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IGLESIA SANTA MARIA DEL MORAL CHURCH VILLAFÁFILA |
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The church of Santa María titled in the past Santa María del Moral and located in the square that gives its name and in the highest part of the town, is the only one that currently exists of so many churches and hermitages that Villafáfila had, this church It is where the little that was saved from the gradual collapse of so many parishes ended up. Over time, as we will see, it has undergone a great transformation until a longitudinal expansion at the beginning of the 20th century. The oldest data we have on the church of Santa María del Moral is from 1147, in the donation of the Council of Terrones (unknown place in the municipality of Villafáfila, but in the proximity of its salt flats to the Monastery of Eslonza (León). The Church of Santa María del Moral de Villafáfila presents a Gothic-Mudejar architectural style in brick, as it is located in the clayey Tierra de Campos, lacking stone. It is of a crude, lumpy style, devoid of adornments; but of great interest for its monumentality. Its flowery Gothic is of remarkable beauty.
In the study carried out, at the beginning of the century, by D. Manuel Gómez Moreno of the Church of Santa María del Moral de Villafáfila, it is indicated: "It is a Gothic building made of brick, perhaps even by Moorish craftsmen, observing signs of its peculiar art in some forms of its structure, and in terms of date, they correspond to the time of the Catholic Monarchs, if not later."
From the above description it can be deduced that in its construction, based on a Gothic church model, Moorish modifications were introduced by master builders from the Nasrid kingdom of Granada or followers of them, at the end of the 15th century. It is when Mudejarism is at its height in the Castilian-Leonese lands of the Mesetes due to the influence of the Catholic Monarchs. In 1492 they had conquered Granada and with it the palaces of the Alhambra and Generalife, main exponents of "Muslim Art" of their time in Spain. Mudejar Art is the Moorish applied to Christian Art in its different types: Romanesque and Gothic, giving rise to Mudejar Romanesque and Mudejar Gothic. It is an art of Christian architecture with Mudejar ornamentation, residual due to little evolution. The Church of Santa María del Moral is in the Gothic Mudejar style. In Campos land, clay soil, very compact and lacking in stone, construction with rammed earth, adobe, masonry and brick is compulsory. Mudejar art presents simple structures with lobed arches, intersecting, squared (alfiz) with rhombuses and spikes, with vaults with flattened arches and their combinations, and with tiling, plasterwork, wooden ceilings, etc. The use of these structures and materials does not present great architectural complications. There are no cruises. The pillars are usually, at their prismatic, cruciform or cornered base, without the addition of columns. There are no capitals due to the lack of stone carving, which are built by cantilevers formed by courses of protruding bricks, which give rise to the imposts. In the eaves, the cornice is formed by bricks placed in a corner. The walls usually have blind arcades that alternate with brick boxes and friezes. Its thickness is great, due to the weakness of the materials, especially if they have to support the tower with its campaigns. The decorative aspect is resorted to the contrast of the red of the brick with the white of the cementitious lime, to the plastering or whitewashing of the whole. The cover responds to a framework (alfiz) advanced on the wall with a single, double or triple arch (Romanesque or ogival), with esquinillas or sardinel, which replaces the stone archivolts. The tower represents a varied typology that goes from a belfry to a parallelepiped shape, placed indifferently at the head or at the foot of the church. The number of ships is variable: from one to three. Its arches can be semicircular or ogival, depending on whether they correspond to the Mudejar Romanesque or Mudejar Gothic. In Tierra de Campos -according to Torres Balbás- a Mudejar focus developed during the 15th and 16th centuries, which has been extensively studied by Lavado. It is from the 15th century, Mudejar Gothic style, about 600m 2 , with three naves, of which the central one is the longest (31m.) and height (12m.) and almost double the width of the side ones, being the width of the church 20m.
Six powerful columns in two rows that form four arches in each row serve as a dividing line for the naves. The walls are rammed earth in the old part and adobe in the extended part, with a brick cladding throughout its exterior, which did not have its original construction, but was built over time. The vaults are also made of brick. Inside the planes are sand lime.
