It was built at the beginning of the 16th century both in its architectural and decorative aspects, responds to the most advanced or flamboyant Gothic, although its fa\u00e7ade was not completed until the beginning of the 18th century. Currently, the Puerta de los Perdones, on the side fa\u00e7ade, is still unfinished.<\/p>[\/et_pb_cta][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”4.19.4″ _module_preset=”default” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column_inner saved_specialty_column_type=”1_2″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_button button_text=”This is tarifa” button_alignment=”left” module_class=”boton” _builder_version=”4.19.4″ _module_preset=”default” custom_button=”on” button_text_size=”16px” button_text_color=”#000000″ button_bg_color=”#FFC845″ button_border_width=”0px” button_border_radius=”0px” button_letter_spacing=”0px” button_font=”||||||||” button_use_icon=”off” position_origin_f=”top_center” custom_margin_tablet=”-13px||||false|false” custom_margin_phone=”0px||||false|false” custom_margin_last_edited=”off|desktop” custom_padding=”10px|10px|10px|10px|true|true” custom_padding_tablet=”12px|30px|12px|30px|true|true” custom_padding_phone=”10px|20px|10px|20px|true|true” custom_padding_last_edited=”on|phone” button_text_size_tablet=”13px” button_text_size_phone=”12px” button_text_size_last_edited=”on|tablet” global_colors_info=”{}” button_bg_color__hover=”#019ca3″ button_bg_color__hover_enabled=”off|desktop” theme_builder_area=”post_content”][\/et_pb_button][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text admin_label=”Title” _builder_version=”4.19.4″ text_font=”Noto Sans||||||||” text_font_size=”17px” text_line_height=”2em” link_font=”||||||||” ul_font=”||||||||” ol_font=”||||||||” quote_font=”||||||||” header_font=”||||||||” header_text_align=”center” header_2_font_size=”44px” header_2_line_height=”1.5em” header_3_font=”||||||||” module_alignment=”center” hover_enabled=”0″ header_2_font_size_tablet=”” header_2_font_size_phone=”34px” header_2_font_size_last_edited=”on|phone” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]
The temple was built at the expense of D. Fadrique Enrique de Rivera, Marquis of Tarifa, who, due to a lawsuit with the residents of the city, left it unfinished on its facade,it was completed two centuries later, in a neoclassical style with local stone. <\/p>\n
The vaults are Gothic ribbed and are beautifully decorated with a profusion of arches, friezes, ornaments and figures, highlighting the relief of el Resucitado on the organ -s. XVIII-, and that of El Salvador surrounded by the twelve apostles in the transept. The chancel vault is decorated with symbols of the Passion.<\/p>\n
The current arrangement of its ornamentation is not the original one. At first, the presbytery was dominated by a classical altarpiece, a Roman basilica-type fa\u00e7ade, whose pieces and paintings are now distributed throughout the Church. That first altarpiece was later replaced by a Gothic-inspired temple, perhaps seeking greater harmony with the architecture of the Church and at the beginning of this century by the current one, the work of the carver from Tarifa, Lorenzo Jim\u00e9nez. Pieces of that first altarpiece are the columns that today frame some altars and portals and the two large canvases that occupy both sides of the main altar (Nacimiento de Jes\u00fas y Adoraci\u00f3n de los Reyes Magos) and the magnificent Calvario that finishes off the portal that gives entrance to the Tabernacle Chapel. In the back of the Church there was a choir stalls throughout the temple. Of this choir today only part of the stalls that are placed behind the main altar remain. The temple receives natural light through stained glass windows that were placed in 1962.<\/p>\n
The access gate to the temple is made of Mexican mahogany (18th century), with noble wood inlays and legends alluding to the sacred place.<\/p>\n
Above the gate is a magnificent baroque organ from the 18th century with 713 pipes. At the beginning of this century the box was changed to the current Gothic, perhaps seeking harmony with the rest of the Church.<\/p>\n
In the Baptismal chapel is the parochial marble baptismal font (18th century); a large painting by the Tarife\u00f1o painter Agust\u00edn Segura (1953), which represents the exaltation of the Virgen de la Luz and includes the Parish of San Mateo and the sanctuary of the Virgen de la Luz ; another small canvas that represents the baptism of Jesus; a carving of San Rafael de la Roldana (18th century) and the silver pavilion for the Corpus Christi procession.<\/p>\n
In the nave of the epistle: the Cristo de la Salud, carving by Pedro de Mena s.XVIII), a small tombstone from the 7th century attached to the wall, and found in the Monte de la Pe\u00f1a, which testifies to the Christian presence in the pre-Islamic invasion area.<\/p>\n
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is profusely decorated with ceramic brick in violet and pinkish tones and artistic ironwork on the entrance gate, stands and communion rail. This chapel was the old one of San Pedro and was restored at the end of the s. XIX and is crowned by a beautifully decorated vault. . The Tabernacle is located inside a golden Gothic temple; in the upper part of the temple a carved crucifix; La Virgen del Sol patron saint of fishermen, who moved to the Church of San Mateo when her hermitage disappeared. It is a polychrome carving from the 18th century.<\/p>\n
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In the CHAPEL OF SAN JOS\u00c9 we find an image of the Saint with the Child; Next to the door of the sacristy is located the carving of the Immaculate, and the chest that has housed the Collection of Privileges granted by the Spanish monarchs to Tarifa.<\/p>\n
