Church of Santa Marina

The Church of Santa Marina de Aguas Santas, a dedication of Galician origin, was ordered to be built by King Ferdinand III the Saint in order to populate the sparsely inhabited district of Santa Marina, as well as to provide it with a religious and administrative center. Located in a privileged area of present-day Córdoba, in the Middle Ages it bordered the wall that separated the Ajerquía from the Villa, as well as the now disappeared Puerta del Colodro, which provided access to the Ajerquía from the north.

One of the oldest Fernandine churches

Currently, it is believed that construction began at the end of the 13th century, although there are records mentioning the church in 1256 and 1264, as well as a reference to clerics serving there in 1277. Without a doubt, along with La Magdalena, it is the oldest church among the so-called Fernandine churches, sharing many stylistic similarities with it.

As with most of the remaining Fernandine churches in our city, the Church of Santa Marina has undergone numerous transformations; however, the current state of preservation of the temple is optimal for conducting a historical reading of it.

Transformations and restorations of the temple

In the mid-16th century, Hernán Ruiz built the current bell tower over medieval remains, financed by Bishop Don Leopoldo of Austria, uncle of Emperor Charles I. Around 1630, architect Sebastián Vidal transformed the apse on the gospel side to house the Chapel of the Benavides, adapting it to the prevailing taste of the time.

Years later, in 1642 and 1647, the medieval roofs were covered with Baroque vaults and the Chapel of the Sacrament was completed, respectively. The latter underwent a new restructuring in the second half of the 18th century, likely due to the earthquake that affected the church in 1755. The 1998 restoration aimed to restore the temple’s original appearance as much as possible.

Epidemics, fires, and earthquakes

The tradition of burying the deceased inside and around churches led, during times of high mortality, to the accumulation of corpses and the spread of major epidemics, such as the one in 1785, which caused over a thousand deaths, as narrated by Ramírez de Arellano.

Epidemics were not the only misfortunes to affect the Santa Marina neighborhood over the years. The earthquakes of 1680 and 1755 left their mark on the building, as did the fires of 1880 and 1936. Each of these disasters was followed by restorations, carried out according to the tastes of the sponsor and the period, as things were done in the past.

The urban setting of Santa Marina

The current neighborhood of Santa Marina is bordered by the San Agustín neighborhood to the east and south, by Avenida de Ollerías to the north, and by the central Plaza de Colón to the west. In front of the church is Plaza de Santa Marina, which borders the Plaza del Conde de Priego, where the Monument to Manolete is located, making the view of the building quite impressive.

A few meters south of the church, bordered by Calle Santa Isabel and Calle Rejas de Don Gome, is the Palacio de Viana. To the north, on Avenida de Ollerías near Plaza de Colón, stands the Torre de la Malmuerta, an albarrana tower commissioned by Henry III the Sufferer, to protect the Rincón and Colodro gates.

The building

The floor plan of the Church of Santa Marina de Aguas Santas consists of three large naves, the central one being wider and taller than the sides. The apse is made up of three polygonal chapels, similarly expressed on the exterior and reinforced by buttresses.

The naves of the Church of Santa Marina are connected by five pointed arches supported by large piers, each with two attached columns and two pilasters. Above the pointed arches rises the characteristic reinforced wall, where five semicircular blind arches are developed. Inside, there are small light openings, covered by semicircular arches, above which are second arches—this time lobed—supported by smooth-shaft columns.

This reinforced wall supports the wooden coffered ceiling, with paired tie beams decorated with fine and simple interlace designs. The triumphal arch leading to the Main Altar is adorned with a kind of crochets, while the one leading to the apse on the epistle side is molded with alternating rolls and scotias. These two apses and the sections preceding them are covered by Gothic rib vaults with keystones decorated with vegetal motifs.

Chapels and roofs

The apse on the gospel side, formerly the Chapel of the Benavides, is covered by a barrel vault ending in a quarter-sphere, built in the mid-17th century and decorated with geometric elements typical of the period’s taste.

Façades and portals

The main façade is characterized by four large buttresses topped with pinnacles, dividing it into three sections, matching the interior naves—thus hinting at what lies within. At the center is the portal, which leads to the central nave. It consists of a pointed arched entryway with molded archivolts, supported by capitals decorated with vegetal and zoomorphic motifs, blending with a small continuous frieze that acts as an extension of the decorations.

The pointed arch is framed by a Muslim-inspired alfiz, as is the canopy supported by roll-shaped corbels. The rose window is not medieval but was created during one of the most recent restorations.

The portal on the epistle side follows the same scheme as the main portal but features birds facing each other along the decorative frieze.

The portal on the gospel side is later than the other two, dating from the mid-14th century, and thus shows more evolved stylistic features. It consists of a pointed arch, with an intrados decorated with zigzag patterns and molded archivolts. The capitals are supported by slender columns and decorated with vegetal and zoomorphic motifs, again blending into a continuous frieze that, in this case, reaches the base of the arch itself.