This church has a totally unique layout on the outside, on the one hand, it has a blinded stone pointed door that forms part of the main entrance, before made of stone and today of brick when the rear part of the central nave is enlarged and acts as a choir. in the past century. This door is in the middle of two others that act as main doors, each one is in the lateral naves.
In This church we have to consider two parts: the primitive one, which corresponds to the indication of Mr. Gómez Moreno, said at the beginning, and its extension, in the first years of the 20th century. Our study refers mainly to that. Its floor plan has two rows of three large columns each, which give rise to three unequal naves: one central and two lateral, with four sections each. The first two, together with the header, form the original part, while the other two make up the extension. Its architectural style is Florid Mudejar Gothic in its first section and simply Mudejar Gothic in the rest and in the extension, due to the addition of Moorish means to Christian Gothic (15th century), as we said at the beginning, and its exaltation, with a decoration complicated and baroque, in that one (16th century). Responding to these styles, its arches, built with bricks, are propped or ogival and its ribbed or ogive vault. The intertwining of these arches (transept and fajones) originate, with a third (tercelete), an eight-part vault, characteristic of the Gothic, as can be seen in the second and following sections in all the naves. In the first section, when these arches with curved golds (bent and ogee) intersect, a more complicated and flattened star-shaped vault is originated, which has given rise to its flowery Gothic, with very ornate pendants or rosettes hanging. This first section constitutes the purest and most beautiful part of the complex described. This structure, originated in this way, produces great tangential forces, which are counteracted in the lateral naves with wide support posts or buttresses through four crude brick buttresses, which constitute one of the most Mudejar or important aspects of the church. The first of the part of the Epistle disappears at the time of the expansion of the early twentieth century. These pointed arches (formeros), being curved, reduce the tangential forces, allowing the side walls to be partly emptied, placing windows in their hollows (famous stained glass windows of the cathedral of León), which illuminate the interior, as can be seen in the first section of the aisles. The vaults are covered on the outside by a roof formed by a wooden assembly, gabled in the central nave, covered with tiles. The cornice of its eaves is formed by bricks placed in a corner. The six large brick poles, which support the vault, have a circular base and along them wide grooves in the former and flat portions in the latter, depending on whether they belong to the original part or to the extension of the church. They lack capitals, which are replaced by brick imposts. On the imposts there were medallions decorated with busts in the central nave. It is elevated with respect to the lateral ones due to the requirement of the future main altarpiece, very fashionable in the 16th century. The communication between it and the lateral ones is carried out by former arches. The central nave has the pre-story, joined to the first section, with a flat chancel (in the Florid Gothic style the chancel with a polygonal floor plan has frequently been replaced by a rectangular one), it has a main altarpiece, it supports a brick belfry tower, with two bells and a corner, (in 1638 it had two bells and two corners,) and two large buttresses with a semicircular base: one stepped and ending in a pyramidal spire, and another hole to contain the ascent of the bell tower. We must assume that until the beginning of the 19th century both buttresses were the same, since the ascent to the tower was made through the interior of the church. Then one of them had to be replaced by another hole, as indicated. This is confirmed by the expense items recorded in the Factory book. In 1881 it is counted: "To Alonso Osorio to put the wood to close the bell tower, forty reales". “Apolinar del Rio for closing the brick bell tower, eighty-three reais. In 1817 costs of loss and wages to raise the wall to climb the bell tower " In 1899 a lightning bolt “quateó” part of the tower, being rebuilt as it can be seen today. The end of the central nave, in the extension, has a semicircular plan with a large radius with a straight central portion. It supports another smaller bulrush tower with a ridge. At the end of the primitive part was the Main Gate, which was transported to the aforementioned central portion, although it was unused as such a gate. It is the only stone construction of the church. The portal is of notable interest: it has a lowered stone arch, on which an ogee curve is drawn, garnished with rosettes and balls inside a alfiz (Gothic-Florida Mudejar). Referring