality. <\/span><\/p>\n Ancient convent of the Minims, also known as the Victorians,<\/b> built on the site of a hermitage dedicated to Saint Francis of Paola, which had been errected in fulfilment of 1680. Once the hermitage was completed in 1690, it remained as oratory until the religious settled in adjoining houses purchased by the town, founding a hospice, where the Convent of Saint Francis of Paola would later be built. <\/span><\/p>\n Only the doorway of the ancient hermitage survives, while <\/span>the rest of the church was built in 1730 to the designs of Brother Juan Rodr\u00edguez de Ocampo<\/b>. The stucco decoration of the crossing and the magnificent Baroque altarpiece, attributed to Francisco Jos\u00e9 Guerrero, are particularly noteworthy. <\/span><\/p>\n Also<\/span>noteworthy are numerous works of art, such as the image of Christ of the Blood<\/b>, of colonial origin and made of maize pith and acacia wood; <\/span>the statue of Saint Joseph, <\/span>from the Granada workshop of Jos\u00e9 de Mora; and the image of Saint Mark, attributed to the sculptor Jos\u00e9 de Medina. The ancient Convent of Saint Francis of Paola, adjoining the church, was secularized in the 19th century, housing state offices, schools, a Civil Guard barracks, and currently a hotel.<\/span><\/p>\n The confraternities and brotherhoods with canonical seat in the same are the Royal Confraternity of Our Father Jesus in His Agony Praying in the Garden, Blessed Virgin Mary of the Star, and Saint Innocent the Martyr, the Brotherhood of Nazarenes of the Most Holy Christ of the Blood and Blessed Virgin Mary of the Greatest Pain, the Parish Grouping of Our Lady of Sorrows (not grouped), and the Brotherhood of Saint Joseph the Artisan.<\/span><\/p>\n It is the canonical seat of the following Passion confraternities and brotherhoods: <\/span><\/p>\n It is the canonical seat of the following Glory confraternities and brotherhoods: <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5381,5382,5383,5384,5385″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”100%” max_width=”77%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.12)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5386,5387,5388,5389″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”100%” max_width=”80%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.11)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n The <\/span>Parish Church of St. James the Apostle <\/b>is one of the five parish churches in the town. <\/span><\/p>\n The Parish Church of Santiago, built in the Gothic-Mudejar style, <\/span>was commenced in 1503 by testamentary provision of Garc\u00eda M\u00e9ndez de Sotomayor<\/b>, the Commander of the Order of Santiago and uncle of the then Lord of Lucena, Diego Fern\u00e1ndez de C\u00f3rdova.<\/span><\/p>\n It has traditionally been regarded as the former Jewish synagogue, a mistaken assumption, as neither its architectural syle nor its location \u2015outside the walled enclosure of Jewish Lucena\u2015 supports such an identification. It is possible that materials from the recently demolished old Church of St. Matthew were reused in its construction. That earlier church is the site where the former synagogue and later mosque may in fact have stood. <\/span>Until it was established as a parish in 1891, it served as an auxiliary church of St. Matthew\u2019s Parish.<\/b> <\/span><\/p>\n The Mudejar character of its architecture was completely masked by the extensive alterations made to the building, <\/span>whose structure had been severely weakened by the great earthquake of 1755. <\/b>At the end of the 18th century, the bell tower was removed and replaced by the angular bell gable that the church bears today. <\/span><\/p>\n The church, with its rectangular ground plan, comprises three aisles separated by octagonal pillars supporting pointed brick arches framed by an alfiz, and is roofed with a reconstructed coffered timber ceiling based on the original design. <\/span><\/p>\n The brotherhoods and fraternities with canonical seat there are the Brotherhood and Confraternity of Our Father Jesus of the Column and Mary Most Holy of Peace and Hope, the Confraternity of Our Father Jesus Fallen and Our Lady of Health, the Brotherhood of Our Lady of Solitude, the Confraternity of Saint James the Apostle, the Confraternity of Saint Teresa of Jesus, and the Parish Association Our Lady of Candelaria (not affiliated).<\/span><\/p>\n It is the canonical seat of the following Passion confraternities and brotherhoods: <\/span><\/p>\n It is the canonical seat of the following confraternities and brotherhoods of Glory:<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n The <\/span>Parish Church of Sacred Family <\/b>is<\/span> one of the town\u2019s five parish churches. <\/span><\/p>\n It was founded outside the city walls through the devotion of the knight Fernando Alonso del Valle, in honour of Our Lady of the Valley, and dates from at least before 1548.<\/strong> In 1713, the Discalced Franciscan Friars<\/strong> (Alcantarines) founded the adjoining convent, under the patronage of St. Bernardino of Siena.