Puerta Nueva and Valdés Leal

At the roundabout of Puerta Nueva, a small column rises, holding a sculpture that reproduces the old gate, sadly lost in 1895. Until the construction of the busy Paseo de la Ribera, it was the main entrance to the city through the so-called Camino Real. The gate, set into the wall, featured a lintelled opening flanked by pilasters that supported a frieze decorated with circular elements, from which sprang the triangular pediment that crowned an elegant and classical ensemble.

The origins of the Puerta Nueva date back to 1569, as its construction was prompted by a visit from King Philip II to the city. Despite its disappearance in 1895—like so many other gates and stretches of wall, in an effort to “promote” the city’s expansion beyond the walls—this historic landmark is still remembered as the city’s main gate for nearly three centuries, where numerous monarchs and personalities were received with all honors.

It is well known that the fountain which now decorates and supplies water to the Jardín del Alpargate, in the Plaza del Cristo de Gracia, was originally located here. It was funded with the proceeds from a bullfight held in 1747, and the remainder was used for part of the monument found in the center of the garden.

The Puerta Nueva and Historical Events

Don Luis María de la Casas Deza tells us how the French armies entered the city through the Puerta Nueva on June 7, 1808: “…the French aimed their cannons at the Puerta Nueva, which they managed to open shortly after, without much effort.” In 1956, the statue of the archangel that crowns the monument was restored by the García Rueda brothers, who, interestingly, have had their workshop opposite it for many years; they found up to three bullets embedded in the head, surely fired by a French owner. In 1999, the García Rueda brothers restored the piece again, and it was inaugurated for Saint Raphael’s Day in 2002.

El Carmen de Puerta Nueva

Despite the importance of the site, allow me to pause for a moment at the Convent Church of Carmen Calzado, popularly known as “Carmen de Puerta Nueva.” The church, annexed to the current Law School of Córdoba, has barely preserved its main façade, now sealed, and another entrance now commonly used, located on the Gospel side. The main façade, in poor condition, features a semi-circular arched entrance with a prominent keystone, flanked by pairs of columns and topped by a broken triangular pediment. The entrance on the Gospel side is much simpler, presided over by an image of the “Virgin of Carmen” in a niche.

The Altarpiece by Valdés Leal

But my intention to pause at this temple is due to the fact that, at its head, it houses a Pictorial Altarpiece created by the brilliant Sevillian painter, who was then based in our city, Juan de Valdés Leal.

The altarpiece is crowned by a canvas depicting the “Virgin of Carmen“, shown wrapping several religious members of the order in her mantle with the help of little angels—a composition similar to Zurbarán’s “Virgin of the Caves” painted around 1655. On either side are two paintings representing “San Acisclo” and “Santa Victoria“, patron saints of the city.

One level below, we find the central and most important canvas of the altarpiece, “Elijah and the Chariot of Fire“, which depicts the saint ascending to heaven in his chariot, while throwing his mantle to Elisha. Above, the city’s patron saints flank the Virgin’s canvas; here, the archangels “Saint Michael” and “Saint Raphael“, the latter being Córdoba’s guardian archangel, flank the semi-circular arch closing Elijah’s painting.

Below, there are two more large canvases: “Elijah and the Angel“, where the saint is seen sleeping under the shade of a juniper while an angel descends to give him bread and water, and “Elijah Confounding the Prophets of Baal on Mount Carmel“. Nearby, between the columns, there are two smaller canvases: “The Head of Saint John the Baptist” and “Saint Paul the Apostle“. On the base, four female saints are depicted in pairs: “Mary Magdalene de’ Pazzi and Saint Agnes” on the left, and “Saint Apollonia and Blessed Juana Scopelli” on the right. These are paintings that are highly reminiscent of the work of the Cordoban painter Antonio del Castillo, who was Valdés Leal’s teacher.

Artistic Value of the Ensemble

Regarding the altarpiece in general, I would like to highlight the tremendous expressiveness that Valdés Leal was able to give to the figures, such as the Angel descending from heaven—violently, I would say—or the horses of Elijah’s chariot, which seem about to vanish from the canvas at any moment. We are indeed fortunate to preserve this heritage of such high artistic quality. Not long ago, the parish priest told me: “It is rare for a month to go by without teachers from Granada or Seville coming to explain it to their students.”

Visit Puerta Nueva with a Guide

If you are wondering what to do in Córdoba, we recommend visiting the altarpiece by Valdés Leal at Puerta Nueva by booking one of our guided tours. Choose to enjoy quality tourism with qualified staff—don’t hesitate, ArtenCórdoba is your best option.

Text: J.A.S.C.