to it, it is quoted: “More real and half of the lock of the Main Door” . This door had gates. It is indicated in 1815: “ forty reales of alms that came out of the work of the gates, which was carried out by master Osorio for 234 reales . It also had a portico, since in 1824 "200 reales for the door of the portico" was recorded. There is another door in the first section of the west nave. It has a sharp arch with a niche above it and framed by a alfiz. It is also unusable like the previous one. It was walled up in 1815, "to cover the door that was sold, 18 reales" The wooden door that closed it was sold for 130 reales. The current access to the church is through two semicircular arch doors in smooth stone, located at the end of the lateral naves. The entire construction is made of rammed earth in the primitive part and adobe in the extension. It is covered with a thick layer of brick. In 1727 it is recorded in expenses: "18 reales of the amount of the two adobe carts that were made for the tower are received in data" . In short, the Church of Santa María del Moral de Villafáfila has a Gothic structure with pillars, imposts, portals, etc. Mudejar. It responds to a Mudejar Gothic in which Gothic and Gothic-Florida are mixed with Moorish ornamentation. These are times - the 15th and 16th centuries - where the mixture of Gothic, flamboyant (flowery) styles is frequent, promoted by the Catholic Monarchs, due to the influence of Granadan Nasridism, as indicated at the beginning.
As before we alluded to a great repair - extension at the beginning of the 20th century, in 1905 the church is floored, the 5 altar tables are made and the pulpit is arranged and placed. In 1906 the buttress of the tower was made and the actual extension works began, raising the two side chapels from their foundations to the cornice, suspending the works due to lack of funds. In 1908 the two chapels are covered and the two side doors are made. In 1909 the two doors were placed, the side chapels were vaulted, (first the west one and then the east one). Bricks, stone and wood from the other churches are used, in addition to the money obtained from the sale of alters, bells and materials from the same. In 1910 the tower is finished. In 1911 the gates are made. In 1912, the large arch of the choir, its walls, the high vaults up to the main altar were built, and the choir and what remained of the church were laid out. In 1913 the balustrade of the choir, the door of the same and the doors and gates are painted. In 1915 the presbytery was arranged, the wooden plinth of the main altar was placed and its window was made. The bells were removed and one of them was placed in San Martín, while the two from San Pedro were placed in Santa María. In 1923 the low ceiling of the choir was made and the sides of the Ecce Homo altarpiece were lined with boards. In the year 2001 a great rehabilitation of the roof was carried out due to its poor condition, it was completely renovated in the central nave, a metal structure was made, new tiles were put on the three naves, the sacristy was demolished and a new one was built in the same place and another floor above, the ascent to the bell tower that was made until then by accessing from the street, and climbing inside one of the cylindrical buttresses, the stairs at the beginning were made of stone and then of wood in many years they were in very poor condition, it was changed, a new ascent was made entering through the sacristy with an illuminated iron spiral staircase, the previous one was filled inside and given the same appearance as the other buttress. The exterior cladding some areas were renovated and others repaired, HIGH ALTAR Renaissance style with Mannerist influences. End of the 16th century (1590). Measurements: 7.25 by 9 meters. The main altarpiece of the church of Santa María del Moral is dedicated to the Assumption of the Virgin. Her image is in the center of it, in an attitude of being raised to heaven, according to the typical iconography. The Assumption into heaven was already worshiped then, long before the declaration of the dogma. The altarpiece is built with pine wood and polychrome. It consists of four bodies and an attic, horizontally, and five unequal streets, vertically, giving rise to twenty intercolumns in which the same number of paintings are placed, separated from each other by columns with equally Ionic friezes and capitals, placed at the ends, close the set. The style corresponds to Becerra's mannerism. In its center the bank includes the tabernacle, with a trapezoidal plan. Its curved door has the image of Jesus carved on the outside, whose hands are tied to the middle portion of a long shaft column. Inside (door) there is a painting that represents his Ascension to heaven and in the background the Last Supper, also in Mannerist style. The side spaces of the bench have plain and painted squares. This altarpiece is supported by a basement that serves as the base for the predella.
