The city of Antequera, with a strategic location within Andalusia, is considered the city with the most churches in Spain. This is why in its interior it keeps many of the most beautiful and spectacular treasures of Spain.
The Route of the Churches of Antequera gives us the opportunity to know part of these treasures that Antequera contains, while we carry out cultural tourism.
This route consists of going through 10 different churches of Antequera where you will discover part of the history, culture and heritage that this city hosts. The route follows the following itinerary:
1. Parish Church of Saint Sebastián
To this church corresponds the Royal and Illustrious Brotherhood of the Most Holy Christ of Greater Pain and Our Lady of Greater Pain.
Construction began in the year 1548 under the direction of the architect Diego de Vergara. During the year 1692, the Collegiate Insigne from Saint Mary was transferred to this church.
The facade of its facade is of Renaissance style with three bodies, the lower one with pairs of fluted shaft columns and Corinthian capitals, the second with balusters and shallow niches where sculptures of Saint Pedro, Saint Pablo and Saint Sebastián are found and the attic shows the arms of Emperor Carlos V inserted into the double-headed eagle.
The tower is one of its emblems, which began to be built in the first ashlar masonry by Ignacio de Urzueta and was continued by the Antequera priest Andrés Burgueño from 1701 to 1706. The interior is made up of three naves separated by pillars in form of cross and half ionic columns attached on which rest arches and covered with wooden armor hidden with plaster vaults. Its choir conserves an appreciable ashlar carved in wood coming from the confiscated Convent of San Agustín, as well as two organs of baroque style.
Right at the entrance to the wall of the choir is a Neo-Gothic altarpiece, in which we find the niches with works by the sculptor Andrés de Carvajal. In the central part the Christ of the Greater Pain is located, while in the lateral ones we found Our Lady of the Greater Pain and a representation of the Magdalena. Also noteworthy are the altarpieces of the nave of the Gospel and the nave of the Epistle located in separate sections and dedicated to Saint Mary of the Esperanza and the Virgin of the Ancient respectively.
2. Convent of Saint Domingo
Part of it is the Pontifical and Royal Archconfraternity of the Sweet Name of Jesus and Our Lady of Peace Crowned.
From the first quarter of the 17th century. Of this time it is the main cover, the Mudejar armor of the central ship and the coffered ceiling of the soto-choir. The cover of Mannerist style, presents pillowed pilasters. The second body is formed by a niche occupied by the stone image of the Concepción, and on both sides there are cartouches with shields of the Dominican order.
The interior has undergone multiple transformations and additions throughout the 19th century.
The main chapel is covered with a half-orange vault decorated with tempera and two enormous altarpieces of neoclassical style, from the 19th century.
The nave of the Epistle, of much lower height than the central one, has four sections covered with arched vaults. In the first from the head is placed an altarpiece of the eighteenth century, whose central niche appears occupied by the image of Saint Domingo; on lateral shelves, sculptures of Saint Rosa de Lima and Saint Tomás de Aquino.
3. Saint Mary of Jesus Church
The Sacramental, Royal and Illustrious Archconfraternity of the Holy Cross in Jerusalem, Our Father Jesus Nazarene and Our Lady of the Socorro Crowned is originated from this church.
Its construction was completed in the early seventeenth century, but has been the subject of numerous reforms.
The most beautiful part is the main chapel, dedicated to the Virgen del Socorro, whose dressing room is decorated with beautiful plasterwork.
We can find important sculptures such as Jesus Nazarene and canvases such as La Verónica and The Adoration of the Shepherds.
4. Convent of El Carmen
It is representative of here the Brotherhood of Our Lady of Solitude, Fifth Anguish and Holy Burial of Christ.
From the late sixteenth century. Externally, its facade is formed by a semicircular arch that rests on two Tuscan half-columns resting on plinths, crowned with pediment that appears centered with a shield of Carmelo. The plant is of a single ship. The cover is rectangular, decorated by a swarm of laceries.
