civil heritage
• - Annex: Andalusian Historical Heritage in Subbética#Lucena.
Located next to Paseo del Coso, an ancient square located outside its walls, it is a National Historical Monument. Its oldest part, corresponding to its central part, was probably built in the century during the city's Jewish era. The factory has a square plan with towers in the corners. Among the latter, the Moral tower stands out, with an octagonal plan and which preserves its baroque roof, and the Homenaje tower, the cell that was the Granada king Boabdil el Chico, captured in the battle of Martín González at the hands of the Lucentino councilor Martín Hurtado. When Lucena ceased to be the border with the Nasrid kingdom of Granada, the castle lost its military character and became the residence of the lords of Lucena, who later would also be, in addition to the Marquises of Comares, the Dukes of Cardona and Medinaceli. It currently houses the Archaeological and Ethnological Museum of the City.[13].
It is the ancestral home of the Mora Saavedra family. Built approximately between the years 1730 and 1750, it is located on San Pedro Street and the last Lucentine masters of the Baroque, Francisco José Guerrero and Pedro de Mena Gutiérrez, took part in it.
Of its architecture, in addition to the magnificent façade, its two patios stand out, the second of which has a portico. The building was rehabilitated and dedicated to holding artistic exhibitions and tourist experiences.
It is a palace of the century in which we must highlight its beautiful three-section façade and its elegant door. Old ancestral house that belonged to the Soto Flores family since the middle of the century. In 1797, the house would be inhabited by Miguel Álvarez de Sotomayor y Álvarez de Sotomayor, Count of Hust, writer and descendant of the Flores de Negrón family. The last descendant of Miguel Álvarez de Sotomayor y Álvarez de Sotomayor who lived in this house was Miguel Álvarez de Sotomayor y Antrás, who was mayor of Lucena during the Franco regime. It is located on Flores de Negrón Street in the heart of the Lucentine Jewish quarter. Currently it is the headquarters of the city's municipal library.
It currently houses the city's theater and the Duke of Rivas theater school is located in its facilities.
This is the name of the Lucena bullring. This large and young plaza was inaugurated on July 16, 2006 with a mixed Goyesca bullfight in which the rejoneador Pablo Hermoso from Mendoza and the right-handers Enrique Ponce, Finito from Córdoba and Manuel Díaz "El Cordobés" participated. That day the capacity of the square, which has six thousand five hundred seats, was filled. At the royal fair that same year, four very impressive posters were brought. In Lucena there were previously several bullrings; one, the oldest, was built in the center in what is now the Plaza de España and another, the most recent, was built in the Ejido del Valle. The only bullfighter who managed to succeed in the town was Francisco López "Parejito", who fought his first bullfight in Cabra and came to perform in Madrid in 1922, alternating with José Carralafuente and Nicanor Villalta, achieving fleeting success that led him to take the alternative three years later with Ignacio Sánchez Mejías, a bullfighter from '27, as godfather. Later he would go to Mexico, where he alternated with Rafael Gómez "El Gallo", and also to France, Portugal, Italy and Hungary. Parejito, who was received by Mussolini and Pope Pius
The building attached to the church of San Pedro Mártir of Verona was the old Dominican convent founded in 1575 by the bishop of Córdoba and in 1836, by the decree of exclaustration, it became part of the National Assets. In 1844 it was auctioned and became the property of Juan de Navas García. Before passing into municipal ownership, the building was an anise factory, oil mill and winery. It preserves a splendid mannerist courtyard with a portico with semicircular arches and columns on a pedestal base. In its center it preserves a fountain surrounded by a garden and palm trees. Currently the building has been rehabilitated and will become a multipurpose public center and citizen service. The project has recovered the central porticoed patio and a second rear patio as open green spaces for the enjoyment of all citizens. The rest of the building is designed in a versatile way for various functional uses such as exhibitions, teaching, social uses, meetings, etc., with a total of eleven rooms spread over the three floors.
• - González de Palma manor house. It is in the baroque style, from the 19th century. Its large shields and viewpoint on the façade stand out. Its main colonnaded patio can be visited.
• - Palace house of the Recio Chacón (marquises of Campo Aras). Monumental building with shields located in the Alta and Baja plaza.
• - Palace house of the Rico Rueda (with monumental marble façade and columns). It is from the century and highlights its colonnaded patio and the plasterwork dome and paintings on the staircase. It is located on Calle de las Torres.
• - Manor house of the Polo de Lara. Of the century. Its façade and the beautiful polychrome plasterwork dome of the staircase stand out.
• - Manor house on Cabrillana street. Baroque with a red marble doorway with shields and lions.
