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Religious Architecture

Parish of Ntra. Sra. de la Purificación


purificacionIt is the most ancient church in Puente Genil and it was its only parish till the second half of the 20th century. Its primitive foundation around the first population dates back to the second half of the 13th century. However, there is nothing left of this period because this area was a land border with the Moorish Kingdom of Granada and many Muslim raids took place here.

The present building was built at the beginning of the 16th century, when El Ponton de Don Gonzalo became a permanent settlement. This settlement was named after its founder Don Gonzalo Yañez Dovinal. The oldest baptismal record books dates from these early years. From the original design of the 16th century church, it remains three naves and a space that used to be covered by three altarpieces. Nowadays, this space is occupied by the Virgen del Rosario(, which is a devotional image from Catalonia). In another lost altarpiece is the Virgen de las Angustias. This image dates back to 1640 and it is of baroque in style and without polychromy except for the little telamon angels that support its Samolonic columns.

In the last third of the 19th century, Nuestra Señora de la Purificación Parish was completely renovated except for two chapels which are independent of the three main naves. The names of the two chapels are: Carmen or Animas chapel and Sagrario chapel, which were built in the 18th and 17th centuries respectively. The architect who renovated it was the engineer Ricardo Moreno. In this period, the main altarpiece, the roof, and the principal and side stone façades were remodeled. The tower of the church was built in 1826. The walls were decorated with paintings of local painters such as Juan Montilla or Manuel Perez de Siles. Inside the church, there are a remarkable collection of silverware and some high quality sculptures such as an image of the Virgen de la Inmaculada, which was sculpted by the notable baroque sculptor Pedro Duque Cornejo.

 

Sanctuary of Jesús Nazareno


At first, the Parish of Jesus Nazareno used to be a little chapel named Chapel of San Cristobal/San Cristobal Chapel. It was built at jesus nazarenothe second half of the 16th century in a low hill outside the village. Nowadays, it is integrated in the urban centre of Puente Genil. Inside it, you can see the images of San Cristobal, Nuestro Padre Jesus Nazareno, which is one of the patron saints of the city and dates back to 1622. The original building has been remodeled several times over the centuries. The most remarkable renovations were those carried out by Jose Atanasio de Rivas y Galvez in 1824 and the one made in around 1880. During the last remodeling, the current transept and a new altarpiece were incorporated. This altarpiece was made in Malaga by the sculptor Casanova in Carrara marble. In 1900, a portico was added, which gave to the church its final configuration. 
Inside the building, you can visit the altarpiece of the image of the Virgen de los Dolores which is the only rococo style altarpiece in Puente Genil. It was made by Pedro de Mena in the 18th century, and the sculptures of San Juan and Magdalena are at the sides of the Virgen de los Dolores. The walls are decorated with an interesting collection of large size paintings which are distributed along the nave of the church. These paintings made by local painters in the 19th century represent religious scenes. Some of them are copies of famous works such as Il Spasimo di Sicilia of Raphael (da Urbino) or the Arrest of Christ of Anthony Van Dyck, whose originals are in the Museo del Prado in Madrid.
 

 

 

Sanctuary of Ntra. Sra. de la Concepción


Sanctuary of Ntra. Sra. de la Concepción/Nuestra Señora de la Concepción Sanctuary used to be a chapel devoted to San Antonconcepcion in the 16th century. After the plague that stroke Andalusia in 1650, the village of the Ponton de Don Gonzalo / Ponton de Don Gonzalo village raised the Virgen de la Concepción to perpetual patron saint of the Ville. Following the appointment, an expansion of the the sanctuary was required. Consequently, several houses of Aguilar street were bought for the expansion, and the remodeling started in 1760 at request of the administrator of the sanctuary, Ignacio Jurado Roldan. The construction process lasted from 1760 to 1799, when the main façade of the temple was built by local stone masons the Gallardo Brothers. It is the most sumptuous façade of the Puente Genil churches because of its front stairway which is enclosed by a wrought-iron gate, its double columns, its divided frontal, etc. Everything, that fits in a big niche, was made with stone from Sierra Gorda.
Inside the temple, the main altarpiece stands out, carved in plaster and coloured to resemble marble, it is a work by Pedro de Mena Gutiérrez. It is also remarkable the baroque plastwork of popular style that is distributed over the temple around big Corinthian style pilasters. It is also remarkable an elliptical dome made in plaster with decorative motifs of the Virgin.
The image of the Inmaculada Concepción, the patron saint, is located inside a niche dated from the 18th century. The statue was made in the 16th century and, unlike most of the virgin statues which have just the upper body and the hands sculpted, this image has the entire body sculpted. However, it needs clothes because they aren't sculpted on it.
Another remarkable image dated from the 18th century is the Señor de la Oracion del Huerto, which also needs clothes. It used to be located in the Chapel of Santa Catalina, and at the end of the 19th century it was in the former monastery of San Francisco de la Asunción.