The main chapel rises in the interior, of rectangular form and with cover of average sphere, counts on three enormous retablos, the still greater center, constructed in the middle of the XVIII century, it is considered, by its beauty and dimensions, one of the exponents most significant of the Andalusian baroque altarpieces of this century. In addition, in the same eighteenth century was added at the foot of the church a chapel where the Reclining Christ of the Holy Burial and the Virgin of Solitude.
Six independent chapels are opened to the central nave, containing in their interior pieces of great value.
5. Convent of Bethlehem
Its Venerable Brotherhood of Servitas of Mary Saint of the Dolores Crowned stands out.
Its initial construction dates back to the first half of the 17th century by the Portuguese architect Gonzalo Yáñez. It has a facade carved in stone and brick combined.
Its plant is of Latin cross, with lateral chapels communicated to each other and cupola in the cross. Stresses its decoration with baroque plasterwork and, inside, the dressing room of the sculpture of Jesus Fallen on the Mount and that of the beautiful image of the Virgin of the Pain.
6. Royal Monastery of Saint Zoilo
Its Archconfraternity of Our Father Jesus Nazarene of the Blood, Holy Christ Green and Our Lady of Saint Vera Cruz is of great importance.
Of the last stage of the Gothic, it is the outline of a Franciscan temple. The nave is covered with wooden armor with polychrome decoration and the main chapel with ribbed vault and decorated with beautiful plasterwork.
The main altarpiece is from the transition period between Rococo and the Neoclassical. The central dressing room is occupied by the image of Our Lady of the Vera Cruz.
At the foot of the nave of the Gospel there is a chapel with a starry cross vault and the dressing room of the Nazarene of the Blood, of Baroque style.
In its interior they emphasize linen cloths like The Martyrdom of Saint Andrés and The Martyrs of the Japan.
7. Parish Church of Saint Pedro
Representative of this church is the Brotherhood of the Most Holy Christ of Mercy and Our Lady of Consolation.
The initial construction dates back to the second decade of the sixteenth century, although it was later extended, finishing the works in the first third of the seventeenth century.
Of Renaissance style and covered with vaults of gothic crucería, it presents an interior of great magnitude and poor in decoration. The columns are of broken plant, very high and of smooth shaft, responding to a more Gothic than Renaissance model. The ribbed vaults at the head of the nave of the Gospel are decorated with baroque plasterwork.
The Main Chapel, of two bodies and attic, contains in its central front a polychrome plaster altarpiece of the first third of the eighteenth century and canvases embedded in plaster frames, distributed between the two bodies.
In its interior they emphasize works, almost all of century XVIII, like the linen cloths of the Virgin of the Silence or the Virgin of the Consolation and sculptures like the one of San Antonio and San Francisco Javier of the XVII century, among others.
Architecturally we can emphasize the Chapel of Souls with vault decorated with important plasterwork and the sacristy of rectangular plant and covered with vault of half-cannon, divided in three sections by arcs.
8. Convent of the Holy Trinity
It corresponds to this convent the Brotherhood of Our Father Jesus of the Rescue and Mary Saint of the Mercy.
Outwardly it emphasizes the facade consisting of a rectangle framed by two smooth pilasters and crowned by a triangular pediment. On both sides of the main body of the facade two fins open.
Inside it has a Latin cross plan, a dome on the transept and communicating lateral chapels, forming ships. At the feet the choir is located.
The sacristy has a rectangular plan and a vault divided into several sections by three-lobed triangle arches.
The images of the Virgin of the Piedad and Our Father Jesus of the Rescue are outstanding.
9. Saint Juan de Dios Church
In this church is the Association of Fraternities and Brotherhoods of Holy Week in Antequera.
Its construction began in the mid-seventeenth century and was completed at the end of the 18th century.
Its facade, built of sandstone, is composed of a rectangle flanked by two large Tuscan pilasters and an entablature, on which the bulrush is located.
Its interior is an authentic jewel of the Andalusian baroque, decorated with white plasterwork, anchored in blue, in which plant and animal motifs predominate, reaching its maximum expression in the dome of the transept.