The location of the paintings in the intercolumns of Renaissance altarpieces is not usually capricious, but responds to a chronological order, usually from left to right in the direction of the bodies below to above in that of the streets. However, in the one we studied everything is quite confused and messy. Some of the original tables are covered by unrelated painted canvases. The ownership of the paintings is indicated below: In total there are 21 spaces. On the columns there are four winged angels and on the attic, the Eternal Father.
The central street stands out from the complex due to its greater width and decoration in relief. The image of the Virgin with joined hands and her mantle arranged in concentric, deep and symmetrical folds (reminiscent of Jordan), resting on a crescent, is adhered to the 2nd body. The 3rd bodies, of her Ascension, and 4th of the horizontal Pietà, stand out from the size of the intercolumns. A fiction of depth is created, as Juan de Juni did in his altarpiece in the Cathedral of Segovia. We do not know, originally, what the central painting of the first body would have, because when the church was enlarged, at the beginning of the 20th century, it was replaced by a showcase that contained the image of the Heart of Mary, in absolute discrepancy with the altarpiece style. . The subsequent replacement by Christ crucified has been a great success. The paintings in the lower intercolumns present tables with painted and repainted canvases on them without appreciable value, made in the neoclassical period in the opinion of Gómez Moreno, which before the reconstruction of the altarpiece it would be convenient to discover. Some of these paintings are in poor condition. The original tables are only the 2nd street of the first body and the four of the 4th body. Gómez Moreno qualifies them as flamenco style, the first with an Italian accent. Measurements: 1.14 by 0.74m. The first represents the Visitation of the Virgin to her cousin Santa Isabel. That one, standing up, wears a green tunic covered by a blue cloak, slightly folded, that reaches the ground. She this one has a red dress. Her leaning body is in a strained and unstable position, due to her tendency to bend her knees. Both have smiling faces and hold hands. The scene is witnessed by other women. The style is romanist. It is difficult to diagnose the composition of the last boards because they are placed at a great height and do not look good. The painting of San Bernardo represents the apparition of the Virgin to him. It comes from the Moreruela Monastery, according to Gómez Moreno. The remaining paintings belong to the Madrid school of the 17th century, "because they present clear tones with a fluid brush, but mannered and feminine",In the side nave of the Nascent there are two altars. ALTARPIECE I HEAD OF THE SIDE NAVE OF THE EASTERN OR OF THE EPISTLE Pre-churrigueresque baroque style. XVII century. 1699 [1] . It is known by the name of <<San Antón>> or <<San Antonio Abad>>. Measurement of 4 x 2.5 m. It comes from the ruined church of San Pedro. It may be, although not with certainty, the one that belonged to Santa Lucía in the same church. Its author is Francisco Díez from Benavente: <<Two hundred reales that were given to Don Francisco Díez sculptor vº de Benavente on account of the altarpiece he is making for Santa Lucía>> in 1698 (Book. Fáb. San Pedro, 1605-1714, page 284). The altarpiece was finished the following year, since in the accounts of 1699 two items for expenses are consigned: one to finish paying for it <<more than two hundred thirty-seven reals and a half that were given to Francisco Díez vº de Benavente , with which the altarpiece that was made for Santa Lucía was finished>>, the other to << go for the altarpiece to Benavente>> (Lib. Fáb. San Pedro p. 287 vta. Pérez Bragado, C., Villafáfila: its parish churches, 1996, p. 429). Presents this altarpiece, three parts vertically, bench, body and attic. The bench has four large shelves or brackets, the base of the columns of the body, which divide it, horizontally, into three zones: two small lateral ones and a larger central one. This is presented as a flat space covered with watermarks.
