Iglesia de la Limpia Concepción de Nuestra Señora y portada del antiguo convento de los Carmelitas Descalzos

In the heart of Écija, a picturesque town in the province of Seville, Andalusia, stands a gem of Baroque architecture, the Iglesia de la Limpia Concepción de Nuestra Señora and the portal of the former convent of the Discalced Carmelites. This magnificent church, with its rich history and stunning artistry, is a testament to the grandeur of Andalusian Baroque and a must-visit for anyone exploring the region.

The Historical Tapestry of the Church

The story of the Iglesia de la Limpia Concepción de Nuestra Señora begins in the late 16th century. The original convent was founded in 1591, thanks to the initiative of Don Sancho de Rueda and his wife, Doña María de Cárdenas. The construction of the church commenced soon after, culminating in its inauguration in 1614. Over the course of the 17th century, the church underwent several phases of expansion and remodeling, incorporating various houses into its structure and adorning its interiors with elaborate plasterwork and mural paintings.

The 18th century brought further enhancements to the church's decoration, with the introduction of late Baroque elements, including intricate plasterwork and a significant portion of its furnishings. The unity of these decorative efforts is what sets this church apart, creating a cohesive aesthetic that seamlessly blends architecture, sculpture, and decorative arts. This harmonious integration of elements exemplifies the finest of Andalusian Baroque art, making the church's interior a unique and invaluable masterpiece.

Architectural Splendor

The church features a single nave covered by a barrel vault, with side chapels and a domed transept leading to the main chapel. The main facade, once fully polychromed, still retains traces of its original sgraffito decoration. The portal, crafted from brick, showcases a classical design with a main body and a lintelled opening flanked by paired columns supporting an entablature with a broken pediment. Above this, a terracotta image of the Immaculate Conception graces a niche, framed by a similar arrangement of paired columns and topped with a curved pediment.

To the right of the facade, a bell gable rises above the wall of the church's epistle side. This belfry features two levels, the first with two openings and decorative brickwork forming pilasters between the openings, straight pediments, and pyramid-shaped pinnacles. The second level is adorned with spherical pinnacles, adding to the structure's visual appeal.

An Interior Rich in Artistry

The interior of the church is a visual feast, adorned with an abundance of plasterwork and mural paintings. The choir tribune, in particular, stands out with its depiction of a choir of angels, showcasing extraordinary composition and execution. The thematic focus of the murals revolves around Carmelite saints and the order's anagrams, set within a repertoire of mixed forms that combine cut-out plaques, vegetal elements, rocaille, and anthropomorphic figures. The central dome's pendentives feature prominent reliefs of the Evangelists, notable for their volumetric and dynamic portrayal.

The church houses a variety of works crafted from different materials and incorporated at various times. Starting from the foot of the church and moving towards the presbytery along the wall and chapels of the Gospel side, visitors can admire numerous artistic treasures. The first chapel houses the Retablo del Crucificado de la Misericordia, an 18th-century polychromed wooden sculpture of Christ, adorned with silver powers from the same period.

The Gospel Side Treasures

The next chapel features a Rococo-style retablo dedicated to Saint Teresa of Jesus, with a candle-lit statue of the saint in its central niche. Adjacent to this is a retablo with a single niche, currently vacant, as its image has been moved to the retablo of the Niño Jesús de Praga in 2015. The chapel is now home to Nuestra Señora del Carmen, the titular image of the Hermandad de la Mortaja.

Further along, a mid-18th-century retablo dedicated to Saint Joseph presides over the next chapel, with a complete polychromed wooden statue of the saint in the main niche. Noble coats of arms related to the Rojas and Guzmán families adorn the sides of this chapel. In the transept, a Chinese-style gilded wooden pulpit, decorated with rocaille and medallions featuring saints, captures the eye. Nearby, two gilded wooden urns with glass covers display busts of the Ecce Homo and the Dolorosa, crafted from polychromed baked clay.

The Main Altar and Beyond

The main chapel is delineated by a wrought-iron railing, with a matching metal lectern on the Gospel side. The pillars of the triumphal arch are adorned with wrought-iron lamp holders. A wooden door with coffered panels and a gallery of carved and painted wood above it grace this chapel. The central niche of the main retablo houses the statue of the Virgin of Carmen, a 1738 work from Cádiz, adorned with a silver crown by Manuel González de Rojas (1880) and an 18th-century crown for the Child Jesus.

Flanking the central niche are statues of Saint Telesphorus and Saint Peter Thomas, with smaller sculptures of Saint Joseph and Saint Mary Magdalene de Pazzi in the left inter-niche. The central arrangement, flanked by stipes, comprises the Tabernacle, the Manifestor, and the chamber housing the Virgin of Carmen. The right inter-niche features statues of Saint Dionysius and Saint Cyril of Alexandria, while the right side houses statues of Saint Angelo and another Carmelite saint. The attic showcases statues of the prophets Elijah and Elisha and the Immaculate Conception (the same as the Virgin of Carmen).

Behind the main chapel, the rectangular sacristy is covered with a barrel vault with lunettes. This space is adorned with six mural paintings of angels and Carmelite scenes, alternating with two tondos framed by plasterwork. The sacristy also boasts several noteworthy doors, including a carved wooden cupboard door with two leaves, a large two-leaf door, and a small single-leaf door, all from the 18th century.

Epistle Side Highlights

The right collateral retablo mirrors the one dedicated to Saint John of the Cross on the opposite side. It once housed the statue of the Niño Jesús de Praga until 2015, when it was replaced by the image of Saint Teresa of Jesus, and the Niño Jesús was moved to the altar table of this chapel. A wooden door with coffered panels and a large bulbous-profiled tribune with wooden latticework are also notable features on this side.

In conclusion, the Iglesia de la Limpia Concepción de Nuestra Señora and the portal of the former convent of the Discalced Carmelites in Écija is more than just a historical monument; it is a vibrant tapestry of art, history, and spirituality. The church's walls resonate with centuries of devotion and artistic excellence, making it an essential stop for anyone seeking to immerse themselves in the rich cultural heritage of Andalusia.