Convent of Saint Paul (Palencia)

The Convent of Saint Paul, known locally as Convento de San Pablo, is a majestic historical and architectural gem located in the heart of Palencia, Spain. This ancient convent, established by the Dominican Order, stands as a testament to the rich religious and cultural heritage of the region, captivating visitors with its serene ambiance and storied past.

The History of the Convent of Saint Paul

The Convent of Saint Paul was founded by Saint Dominic de Guzmán, the Burgos-born founder of the Dominican Order, with episcopal support in 1219 or 1220, shortly before his death in 1221. This makes it one of the oldest convents of the Order of Preachers. Saint Dominic himself was a student and professor at the University of Palencia between 1184 and 1198, and his house, which was demolished in 1892, once stood in the very same plaza.

Throughout the 13th century, the convent was a hub of religious activity, with notable Dominicans such as Gil de Santarem and Pedro González Telmo taking their vows and leading their religious lives here. The convent also played a significant role in the political landscape of medieval Spain, hosting the General Courts of Castile three times. The most notable of these was in 1296, when Queen Regent María de Molina convened the courts to secure the throne for her son, Ferdinand IV. It also served as the venue for the General Chapter of the Dominican Order.

Royal patronage from monarchs like Sancho III, Sancho IV, and Alfonso XI transformed the convent into a royal residence and oratory, and it even received papal privileges from Popes Gregory IX and Alexander III. The construction of the new church began in the 14th century and was not completed until the 16th century. In 1514, under the patronage of the Rojas family, Marquises of Poza and Lords of Monzón, the original main chapel was demolished to make way for the current one, which was completed in 1534 and consecrated on April 7 of that year.

During the Spanish War of Independence, French troops occupied the convent, converting it into a military hospital and prison. In 1835, the secularization process led to the convent being taken over by the state, causing it to lose much of its former splendor. However, the Dominican community returned in 1844. In 1957, the Dominicans moved into an adjacent building designed by Jacobo Romero in 1920, which had previously housed the courts and the Provincial Court of Palencia. This building now serves as their residence and novitiate.

The church was declared a National Historic-Artistic Monument by decree on June 3, 1931, and is also recognized as a Cultural Heritage Site (Bien de Interés Cultural).

The Architecture of the Convent of Saint Paul

The church of the Convent of Saint Paul is a three-nave structure, with the central nave being the tallest. The naves are separated by composite pillars, and there are side chapels along the nave of the Epistle. The central nave measures 72.15 meters in length. The two side naves end in square-plan apsidal chapels, which are the only remnants of the original 13th-century church. The central nave is closed off by a highly developed apse that serves as the main chapel. The vaults are ribbed, with combed ribs in the central nave, simple ribbed vaults in the side naves, and star-shaped ribbed vaults in the main chapel.

The Exterior Fabric

The exterior of the church is austere, with sparse and simple ornamentation. Its most notable features are the robust apse and the main façade with its characteristic bell tower, a familiar silhouette in Palencia. The main chapel has a fortress-like appearance and stands in stark contrast to the rest of the church due to its height. It is reinforced with six buttresses topped with circular pinnacles and crowned by a balustrade. Several gargoyles, some of which are heavily weathered, hang from the upper part. Renaissance windows and numerous noble coats of arms adorn its sides.

The main façade, situated to the west, was built in the 18th century in a Neoclassical style by architect Manuel Turillo. It reaches a maximum height of 30 meters. A tetrastyle arrangement of Tuscan pilasters divides the main body into three sections, each with a lintelled arch door. The upper body is entirely occupied by the large bell tower, which features three semicircular arches housing the bells and a fourth in the upper part with a statue of the Virgin of Fatima. The ensemble is completed by modest side wings and a triangular pediment, all topped with four balls and a pinnacle.