The body, the most important, has four large Solomonic columns with five spiers, at different horizontal levels, with abundant decoration of grape clusters and twisted stems of fallen leaves, and flowers (typical Churriguera), ending in caCorinthian pitels and decorated stilettos, which support the <<machones>> of the attic. The central cloth is a large and deep niche, with a semicircular arch, which contains the image of San Antonio Abad, surrounded by a protruding frame that breaks in the upper part, giving rise to the so-called <<ears>>, <<knuckle>> and <<tanganillo>>, forming an astrologer of stones and gallons. In the center, on the frame, a large cornucopia develops. Between the lateral columns on each side, at a different horizontal level, there are smooth, transverse spaces cut by inclined bands, on which there are hanging appliqués of bulky fruits. The attic is made up of four unequal <<machones>> that rest on the stipes of the columns, (unlike the Churrigueresque altarpieces, which here also have Solomonic columns. Martín González, JJ, Sculpture Barroca Castilian. TI p. 68) of which the most central ones are worshiped with small <<festones>> (generalized since the middle of the 17th century). These <<machones>> following the order of the body, give rise to three spaces of which in the central one there is an oil painting, which represents Saint Jesse and the Virgin giving the Child Jesus to the old Simeon, by inspiration of the Holy Spirit. Holy, in the form of a dove. The lateral spaces have decorations consisting of fruits and leaves. The painting is bordered and topped by a large cornucopia. This attic is surrounded by an ogival type arch full of pebbles. The <<machones>> are covered by outstanding cornices or dust covers. The entire altarpiece is gilded for the most part while the rest, to favor the luminous reverberations, present red and blue colors (capitals and cartouches). In this polychromy it is repeated in the other baroque altarpieces that we point out below, which makes it unnecessary to point it out. ALTARPIECE I HEAD OF THE WESTERN OR GOSPEL SIDE SHIP Pre-churrigueresque baroque style. 17th century, 1694. Altarpiece known by the name of the <<Angustias>>, because <<La Piedad>> is found in it. Measure 3.75 x 2.5 m. It comes from the church of San Pedro. It was made in 1694 and cost 1,286 reales (Lib. Fábr. San Pedro. 1605-1714, p. 278 back.). Its author is surely the same as the previous one in San Antón, Francisco Díez, from Benaventa. It was gilded in later years, paying 3,000 reales (Lib. Fáb. S. Pedro, p. 289). This altarpiece, like the previous one, presents: base, body and attic, although somewhat different. The bench has two large corbels or brackets, the base of two of the columns of the body, which divide it, horizontally, equally into three spaces: the rectangular center bordered by a frame, which in the upper parts bears its <<ears> > - ledges and ravines – and between them a cornucopia. Inside there is a small tabernacle. The lateral spaces, one on each side, in turn have two vertically boxed portions, the outermost of which contains a fruity cluster appliqué. The body has a large niche inside, where the titular image is found. Externally it presents a frame in whose upper part there are two segments of arch, of opposite curvature, joined by another straight one.
A cord goes up to the attic bordering the niche. Laterally we find four large Solomonic columns with five spiers – two on each side -, with decoration identical to those of the previous altarpiece, placed in stages and very close together. Above them are the capitals and stipites that support the attic. A rectangular exterior space, <<tarjas>> or <<cards>>, on each side, with a fruity canopy completes this body set. The attic, smaller than the previous one, has a central portion, with abundances of grotesque and litter, limited by the <<machones>>, placed on the stipites of the central columns. It is decorated with fruity hanging appliqués. Above them carries segments of cornices. It does not have lateral <<fins>>, common in altarpieces of this type. Like the previous altarpiece, it has identical gilding and coloration. The columns and flat spaces, which carry both altarpieces, by receiving and reflecting the sunlight in the morning or afternoon, in each case, penetrating through the next window, give a certain air of grandiose luminosity, <<burnished gold luminaires>> the called Pedro Echevarría Goñi, <<Renaissance and Baroque Polychromy>>, notebooks of Spanish Art, nº 48, p. 30. ALTARPIECE II OF THE WESTERN OR GOSPEL SIDE SHIP Pre-churrigueresque baroque style. XVII century. It is the largest altarpiece of the four Baroque ones that we present. Measure 4.50 x 3.75 m. We know nothing of its origin, although it must be confirmed that it comes from one of the ruined churches of the town. There is no documentation. However, we dare to indicate that its sculptor may be the same as the previous altarpieces. He is totally similar to the first, in all the figure of him. We describe it lightly. It presents bank, body and attic. The bench contains the shelves, the base of the columns of the body, which give rise to three spaces: the larger central one, covered with filigree, and the smaller lateral ones, at a different horizontal level from the rest, contain grotesques. The body has in its center a large niche, with a semicircular arch, which rests on its lateral projections. Surrounding it is a frame, which breaks in <<ear>>, to house a large cornucopia. On each side of the niche there are two Solomonic columns, at different horizontal levels, with five aspirations with abundant viticultural decoration, finished in their Corinthian capitals and stipites. Next, it has flat portions (used improperly, since there are no niches, to place the images of the Virgin of Fátima and Saint Joseph, which, because they are of a different style, detract from the whole). Two other Solomonic columns, similar to the previous ones, and at the same level as the flat portion, end this body.