• - There are other stately or palatial houses on San Pedro streets, on Ancha street, on Condesa Carmen Pizarro street, etc.
• - Lucentine Circle. 19th century bourgeois casino, located where the palace of the Marquises of Torreblanca used to be (Julio Romero de Torres street n.º 1). It is visitable.
• - Ducal alfolíes: they belonged to the dukes of Medinaceli. They date from the 10th century. They were to store crops. They are not yet visitable in 2024.
• - Baroque public fountains. In Lucena there are several magnificent examples of monumental fountains in the Baroque style. The ones in the Plaza de S. Juan de Dios, the one in the Plaza de la Barrera (from 1773), the one in Santo Domingo, or the one at the end of the park avenue stand out.
The church of San Mateo "Iglesia de San Mateo (Lucena)") is considered a small cathedral and is one of the most beautiful, oldest and most historic churches in the province of Córdoba. It is located in the middle of the city, in front of the town hall, separated by the Plaza Nueva "Plaza Nueva (Lucena)").
Its traces are due to Hernán Ruiz II. Its Renaissance altarpiece, by Jerónimo Hernández and Juan Bautista Vázquez the Elder, is important, as altarpieces with similar characteristics are rare in Lower Andalusia.
The attached Tabernacle chapel stands out above all. This magnificent work is considered, along with the Tabernacle of the Assumption of Priego, one of the crowning works of the Andalusian Baroque. Built between 1740 and 1772 under the orders of Leonardo Antonio de Castro Hurtado"), it has a wonderful façade of inlaid marbles. It has an octagonal plan and a central temple, and everything is covered with polychrome plasterwork of great beauty made by Pedro de Mena Gutiérrez").[14].
The early Christian basilica of Coracho is an ancient early Christian temple that was accidentally found during the construction of the A-45 highway between Córdoba and Málaga. It is one of the oldest Christian temples found in the Iberian Peninsula. It was moved to a new location to the Viñuela industrial estate for its enhancement and has been open to the public since October 2008.[15].
Its original site was in front of the Gospel wall of the San Mateo parish, in Plaza Nueva and Juan Palma street. In the month of May 1612, the Community was formed, which came from Cabra, where they had tried to found, without success. The last work in the construction of the primitive building was carried out in 1641. Already in 1931 and due to a strong earthquake, the walls of the monastery suffered considerably. In 1966 some parts of the house collapsed, so there was no choice but to take measures. These were the transfer, after the sale of the site, to a new monastery built in the so-called Prado de los Caballos, outside the city walls, under the direction of the architect José Garnelo L. de Vinuesa. In June 1972, the convent and the new church were completed, to which the primitive altarpiece, dating from 1730, was moved. The community preserves in the cloister a large number of works of art, especially paintings, sculptures and liturgical ornaments, which were exhibited in 1983 on the occasion of the Teresian Year.
The parish of Santiago, in the Gothic-Mudejar style, began in 1503, by testamentary disposition of García Méndez de Sotomayor, the Commander of the Order of Santiago. Traditionally it has been considered an old Jewish synagogue, but possibly in its construction the materials from the then recently demolished old temple of San Mateo were reused, where the old synagogue and mosque could really have been. The church, with a rectangular floor plan, has three naves divided by octagonal pillars that support pointed brick arches with alfiz. The three naves are covered with coffered ceilings reconstructed following the model of the original.
From this church comes one of the most revered steps and one with the greatest Santera tradition: "La Columna". A carving of great beauty, the work of Pedro Roldán in 1675, and which has become one of the most famous steps in Lucena.
The parish of Nuestra Señora del Carmen is a clear example of the architectural evolution from Mannerism to Baroque and of the notable influence of Herrerianism on the architecture of the first half of the century. Constituted as a masonry prism on the façade in which ashlar and brick are combined, its plan is a Latin cross, a response to counter-reformation trends, with a half-barrel vault with lunettes and transverse arches continued through the walls by means of pilasters. A simple but wide molded cornice marks the separation between the vaults and the walls, and preceding the main chapel is the dome, on pendentives decorated with the heraldic coats of arms of the houses of Comares and Segorbe and Cardona. Inside, the image of Jesús de la Humildad (attributed to Pedro de Mena, century) and the set of the Entry into Jerusalem stand out, the second oldest in Andalusia and the third in Spain (Diego Márquez Vega, 1769).