The Main Chapel

The main chapel, taller than the central nave and hexagonal in plan, was sponsored by the Rojas family. It houses the most artistically and architecturally significant elements of the church: the main altarpiece, the tombs of the marquises, the star-shaped ribbed vault supported on two of the walls by radial trompes, and part of the 16th-century choir stalls. The space is enclosed by a grille topped with a Calvary, statues of Saint Dominic and Saint Thomas, and the noble coats of arms of the Rojas family. Forged in the 16th century by Juan Bautista Celma, the grille is a remarkable work of art.

The Main Altarpiece

The main altarpiece, reminiscent of the grand altarpiece of the Cathedral of Palencia, is a Plateresque masterpiece from the 16th century, attributed to Felipe Vigarny and his school. The altarpiece is divided into three tiers, plus a base or predella and an attic, and seven vertical sections. This arrangement creates numerous compartments that house ten sculptural groups, eight of them in relief and square-framed, and sixteen free-standing sculptures placed in shell niches. The spaces are separated by small columns, pilasters, and stipites, and by friezes decorated with cherub heads.

The predella features four scenes from the life of Christ (the Nativity, the Flight into Egypt, the Epiphany, and the Circumcision), with two heraldic shields at the ends, one of the Rojas family and the other of the Dominican Order. The first tier contains images of Saint John the Evangelist and Saint Christopher, and reliefs of the Annunciation, the Visitation, the Presentation, and Jesus among the Doctors. The central section is occupied by a statue of the Assumption of Mary, surrounded by four angels and resting on a base that extends into the predella. The second tier houses seven free-standing images: Saint Antolin, Saint Catherine of Siena, Saint Pius V, Saint Dominic de Guzmán, Saint Thomas Aquinas, Saint Sebastian, and, in the central section, Saint John the Baptist. The third tier features Saint Gregory, Saint Paul, Saint Lucy, Saint James, and Saint Anne with the Virgin Mary as a child. The attic is crowned with a Calvary, extending the central section, with images of the Crucified Christ, the Virgin Mary, and Saint John.

The Tombs of the Marquises of Poza

The left side wall of the main chapel houses the sumptuous mausoleum of Juan de Rojas and María Sarmiento, the first Marquises of Poza. This work, likely by Francisco Giralte, was completed in 1557 and was mistakenly attributed in the past to the sculptor Alonso Berruguete, Giralte's master. The funerary monument is arranged like a monumental altarpiece, with two tiers featuring Ionic columns and an attic with Corinthian columns. The first tier is adorned with allegorical reliefs of Chastity and Justice, above which are the images of the four Evangelists. In the central section, under a semicircular coffered arch, are the praying statues of the marquises. The upper tier features sculptures of the Archangel Gabriel, Saint Catherine, Christ tied to the column, Saint Anthony of Padua, and the Virgin Mary. The attic is adorned with statues of Saint Dominic de Guzmán and God the Father, along with the noble coats of arms of the deceased.

Opposite this mausoleum, on the right side, is the classical tomb of Francisco de Rojas and Francisca Enríquez de Cabrera, the third Marquises of Poza. This tomb, created around 1612 by artists from the school of the Italian sculptor Pompeyo Leoni, was long mistakenly attributed to Leoni himself. Documentary evidence shows that Alonso de Vallejo contracted this work but died during its execution. The work was continued by Antonio de Riera, Cristóbal and Francisco Velázquez, Antonio de Arta, and Juan de Muniátegui. The marquises are depicted in a praying pose.

The Chapel of Mercy

Occupying the original head of the nave of the Epistle is the Chapel of Mercy, also of great artistic interest. It contains the tomb of Dean Gonzalo Zapata, with a recumbent statue under a pointed arch, the front of which bears his coat of arms supported by angels. The chapel also features a Gothic altarpiece with scenes from the Passion of Christ, attributed to the workshop of Gil de Siloé, a prominent sculptor of the late 15th century.

In conclusion, the Convent of Saint Paul is not just a place of worship but a remarkable historical monument that offers visitors a deep dive into the rich cultural and religious history of Palencia. Its architectural splendor, combined with its storied past, makes it a must-visit destination for anyone exploring this beautiful region of Spain.