In the central niche of the main altarpiece is a beautiful sculpture of the Inmaculada, the laterals are accompanied by the images of Saint Joaquín and Saint Ana.
We can also see in its interior a large number of pictorial works, mostly passages from the Life of Saint John of God.
10. Convent of Saint Agustín
In the last stop is locates the Confraternity of Our Lord at its entrance to Jerusalem and Mary Most Holy of Consolation and Hope.
Initially built in the mid-sixteenth century. Its exterior facade is simple, the tower is embedded between two buttresses and the nave has a roof with a half-barrel vault fitted with lunettes.
The main chapel is accessed under a semicircular arch. It has a rectangular floor and covered with a Gothic vault, with decoration of plasterwork and canvases of the life of Saint Agustín.
Apart from the churches that we have contemplated in the Route of the Churches of Antequera, this city has many other:
Collegiate Church of Saint Mary
Built in the first half of the 16th century, it is the first one in Andalusia of the Renaissance style although with traces of Gothic still.
Externally it stands out for its grandiose facade, made of ashlar stone with three streets separated by buttresses on each of which a door opens. Inside, the three naves, the central one of greater height, are separated by enormous columns of Ionic style, on which they rest arcs of half point on both sides, decorated with pomas. The ships are covered with Mudejar armor.
The main chapel has a rectangular floor covered with Gothic-Mudejar style vaults, in which two large stars, of six and eight points, and elegant Florentine windows are drawn.
Church of Saint Juan
From the late sixteenth century.
Externally highlights the main cover and the side. Inside, it is of a basilical type with three naves divided by large Tuscan columns, on which three arches of half a point rest on each side.
The central nave is covered with ochavada wood frame armor and the side armors are hanging.
In the main chapel we can witness a beautiful altarpiece designed to frame a series of large paintings. Among the chapels highlights that of the Chapel of Souls.
Church of Our Lady of the Remedios
Inhabited by the Franciscan convent congregation. Construction began at the end of the first third of the seventeenth century.
The main facade stands out with a portico with a roof supported by Tuscan columns, through three semicircular arches.
The floor plan of the church is of Latin cross, with naves and lateral chapels, and flat head. The central nave, higher than the lateral ones, is covered with a half-barrel vault, divided into five sections. The dome of the cruise is half orange finished in a dome.
The whole church is covered with tempera paintings. Its main altarpiece, one of the most beautiful in the city of Antequera, was built in the first third of the 18th century. Behind this is the dressing room of the Virgin of the Remedios that houses his throne (sixteenth century), hexagonal, covered with hemispherical vault on pendentives and topped by a dome. It also has an intense decoration with plasterwork.
In the temple we can witness other sculptures such as those of San José, San Antonio, the Virgin of Los Angeles, the Virgin of the Tránsito and the Christ of the Luck.
Hermitage of La Veracruz
Renaissance style mixed with mannerist elements and small baroque details of plasterwork in some chapels.
The temple has been raised again a few years ago based on the original plant, adding new bodies that allow it to be a museum and an inn.
Convent of Saint Eufemia
Built towards the middle of the 18th century. It is octagonal and high-rise although low facade due to the townhouses. Outside, the bulrush and the dressing room stand out. In its interior, the elevation with pilasters, cornices of great height and elements of the Doric and the Ionic. The shelves are concave alternating with semicircular arches and escarzenos.
The main chapel is finished off with a small rococo-style plaster dome. In the dressing room is the image of Saint Eufemia.
Parish Church of Santiago
From the mid-eighteenth century. Of a single ship covered with vault of average tube and greater chapel with average orange. In the main altarpiece is the dressing room of the Virgin of Health, from the 17th century.
It is decorated with tempera paintings.
Convent of the Encarnación
Of a single ship and main chapel with cover of Mudejar coffered ceilings. The armor of the main chapel is octagonal.
Inside we can see sculptures such as Saint José and Virgin of El Carmen from the late eighteenth.
