Nestled in the heart of Aranda de Duero in the province of Burgos, Spain, the Church of Santa María la Real, known locally as Iglesia de Santa María la Real, stands as a testament to the architectural brilliance and historical richness of the region. This magnificent church, constructed between the 15th and 16th centuries, captures the essence of Gothic architecture with its flamboyant style and intricate details.
The Church of Santa María la Real was built on the foundations of an earlier Romanesque church, with only the tower remaining from the original structure. The construction of the current church began around 1439, under the guidance of master builders from the diocese of Osma. By 1503, the church was largely completed, although the iconic Isabelline Gothic façade, which now graces its exterior, was added in the 16th century.
The church's historical journey is marked by notable events, such as the council held in the nearby Church of San Juan in 1473, indicating that Santa María la Real was still under construction at that time. Over the centuries, the church has not only served as a place of worship but also as a significant landmark in the town of Aranda de Duero, witnessing the ebb and flow of history.
Stepping inside the Church of Santa María la Real, visitors are immediately struck by the grandeur of its Gothic Flamboyant design. The church's layout is in the form of a Latin cross with three main naves and an additional fourth nave that was later added for the use of religious brotherhoods. The central nave and transept are slightly elevated compared to the rest of the church, creating a sense of verticality and openness.
The church's interior is adorned with exquisite ribbed vaults that rest on clustered pillars with attached columns. The polygonal presbytery features two doorways on either side, each with bell arches. The door on the epistle side boasts an ogee arch decorated with typical Isabelline Gothic motifs such as balls and diamond points. The church is bathed in natural light from its stained glass windows and rose windows, some of which date back to the 17th century and depict human figures.
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One of the most striking features of the Church of Santa María la Real is its Renaissance altarpiece, created in the early 17th century by sculptors Gabriel de Pinedo and Pedro Cicarte, and painters Clemente Sánchez and Bernabé de la Serna. The altarpiece, made from polychromed wood, was completed in 1624 and originally occupied the presbytery. It was later moved in 1962 to uncover the three windows it had previously obscured, allowing more light to illuminate the church interior.
The altarpiece is structured into three tiers, three vertical sections, and two narrower sections, all supported by a base adorned with scenes from the Presentation in the Temple, the Visitation, the Nativity, the Circumcision, the Adoration of the Magi, and the Flight into Egypt. The central figure of the altarpiece is the Virgin Mary, depicted in various forms except in the narrower sections, which feature prominent saints such as Saint Peter, Saint Paul, Saint James, Saint John, Saint Andrew, and an unidentified saint. The altarpiece originally culminated in a Calvary scene, but today, a crucifix presides over the presbytery.
Another masterpiece within the church is the walnut wood pulpit, crafted around 1540. Although its exact creator remains uncertain, it is believed to have been commissioned to Miguel de Espinosa, Juan de Cambray, and Francisco de Salamanca. The pulpit's hexagonal shape rests on a slender classical column, accessed by a narrow staircase. It features five reliefs separated by friezes and small columns, with the central relief depicting Saint John the Baptist. The other four reliefs are divided into two parts, with a Church Father in the lower section and an evangelist with their symbol in the upper section.
The pulpit's intricate canopy is adorned with representations of saints and is crowned by a figure of the Virgin Mary standing on a crescent moon. This remarkable piece of craftsmanship is linked to the choir screen of the Palencia Cathedral, highlighting its artistic and historical significance.
In 1520, the old wooden spiral staircase leading to the choir was replaced with a more impressive structure, reflecting the economic prosperity of Aranda de Duero at the time. The new staircase, completed around 1523, is a fine example of Flamboyant Gothic style and is attributed to Sebastián de la Torre, who is mentioned in the church's records as having been paid for the work.
The staircase's balustrade consists of three sections with four panels, each featuring intricate designs. The first section is inclined, leading to a landing, and is decorated in Mudéjar style with interlacing patterns forming eight-pointed stars. The second section, parallel to the ground, is adorned with interlaced circles on a perforated background, mimicking floral forms typical of the Flamboyant Gothic style. The third section, also inclined, is divided into two panels with vegetal motifs.
The church also houses a recumbent Christ figure, a polychromed wooden sculpture from the 17th century, crafted by an anonymous artist from the Valladolid school. This life-sized figure, with articulated shoulders and a head inclined to the right, was designed for the ceremony of the Descent from the Cross.
Additionally, beneath the choir area, there are four Baroque altarpieces from the first half of the 18th century. These altarpieces were originally attached to the church's columns on either side of the presbytery but were relocated in 1962 to their current positions.
In conclusion, the Church of Santa María la Real is not just a place of worship but a treasure trove of architectural and artistic wonders. Its rich history, combined with its stunning Gothic and Renaissance elements, makes it a must-visit destination for anyone exploring the charming town of Aranda de Duero. Whether you are an architecture enthusiast, a history buff, or simply a curious traveler, this church offers a captivating glimpse into Spain's cultural heritage.
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