<\/p>\n Following its confiscation under the ecclesiastical disentailment of 1835, it was not occupied by another religious community until the end of the twentieth century. For many years, it served as an Orphanage for Girls<\/strong> (from the late 19th century) and later as a Home for the Elderly<\/strong>, under the care of the Little Sisters of the Helpless Brothers (from 1908 to 1977). At the beginning of the 1980s, it was converted into a residential home run by the P\u00eda Uni\u00f3n de Obreros de Jes\u00fas Abandonado (Pious Union of Workers of the Abandoned Jesus)<\/strong>. It is now home to the Virgen de Araceli Social Dining Hall of Lucena<\/strong>, where meals are provided daily to individuals and families in need. <\/p>\n Over the past few decades, significant restoration work has been carried out. The church consists of a single nave with side chapels. Its interior is distinguished by the high altarpiece crafted by Juan Abundio de Burgos. Created between 1760 and 1763, it is carved and gilded in Baltic pine The central by is entirely occupied by the semicircular-arched opening leading tho the camar\u00edn of Our Lady of the Valley. <\/span><\/p>\n It is the canonical seat of the following Passion confraternity:<\/p>\n It is the canonical seat of the following Glory confraternity:<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5390,5391″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”76%” max_width=”65%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.12)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5392,5393,5394,5395″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”89%” max_width=”90%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.09)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” header_3_line_height=”1.4em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n In 1599, Phillip III informed the corregidor of Antequera of the wish of Do\u00f1a Ana Enr\u00edquez de Mendoza, Counterss of Prades, to foiund a monastery of Discalced Carmelites in Lucena, due to its large population and the limited religious infrastructure available there. Following the enquiries conducted by the Major of Antequera, the project was approved by the Town Council and the local residents.<\/span><\/p>\n <\/span>Construction began in 1600, and the convent was formally established on 19th March 1601<\/b>, under the patronage of St. Joseph. Initially, the friars occupied temporary houses until, in 1605, the first Mass was celebrated in the new church. The foundation was promoted by the theologian Juan Ben\u00edtez de Blancaso and generously endowed by Do\u00f1a Ana Enr\u00edquez, who donated land, and orchad, and irrigation water rights.<\/span><\/p>\n Between <\/span>1620 and 1640, the church was enlarged<\/b> with the support of the Duke of Segorbe and Cardona. Since 1608, it has been the seat of the Confraternity of Our Lady of Mount Carmel. Following the exclaustration of the religious community and the sale of ecclesiastical property in the nineteenth century, the convent disappeared, leaving only the library building, which was later converted into the sacristy and the parish house. The orchard passed into private ownership, although its original boundary wall has been preserved.<\/span><\/p>\n Architecturally, the present Parish Church of Our Lady of Mount Carmel, <\/span>situated on a rise overlooking the traditional Barrera district<\/b>, is a clear example of the architectural transition from Mannerism to the Baroque, as well as of the significant influence of the Herrerian style on the architecture of the first half of the 17th century. Its plan follow the Latin cross, with side chapels interconnected by passageways. Above the crossing rises a hemispherical dome, frescoed with phytomorphic motifs and a large central rosette, all supported on pendentives decorated with the heraldic coats or arms of the Houses of Comares and Segorbe and Cardona. <\/span><\/p>\n Its interior is dominated by the high altarpiece, which may be considered contemporary with the church\u2019s main fa\u00e7ade, whose decorative elements in the Escorial style are echoed in its structure. Its interior also houses <\/span>an important collection of paintings, some of which display a marked influence of Zurbar\u00e1n<\/b>, and have been tentatively attributed to Bartolom\u00e9 de Ayala.<\/span><\/p>\n It is the canonical seat of the Venerable and Illustrious Archconfraternity of Our Lady of Mount Carmel, which houses images associated with both the Passion and the Glory, as well as of the Brotherhood of Our Lady of El Roc\u00edo of Lucena and the Parish Association of Our Lady of the O (not affiliated).<\/span><\/p>\n It is the canonical seat of the following Passion confraternity:<\/p>\n It is the canonical seat of the following confraternities and brotherhoods of Glory:<\/span><\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” header_3_line_height=”1.4em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Although the church <\/span>was founded in 1558<\/b>, its present appearance dates from the works carried out in 1620 by the M\u00e1laga master builder Francisco de Lucena, on the site of an earlier medieval hermitage. Following the exclaustration of its community after the Ecclesiastical Confiscations, the convent was converted into the Municipal Boathouse and later into tenement housing. After the property was purchased in 1886 by the distinguished Lucena benefactor Don Francisco de Paula Cort\u00e9s, it was returned to the <\/span>Franciscan Order<\/b>, which has occupied it ever since.