Church of the St. Vera Cruz Church (Valladolid)

The Penitential Church of the Santa Vera Cruz It is a temple located in the center of the city of Valladolid in the historic Platerías street.

The Church is owned by the penitential brotherhood of the Santa Vera Cruz, the oldest brotherhood of Holy Week in Valladolid. It has several of the most important processional sculptural sets in Spain as well as a relic of the Lignum Crucis.

The church adorned during Holy Week.

The site of this temple denotes that Vera Cruz’s was one of the most important care brotherhoods in the century XVI . It appears as a backdrop of one of the busiest shopping streets in the city, the aforementioned plateria.

In 1581 he obtained permission to build the temple, being Pedro de Mazuecos the old man who draws it, with a ship and dome, respecting the arc at the end of the street from the fire of 1561. had a meeting room and meeting room and Warehouse for processional steps.

Diego de Praves intervenes on the facade in 1595. It consists of two bodies, which simulate two triumphal arches, separated by the balcony for the typical authorities of the physiognomy of the penitential churches of the time. Because of the importance of the brotherhood, the temple is small, and it was broadly spread by the architect Juan Texidor. The new construction is larger than the initial one, with three ships, cruise with a flat dome and head. Inside the Church consists of three ships separated by square pillars. The ship is tected by a barrel vault in the major nave and in the presbytery, while the dome on drum that is not transdose, since it is covered outside by a square top. On the ships there appears a picked tribune planned due to the large number of brotherhoods that this church had. ^{[ first ]} ​

Despite being threatened several times with the demolition, to open a large avenue that connected the city center with the north, and after several fires, it has come to keep valuable altarpieces with paintings by Andrés Amaya and processional steps of the sculptor Gregorio Fernández, among others.

On the Gospel side

In the first chapel an altarpiece of the first quarter of the century is arranged XVII of the Virgen del Carmen. The Virgin repeats models of Gregorio Fernández. ^{[ first ]} In the next chapel there is a rococó altarpiece from the middle of the century XVIII With an image of dress. ^{[ first ]} In the third hood the processional group of the Huerto de Andrés de Solanes prayer is available. In the crucero testero, a hornacine where the lignum crucis is stored. ^{[ first ]} This is a silver and bronze cross-rising overdorado of the first third of the century XVII and stones set. The collateral altarpiece is 1693 made by Alonso de Manzano that covers the sculpture of the Ecce-Homo of Gregorio Fernández, who is actually a Christ crowned with thorns whose invocation is that of the Christ of the Caña. ^{[ first ]} ​

In the presbytery

The main altarpiece is churrigueresco of the last third of the century XVII , of an unknown author although linked to Alonso de Manzano and Blas Martínez de Obregón. It has a bank with a single body of a street and two quotes, whose supports are Solomonic columns. It is profusely decorated with role -playing, posters, foliage and plant motifs typical of the churrigueresco altarpiece. The central nichena was designed to shelter the Christ, hence in the entrecals are the Virgin and Saint John. At present, the painful of Vera Cruz, a virgin who was an integral part of the passage of the descent of Gregorio Fernández located in this same church is placed. In the attic there is a relief of Constantine and Santa Elena with La Cruz. ^{[ first ]} ​

On the epistle side

The collateral is a twin altarpiece to the Christ of the Caña, also from Alonso de Manzano who covers the image of Christ tied to the column of Gregorio Fernández. ^{[ first ]} In the Testero del Crucero there is a hole where the passage of the triumphal entry of Jesus in Jerusalem is saved, popularly known as the passage of “La Borriquilla”. It is the step that is taken on Palm Sunday. He has the peculiarity that he is the only one in Valladolid who is paper (plaster and glued fabric) except for faces and hands that are made of wood. ^{[ first ]} It is from the century XVI With influences of the style of Alonso Berruguete, most likely work of his disciple Francisco Giralte. The next chapel, of great depth, keeps one of the few complete processional steps of Gregorio Fernández, the descent of Christ. The next chapel keep a crucified mannerist Christ of the century XVI That he was the one in the hermitage of the Humilladero del Campo Grande, hence Cristo del Humilladero is called. It is from a mannerism derived from Alonso Berruguete. ^{[ first ]} The last chapel keeps an altarpiece of the second quarter of the century XVII With a painful virgin also of that century. ^{[ first ]} ​

See also [ To edit ]

References [ To edit ]

Bibliography [ To edit ]

• Bustamante García, Agustín. The classicist architecture of Valladolid focus (1561-1640) , Valuedolid 1983. Cultural institution Sandancas. ISBN 84-600-2926-3
• Martin González, Juan José., and Urrea Fernandez, Jesus. Catalogue monumental of the province of Ball. City of valladolid. Religious monuments of the city of Valladolid I , Valladolid 1985. Simancas Cultural Institution.

external links [ To edit ]