Basilica of Santa Maria, Igualada

The Basilica of Santa Maria, known locally as Iglesia de Santa María, is a magnificent architectural marvel nestled in the heart of Igualada, Spain. As the most significant historical and artistic landmark in the capital of Anoia, this basilica stands as a testament to the rich cultural heritage of the region. Its history dates back to the early 11th century, although the majority of the current structure was completed in the 17th century. Declared a cultural asset of national interest, the Basilica of Santa Maria invites visitors to embark on a journey through time, exploring its intricate design and storied past.

The Architectural Grandeur of the Basilica of Santa Maria

Spanning approximately 1,200 square meters, the Basilica of Santa Maria boasts a single nave structure with six sections and an apse. The high choir at the rear and the lateral chapels add to the grandeur of this sacred space. The chapels open into the nave through semi-circular arches adorned with classical moldings. The walls between the chapels are decorated with pilasters that rise to the springing of the vault, creating a sense of verticality and grandeur. The exterior of the chapels is separated and continued by walls or buttresses with gargoyles, adding a touch of Gothic charm to the façade.

The Central Body

The central body of the Basilica of Santa Maria is a masterpiece of Catalan Renaissance architecture, characterized by its formal austerity. The façade, with its simple yet elegant design, is punctuated by a prominent rose window. The side walls, similarly austere, are interrupted only by windows and buttresses, which are topped by Gothic-style gargoyles depicting both animal and human forms. The nave is covered by a ribbed vault, a typical Gothic feature, with the ribs converging at various spherical elements, or keystones, adorned with sculpted figures of saints. These ribs rest on pilasters with Italianate aesthetics, culminating in a gallery of arcades known as a triforium and a cornice. The square-plan apse at the end of the nave houses the main altar, covered by a star-shaped vault with keystones depicting the Virgin Mary and the Evangelists.

The Lateral Chapels

Flanking the nave on both sides are twelve chapels, each with its own unique charm. Despite their Baroque aesthetics, some of these chapels feature relatively recent decorations, added after the Spanish Civil War through contributions from local guilds. Notable examples include the altars of Saint Anthony Abbot (patron of muleteers), Saint Isidore (patron of farmers), Saint Anthony of Padua (patron of tanners), Saint Christopher (patron of motorists), and Saint Anthony Mary Claret (patron of weavers). Beneath the bell tower, covered by a pointed arch, lies the altar of Our Lady of Sorrows, considered the oldest part of the church and corresponding to an enlargement of the original Romanesque chapel, completed in the 14th century.

The Chapel of the Holy Christ

One of the most distinctive features of the Basilica of Santa Maria is the Chapel of the Holy Christ, a Baroque-style structure built between 1702 and 1733. This Latin cross-plan building, located in an annex on the left side of the nave near the bell tower, is topped by a hemispherical dome supported by four pairs of pilasters. The interior is adorned with paintings by Francesc Tremulles from 1752, depicting the Holy Trinity and Saint Mary, and by Miquel Llacuna, who painted the Evangelists on the pendentives beneath the dome. Externally, the dome is covered by an octagonal lantern. The apse houses a retable with the image of the Holy Christ of Igualada, a reproduction of a 14th-century Gothic carving that disappeared during the Civil War. Two murals by Francesc Camps Dalmases evoke the miracle of the sweating blood of the Holy Christ of Igualada, a tradition dating back to 1590.

The Main Altar Retable

The main altar retable, along with the Chapel of the Holy Christ, is one of the most representative elements of the Basilica of Santa Maria. Although its construction began at the start of the 18th century, it was not completed until the end of the century due to the War of Spanish Succession. This delay resulted in a blend of Baroque and Classical aesthetics in the final execution. The retable, crafted by Jacint Morató and Josep Sunyer, was dismantled and partially destroyed during the Civil War. It was later reconstructed under the direction of Cèsar Martinell, with the support of a legacy from industrialist Artur Garcia Fossas. The most recent restoration in the 1980s included further interventions on the retable. This monumental work, considered the first major piece of Catalan art created after the War of Spanish Succession, comprises three distinct levels. The central figure is the Immaculate Conception, flanked by statues of her parents, Saint Joachim and Saint Anne, with medallions depicting scenes from the Virgin's life. The upper level features images of Saint Faust and Saint Roch, traditional devotions in Igualada, accompanied by four musical angels, including a unique guitar-playing angel. The retable is crowned by the figure of Saint Bartholomew the Apostle, the patron saint of Igualada, and symbolically supported by four marble atlantes representing the seasons of the year.

The Organ

The organ of the Basilica of Santa Maria, located in the choir beneath the rose window of the façade, was built in the mid-18th century by Antoni Boscà. During the Civil War, it was moved to the Escolapias Convent, which had been converted into a concert hall. The organ was restored in 1980 under the guidance of master organ builder Gerhard Grenzing and is considered one of the finest in Catalonia. Each year, the basilica hosts an international organ festival, showcasing this remarkable instrument.

The Bell Tower and Bells

The bell tower, dating from the Gothic period of the Basilica of Santa Maria, was constructed in the 16th century. Its austere design features decorative elements such as the windows on the upper section and small mullioned windows. The square-section tower is topped by a four-sided roof. It houses seven bells, six of which were cast by the Albert Bachert foundry in Germany and installed in 1990, blessed by Bishop Josep Maria Guix. These bells produce a pentatonic chord with a ninth in the key of B Major. The seventh bell, dating from 1950, is no longer in use. An additional 14th-century bell is displayed in the choir of the temple.

Other Elements

Among the many treasures of the Basilica of Santa Maria are the two entrances to the sacristies, flanked by atlantes supporting the retable of the main altar. Above each entrance is the coat of arms of the city. To the right of the entrance, in the first lateral chapel, is an allegorical painting by Segimon Ribó, depicting the sweating blood of the Holy Christ of Igualada. The modernist-style baptistery, created in 1904 by Ignasi Colomer, is located to the left of the entrance. The crypt, situated beneath the presbytery, was constructed after the Civil War based on a design by Cèsar Martinell. The façade of the church features two plaques commemorating the participation of the Igualada militia in the Battle of Bruc.

Visiting the Basilica of Santa Maria is like taking a journey through the history of Igualada and the evolution of art. The blend of architectural styles and historical elements that make up this basilica reflect the various construction phases and historical events that have shaped it. It stands as a symbol of the enduring spirit and cultural richness of Igualada, inviting visitors to explore its sacred halls and discover its many stories.