It has a Latin cross plan and covered with half-barrel vaults with lunettes and arches; the half-orange vault of the transept rests on pendentives decorated with plasterwork.
Outwardly it highlights a sculpture of Saint Francisco in limestone.
In the interior, its decoration stands out with ten canvases with Franciscan themes arranged around a huge central canvas in which the Immaculate venerated by Saint Francisco and Saint Buenaventura is represented.
Church of Our Lady of Loreto
Built at the end of the 17th century. The facade is built in ashlar stone.
Inside, it has a single nave covered with a half-barrel vault and with large stands connected to each other. Its decoration is with plasterwork.
You can see several sculptures of great value, the Divina Pastora located in the main altarpiece, dating from the nineteenth century, a Crucified Christ of the seventeenth century, the Virgin of the Tránsito, located in a small chapel, and a Saint Francisco of Borja.
Convent of Saint José
Externally it emphasizes the cover of rectangular composition and crowned with triangular fronton, in whose main cloth the cover proper itself is developed, structured in two bodies. It is made of carved and carved brick.
The plant is of Latin cross and of a single ship.
Inside, sculptural and pictorial works of great interest stand out.
Chapel White Tribune
From the late eighteenth century. It presents trapezoidal plant and two bodies. The decoration is very simple. It was dedicated to the Virgin of the Socorro.
Chapel Tribune Virgin Socorro
Built at the beginning of the 18th century. It has two floors of open galleries and a closed attic, topped with a roof of four waters. Its main front is divided into three streets and two floors, of which the lower one acts as a portico and the upper one as a kind of lodge. The arcs are of half a point.
Convent of La Victoria
From the beginning of the 18th century. The church is very interesting in its layout and elevation. Its facade is built in ashlar masonry, divided by three vertical axes of composite pilasters. A brick belfry is superimposed on the attic. Two characteristic notes of it are the central balcony and the lateral ones that give it an aspect of a civil building and the pendent that hangs in the center of the double arch of access to the interior. Inside it presents an octagonal nave with unequal sides, giving rise to an elongated space connected to a chapel with a hexagonal layout. The dressing room is also hexagonal.
In its interior they emphasize linen cloths like the Allegory of the Eucharist.
Convent Mother of God of Monteagudo
From the mid-eighteenth century.
Externally, the height of its brick walls stands out, with two different spaces. One is the tower-cupola, elegant work of the Baroque-Mudejar, formed by eight cloths in which we appreciate, vertical strips, blind arches, niches, etc. and covered by a roof to eight waters topped by a beautiful vane. And another is the tower-bell tower, stands out especially at the base of the main body of bells, which narrows with respect to the upper bodies, giving a false impression of instability.
Its interior, despite its lack of ornamentation, is of great architectural beauty. The nave is divided into four sections, separated by Tuscan pilasters on which they support three-lobed arches.
In the main chapel it is necessary to emphasize its dome that supports on four pendentives, decorated and a mixtilineal ring gives step to a triple cupola of very complex structure.
In the main altarpiece is the dressing room occupied by the image of the Virgin of Monteagudo.
Inside we can find works of great sculptural interest.
Church of Saint Miguel
The work is from the last third of the eighteenth century, although there were numerous reforms in the middle of the last century. From the original work the main chapel, the chapel of the side and the belfry, its most interesting architectural element, with two bodies above the level of the roof, are preserved. The first of them opens two holes with arches of half point between Tuscan pilasters, scheme that is repeated in the upper body that is of a single hole.
The image of Saint Miguel, which occupies the dressing room of the main altarpiece, is a 16th century sculpture.
Convent of Saint Catalina de Siena
The old church was replaced by the present one, made by the alarife Andrés Burgueño. Its plant is typical convent church. It presents only one nave, main chapel and choir under the feet.
Its exterior is very simple, although elements of the facade, the turret on the corner and the entrance door to the temple stand out.
The interior is made up of ornate barroque plasterwork and in the main altarpiece the Virgin of the Rosario stands out, probably the work of Diego Márquez y Vega.