The parish of Santo Domingo was a convent of Mínimos friars dedicated to San Francisco de Paula. It was built around 1730 on a hermitage dedicated to this saint on the occasion of the plague epidemic of 1680. With a Latin cross plan and side chapels, its architecture is based on designs by Brother Juan Rodríguez de Ocampo. The temple has two doors, one dedicated to the titular saint and another dedicated to the Virgin of Victory. In addition, an elegant angular belfry built on the northeast façade of the building stands out.
The interior of the church houses a magnificent baroque altarpiece by Francisco José Guerrero), also the author of the plasterwork that decorates the dome and pendentives. Likewise, it houses other interesting artistic works such as the impressive image of the Christ of the Blood, made with corn pith and acacia wood from an indigenous workshop in New Spain (present-day Mexico); the carving of San José, from the Granada workshop of José de Mora, and the image of San Marcos from the extinct hermitage of his name and attributed to José de Medina"). Finally, it should be noted that the convent attached to the temple has recently been restored and converted into a luxurious hotel. During 2007, reforms were made to certain details of it.
It has a simple Mannerist façade that gives way to a large nave with a Latin cross plan, with side chapels, centered on a high luminous hemispherical dome. The main altar is presided over by a beautiful altarpiece in the Solomonic baroque style, made by the Granada native José Matías Sánchez, based on designs by Leonardo Antonio de Castro. Likewise, the minor altarpieces and imagery of notable interest stand out, highlighting without a doubt the image of the Crucified of Passion, in a Mannerist style, and that of San Pedro Alcántara, attributed on grounds to Pedro de Mena, as well as that of San Francisco de Asís. From the Mora school it is a Christ tied to the column. In the old chapel of the tabernacle, Our Lady of Sorrows is venerated, a Pieta made in 1799 by Blas Molner. The attached convent is organized around a beautiful courtyard, with a square floor plan and large dimensions, formed by two cloisters, upper and lower, with arcades on Doric columns in the lower one and Ionic ones in the upper one, and centered with a monumental fountain with a mixtilinear plan and baroque double-cup pillar, from the beginning of the century.
On the street of its name, there was the temple of an old Dominican convent erected in 1570 on an old hermitage dedicated to Saint Catherine. This temple was closed to worship in the middle of the century, and a little later it collapsed, preserving only two of the exterior walls, preserving the doorways of San Pedro de Verona and the Virgin of the Rosary, and the belfry. From 2006 to 2014, the work corresponding to the restoration of the original elements and reconstruction of lost elements was carried out, thus recovering the second body of its beautiful ashlar façade, the Latin cross plan covered by a barrel vault with lunettes made of wood, the dome on pendentives and the side chapels with small elliptical domes. On March 15, 2014, it was consecrated and opened again for worship, leaving it completely recovered for the City of Lucena. In this temple they venerate the Christ of Mercy by Pedro Muñoz de Toro, crucified at the beginning of the century, which presides over the main altar, Ntro. Father Jesus Praying in the Garden and an image of Saint John Paul II who presides over the columbarium set up in the basement of the church, made by the Lucentine image maker Francisco Javier López del Espino and blessed in Saint Peter's Square in Rome, by His Holiness Pope Francis.
It houses next to it the Little Chapel of Nuestro Padre Jesús Nazareno, of great popular devotion throughout the region.
Old hospital "Antiguo Hospital de San Juan de Dios (Lucena)") built in the 19th century. The access to the church is framed by a superb doorway made of polychrome marble from the region, made by the Pino Ascanio brothers, prestigious local stonemasons from the mid-century.
The church has a single nave with a barrel vault with lunettes, which culminates in a hemispherical dome decorated with plasterwork. The main altar is presided over by a beautiful altarpiece made by Francisco José Guerrero, also the author of five other minor altarpieces. The hospital, currently a nursing home, is organized around a large central patio, whose lower cloister, with arches on pillars, is beautifully decorated with Manises tiles contemporary with the work, which was inaugurated in 1754.
This church belongs to a community of Augustinian Recollect nuns, whose foundation dates back to 1639, although the work on this extraordinary building began in 1669 on plans by the local architect Juan Trujillo Moreno, and was completed in 1726, after receiving the final directing impulse from the architect Francisco Hurtado Izquierdo, who created the impressive portals.
Its main space is, precisely, a monumental elliptical enclosure with a longitudinal layout, a scheme that is also repeated in its high drum-shaped dome. Inside, the main altarpiece stands out, made in 1730 by Martín de los Reyes, according to a design by Francisco José Guerrero, notably influenced by the stylistic models of Francisco Hurtado Izquierdo. Likewise, five minor altarpieces, by the same author and designer, occupy the walls of the ellipse plan. Also notable is the exterior façade of two bodies with Solomonic columns, which frame a niche with a sculpture of San Martín de Tours, the work of the sculptor Francisco Julián Márquez Luque.
