Category: Hinojos

The Hinojos Memorial Route takes visitors on a tour of different areas of the municipality where public art bears witness to local history, religious devotion, cultural identity and the values shared by its residents. It begins in the town centre, in Príncipe de Asturias Square, where the monument to Diego Franco Izquierdo stands. He was an illustrious resident who, with his legacy of land and economic resources, contributed to the well-being of the town, and whose generosity lives on in the collective memory of Hinojos. This work is by Martín Lagares.

Nearby, on one of the main roads, is the Monument to Peace, dating from 2006. This four-sided pyramid by Francisco Talavera represents the transition from dictatorship to democracy. The route continues to Calle Ntra. Sra. de la Soledad, where the monument to Saint Angela of the Cross, inaugurated in 2011, is located. The work of sculptor Martín Lagares, it was promoted by the Brotherhood of the Holy Burial of Christ and Our Lady of Solitude as a sign of the municipality’s deep devotion to this Sevillian saint.

Crossing the Plaza de España, at the junction of Calle La Fuente and Calle Manuel Rubio Díaz, we find the monument to the Sacred Heart of Jesus, dating from 2023.

If we head towards El Valle, we find the monument in honour of the Virgin of Hope, Divine Shepherdess of Souls, of the Vera+Cruz y Esperanza brotherhood. The monument, made of aged ivory cream marble, was created by Mármoles del Nido.

The next point of interest takes us to the municipal cemetery, where the same sculptor created the figure of the Guardian Angel in 2014. This work was conceived as a tribute to those who rest in this graveyard and as a symbol of comfort for their families, who find in this image a serene representation of hope. The route then heads to the entrance of the fairgrounds, where the monument to ‘El Fanega’ stands, a Marismeño horse that represents the prototype of this native breed so closely linked to farm work and the Doñana environment. The sculpture, by Pedro Germán Casado, extols the strength, nobility and resilience of an animal that is an inseparable part of the local landscape and culture.

The route ends at one of the main entrances to the town, where the Obelisk of Hinojos stands, with bas-reliefs at the bottom depicting traditional work and crowned by the town’s coat of arms.

The route, which is accessible and suitable for all audiences, offers a close-up view of Hinojos’ sculptural heritage and a different way of discovering the essence of the town through its most symbolic monuments.

Entre los edificios más emblemáticos de Hinojos destaca la Iglesia Parroquial de Santiago el Mayor, declarada Bien de Interés Cultural por su valor arquitectónico, artístico e histórico. Es uno de los mejores ejemplos conservados del gótico mudéjar sevillano del siglo XV, y representa fielmente el estilo que caracterizaba a las iglesias andaluzas antes del terremoto de Lisboa de 1755 y de la posterior proliferación de torres campanario.

El templo presenta planta basilical de tres naves cubiertas con armadura de madera de tradición mudéjar, y su portada principal, de estilo ojival, muestra un arco apuntado y abocinado, cuya última arquivolta, tallada en piedra con motivos en punta de diamante, se combina con ladrillos bicromos que le confieren un singular valor estético.

El interior de la iglesia alberga un destacado conjunto de obras escultóricas y pictóricas que abarcan varios siglos. Entre ellas, sobresalen tallas del siglo XVI del círculo de Juan Bautista Vázquez el Viejo y Jerónimo Hernández, así como otras del siglo XVII atribuidas a escuelas vinculadas a Martínez Montañés y Pedro Roldán. También se conserva una valiosa tabla del siglo XVI que representa la “Incredulidad de Santo Tomás”, pintada por Alejo Fernández. Detrás del retablo mayor, enmarcado en un arco apuntado y rehundido, se puede admirar un fresco del siglo XV que representa a Santiago el Mayor en la batalla de Clavijo, imagen titular del templo y patrón de la localidad.

Uno de los episodios históricos más relevantes vinculados a esta iglesia tuvo lugar el 24 de noviembre de 1490, cuando los Reyes Católicos pernoctaron en su interior durante su viaje hacia Palos de la Frontera, procedentes del antiguo camino de Mures, actual Villamanrique de la Condesa.

La sacristía conserva un importante conjunto de orfebrería religiosa: cálices, portapaces y una cruz parroquial de plata datada en 1641, obra de Pedro Sánchez y restaurada en 1695 por Juan Laureano de Pina. También destaca un crucifijo de bronce dorado, atribuido al círculo de Francisco de Alfaro, hacia 1585.

En la actualidad, la Iglesia Parroquial de Santiago el Mayor acoge la sede canónica de varias hermandades y agrupaciones religiosas de Hinojos: la Hermandad de Nuestra Señora del Rosario, la Hermandad Sacramental, la Hermandad de Nuestra Señora del Rocío y la Agrupación de Fieles y Devotos de Santiago Apóstol, que mantienen viva la tradición y la espiritualidad de este lugar.

The Chapel of Nuestra Señora del Valle, located on the outskirts of the town of Hinojos, is one of the most historic and devotional temples in the municipality. It was first documented in 1582 with the dual dedication to Saint Sebastian and Our Lady of the Valley. At that time, it was also the headquarters of the Brotherhood of the Blood of Jesus Christ, known today as the Brotherhood of Vera+Cruz.

Its architectural structure is typical of the 15th-century Mudejar style, with elements that reflect the transition to Renaissance forms. Over the centuries, the chapel has been shared between two brotherhoods: Nuestra Señora del Valle and Vera+Cruz. This shared use was formalised on 4 April 1773 by a conservation agreement and is currently governed by an episcopal decree dated 11 February 1985.

The main altar is dedicated to the patron saint of Hinojos, the Virgin of the Valley, a 15th-century Gothic-style image on a candlestick, restored in the 20th century by sculptors Sebastián Santos and Juan Manuel Miñarro. The accompanying carving of the Child Jesus dates from the 18th century. Tradition has it that it was this image that King Alfonso X the Wise venerated after the reconquest of Hinojos. At the foot of the chapel, two old flags can be seen, preserved in display cases, which refer to this event and could explain the origin of the municipality’s name, either because of this legend or because of the abundance

The Chapel of Nuestra Señora de la Soledad, located in the town centre of Hinojos, is one of the most important religious and heritage sites in the municipality. Its origins date back to an old hospital for beggars linked to the Order of Santiago, which gives it special historical and spiritual value.

There is evidence of the veneration of Our Lady of Sorrows in its chapel as early as 1710. Its exterior architecture preserves a 17th-century side doorway as a testament to its original construction, an element of great artistic and heritage interest.

The interior of the chapel houses a main altarpiece made in 1966 by the Huelva sculptor Antonio León Ortega, which contains several images of notable value: the Virgin of Solitude, a 17th-century candlestick image attributed to the circle of Pedro Roldán; the Recumbent Christ, an anonymous carving from the same century; and the Resurrected Christ and Saint Mary Magdalene, 18th-century sculptures that enrich the devotional ensemble.

The chapel also stands out for its important collection of paintings, which combines classical and contemporary works, such as a copy of Rubens’ canvas ‘Rest on the Flight into Egypt with Saints’, preserved in the Prado Museum, made in 1896 by the painter A. Silvera; or a magnificent reproduction of Murillo’s work in the Hospital de la Caridad in Seville. In addition, contemporary paintings by local artists can be seen, such as Francisco Talavera Lozano (The Virgin with the Cris