Iglesia de la Consolación, Pinos Puente
The church's sober, classicist façade features a simple doorway with a semicircular arch, two pilasters on either side, a cornice and a pediment divided by a window. This is crowned by a smaller pediment with a protruding cross. This rises slightly above the church’s hipped roof. The entire façade is plain and undecorated, alternating between grey stone, as seen in the doorway, the blind arches and the surrounding plinth.he side façade is also notable, with a doorway imitating those of the eighteenth century, complete with fins forming scrolls and a niche containing a somewhat crude Virgin. This is completely different from the main doorway.
The interior consists of three naves, which are separated by large, octagonal pillars made of Sierra Elvira stone and forming semicircular arches. The central nave is the oldest part of the church, dating from 1585 according to a reused tile found during restoration work in 1952. However, no information about this date has been found; the earliest records date back to 1631, when funding for the church's construction was first secured. Construction lasted several centuries as the church initially consisted only of the central nave, which was later expanded.
It is known that the work was initially carried out by the master builders Antonio Bermúdez (mason) and Juan Calvo (carpenter), who were replaced in 1638 by Lucas Bermúdez (mason) and Diego López (carpenter). Diego Vargas became the mason in 1641, and Miguel Guerrero assessed the work in 1645, so the essentials must have been completed by then. Lucas Bermúdez and Andrés Moreno worked on the church again, although they were unaware of what had been done before them. Pedro Tenorio made the glazed tiles in 1634 and Juan Cañete made the cross for the roof in 1638. During the seventeenth and eighteenth centuries, the church continued to expand with the addition of the side naves, creating the large semicircular arches that can be seen today.
The surviving trusses are old and very simple, particularly those in the octagonal and trussed main chapel, which have more recent pictorial nuances. In short, this is a Mudéjar-style church, enhanced in the late Baroque period (Gómez-Moreno Calera, 1989). The bell tower was located behind the sacristy, but collapsed in the mid-1890s due to an earthquake. The current bell tower was built in the mid-twentieth century from brick and stone. It is located on Calle Real.
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