 

Convent of San Francisco de la Asunción

  hospitalThe construction of the Monastery of San Francisco de la Asunción / San Francisco de la Asunción Monastery started in 1649 in a place popularly known as Cruz de Berral. It was a street that used to connect Luna street and Aguilar street. The monastery was founded at request of the citizen Francisco Gil de Melgar, who was a canon of the Santa Iglesia Catedral of Seville. He was a very notable person in his days and he left in his will a considerable amount of money to build the monastery. The original plan intended to set the monastery where it is known today as Chapel of Veracruz /Veracruz Chapel. However, the project was rejected due to the lack of space.
The church of the monastery was built between 1649 and 1692, date which is sculpted in the lateral of the façade. From then onwards, the process of decorating the inside started. In 1738, its main altarpieces were made by Felix Perez de Mena, who was an altarpiece sculptor from Aguilar de la Frontera. The San Antonio altarpiece was made in 1748 by Pedro de Mena Gutiérrez, who was a wood carver from Lucena. The collection was totally decorated with paintings, but today only those in the dome and the four medallions with the Evangelists are preserved.There is a collection of paintings with episodes of the life of San Francisco de Asís, that were made in the first third of the 18th century. It also stands up the paintings that represent the burial of Jesus Christ, which was a present from the ordynat Maria de la Concepcion Cosano y Pino, and a painting from the founder: the Virgen de la Asunción, which is a Sevillian sculpture from the last third of the 16th century.
The most remarkable images are Jesus de la Humildad and the Virgen de la Asunción. Jesus de la Humildad, which has been inside a niche of the main altarpiece since1890, was made by the school of Pedro Roldan.The image of the virgin was a Sevillian work of the late 17th century made by Luisa Roldan.
The niche of the main altarpiece has a variety of Triana (Sevillian) tiles from the 18th century that represent hunting scenes. Recently, the Cofradía of Jesus de la Humildad has restored the original main façade and the niche of Jesus de la Humildad.

 

Monastery of San Francisco de la Victoria (Los Frailes)


Puente Genil has wished to have a convent in honor of Saint Francisco of Paula since the 16th century. However, it wasn't possible till the second half of the 17th century, when the marchioness of Priego de Córdoba, Juana Enriquez de Ribera, decided to support the project.
The works took place throughout the second half of the17th century. The main façade was finished in 1707 as indicated in a sign above the vaulted niche, where there is an image of San Francisco de Paula made in stone. The cloister was ended in 1725.

 

los frailes

The inside of the church was decorated with an altarpiece made of gilt carved wood. The most relevant altarpieces are the main altarpiece dated from 1736 and made by Juan Cazorla, who was a wood carver from Lucena; and an altarpiece that has been found recently and represents the martyrdom of San Judas Tadeo in a fresco painting. It was made by the local sculptor Jose Antonio Ruiz Rey in the 18th century.
The convent was disentailed in 1822 during the historic sale of Church lands. Next year, the convent was reocuppied by some friars till the later final expulsion. After the expulsion, the building became a traditional neighbour house, different schools and cuarteles, which are religious associations. The convent was nearly destroyed when the first count of Casa-Padilla bought it and rebuilt it as a residence. A coat of arms of this period remains on the entrance floor. Counts of Valdecañas received the convent as their inheritance and granted part of it to expand the school of San Antonio, which was located in another side of the building in 1926. Nowadays, the bishopric of Cordoba owns the convent and it is shared with the city council of Puente Genil to locate the Local Museum, the Local School of Music and other public spaces.

 

 

Parish of Santiago


Parish of Santiago was built around 1600 to provide religious services for the citizens of the neighbourhood of Miragenil which santiagoused to belong administratively to the Marquisate of Estepa and was thriving at that time.The church dates from the 17th century and the decoration is from the 18th century. After the Civil War, it was so damaged that the present baroque altarpieces are from the lost church of La Victoria from Estepa. It stands up the baroque steeple and a big tile which represents Santiago in Sevillian potter's work. The tile replaced a big oil painting which used to be in the same space.
Some of the ancient traditions this neighbourhood preserve are the procession of the Domingo del Santísimo which is celebrated the sunday after the Corpus Christi.

