Santa María Magdalena

Santa María Magdalena, locally known as Iglesia de la Magdalena, stands as the most prominent example of Romanesque architecture in Tudela, Navarra, Spain. This striking edifice, with its rich history and unique architectural features, invites visitors to step back in time and explore the fascinating layers of its past. Built in the mid-12th century, the church has undergone numerous transformations, yet it retains the essence of its original Romanesque design, offering a glimpse into the medieval period of Spanish history.

The Architecture of Santa María Magdalena

Santa María Magdalena is a sober yet beautiful Romanesque structure with an intriguing irregular nave and a shifted axis, likely following the layout of an earlier Mozarabic church. The nave, divided into seven sections and stretching about 25 meters in length, is reinforced by robust, prismatic buttresses. A pointed barrel vault covers the nave, supported by strong transverse arches and ornate capitals. Unlike most Romanesque churches of its time, the apse of Santa María Magdalena is flat rather than semicircular, adding to its architectural uniqueness.

The church boasts two notable doors: the main entrance at the foot of the nave and a lateral door (now unused) on the left side. Adjacent to the main entrance stands the tower, a defining feature of the church's silhouette. Over the centuries, various chapels were added, such as the Chapel of Santa Ana in the 16th century. The main altarpiece, a Plateresque masterpiece by the sculptor Domingo de Segura, dates back to the 16th century and is dedicated to Mary Magdalene.

The History of Santa María Magdalena

The history of Santa María Magdalena is deeply intertwined with the history of Tudela itself. The church's origins date back to the Muslim domination of the region, when it served as a Mozarabic temple for Christian worship. The first recorded mention of the parish dates to 1119, shortly after Tudela's reconquest. The current Romanesque structure was erected in the latter half of the 12th century, possibly between 1150 and 1160, and was completed in the early 13th century.

In the 16th century, the church underwent significant renovations, including the addition of the lateral chapels of Santa Ana, Nuestra Señora de la Esclavitud, and the Baptismal Chapel. The 17th century saw the construction of the baroque-style chapels of Ánimas and the Santo Cristo, which were removed in 1986 to reveal the grandeur of the original Romanesque design. The main altarpiece, covering the entire apse, is a 16th-century work that showcases the artistry of the period.

The Tower

The tower of Santa María Magdalena, located on the north side of the church and to the left of the main entrance, is a Romanesque structure that remains largely detached from the main body of the church. It is not very tall and consists of three square-plan sections. The first section features two small windows for illumination, while the second section has four round-arched windows, one on each side. The third section boasts eight double-arched windows, two on each side, and houses the five bells of the church. The tower is topped with a low pyramidal roof. Inside, a spiral stone staircase, ascending counterclockwise, leads to the second section, while a modern iron ladder provides access to the third section.

The Main and Lateral Doors

The main door of Santa María Magdalena is a rounded arch that belongs to the advanced Romanesque style. Intricately carved stone scenes from the New Testament, as well as various vegetal motifs and depictions of different professions (musicians, stonemasons, etc.), adorn the portal. The tympanum features a Pantocrator (Christ in Majesty) surrounded by the symbols of the four evangelists. The tympanum, encircled by four archivolts, depicts the Pantocrator within a quadrilobed mandorla, flanked by the tetramorph (the four evangelists) and two kneeling figures, likely Mary Magdalene and Martha (or Lazarus). The portal is reminiscent of the famous portals of San Miguel de Estella and Santa María de Sangüesa. The archivolts are richly decorated and rest on plain jambs and historiated capitals. This door was protected by a brick facade from 1708 until a restoration in 1986.

The lateral door, located on the north side of the church and to the left of the main entrance, consists of three archivolts resting on heavily eroded capitals. Rediscovered in 1972, this door had been hidden under a layer of plaster in the current Chapel of Santo Cristo. It was rendered unusable when this chapel was built in the 17th century. Archaeological excavations in 1986 revealed that this door once led to a medieval cemetery, now covered by pavement.

The Retablo

The grand altarpiece of Santa María Magdalena, dating from the mid-16th century, is one of the finest examples of early Renaissance art in Navarra. The retablo was auctioned by candle in early 1551, with the most prominent local masters, including Esteban de Obray, Pedro de Navascués, Pierres del Fuego, Pedro de Segura, and Juan Remírez, participating. The auction concluded in favor of Juan Remírez, who undertook the work for 264 ducats. Domingo de Segura, a relative of the other masters, played a crucial role in its creation, completing the work by 1556.

The retablo follows the Aragonese style, modeled after the now-lost retablo of San Felipe de Zaragoza. Its Plateresque design features a grid-like structure with multiple compartments, comprising a base, four main sections, and an attic. The sections are divided by columns with composite capitals and decorated shafts, supporting friezes adorned with grotesques and cherubs. The central section retains a mandorla reminiscent of ostensoriums from contemporary Aragonese retablos. The attic is framed by similar columns and topped with a triangular pediment housing a bust of the Eternal Father, flanked by truncated pyramids with busts and children at the ends.

Stylistically, the retablo belongs to an advanced Renaissance period, valuing architectural elements while maintaining ornamental features. The sculptures within the compartments, though varied in quality, reflect the expressive style of mid-16th-century Aragonese sculpture, particularly influenced by Gabriel Yoly.

Santa María Magdalena is more than just a church; it is a testament to Tudela's rich history and architectural heritage. Its walls tell stories of centuries past, making it an unmissable destination for history enthusiasts and casual visitors alike. As you explore its naves, chapels, and towers, you'll be transported back in time, experiencing the grandeur and spirituality that has defined this remarkable church for nearly a millennium.