The Church of El Salvador in Arrúbal is an architectural and artistic treasure that reflects the evolution of religious construction over the centuries. It was built in the first half of the 16th century, except for the doorway, the choir, the sacristy and the side chapels, which date from the 17th century. It has a nave with three bays covered with a ribbed ceiling and an octagonal chancel with three panels. Its side chapels and the tower with two octagonal floors stand out. The Great High Altarpiece of the parish is the work of the Romanist master, Juan Fernández Vallejo. Scan for more information.

Retablo

Retablo romanista de Juan Fernández de Vallejo ¿Lanciego?, dorado por su hermano Francisco.

Juan trabajó hasta 1575 con Pedro de Angulo. La estructura es romanista y sigue las pautas marcadas en el concilio de Trento.

Altarpiece

Romanesque altarpiece by Juan Fernández de Vallejo Lanzego, gilded by his brother Francisco.

Juan worked until 1575 with Pedro de Angulo. The structure is Romanesque and follows the guidelines set by the Council of Trent.

Base

High reliefs of the four evangelists; from left to right: Luke - ox, John - eagle, Matthew - child and Mark - lion. The figures have perfect proportions used by classical Romans and Greeks, curly hair and strong limbs, representing the

and Greeks, curly hair and strong limbs, representing the strength and solidity of the foundation of faith.

The tabernacle is a small altarpiece and is a jewel. The door represents the Saviour. St. Peter and St. Paul represent the pillars of the Church. The theological virtues are also represented in the likeness of pagan goddesses: faith - torch, hope and charity - cup. And two other typical saints. The Solomonic columns break the monotony of the plain columns and show the baroque influence.

2nd level

Two panels, on the right, Christ's ascension to heaven, with all the apostles carved in detail; on the left, the risen Christ the saviour in an unusual posture on soldiers expressing the drama of the scene.

In the centre, Christ on the cross with the Virgin and Saint John. They are later than the altarpiece (1630) and it is unusual for them to appear in the centre of the altarpiece (it is logical that it should be the one to whom the altarpiece is dedicated, in this case, the Saviour). It is possible that this was not the artist's original idea, but as the altarpiece remained unfinished, it was placed later. It was previously in the chapel on the right.

Probably, next to the scene of the Calvary where the fluted columns are, there were other scenes, but the altarpiece was not completed during the artist's lifetime and was finished as best it could be.

Above the panels are others depicting St. Catherine with the wheel of torment and an as yet unknown saint (St. Anne of Calvary).

unknown as yet (St. Anne?).

3rd level

It can be seen that it is unfinished, with a different style in the columns. A few years ago, a Saint Andrew was placed in place of the current Immaculate Virgin, which belonged to the hermitage destroyed during the Carlist wars. The carving is by Pedro Jiménez el Viejo.

Other

The panels of Saint Lawrence and Saint Stephen were probably part of the original project, but were not put in because they were left unfinished after the artist's death.