Insigne Colegiata of Gandía – Parish of the Assumption of Our Lady
The Insigne Colegiata of Gandía, also known as the Parish of the Assumption of Our Lady, is one of the most iconic architectural landmarks in the city. Located in the historic centre, in the Plaza Mayor, its construction began in the 14th century, thanks to the initiative of the first royal duke, Alfonso of Aragon the Elder, who decided to replace the original church built after the conquest. Of this initial phase, the Puerta de Santa María (Door of Santa Maria), also known as the Market Door, is particularly noteworthy. It was designed by the architect Pere Balaguer, famous for also designing the Serrano Gates in Valencia.
During the time of the Borgia family, María Enríquez de Luna, the regent duchess of Gandía, continued the work initiated by Alfonso the Elder. She commissioned the construction of the Puerta de los Apóstoles (Door of the Apostles), designed by Damià Forment, and the completion of the nave, carried out by Pere Compte, the architect of the famous Lonja de la Seda (Silk Exchange) in Valencia. In 1499, the church attained the status of a Collegiate Church through a papal bull from Pope Alexander VI, and one year later, in 1500, the main structure was completed with the magnificent façade.
History
The history of the church dates back to the early 13th century when the Parish of Santa María de la Asunción was founded following the conquest of the Castle of Bayrén by James I. During the 14th century, Alfonso of Aragon the Elder decided to build a grand temple for the city, beginning work with the assistance of sculptors such as Pedro and Johan Lobet, who sculpted the figures for the Apostolate.
The church project was not completed until the death of Alfonso the Younger, son of Alfonso the Elder, in 1422. It was then that María Enríquez de Luna, widow of Pedro Luis de Borja, commissioned the completion of the temple. After obtaining a papal bull from Alexander VI, the Collegiate Church of Gandía was consecrated in 1499, and its construction continued into the early 16th century with contributions from Renaissance artists such as Paolo da San Leocadio, who painted the Retablo de los Siete Gozos (Altarpiece of the Seven Joys).
The church suffered various remodels over the centuries, particularly due to earthquakes that affected the region. In the 18th century, there were attempts to transform its interior to the neoclassical style, though the project was never completed. In the 19th century, the church became a parish once again due to the Mendizábal Desamortisation, but in 1911, it regained its collegiate status.
The church suffered significant damage during the Spanish Civil War, when it was set on fire and many of its treasures were destroyed. However, it has been restored since 1945 and remains an active place of worship as well as an important tourist site.
What to See in the Parish Church
Puerta de Santa María (Market Door)
This side door, also known as the Market Door, is a clear example of Mediterranean Gothic simplicity. Its design is attributed to Joan Franch, and at the centre of the gable, there is an image of the Assumption of Our Lady, depicted seated upon the devil, symbolising victory over evil. This door, which was originally adorned with finely sculpted columns, invites a visual catechesis on Christian life.
Puerta de los Apóstoles (Door of the Apostles)
The Puerta de los Apóstoles, designed by Damià Forment, is characterised by the fusion of Gothic and Renaissance styles. In the tympanum of the door, there is a representation of God the Creator, accompanied by archangels Michael and Gabriel. In the central column, the Virgin Mary is depicted, crowned, flanked by the figures of the apostles Peter and Paul. This door was recently restored after the damage it sustained during the Spanish Civil War.
The Exterior of the Collegiate Church
When viewing the Collegiate Church from the south wall, one can appreciate its formal purity, devoid of unnecessary embellishments. The gargoyles, attributed to Pere Compte, serve as rainwater drains and adorn the building. From the north wall, one can admire the octagonal apse, which replaced the earlier square one that was destroyed during the Civil War.
The Bell Tower
The bell tower, visible from many points in Gandía, was built in several stages. The base dates back to the 14th century, and it was remodelled by Onofre Trotonda in 1756. This tower, which has several tiers, houses various bells, each with its own character and tone. Particularly noteworthy are the Campana de la Asunción (Assumption Bell), weighing 2,033 kg, and the Campana de Nostra Senyora del Rosari (Our Lady of the Rosary Bell), weighing 927 kg.
The Central Nave
The main nave of the Collegiate Church is in the Mediterranean Gothic style, with a vaulted ceiling featuring ribs and bosses. In the centre of the nave is the cornerstone, sculpted by Joan Franch, depicting the Resurrection of Christ. This stone symbolises Christ as the foundation of the Church.
The Presbytery
The presbytery was the most sacred and secluded part of the temple. In the old high chapel was a large altarpiece by Damià Forment, which was destroyed during the Spanish Civil War. Fortunately, some pieces have been preserved, such as a replica of the Mare de Déu de la Seu (Our Lady of the See), sculpted by Esteve Edo and Ricardo Rico.
The Stained Glass Windows, the Oculi, and the Rose Window
The interior of the Collegiate Church is illuminated by 18 oculi (also known as “bull’s-eye windows”), which allow natural light to flood the space, creating a solemn and welcoming atmosphere. The church also features an impressive rose window, more than 4 metres in diameter, located on the west façade. This rose window is one of the most remarkable features of the church’s Gothic architecture.