 

 

 

 

 

 

Parish of Ntra. Sra. del Carmen

el carmen iglesiaInitially, it was a chapel devoted to Nuestra Señora del Carmen Industry in 1917 to provide religious services for the Estacion neighbourhood, whose increase made possible the evolution of chapel to parish in 1954.
The only nave of the temple is neogothic in style. There are fine middle-size jaspers in the façade and its base. The image which names the parish, Nuestra Señora del Carmen, is located in a baroque alarpiece from the lost chapel of La Caridad, which used to be in front of the Local Council. It stands up a beautiful image of resurrected Christ. It was made in 1630 by Alonso de Mena y Escalante. It was moved from the chapel of theVeracruz to the Parish of Nuestra Señora del Carmen when  a Cofradia was set up to show the image on the Easter Sunday.
 

Parish of San José


Built between 1955 and 1957, it is the most recent parish in Puente Genil. Its present location used to be a park named Plaza de España. In fact, the current gardens which surround the church are remains of the former park. The parish is devoted to San Jose because the neighbourhood where it is used to be a working-class neighbourhood. Its parish priest, Celestino Martinez Morante, played a decisive role in its construction.

 

san jose

With a wide portico and fine stained glasses from Seville, the church has the typical construction style of the 50s. It stands up its bizantine style influencies and, in relation to the inside decoration, the painting of the baptism of Christ, which is a copy from Tintoretto made in 1962 by the local painter Domingo Bordas.

 

Chapel of the Dulce Nombre

Located in the historic centre, in the neighbourhood Barrio de la Isla, the chapel of the Dulce Nombre de Jesus is one of the most ancient chapels in Puente Genil. It was built in 1595, but it has been restored several times trough the centuries. Its current dulce nombreappearance is due to a refurbishment in 1950. Recently, a conmemorative tile, which was made by the local ceramist Sara Baena, has been set up to honor the Niño Jesus del Dulce Nombre to accompany a similar tile of Nuestra Señora de la Soledad. This church had a mudejar tracery roof which was changed in the 18th century when the present vaulted ceiling was built.
Inside, its remarkable main altarpiece was made by the Cañero Brothers – from Ecija – in 1765. Its centre is occupied by the statue of La Soledad, which was done by the local sculptor Jose Antonio Ruiz Rey and it is carried in procession on Good Friday night. Some low-value images that can be found inside the temple are from the Parish of Nuestra Señora de la Purificación. It stands up the image of San Juan which was made in 1859 by the sculptor Juan de la Torre Morales and its polychromy belongs to Juan Montilla. There are also several popular style paintings, the most important are San Nicolas de Bari and the Virgen del Carmen. In this church there is a chapel devoted to Nuestra Señora de las Angustias, which is owned by its Cofradia.

Chapel of la Veracruz


veracruzThe works started in 1644 and were abandoned in 1649 but it was not completely finished, that's why it's so small. The dome occupies almost the whole space. The main altarpiece was carved by Pedro de Mena in the second half of the 18th century and it was the altarpiece of Jesus Nazareno till 1877.
The images located in this chapel are carried in procession on holy thursday and they are the images of Jesus Preso, Ntra. Sra. de la Veracruz, Jesus de la Columna and Ntra. Sra. de la Esperanza. There is a remarkable Sevillian image made in 1651, Nuestra Señora de la Piedad, which isn't carried in procession. It came from a lost chapel in Santa Catalina.
There is a very remarkable painting which represents the “procesión de disciplinantes”. It was a 16th century procession where penitents of the Cofradia del Cristo de la Sangre used to whipped themselves. The little bell gable was restored in 1928.

 

 

 

 

 

 

Chapel of the Señor del Rio

The story of this chapel starts in 1780 when two boys who were playing near the bank of the river found a board with a swallowseñor del rio on top of it. It turned out the board had Jesus face sculpted on it. A neigbour saw it and considered it was a miracle. A wall was built where the board was found to be exposed for public adoring. Years later, enough alms where colected and the present little chapel was built. This Christ has been specially venerated by foreigners. Inside the chapel there is a little neoclasic altarpiece which was made in 1807. Because of the small size of the chapel, mass hasn't been celebrated here but exceptions

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