<\/span><\/p>\n A simple Mannierist fa\u00e7ade leads into a spacious church with a Latin cross plan, side chapels, and a tall, light-filled hemispherical dome rising above the crossing. The high altar is dominated by a fine Solomonic Baroque altarpiece, crafted by Jos\u00e9 Mat\u00edas S\u00e1nchez to a design by <\/span>Leonardo Antonio de Castro<\/b>. Also of note are the smaller altarpieces and a collection of sculpture of considerable artistic interest, including several images attributed to Pedro de Mena and the image of Our Lady of Sorrows, a Piet\u00e0 sculpted in 1800 by Blas Molner. The <\/span>adjoining convent is arranged around a fine,<\/b>, large square courtyard comprising two cloisters, an upper and a lower. The lower cloister features arcades supported by Doric columns, while the upper is carried on Ionic columns. At its centre stands a monumental fountain with a mixtilinear plan and a double-tiered Baroque pedestal, dating from the early 17th century. The lower cloister has recently undergone restoration works, following significant deterioration caused by the passage of time. <\/span><\/p>\n This temple is the canonical seat of the Franciscan Confraternity of the Passion and of the Franciscan Confraternity of Our Father Jesus Resurrected and Our Lady of the Angels.<\/span><\/p>\n It is the canonical seat of the following Passion confraternity:<\/p>\n It is the canonical seat of the following Glory confraternity:<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5396,5397,5398,5399,5400,5401″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”72%” max_width=”68%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.15)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5402,5403,5404″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”96%” max_width=”85%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.16)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” header_3_line_height=”1.4em” global_colors_info=”{}”]<\/p>\n <\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n This church belongs to the convent of the Agustinian Recollect Nuns<\/strong>, whose foundation was established under the terms of the will made in 1635<\/strong> by the priest Mart\u00edn Fern\u00e1ndez de Bruselas<\/strong>, from whom it takes its dedication. Although the community was not permanently established until 1639<\/strong>, the original convent was initially created by adapting several houses for conventual use. It was not until 1669<\/strong> that construction began on the present monumental church, built to the designs of the Lucena architect Juan Trujillo Moreno<\/strong>, who was then regarded as one of the town\u2019s most prominent artist. Financial difficulties prolonged the works for several decades, and they were finally completed in 1726<\/strong>.<\/p>\n The church is one of the most original and monumental achievements of Cordoban Baroque architecture<\/strong>, distinguished above all by its unique spatial composition. Its interior is arranged around a large longitudinal elliptical space<\/strong>, a layout that is echoed in the lofty dome raised on a drum. The interior is articulated by superimposed orders of pilasters and deep niches designed to accommodate altarpieces and galleries, while the chancel has a rectangular plan and is covered by a groin vault. At the west end of the church is a vestibule covered by a barrel vault, enlarged on either side by small chapels.<\/p>\n Of particular interest are the Baroque plasterwork decorations in the spandrels of the exedras and the choir arch, adorned with white vegetal motifs against blue backgrounds and attributed to Francisco Jos\u00e9 Guerrero<\/strong>. From the outside, the building gives no indication of the complex elliptical configuration of its interior, as it is enclosed by straight walls in the Mannerist tradition, crowned by the large decagonal brick structure that encases de dome. The principal fa\u00e7ade, built in brick upon a stone plinth, is distinguished by its balanced proportions and by the incorporation of ornamental elements associated with the decorative language introduced to Lucena by Jos\u00e9 Granados de la Barrera<\/strong> and Melchor de Aguirre<\/strong>. Particularly noteworthy is the doorway in grey, white, and black marble, stylistically associated with Francisco Hurtado Izquierdo<\/strong>, whose influence is decisive in the overall architectural composition.<\/p>\n Also of particular note within the church is the high altarpiece<\/strong>, executed in carved and gilded wood. Designed by Francisco Jos\u00e9 Guerrero<\/strong> and crafted in 1730 by Mart\u00edn de los Reyes<\/strong>, it fully reflects the Baroque aesthetic of the period. It is composed of a predella, a main body, and a semicircular apse that follows the curve of the chancel vault. The side bays are enriched with abundant vegetal decoration, acanthus motifs, and Solomonic columns while the apse houses the church\u2019s titular image. The ensemble is completed by a further five smaller alterpieces<\/strong> distributed along the walls of the ellipse.