The most beautiful religious buildings Province Of Badajoz

Located in the heart of the village, it is a church of the fifteenth century rectangular form with a nef divided into five parts. From the top of his tower, we have a very nice view on the surrounding area, but it's mostly inside the church that you find his main retable, built between the end of the fifteenth century and the beginning of the sixteenth century, which is one of the most important ensembles of late Gothic painting in Extremadura, style. mixed with the first expressions of the Renaissance. Declared a historical and artistic monument in 1982, it was deeply restored on that date. It was realized by Antón de Madrid, a painter of great prestige having been entrusted with numerous works by the ecclesiastical authorities of the province of León and residing in Zafra. In total, this table has 28 tables, distributed in three bodies and eleven vertical paths that recreate the life of Mary and Christ, in an extremely didactic way for the faithful.

It was the great church of Montemolín, built in 1525 on the location of a hospital where pilgrims were resting, cheminant towards Santiago de Compostela. With a very large dimension, it marks the transition between late Gothic and Renaissance, with a rectangular, single-nave shape and beautiful Gothic design. It has fifteen altars (altar), each with a altarpiece, mainly of the th century. In addition to beautiful jewellery pieces, it houses a large collection of sacred books, including chronologies, ranging from 1575 to the present.

What we see today is the result of the reforms carried out in the th century, on the original th century building, mainly the meeting in one nave of the three old ones. Inside, the paintings of the main chapel, the Evangélistes, the Seville school of the th century and the episodes of the life of the Virgin, as well as the main altarpiece, of Baroque style, where the image of Nuestra de los Los, of the second half of the eighteenth century is located. Another altarpiece contains the statue of the first Virgen de la Hermosa, the Aparecida, Gothic sculpture of the th century.

The church was christened Zurbarán on 7 November 1598. From the original chapel of the th century only the huge tower, known as the vieja torre, surrounds the main chapel. The th century saw the construction of the chore, the th century of the lateral doors and it was reorganized in the th century. The interior houses a major main altarpiece, also of the th century, made by Manuel García of Santiago, even though the image of the Virgen of Granada, ancient patron of the city, dates back to the th century. The baptismal fonts of white marble, of the th century, are also the baptism of Zurbarán.

Located at the exit of Calzadilla de Los Barros, this is a fine example of religious architecture and sacred art in this village. Built in the th century, this hermitage houses a statue of the Holy Patron, Señora Señora de la Encarnación, a th century polychrome sculpture made of walnut by an anonymous author.

Its structure and quality make it a jewel of art and one of the most important churches in Badajoz province, since it has preserved its first form. Built on a former church of the xve century, which only remains the polygonal abbey, it was raised in the sixteenth century in a Gothic and Renaissance style. The Forgiveness gate (Puerta del Perdón) testifying to a purist purist style of the first time, also the largest in the region. Inside, it is the main table that draws attention. From the Seventeenth century Seville school, its central figure represents the Señora de Los Ángeles (Gothic of the fifteenth century). The church also houses four figures (pasos) that parade during Holy Week: Jesús Nazareño, (realized by Antonio Ruiz de Gijón, at the end of the seventeenth century and restored in 2004), the Virgen de los Dolores, realized in 1945 by the sculptor Mauricio Tinoco, Jesús amarrado has la Cruz (attached to the cross) and rarer, Cristo de las Misericordias. Brought from Peru in the middle of the sixteenth century, it was made in corn paste according to indigenous techniques and responded to the ancient name of Cristo de Indias.