Church of San Gil

Historical introduction:

The foundation of the Church of San Gil probably occurred in the middle of the 13th century, shortly after the reconquest of King Ferdinand III.

The name of San Gil comes from the invocation of the saint, by the part of Bishop Raimundo de Losana in homage to the church of San Gil de Segovia, his place of birth.

The church was probably built in the remains of an old mosque, the base of which is preserved in the tower and in the chapel of the tabernacle

The church is one of the first examples Gothic, in the S.XIV was made its first reform, which already built their three current ships.

From the first part of its history, the traverse and the transversal section are still preserved.

In the following centuries there were more reforms especially in the eighteenth century when the cross chapel was built, the old wooden ceilings were replaced and the bells were put on.

In the nineteenth century the part that was remodeled was the presbytery, however the most important restoration was in the S.XX after the Civil War, because due to the disturbances where churches and convents were burned, it was necessary to restore the roof and the church.


One of the most singular parts of the church of San Gil, with its ogival type windows, with its buttresses, which are transport columns used of other buildings in ruins and used for it.

The structure of the apse is polygonal and closes therefore the presbytery, and on the roof of this place by means of the previously indicated ogival arches of brick or stone.


The exterior of which we have already described the buttresses, highlights the tower of square plant very robust and high for its time. The tower is finished by a body of bells that opens on four fronts and is crowned by a spire of blue crown, these last two bodies added in later centuries.

The tower is made of essential material brick in the Gothic-Mudejar style.

The main doorway of the church has a Gothic pointed arch, very wide and with small archivolts decorated beautifully with diamond points.


Entering through its main door we can see that its organization is of three naves with two sections each plus a transversal body as a cruise, in front of the presbytery and with the apse described above.

The Gothic-Mudejar expression is manifested in the slender brick pillars that support ogival arches, and the roof richly decorated with a wooden structure that replaces those that were grass of the flames.

Entering through the main door, on the right stands out in the nave of the epistle Our Lady of Carmen, Baroque style. Baroque style of the mid-eighteenth century is presided by the image of “Our Lady of Carmen”, work of José Ordóñez, accompanied by a sculpture of “Baby Jesus” by Francisco Buiza (1966).

To the side is the Baptismal marble pile and continuing to the presbytery, we contemplate the structure of the apse in a polygonal way of 7 sides and therefore closes the presbytery, and on the roof of this place by means of the previously indicated ogival arches of brick or stone .

The characteristic of this church is that it lacks the usual altarpiece that others have in the area of ​​the apse and has placed a temple with the image of a saint, with a hemispherical dome and golden wood, however we must not forget that in the presbytery it stands out an old plinth tiled with geometric drawings, work of the late thirteenth century.

In front of the chapel of Carmen, is located the chapel of the Blessed Sacrament in the nave of the Gospel and continue to the chapel located at the exit, the chapel of the miraculous medal The interior in addition to the images saves eighteenth-century canvases of Domingo Martínez and Juan de Espinal.

We also highlight an image of a crucified Christ from the Círculo de Martínez Montañés.

Chapel of the “Virgen del Roció” Continuing through the Nave of the epistola again. Holder accompanied to the feet by image of the “Child Jesus” dressed as a shepherd, work of the eighteenth century, flanked by lampadarios angels.

Among the plastic arts and to finish the holy water font in polychrome ceramics and paintings of glazed ceramic also polychrome that show the stations of the Way of the Cross.