The attic in its center has a painting, painted in oil representing the visitation of the Virgin to her cousin St. Elizabeth. Four buttresses (two on each side), which correspond to the columns of the body, end in new stipites, with their cornices. The whole set has a semicircular shape with a smooth outer rim. ALTARPIECE II. OF THE SIDE SHIP OF NACIENTE OR OF THE EPISTLE Churrigueresque baroque style. 18th century Altarpiece known by the name of Ecce Homo. Measure 4 x 3.25 m. It comes from the ruined churches where it would be besieged in its apse, given its semicircular curvature. Although not with certainty, we dare to assure that it was the main altarpiece of the church of San Pedro, since it had a pentagonal apse head in its central nave. Currently it appears tangent to the wall, as it has closed outer edges and a shell or attic. Present yourself three sections: bank, body and shell or attic. The Bank has a central part and two lateral parts separated by the bases of the columns of the body. This central part has, on the sides, two small rectangles, one on each side, vertically. Its center contains a stepped drawing on the top of which is a cornucopia. The lateral spaces are grotesque. The body has a mixtilinear plan: it has concave lateral streets and a straight central one, separated by churrigueresque columns, which contain three niches, the one in the center larger and deeper than the lateral ones, these very superficial (as the 17th century progresses they become deeper). they end avengingly. Both are embroidered, more intensely the central one. In the first niche there was always the image of Jesus Tied to the Column, while on the sides: San Antonio de Padua and San Blas. Currently, the center is occupied by the Heart of Jesus, an image of a different style, which contrasts with that of the altarpiece.
The columns have fluted shafts adorned with small carvings (rounded reliefs and pendants) in all their dimensions. Its upper part ends in Corinthian capitals, on which the stipe is superimposed, which constitute the support of the nerves that divide the attic and its triumphal arch. From 1710 the Solomonic column declines. The shell has a semicircle of four spheres or caps. It is like a vault with two ribs, which end in the keystone of the exterior arch. This rib gives rise to three triangular spaces, which form the concavity of the shell. The central space, painted in oil, presents a rocky landscape next to which you can see a portion of the firmament on which a depth, a cross without Crucified, is drawn. The character represented is María Magdalena: a young woman covered with a tight white tunic, over which she wears a red mantle, which leaves her arms and feet free. Her gaze is directed to a book that is in the lower left part, the Gospels?, remembering the moment of the Resurrection. An essential fact of baroque in the illusion of depth, which strictly speaking is a false relief since the figure is inside the same board (Martín González JJ Sculpture Barroca Castellana, TI, p. 24). The lateral spaces of the attic have in their center medallions with a sun and a moon, which may be symbols of God and the Virgin, surrounded by scallops and grotesques. The edge of the altarpiece, triumphal arch, is decorated with stipites and coiled ornaments. Everything is polychrome, as we have said in the other altarpieces. Its author is unknown, but we can assure that he was perfectly aware of the altarpiece techniques of the sculptors Tomás and Pedro de la Sierra (father and son), authors of the main altarpieces of the churches of Santiago de Medina de Rioseco and Asunción de Rueda ( Valladolid), his best works. JJ Martín González says of the first: <<It constitutes the most complete work of Tomás de la Sierra and without a doubt the most copied altarpiece of the eighteenth century>> (Escultura Barroca en España, p. 458). This altarpiece had been designed by Joaquín Churriguera in 1703, in accordance with the most