A tall and slender gable, ornamented on its edges with diamond points, covers the pointed arch and is flanked by two large buttresses. A small sculpture of Santa Marina presides over the front, set in a pointed arch niche that holds a smaller lobed arch.

The tower

The tower was built by Hernán Ruiz II the Younger, and sponsored by Bishop Leopoldo of Austria in the mid-16th century, hence his coat of arms on the upper level. The square-section tower has two levels, the first of which is barely decorated.

The second level features three pilasters per side with Ionic capitals, between which are semicircular arched openings with decorated keystones that house the bells. It is topped by a dome with a lantern.

Altars and Chapels

From the gospel nave, deeply transformed in the 18th century and partially restored to its original state, we highlight a small Altar dedicated to Saint Joseph featuring a niche with the Saint’s image, an oil painting of Saint Agnes attributed to Cristóbal Vela Cobo, and an Adoration of the Magi, a copy of an original by Rubens.

Of particular interest is the Chapel of the Sacrament, accessed through a simple semicircular arch. It is a square space covered by a dome on pendentives, decorated with images of the four Evangelists. In the center stands a reredos housing the tabernacle, featuring a horizontal painting representing the Last Supper. Also noteworthy are two paintings by Alonso Enríquez de Navarra depicting Saint Agnes and Saint John on one side, and Saint John the Baptist and Saint Barbara on the other.

Chapel of the Benavides

The gospel apse is occupied by the Chapel of the Benavides, commissioned by Spanish army captain Alonso de Benavides, born in the Santa Marina district. The gilded wooden reredos was crafted by Sebastián Vidal, who gave it a notable classicist style.

Divided into three sections, the sides feature paintings by Antonio del Castillo of Saint John and Saint Francis. The central niche holds a Resurrected Christ, titular image of the Brotherhood of the Resurrected, by Juan Manuel Miñarro.

To the right stands the Virgin of Joy by Juan Martínez Cerrillo, co-titular of the brotherhood, and on the opposite side, the Angel that accompanies the Lord through the streets of Córdoba on Resurrection Sunday.

Main Altar

At the Main Altar we find the Virgin of the Rosary, an anonymous work from the first half of the 17th century, depicting a young Virgin holding the Child Jesus in her left arm and a rosary in her right hand.

On either side are paintings attributed to Cristóbal Vela Cobo representing the archangels Saint Gabriel and Saint Raphael. It is believed these works, almost identical, originally portrayed the Archangel Michael and were later retouched.

Apse of the epistle

In the apse on the epistle side, which largely retains its medieval appearance, there is a small altar decorated with Solomonic columns, and in its niche is an image of Santa Marina by Blanca de Alvear (1968).

Despite being modern, the sculpture integrates perfectly with its surroundings due to its hieratic and archaic character. Among the paintings in the room, one Immaculate Conception from the early 18th century stands out, though in poor condition.

Altar of Saint John the Baptist

On the epistle side, we find two altarpieces flanking the entrance. The first is the Altar of Saint John the Baptist, made of polychrome wood, anonymous, and from the 17th century.

At its center is a magnificent painting of Saint John the Baptist, flanked by works depicting Saint Joseph, Saint Anthony of Padua, Saint Francis, and Saint Blaise, painted by José Saló Junquet, copying originals from various collections.

At the top of the altarpiece is an Immaculate Conception attributed to Antonio del Castillo (1645).

Altar of Our Lady of Light

The second altarpiece is known as the Altar of Our Lady of Light, named after the central image, a mid-18th-century work by Alonso Gómez de Sandoval.

Above it is a painting on copper of Saint Sebastian, depicting his martyrdom.

Chapel of the Orozco

We conclude our tour with the Chapel of the Orozco, whose founder remains unknown. Its entrance is especially interesting, featuring a pointed arch framed by an alfiz, with spandrels decorated with Mudejar plasterwork, including two prominent Crosses of Calatrava—suggesting the founder may have belonged to that order.

Above, one can see the use of muqarnas.

The chapel interior is a square space covered by a dome on squinches, with a painted central floral motif. Numerous elements were altered during a recent restoration.

Of note is an exceptional Immaculate Conception by Antonio del Castillo, undoubtedly one of the most outstanding painters who worked in 17th-century Córdoba, and fortunately, this church houses several of his works.

Guided tours and heritage

If you wish to explore the Fernandine Churches, don’t hesitate to book one of our guided tours. We will pay special attention to the Church of Santa Marina. We are experts in the interpretation of Córdoba’s historical heritage. If you’ve chosen to do tourism in Córdoba, choose a quality option—choose ArtenCórdoba.

Text: J.A.S.C.