Parroquia de San Martín de Tours

The Parish Church of Saint Martin of Tours is one of the main historical and artistic buildings in Bollullos de la Mitación. Located in Plaza de Cuatrovitas, next to the Town Hall, it occupies a prominent position within the town centre. The church, built in the 18th century, follows the model of a Sevillian Baroque parish church and presents a monumental appearance defined particularly by the volume of the crossing and its slender bell tower.

The exterior is characterised by its colour scheme, with reddish, ochre, white and bluish tones that highlight the main architectural and ornamental elements of the façade. Two monumental doorways provide access to the interior: the one located on the Epistle side, consisting of a lintelled opening between pilasters, crowned by a broken pediment and an upper window; and the main entrance, or Puerta del Perdón (Door of Forgiveness), located at the foot of the church, organised around a tall semicircular arch, above which rises a crowning structure with curved outlines and a circular oculus that illuminates the interior.

Next to the latter stands the bell tower, one of the church's most recognisable features. The lower section, characterised by great simplicity, contrasts with the abundant decoration of the bell chamber, articulated by pilasters and engaged columns between which large semicircular arches open. Mouldings, a classically inspired frieze, balustrades and pinnacles enrich the composition, which is crowned by an octagonal spire.

Inside, the church has a Latin cross floor plan, a single nave and side chapels arranged between the buttresses. The spacious nave is covered by a barrel vault articulated by transverse arches and lunettes. At the crossing, the space acquires greater monumentality thanks to a large dome supported on pendentives.

The main altarpiece is an 18th-century Neoclassical work, characterised by its monumental composition and pronounced symmetry, in which marble-like finishes in pinkish and garnet tones contrast with gilded elements. It houses an interesting collection of sculptures from the 17th and 18th centuries, including images of Saint Martin, Saint Luke, Saint Christopher, Saint John of Nepomuk and Saint Thomas of Villanova. These pieces underwent an important restoration between 2022 and 2023, which made it possible to recover the integrity of the sculptural ensemble and its artistic values.

During part of the year, the main altarpiece is presided over by the Virgin of Cuatrovitas, an 18th-century carving and patron saint of Bollullos de la Mitación. Every 25 July, the image leaves its hermitage to be transferred to the parish church, where it remains until the fourth Sunday in October, when it returns to its sanctuary in a pilgrimage. This centuries-old tradition constitutes one of the municipality's main religious and festive manifestations.

One of the greatest artistic treasures preserved in the Church of Saint Martin of Tours consists of four paintings by Francisco de Zurbarán, dated between 1640 and 1645, depicting Saint Catherine, Saint Agnes, Saint Lucy and Saint Blaise. In these works, the artist depicts the female saints following one of the most characteristic models developed by the painter: elegantly dressed young women identified by attributes related to their history and martyrdom. The series is completed by Saint Blaise, depicted with his episcopal attributes. The paintings are incorporated into the altarpiece of the Immaculate Conception, a Baroque work from the second third of the 17th century, in whose central niche the Virgin of the Rosary is venerated.

Alongside these works, the Tree of Jesse deserves special attention. This anonymous painting, produced around 1600, depicts the genealogy of Christ and can be admired in the presbytery.

Among the religious images with the deepest devotional roots are the Most Holy Christ of Love, a crucified Christ by an unknown artist dating from between the 16th and 17th centuries, and Our Lady of Solitude, a sorrowful Virgin from the early 19th century attributed to the circle of Juan de Astorga. Both are titular images of the Sacramental Brotherhood and central figures in the Good Friday celebrations.

The church's artistic heritage is completed by other interesting altarpieces, sculptures and paintings, mainly from the Baroque period. Particularly noteworthy are the altarpiece of Our Lady of Mount Carmel, dating from the late 18th century, with backgrounds painted to imitate marble and abundant decoration of rocaille and plant motifs; the altarpiece of Saint Joseph, in the Rococo style and distinctive for the incorporation of small mirrors among its gilded carvings; and the altarpiece of the Risen Christ, conceived as a richly decorated theatrical framework articulated by estipite pilasters and profuse vegetal ornamentation.