demanding norms of Churriguerismo [2] . The work of Tomás de la Sierra was widely disseminated in Tierra de Campos (García Chico, E., Monumental Catalog of the Province of Valladolid. Medina de Rioseco, 1960). The difference that we can consider between the Rio Secan altarpiece and the one studied, lies in the number of bodies and streets. That one has two bodies and five streets. The columns of the same present, like those of the Renaissance, a third of size and the other two with pendants, while in the other all of them are with hangings. The sculptural richness is much greater in the Riosecano than in the studied one. The resemblance, however, is great, despite the fact that the first bears a remarkable tabernacle, which the other lacks. It is even greater with the altarpiece of the Assumption of Rueda, for having avanerated niches in the lateral streets, although in opposite positions: in one projecting and in the other incoming. These four altars were placed in their respective places in 1904 IMAGES San Antonio Abad, that of the holder, a large carving of 1.25, next to this altar and placed on a shelf or pedestal fixed to the wall and covered by a canopy San Isidro Labrador, a size of 0.60 and that comes from the hermitage of his name. In the one of the Heart of Jesus, the image of the same one, of plaster 1.40 and to its right, that of San Antonio de Padua, stature of 0.90; to the left of it San Blas, size 0.70, from that of San Pedro
The one from El Salvador, size 1m. and in the other the one of the Ecce Homo, size of 1.30 and coming like the previous one from the church of El Salvador. In the Ntra. Sra. de las Angustias, said image, size 0.95 and that comes from San Pedro; and on the side shelves of it, Our Lady of Carmen (mannequin) of 1m., coming from San Martín. Our Lady of Sorrows, also a mannequin, 1.40. In the Heart of Mary, its plaster image, the Virgin of Fatima plaster of 1.25 and Saint Joseph of plaster and 1m. The one of Jesús Nazareno beautiful carving of 1.40 from San Martín and to which the town has the most devotion, previously it did not have an altar, it was built by making a cavity in the wall, making a wooden altar as a temple with three crosses on its top. Being in the church of San Martín, the rumor spread that it had been sold, such was the tumult that formed in the town that the priest of said church had to expose it in the middle of it to the people for their vision. A Lying Christ in an Urn named after Cristo de la Urna, a size of 1.50m. It is used for the descent that takes place every Easter of the leap year, which is articulated, coming from San Pedro. Maria and La Soledad that are each on one side of the altar of the Heart of Jesus.
San Roque from San Martin. Christ of Mercy of 1.18m, that since 1993, a brotherhood of this Christ was created, Brotherhood of Christ of Mercy, which goes out in procession of silence on Holy Wednesday. Two baroque angels in a seated position, placed on the railing of the Choir, carvings of 0.70m. It was part of some altarpiece of other churches without being able to determine. The Baptismal Font was for many years in the back, but it was changed to its position next to the altar of Our Lady of Angustias In the last columns behind them each one has a pile where the holy water is to sanctify. On the main altar there are two Seats from the choir of the Moreruela Convent on each side, which have reliefs of San Atilano and another Bishop on their backs. This church has a Monstrance, a Mother-of-Pearl Cross and a silver Chalice, which has this inscription engraved on its border at its foot: <<ES DE NUESTRA SEÑORA DE BILLARIGO DIEL EXL ACIPR. ICURA DS JV YEAR D 1640>> (It is from Our Lady of Villarigo Dio El Licenciado Pedro Gil, Archpriest and Cure of San Juan, year 1640, chalice from the Hermitage of Villarigo. The daily prayer of the Rosario and the Minerva (third Sundays) continues to be preserved.
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