Church of San Agustín: Altars and Chapels.

The Church of San Agustín is a work conceived with two major purposes: the purely aesthetic and the doctrinal, as it teaches the path to the salvation of the soul to those willing to learn it. In the words of Teodomiro Ramírez de Arellano in Paseos por Córdoba, the Church of San Agustín and the iconographic program designed for it by Fray Pedro de Góngora is a marvelous work not only in honor of the arts, but of our Religion, since the majesty of so much gold, somewhat softened by the tempered light that enters through its well-placed windows, makes the soul feel enraptured and even believe it is closer to God in that beautiful place where faith grows and hopes seem to come true.

Altars and altarpieces

This Cordoban temple housed many altars, some of them dedicated to devotions with deep-rooted popularity, such as that of the Virgin of Sorrows, Jesus the Nazarene, Saint Joseph, Saint Thomas, Saint Isidore, or Saint Nicholas of Tolentino. Only the altar of Saint Thomas of Villanova remains, dating from the 17th century, located in the transept and noted for its high artistic quality. Many side altarpieces disappeared during the French invasion of 1808, as well as the paintings on the ceiling of the right side nave. It was then that the altarpiece located in the presbytery was created, made of painted plaster imitating marble, clearly influenced by 19th-century styles.

The personification of the Church

Right above the entrance screen, one can see a seated woman holding a book with the papal tiara in one arm and a scroll in the other. On either side of her, angels hold a staff crowned with a papal cross and a set of keys. This figure is the personification of the Church: a matron holding the Scriptures, the foundation of the Supreme Pontiff’s authority. In this same area is the signature of Fray Pedro de Góngora.

Virtues and iconographic program

Along the central nave, arranged in groups of four—two on each arch and from right to left as one enters the church—representations of the Christian Virtues, the three theological ones accompanied by Truth, await visitors with a richly detailed iconography, typically Baroque.

Presbytery and sculptures

Although the former Main Altar was destroyed in 1936, it was rebuilt in wood and plaster following its original design. One of the altarpieces flanking the tabernacle contains a statue of Saint Augustine, which, due to stylistic similarities with documented works, has been attributed by experts to the chisel of Juan de Mesa. On the sides of the presbytery, there are polychrome statues of the Popes Saint Silverius and Saint Gelasius, accompanied by paintings of Holy Knights such as Saint James the Greater.

The choir loft and the Immaculate Conception

Among all the pictorial elements of the Church of San Agustín, one of the most spectacular is undoubtedly the choir loft, entirely dedicated to the Immaculate Conception that occupies the central part. At the base of the choir loft, next to the door, is a Latin inscription: The Holy Spirit will come upon you. On the opposite side is a verse from Genesis: She will crush your head. Both inscriptions highlight Mary’s conception through the intervention of the Spirit and her triumph over sin par excellence. It is upon these two foundations that Cristóbal Vela develops his magnificent work.

The beautiful Virgin, rising above the moon and surrounded by cherubs, displays a youthful face and lowered eyelids in a sign of humility. At her feet, eight angels carry Marian symbols, while around her, in separate panels, the attributes of the Immaculate are arranged in three groups: allegorical passages placed on either side of the Virgin; flower paintings, two above and two below the Immaculate; and various flowers.

Murals and vaults

On the pillars of the central nave are paintings depicting scenes from the childhood of Jesus. On the smaller sides of each pillar, up to twelve prophets with messianic messages are represented.

A pictorial representation of the Creed spans the ceiling of the central nave. In six oil-painted panels applied directly onto the plaster, the different verses of the Creed are depicted, written on scrolls held by angels. Each of the six panels includes two apostles, portrayed in a very simple manner and without attributes.

In the semicircles formed by the lunettes on the wall, pairs of female saints from various times and origins are depicted—all martyrs—possibly forming a procession in honor of the Virgin, paralleling the procession of prophets on the lower part.

The ceilings of the side naves originally featured paintings depicting the Miracles of Saint Augustine in the Gospel nave, and those of Saint Nicholas of Tolentino in the Epistle nave, although some have been lost. In the side vaults, in the spaces between the Gothic ribs, eight Augustinian saints are depicted.

The pendentives supporting the central vault include the Fathers of the Western Church. Inside the vault, the four evangelists are painted along with the emblems of Saint Augustine: miter, temple, and flaming heart. The center is occupied by an angel, and the entire vault is filled with decorative motifs. Above the arches supporting the vault, the Assumption of the Virgin and the Ascension of Christ are depicted.

Cultural visit

If you’re wondering what to do in Córdoba, we recommend visiting the Fernandine Churches by booking one of our guided tours. There we will dedicate a special chapter to the Church of San Agustín. Choose high-quality tourism with qualified staff—don’t hesitate, ArtenCórdoba is the best option.

Text: Jesús Pijuán