The presbytery features a Renaissance style main altarpiece, with Gothic traces still, finished in 1530, the work of the Aragonese painter Pedro de Aponte, who also painted those of St. John the Baptist of Cintruénigo in Navarre, San Miguel de Ágreda in Soria and Santiago de Grañén in Huesca.
The altarpiece shares a still Gothic structure with influences of Mediterranean and Central European Renaissance paintings. The 41 panels which comprise the altarpiece are mostly painted in oil.
The most important part of the altarpiece is the central block: the tabernacle where the sacramental Christ is kept, the crucifix, Mary, the name which the church bears and the Calvary, as a reminder to the faithful of the sacrifice of Jesus.
The altarpiece is presided over by a beautiful Gothic carving of the Virgin and Child from the mid-fourteenth century, of great beauty and exquisiteness; a model very similar to the Virgin that presides over the façade. A sweet-faced, almost smiling Virgin, a virgin who welcomes the faithful.
The richness of its iconographic design stands out, the message that was intended to be conveyed to the faithful. The main motif is the exaltation of Mary, as the mother of Jesus. The fundamental design of the altarpiece includes the Life of the Virgin, which starts on the second level with the scene of The Embrace at the Golden Gate, and connects in the third level with the Infancy of Jesus. The mystery of the sacrifice and death of Jesus, the Passion, on the first level and the highlights of the life of Jesus, with the mystery of the Resurrection on the fourth level, come to enshroud and glorify Mary.
On the second level commences, from left to right, the life of the Virgin with the scenes from the apocryphal Gospels of The Embrace at the Golden Gate of Mary’s parents, St. Joachim and St. Anne, and the Nativity of Mary; the Immaculate Conception then follows surrounded by the symbols of the Litany of Loreto, and the scenes of the Betrothal of the Virgin Mary to St. Joseph, the Annunciation and the Visitation to her cousin St. Elizabeth continue.
The third level continues the life of Mary with the childhood of Jesus: the Birth of Jesus, the Circumcision, the Adoration of the Kings, the Presentation of Jesus in the Temple, the Flight into Egypt and Jesus among the Doctors.
The first level includes the scenes of the Passion, very present in the altarpieces of that time: the Prayer in the Garden, the Arrest, the Flagellation, the Ecce-Homo, the Road to Calvary and The Pietà or the Lamentations of Mary.
The fourth level houses transcendental passages of Christ’s public life: the Baptism, the Transfiguration, the Resurrection, the Ascension, Pentecost, and the Coronation and Assumption of Mary into heaven.
The characters on the canopy and the Evangelists on the fifth level convey the message from the Church. In the upper part of the vertical panels, two prophets, Jeremiah and Zechariah, announce the coming of the Lord. The apostles live with Jesus and are the “chosen ones” to disseminate the preaching and deeds of the Lord’s life by word of mouth. The evangelists Luke, John, Mark and Matthew bear witness and write down the story of the life, doctrine and miracles of Jesus Christ.
On the sides the Fathers of the Church: on the left St. Ambrose, bishop of Milan and Pope St. Gregory the Great; on the right St. Jerome in cardinal’s garb, translator of the Bible and the great theologian St. Augustine; all are eminent teachers of the faith, which shape the foundation of Christian doctrine.
In the lower part four holy martyrs and virgins hold a martyr’s palm: on the left St. Barbara and St. Eulalia or St. Faith; on the right St. Quiteria and St. Engracia. The saints offer their lives, as martyrs, rather than renounce their faith. The predella or bench is decorated with grotesques and medallions with characters, perhaps one of these by Pedro de Aponte.
The altarpiece is a masterpiece of art, but similarly, and above all, a reflection of the religiosity of the people. We invite you to stop for a while in front of the altar. If you are not a believer, you can contemplate its beauty. If you are a believer, we invite you to pray in communion with so many Christians who prayed in this place throughout the centuries.
For an explanation of the façade, head outside, face the façade and press number 7.