Hallowwen Costumes On Crutches

(III)

The construction of a large temple

In the first half of XVI, as one of many large floods of the Guadalquivir, which passed just to the back of the village, it ruins the old building of the parish and starts to build the new church. We documented that the master mason John Doe Caravallo was bound in 1555 to carry out work to his office on the platform that was built by then. Tilled the ground, had paralyzed the works for some years.
in 1574 by Papal Bull, King Philip II sells a wide dominions of the Church. Among these areas, as a first sale, which was Cantillana was acquired by the wealthy businessman Juan Antonio Vicentelo deer Leca. This means the end of archiepiscopal lordship of the village church and the beginning of secular dominion. Changing Cantillana owners and the foundation of primogeniture of Leca Vicentelo will also work on the new church to change their source of funding and resume the patronage of the deer and the Council of the population.
entered in the seventeenth century, which from 1611 will start on time Cantillana County, thanks to the mercy of Philip III the grandson of the first deer lords of the town. This will be the century which made the definitive works of the present factory except for the sturdy tower to be built a century later.
know that in 1597 Don Juan Vicentelo, known as the spendthrift, son of the first deer and Council of the City of Cantillana, signed an agreement to undertake to pay 10,000 ducats each for the construction of the new cathedral, exempt from the obligation they had to rebuild the archbishop, the dean and cathedral chapter for the fruits decimal carried to the said town. Don Juan Vicentelo, which included the agreement between the privileges of his estate the patronage of the chapel of the temple, gave way to comply with this clause probate of his parents, Don Juan and Dona Brigida Vicentelo, who had arranged the successor hiciese home chapel or church for his funeral and based on her five chaplains.
Thus, the August 18, 1619 resume works by Leonardo Navas as the design architect and master builder protobarroco factory of the Archbishop of Seville, Diego Lopez Bueno.

plant the new church, built between 1619 and 1660 approx. by master Leonardo Navas.

The building has a basilica, consisting of three ships. According to Professor Hernandez Diaz was projected the building of the temple with a single ship, then a criterion for switching do it in three. It is an interesting and spacious building, housing the central nave by a beautiful alfarge the early seventeenth century and the side by a wood beams water. We draw attention to the beauty of that alfarge-up of a notable tracery, consisting of bonds to 0:16, and cones of stalactite, which vividly recalls the famous white carpenter of Diego López de Arenas.
The chapel vaults closed by showing a hardware design flamenco type, notable for its complexity and its smooth curved design and in which the shields of the surnames Vicentelo Leca and Toledo, own the first count, and therefore the house, and legends alluding to his patronage over the chapel. The headwaters of the aisles are covered by barrel vaults with lunettes. The ships are separated by three arches on each side, supported by strong pillars.
In the second half of the seventeenth century works are completed, but still lacks the temple tower and altarpieces altars. According to a pastoral visit by the inspector general of the Archbishop, Don Alonso de Quintanilla Deza, in 1674, the altar was no altar, but some paintings on the wall of which can still be seen some remains behind the current tableau - Image lady size Santa Ana, San Roque and others that line the walls.
These images should be the beautiful icon of Our Lady of Granada, an image of the Virgin and Child carved in wood, gilded and painted, that Professor José Hernández Díaz date in the second quarter of the sixteenth century, attributed to George Fernández German author who is credited as images also known as the Virgen de la Bella de Lepe (Huelva), the patron saint of Gran Canaria Pino, and recently the very Virgen del Rocío de Almonte, so it could be before the image of Lady who presided over this church for several centuries. As evidenced by documents, was cultured in the altarpiece and then from 1850 in a neoclassical altarpiece at the foot of the temple, altar, which was completely destroyed including this picture during the looting of the parish in 1936.
The 1682 report of the inspector returns to reveal the lack, in the chapel and altar, reredos, would not begin to be built until January 7, 1687. On this date you purchased the version with the assembler Bernardo Simón de Pineda. In 1698 a new pastoral visit testifies to the completion of the works of the new altar, beautifully styled new 3100, which cost real-at the expense of the charity of neighbors. Nine years later we are told that the chapel has an altar again, with three bodies, in the latter of which appears a relief to the story of the Assumption of half size, but that was not brown but inside the Tabernacle. In this way remain throughout the eighteenth century as the full golden altarpiece not take place until 1790.

Virgen de la Granada, image of the early sixteenth century German attributed to Jorge Fernandez, who is venerated at the altar of the parish of Cantillana.

know from descriptions of pastoral visit reports, inventories and subsequent pictures, how was this altarpiece that has not come down to us having been destroyed also in the sad events of 1936. It was a large altarpiece, although somewhat smaller than today. Its three bodies were supported by twisted columns decorated with bunches of grapes, which divided into three blocks, with three niches each side, housing these different size images, including one of the oldest, the Santa Ana . In the main street were located the beautiful sanctuary, a manifestation of great size, it is a niche and in the attic, a relief with the mystery of the Assumption of the Virgin which is preserved today. In that niche, it is smaller, by all indications would be placed already mentioned the Virgin of Granada. Picture that, as noted, was moved from this place and taken to a modern altar, situated at the foot of the parish, more particularly where today stands the altar of Santa Teresa, in a relatively recently, in 1850 approximately when placed, in a somewhat forced, in that the altarpiece huequecito other Marian image of which more later.
For these dates from the early eighteenth century, apart from the widespread cult of the Blessed Sacrament and the Souls of Purgatory, the main images and invocations of the parish church, which represented the devotion of the cantillaneros, were of the Lord Holy Christ of Humility and the Hospital of the Conception and the Virgin of the Rosary, with their respective guilds and others such as, San Benito, Santa Ana and La Virgen de Aguas Santas, which still is preserved and revered, as then, the altarpiece the tabernacle.
Soon, very soon, all these devotions in the parish cantillaneros would join a new, unique and charming Marian devotion: the Divina Pastora, which over the years would become the most important and famous, not only of the parish but also the people. The Capuchin friar Isidore of Seville, mentor and pastor of Our Lady of Souls, and their relatives, the Counts of Cantillana benefactors and patrons of the parish of the chapel, as they have the real drivers of worship and devotion to the Divine Shepherdess in Cantillana and specifically in this temple. It preserved and revered, from this distant time, the beautiful and pilgrim image of the Divina Pastora, richly gilded baroque carving and polychrome attributed to Ruiz Gijón and dated in the first quarter of the eighteenth century and early Simpecado. With him was established her rosary and brotherhood founded, according to Jose Alonso Morgado, in 1720 by the same Brother Isidore of Seville.
On the status of our parish from that date to the early nineteenth try, always within the confines of the rigor of historical data and the objectivity fear nothing characterizes the past-or present-in the next chapter.