Iglesia de San Mateo Apóstol

In the heart of Lucena, a town in the province of Córdoba, Spain, stands the majestic Iglesia de San Mateo Apóstol. This grandiose temple, the largest and best-preserved of its kind built in the early 16th century in the Cordoba countryside, is a testament to the rich historical and cultural tapestry of the region. The church, with its blend of architectural styles and historical significance, is a must-visit for anyone exploring Andalusia.

The Historical Significance

The history of the Iglesia de San Mateo Apóstol is deeply intertwined with the history of Lucena itself. The church was constructed on the site of the old main synagogue of Lucena, a city that once had a significant Jewish population during the Hispano-Muslim period. The synagogue was converted into a mosque after the arrival of the Almohad Empire in 1138 and finally consecrated as a church in 1240 following the conquest by Ferdinand III of Castile. However, the original structure remained largely unchanged until 1498.

In 1498, Diego Fernández de Córdoba, the first Marquis of Comares, decided to demolish the original structure to build a new temple befitting his new status. The renowned architect Hernán Ruiz I was commissioned for this project. While the construction made use of very few elements from the old fortifications, the three spheres of the yamur, now visible atop the bell tower, and some original masonry walls were retained. The bell tower was completed in 1501, and the main body of the church was finished in 1544, as evidenced by an inscription on the San Miguel entrance.

Architectural Marvels

The Iglesia de San Mateo Apóstol is a stunning example of Andalusian Baroque architecture, particularly notable for the addition of the Sagrario Chapel between 1740 and 1772. Designed by local architect Leonardo Antonio de Castro, the chapel is considered one of the jewels of Cordoban Baroque. The construction was carried out by master builders Jerónimo and Acisclo Ramírez de Quero, while the decorative elements and central tabernacle were crafted by artist Pedro de Mena y Gutiérrez.

The chapel's interior is a marvel of intricate design. It features an octagonal layout with robust pilasters supporting a drum pierced by windows and a beautifully adorned dome. The walls are covered with a dense network of plasterwork, painted blue to contrast with the white stucco and gold accents. This rich decoration creates a vibrant and awe-inspiring space, further enhanced by the iconographic program that alludes to the Sacrament of the Eucharist. In the center stands a wooden tabernacle, an open structure with arches and adorned with angels and rococo motifs.

The Interior

Stepping inside the church, visitors are greeted by a vast space divided into three naves, each ending in a square chapel covered with ribbed vaults. Behind the main chapel is a small rectangular apse housing the main altarpiece, also covered with a ribbed vault decorated with angelic motifs painted by Antonio Mohedano. The sandstone pillars, rectangular in shape with attached semi-columns, support five pointed arches separating the naves. The central nave is covered with a wooden frame, while the side naves feature single-pitched wooden roofs.

The height of the lateral naves almost matches that of the central nave, resulting in a unique roof structure with only two inclined planes. This design allows the arches to rise close to the roof, giving the supporting pillars an elegant and slender appearance. The sacristy, attached to the right side of the main chapel, is accessed through a semicircular arch adorned with foliage decorations and the Comares coat of arms flanked by two rampant lions. The upper part of this decoration was destroyed in the 19th century to make way for a now-vanished tribune.

At the foot of the lateral naves are small chapels, including the baptismal chapel with a simple Gothic ribbed vault and the Chapel of Christ of Burgos with an elliptical dome. Above the wooden screen protecting the entrance is a wooden choir supported by cast iron columns, housing the church's organ.

The Exterior

The exterior of the Iglesia de San Mateo Apóstol is equally impressive. The Sagrario Chapel's sober volume stands out, with its octagonal lower body giving way to a cylindrical upper section featuring semicircular windows framed by moldings and foliage motifs, topped with a conical roof of colorful glazed tiles. The bell tower, located at the foot of the nave of the Evangelist, is a slender prism divided into three sections by impost bands, crowned with a four-sided spire.

The Portals

The church boasts three portals, each with its unique charm. The north-facing Virgin's Portal features a lintelled entrance with a curved profile, surmounted by a curved pediment housing a sculpture of the Virgin and Child under a Gothic canopy. The south-facing San Miguel Portal follows a similar design but replaces the Gothic canopy with Renaissance grotesques and the Comares coat of arms flanked by female figures, with a statue of Saint Michael in the pediment.

The main portal, attributed to Hernán Ruiz II, is located at the foot of the church between two massive buttresses. This entrance features a semicircular arch decorated with grotesques and medallions with busts in the spandrels. Flanked by pairs of columns, the portal is topped with small pediments depicting Saints Peter and Paul, crowned by a large scallop-shaped arch with a statue of Saint Matthew, the church's patron saint, at its center.

The Iglesia de San Mateo Apóstol is more than just a place of worship; it is a living museum of history and architecture. Its walls tell stories of the past, from its origins as a synagogue to its transformation into a mosque and finally a church. Its blend of Gothic, Renaissance, and Baroque styles, coupled with its rich history, makes it an essential stop for anyone visiting Lucena. Whether you are an architecture enthusiast, a history buff, or a casual traveler, the Iglesia de San Mateo Apóstol promises a captivating and enriching experience.