This temple was built in 1718 by Jerónimo Ramírez de Quero following the designs of the renowned Lucientino artist Leonardo Antonio de Castro.
The temple has a rectangular plan and a marked longitudinal direction, with five sections, covered with a half-barrel vault, except for the one immediately next to the presbytery where it has the dome on pendentives decorated with leaves around the heraldic coats of arms of the founders.
Externally it presents a façade of ashlars, consisting of a rectangular wall crowned by a triangular pediment with an oculus, repeating models inspired by Herrerian schemes.
The main altarpiece, presided over by the image of the Immaculate Conception, was made around 1800. It presents clear neoclassical influences in its structure and is organized into three traditional bodies: a very elevated bench, including the doors of the sacristy, beautifully carved and gilded, in a geometric style, as well as a tabernacle, topped by a straight pediment; the main and the attic. Finally, we should highlight the existence of several carvings among which the image of San Miguel of possible colonial origin deserves to be highlighted.
In 1885 the works on this church of clear neoclassical influence were completed. Its façade is very sober with a large brick facing, with a stone doorway and upper oculus, the entire complex crowned by a straight and divided pediment, in the center of which stands the belfry, of a single body and with two holes for bells.
Inside, it is a longitudinal temple, covered with a half-barrel vault where its main altarpiece stands out, which originally came from the disappeared convent church of Santa Ana. This altarpiece is organized into two bodies where pictorial and sculptural elements intermingle. The entire complex, dating back to around 1700, shows the influence of Leonardo Antonio de Castro on the paintings and decorative architectural models of Francisco Hurtado Izquierdo. The Brotherhood of Nazarenes of the Sacred Encounter resides there, which makes a penitential station on the afternoon of Palm Sunday.
About six kilometers from Lucena, along the CO-6218 regional road, at the summit of the Sierra de Aras, there is an impressive baroque sanctuary that keeps the image of the patron saint of Lucena, Our Lady of Araceli, brought from Rome by the II Marquis of Comares. She is the patron saint of Lucena and of the entire Andalusian countryside, she is of great devotion throughout central Andalusia. From the sanctuary you can see the provinces of Malaga, Córdoba, Seville, Granada and Jaén, and on clear days, the Moroccan coast, Nobel Prize winner Camilo José Cela wrote:
It becomes especially relevant during the times of the pilgrimage of the ascent and descent of the virgin to the city, which are in spring time. In 2001 it was the scene of some scenes filmed in this hermitage from the film Hable con ella by director Pedro Almodóvar.
With a rectangular floor plan and a single nave, it was built in 1718 following designs by Leonardo Antonio de Castro). Ramos"), is presided over by the group of the Holy Trinity.
Inside the church, noteworthy are its magnificent set of wall paintings based on phytomorphic motifs, a canvas of the Annunciation also by Leonardo Antonio de Castro; the sculptural group of the Sacred Lavatory, by Pedro de Mena, and the image of Our Lady of the Star, the work of José Verdiguier"). It was initially dedicated to the Holy Trinity, being called the hermitage of God the Father, God the Son and God the Holy Spirit, but it was shortened by popular tradition to the hermitage of God the Father. This hermitage was recovered by the brotherhood of the Santa Fe.
This beautiful hermitage was erected around 1715 and its brotherhood maintains the tradition, so typical of the towns of southern Córdoba, of the Aurora bell ringers. The floor plan of the hermitage is rectangular, organized into five sections, the fourth and fifth corresponding to the spaces covered by the dome and the presbytery respectively.
The dome rises on pendentives decorated with stucco leaves framing the heraldic coats of arms of the Patron of the chapel, Don José de Arjona y Hurtado. The main altarpiece, a work attributable to Francisco José Guerrero, completed in 1759, represents in its structure the decorative synthesis of this altarpiece maker who was so prodigal in his work in Lucena. The dressing room made for the image of the owner between 1756 and 1759, has a circular plan and small dimensions, about two meters in diameter, it adapts like one as an apse to the head of the church, profusely decorated with rockeries, stipes, mirrors and heads of angels. All the style characteristics of this small space point towards the Lucentine sculptor and carver Pedro de Mena y Gutiérrez, who was currently working on the plasterwork of the Tabernacle of San Mateo.