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In the center of the Gothic pavilion there is a large carving of the apostle San Mateo, patron of the church, the work of Juan Monta\u00f1\u00e9s (1607), in front of the manifestor a magnificent ivory Crucifix; the Tabernacle door is a beautiful canvas of el peque\u00f1o Buen Pastor framed in silver, from the Murillo school; the three armchairs of the Gothic style headquarters; two reliefs on the side walls, one of the Padre Eterno and another of Santiago Matamoros, from the old Santiago church; balustrade and lecterns in wrought iron in clear gothic inspiration.<\/p>\n
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In the dressing room there is a magnificent complete carving of Jesus with the cross on his back, a work by an unknown author that dates back to at least the 17th century; El Cristo Yacente that is under the altar table is also carved; the lateral images procession in the Holy Week in Tarifa.<\/p>\n
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It is from the 18th century, and is a replica of the missing one from the High Altar and contains meritorious works; the image of the apostle San Mateo, the work of Juan Monta\u00f1\u00e9s (1607); reliefs of La Sant\u00edsima Trinidad and San Crist\u00f3bal; various canvases depicting Jes\u00fas entre los Doctores, Bautismo del Se\u00f1or , Circuncisi\u00f3n del Ni\u00f1o and Huida a Egipto; at the bottom two boards; one of the Nativity and another of the Annunciation; on both sides of the altar a table of el Coraz\u00f3n de Jes\u00fas and another of Jes\u00fas con la Eucarist\u00eda.<\/p>\n
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Image of Jes\u00fas Cautivo y rescatado, carving by the Cadiz sculptor Miguel La\u00ednez Capote (1963).<\/p>\n
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This side door of the Church, called el Perd\u00f3n, contains an original story: When Sancho IV reconquered the city from the Muslims in the Middle Ages, its border situation prevented its inhabitants from having a quiet life, so many preferred not to settle in Tarifa. It was then that the king, in order to encourage the Christians to come and reside there, granted privileges and exemptions; those who resided a year and a day in the city would be forgiven of their crimes, they then entered through this door of forgiveness in the Church and a solemn thanksgiving was celebrated.<\/p>\n
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Old altarpiece of the Church of SANTA MAR\u00cdA from the 16th century, with relief of La Anunciaci\u00f3n in the upper part and painted tables in the lower part.<\/p>\n
In the sacristy there is a pictorial composition on board with the icon of the Virgen del Perpetuo Socorro, the work of the painter from Tarifa, Guillermo P\u00e9rez Villalta (1981)<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Travel History” _builder_version=”4.19.4″ background_color=”rgba(0,0,0,0.15)” background_image=”https:\/\/turismodetarifa.com\/wp-content\/uploads\/2023\/01\/shutterstock_105955283-scaled-e1673541581529.jpg” background_blend=”overlay” custom_margin=”||||false|false” custom_padding=”120px||120px||true|false” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row _builder_version=”4.19.4″ _module_preset=”default” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text admin_label=”Title” _builder_version=”4.19.4″ text_font_size=”17px” text_line_height=”2em” link_font=”||||||||” ul_font=”||||||||” ol_font=”||||||||” quote_font=”||||||||” header_font=”||||||||” header_text_align=”center” header_2_font_size=”44px” header_2_line_height=”1.5em” header_3_font=”||||||||” text_orientation=”center” background_layout=”dark” max_width=”800px” module_alignment=”center” header_2_font_size_tablet=”” header_2_font_size_phone=”24px” header_2_font_size_last_edited=”on|phone” header_2_text_shadow_style=”preset4″ header_2_text_shadow_horizontal_length=”0.03em” header_2_text_shadow_vertical_length=”0.03em” locked=”off” global_colors_info=”{}” theme_builder_area=”post_content”]
It was built at the beginning of the 16th century both in its architectural and decorative aspects, responds to the most advanced or flamboyant Gothic, although its fa\u00e7ade was not completed until the beginning of the 18th century. Currently, the Puerta de los Perdones, on the side fa\u00e7ade, is still unfinished.The temple was built at the expense of D. Fadrique Enrique de Rivera, Marquis of Tarifa, who, due to a lawsuit with the residents of the city, left it unfinished on its facade,it was completed two centuries later, in a neoclassical style with local stone. The vaults are Gothic ribbed and are beautifully decorated with a profusion of arches, friezes, ornaments and figures, highlighting the relief of el Resucitado on the organ -s. XVIII-, and that of El Salvador surrounded by the twelve apostles in the transept. The chancel vault is decorated with symbols of the Passion. The current arrangement of its ornamentation is not the original one. At first, the presbytery was dominated by a classical altarpiece, a Roman basilica-type fa\u00e7ade, whose pieces and paintings are now distributed throughout the Church. That first altarpiece was later replaced by a Gothic-inspired temple, perhaps seeking greater harmony with the architecture of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":249834,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-249848","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\n