BAROQUE ALTARPIECE OF LA VERA CRUZ

The origins of the Cofradía de la Vera Cruz of Salamanca date back to the 13th century, when it was founded on the initiative of the Franciscans as the Congregation of the Penance of Christ. From its beginnings, it managed a hospital for the poor, sick, and pilgrims, which disappeared in 1581 when it was integrated into the Hospital General de la Santísima Trinidad.

In the 16th century, it was officially constituted as a confraternity under the name Cofradía de la Santa Cruz, and after merging in 1527 with the Cofradía de la Purísima Concepción, it acquired its dual patronage. In the late 16th century, it built its own church, the Capilla de la Vera Cruz. In 1576, Philip II granted it the exclusive privilege of organizing Holy Week processions in Salamanca, a function it maintained until the early 20th century.

In the 18th century, the church was expanded and decorated by prominent artists such as Joaquín de Churriguera, who also built a Humilladero near the temple. Both the rich interior ornamentation of the church and the main altarpiece, attributed to Joaquín de Churriguera, date from this period. The altarpiece was commissioned in 1709 and executed between 1713 and 1714. It is probably the most elaborate of the Baroque altarpieces preserved in Salamanca, alongside the one created by his brother Alberto for the Chapel of the Cristo de las Batallas in the New Cathedral.

Upon entering the temple, the first thing that captivates the eye is the sumptuous ornamentation of gilded plasterwork that covers a large part of the walls, enveloping the space in an atmosphere of Baroque splendor. The main altarpiece stands out, attributed to Joaquín de Churriguera, whose execution was agreed upon in 1709 and carried out between 1713 and 1714.

The altarpiece's structure precisely adapts to the chancel of the temple. It is divided into three sections, with the central one being wider, while the lateral ones are almost hidden under the exuberant decoration. Two Solomonic columns flank the ensemble, and both they and the estipite pilasters of the central section are so profusely ornamented that they seem to vanish under the excess of details.

The attic depicts the Triumph of the Holy Cross, a work by the sculptor José de Larra. The large cross with a shroud appears suspended in the air, held by two white-robed angels, while six others carry the attributes and symbols of the Passion.

In the lower body, there is an elaborate tabernacle supported by Solomonic columns, whose front is painted with the image of the Savior. The tabernacle door houses a magnificent Hispano-Philippine ivory depicting The Lance, the moment when Longinus wounds Christ's side with the spear. In the lateral intercolumniations, two niches house the beautiful images of Saint John the Baptist and the Archangel Saint Michael. Above them, the motifs of the Passion are repeated, supported by pairs of angels that reinforce the devotional message.

In the central body, a large niche opens as a chapel-shrine, housing the image of the Immaculate Conception, a masterpiece created in 1620 by Gregorio Fernández. The life-size figure is presented in a prayerful attitude, with hands together and slightly tilted in a gesture of devotion. Her adolescent face conveys serenity, with her gaze directed upwards. Her long, sinuous hair falls over her richly polychromed mantle. An oval halo of metallic rays frames the figure, emphasizing her celestial character. The mantle opens in front, revealing a finely decorated white and golden tunic.