It has a rectangular floor plan and its façade is architraved and topped by a triangular pediment. Originally it was a chapel belonging to the annexed temple of San Pedro Mártir, from which its name comes. As a consequence of the exclaustration of the Dominican community and the closure of the temple of San Pedro, the Nazarene brotherhood added another body to the chapel within the same artistic canons; It was covered with a slightly elliptical and lowered dome, and was provided with an independent exit. The main and oldest part of the temple, a circular space of neoclassical style covered with a gallon dome, began its construction in 1758 under the direction of Vicente del Castillo and the sponsorship of Don Antonio Rafael de Mora Saavedra with the purpose of serving as a dressing room for the image of Nuestro Padre Jesús Nazareno, an anonymous image of the century of great veneration in the City. The titular images of the brotherhood of Jesus are also venerated: the Virgin of Socorro, the Holy Woman Veronica and Saint Mary Magdalene by Luis Álvarez Duarte (century), Saint John the Evangelist attributed to Miguel Verdiguier (century), the urn of the Holy Burial by Lucentine Pedro de Mena Gutiérrez") (century) and the recumbent Christ by Miguel Verdiguier, as well as an image of Our Lady of the Rosary (century ) found in the crypt.
Founded on October 12, 1639. The church was completed in 1726. Francisco Hurtado Izquierdo intervened, especially in the design of the dome, elliptical and very original. The main altarpiece is worthy of special mention, a magnificent jewel of the Lucentine baroque in optimal condition.
It is the third, in chronological order, of the convents of the Hospitaller Order of San Juan de Dios. It was erected in 1565 and its founder was the venerable Frutos de San Pedro, one of the first brothers of the aforementioned Granada order. The church was blessed in 1575. Later, already in the 19th century, a son of Lucena became the first Life General of San Juan de Dios, Br. Alonso de Jesús (vid.), who carried out a very meritorious work of enriching the hospitals and churches founded, as well as new foundations. The church has a single nave whose façade is a true altarpiece of inlaid marble and jaspers. The main altarpiece completed in 1754 was made in Granada. It so happens that both the church and hospital of Granada, as well as those of Lucena, were built under the designs and orders of the Lucentine architect José de Bada y Navajas, and that the same artists participated in their construction: Raxis, Saravia, Bocanegra and even Alonso Cano, in the painting, stonework by Cabello del Pino and Hurtado de Rojas. The hospital and church of S. Juan de Dios in Lucena are together an important exponent of Andalusian baroque style of the 16th century. . In the crypt of the church are the remains of the Venerable Frutos de San Pedro, for whom a beatification file was initiated at the time.
Franciscan monastery began to be built in the year 1550 under the auspices of D. Luis Fernández de Córdova, Marquis of Comares and lord of Lucena. It came to occupy almost the entire block in which it is inserted. The City Council is the Board of Trustees of this convent. It had a philosophy chair and until the 60s of this century it was a major seminary of the Order, in the Betica province. Currently it is a very small community that serves it. Among the artistic pieces that it preserves is part of an apostolate, original by Antonio Mohedano. The design of the altarpiece is by Francisco Hurtado Izquierdo. It is rich in imagery, among which the carving representing Saint Bonaventure stands out, the work of Pedro de Mena from Granada. Important cloister.
It has the particularity of being a church with a dispersed nomenclature, being known among the population in very different ways, Santa Marta, El Valle, Jesús Abandonado and now by the Sagrada Familia. All of this undoubtedly caused by the eventful history of the property. In the old hermitage of Nuestra Señora del Valle, then located outside the city walls, in 1713 the Barefoot Franciscans (Alcantarinos) established a convent.
After the confiscation and suppression of convents in 1835, the convent has had various uses, almost always for welfare and charity. Until the end of the last century, beginning of this one, it was not occupied by another community. For many years an Asylum House for the Abandoned Elderly was located there; at the beginning of the 1980s it became one of the Homes of the Work of Abandoned Jesus, carrying out important restoration works there. The home housed people in need and for years was directed and managed by Mr. Prudencio Uzar, who upon his death was named adopted son of the city of Lucena for his great work in our municipality. After the closure of this home in 2010, last year 2013 a soup kitchen run by Salesian sisters was installed there.
On the other hand, to serve the population of the western area of the city, in 2011 a new parish was created, which under the name "La Sagrada Familia" has its headquarters, initially provisional, in the Valle church.
The church of Nuestra Señora del Valle, not very large in size, consists of a single nave with side chapels. The most important work of art kept there is an extraordinary carving of the Immaculate Conception, from the Granada school, without dating. Quite a few canvases and other sculptures, the image of Santa Marta stands out greatly on a devotional level, before which every Tuesday of the year hundreds of Lucentinos come to ask for favors or to give thanks for those already granted.