Aracena No. 2
Image copyright © [in the public domain]
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Results: 2 records
view of church exterior
Scene Description: Source caption: "Parroquia de Ntra. Sra. de Asuncion [...] Fachada trasera"
Copyright Statement: Image copyright © [in the public domain]
Image Source: edited detail of a digital photograph by Ana M Palacios [https://commons.wikimedia.org/wiki/File:Parroquia_de_Ntra._Sra._de_la_Asuncion.jpg] [accessed 30 January 2021]
Copyright Instructions: PD-self
view of church exterior in context
Scene Description: Source caption: "Parroquia de Ntra. Sra. de Asuncion [...] Fachada delantera (obra de nueva construccion)"
Copyright Statement: Image copyright © [in the public domain]
Image Source: edited detail of a digital photograph taken 9 February 2004 by Ana M Palacios [https://commons.wikimedia.org/wiki/File:Parroquia_de_Ntra._Sra._de_Asuncion.JPG] [accessed 30 January 2021]
Copyright Instructions: PD-self
INFORMATION
FontID: 17032ARA
Church/Chapel: Iglesia Parroquial de Santa María de la Asunción
Church Patron Saints: The Assumption of St. Mary
Church Location: Plaza Alta, 7, 21200 Aracena, Huelva, Spain -- Tel.: +34 959 12 80 71
Country Name: Spain
Location: Huelva, Andalucía
Directions to Site: Located off (W) the N-433 - A-479 crossroads, about 80 km NNE of Huelva capital
Historical Region: Comarca Sierra de Huelva
Font Location in Church: Inside the church, in the baptistery chapel
Date: 1692
Century and Period: 17th century(late?), Baroque
Noted in Carrasco Terriza et al. (2006) as a baptismal font of the 17th century, dated 1692 by an inscription; a round basin raised on a baluster-shaped pedestal base; made of white marble. [NB: the church fabric dates to the 14th century, but we have no information on the medieval font]
COORDINATES
MEDIUM AND MEASUREMENTS
Material:
stone, marble (white)
Font Shape: round (mounted)
Basin Interior Shape: round
Basin Exterior Shape: round
REFERENCES
Carrasco Terriza, Manuel Jesús, Guía artística de Huelva y su provincia, Huelva; Sevilla: Diputación de Huelva; Fundación José Manuel Lara, 2006