<\/p>\n The church is also part of a large conventual complex organised around two courtyards \u2015one rectangular and the other square\u2015 connected by internal galleries. Another feature that stands out within the complex is a remarkable brick bell gable<\/strong> with semicircular arches, an element that further enhaces the monumentality and distinctive character of this outstanding example of Lucena Baroque architecture.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” header_3_line_height=”1.4em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n The Church of St. John the Baptist<\/strong> and the former Hospital of St. John of God<\/strong> form one of the most notable religious and charitable complexes of the Lucena Baroque architecture. The presence of the Hospital Order of St. John of God<\/strong> in Lucena dates back to 1565<\/strong>, when the religious community arrived in the town to establish a convent-hospital dedicated to caring for the sick and those in need. However, the gradual deterioration of the original building made a major renovation necessary during the first half of the 18th century.<\/p>\n It was in 1747<\/strong> that the construction of a new hospital and church was undertaken, thanks to the efforts of the Lucena-born Fray Alonso de Jes\u00fas Ortega<\/strong>, General of the Order, who commissioned the project from the same artists who had worked on the Basilica and Hospital of St. John of God in Granada. The plans for the complex were drawn up by the Lucena-born architect Jos\u00e9 de Bada y Navajas<\/strong>, while Fray Francisco \u00c1lvarez<\/strong> was in charge of the building works.<\/p>\n The entrance to the church is dominated by a monumental fa\u00e7ade carved from polychrome marble<\/strong> from the region, considered one of the finest examples of the local Baroque style. It was created by the Pino Ascanio<\/strong> brothers, renowned stonemasons from Lucena in the mid-18th century. The interior of the church consists of a single nave covered by a barrel vault with lunettes, topped by an elegant dome decorated with Baroque plasterwork.<\/p>\n The high altar is dominated by a remarkable Baroque altarpiece<\/strong> created by Francisco Jos\u00e9 Guerrero<\/strong>, who also produced five other smaller altarpieces scattered throughout the church. The complex is entirely in keeping with the artistic style that developed in Lucena during the 18th century, characterised by the rich ornamentation and decorative dynamism typical of the Andalusian Baroque.<\/p>\n For its part, the former hospital \u2015now converted into a care home\u2015 is laid out around a large central courtyard. Its low cloister, supported by a series of arches resting on pillars, retains magnificent decoration featuring Manises tiles<\/strong> dating from the time the building was constructed, which was finally inaugurated in 1754<\/strong>. The complex as a whole is an extraordinary example of Baroque hospital architecture, linked to the charitable work historically carried out by the Order of St. John of God in Lucena.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5405,5406,5407″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”96%” max_width=”78%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.16)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”80px||0px||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” custom_css_main_element=”display: flex;||flex-direction: column;||justify-content: center;” global_colors_info=”{}”][et_pb_gallery gallery_ids=”5408″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” width=”96%” max_width=”85%” module_alignment=”center” border_radii=”on|20px|20px|20px|20px” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.16)” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” header_3_line_height=”1.4em” global_colors_info=”{}”]<\/p>\n <\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\nMajor Parish Church of Saint Matthew the Apostle<\/span><\/h3>\n
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Parish Church of Santo Domingo de Guzm\u00e1n <\/span><\/h3>\n
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Parish Church of Saint James the Apostle <\/span> (Iglesia Parroquial de Santiago Ap\u00f3stol)<\/h3>\n
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Parish Church of Sacred Family<\/span><\/h3>\n
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Parish Church of Our Lady of Mount Carmel<\/span><\/h3>\n
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Conventual Church Madre de Dios (Mother of God) of the Reverend Fransciscan Fathers <\/span><\/h3>\n
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Conventual Church of St. Martin of the Augustinian Recollets Nuns (San Mart\u00edn de las Madres Agustinas Recoletas)<\/span><\/h3>\n
Church of St. John the Baptist and the former Hospital of St. John of God<\/span><\/h3>\n
<\/ul>\n
Church of the Immaculate Conception<\/span><\/h3>\n