Author: Victoria

As mentioned before, the final bay of the church of the Virgin in Tobed was done by the workshop of Mahoma Rami, and the change in the color scheme between the two bays can be observed: the final bay has a more reddish hue than the other two, which are done in more yellowish hues, created by the workshop of Mahoma Calahorri. In addition, in this final bay the same decorative scheme is used as in the first two bays of the church: the entire wall is coated with a layer of plaster that is then painted to look like brick using a trompe l’oeil technique consisting in making incisions with a tool known as a scribe awl to create a decorative motif and subsequently applying color to these incisions. This change in artisan’s workshop is also seen in the plaster latticework around the openings, given that those created by the workshop of Mahoma Rami blend motifs with Islamic roots and others of European influence, specifically in the Gothic style, which was becoming more widespread at that time.

The alfarje ceiling structure over the choir, located in this final bay, is a flat structure with exposed beams. There are no girders dividing it into compartments, while the part between the wall and the arch has a row of wood brackets or small bolsters that help support the joists. The bolsters extend beyond the arch, allowing the ceiling to overhang and extend over the nave. The beams and bolsters are finished with sculpted heads. The paintwork is done in several tones, reproducing simple motifs consisting in single or double circles containing six-point stars or stylized flowers.

One relevant detail to bear in mind in relation to Mudejar fortified churches is their location, and the church of the Virgin in Tobed is set in a strategic spot so as to render it a part of the town’s visual memory. In other words, based on its location, its purpose may have had more to do with propaganda than with actual defense. Therefore, certain aspects should be noted in order to understand the church in its entirety: it was ordered to be built in a key style at that time (the fortified church) in a location that was neither strategic nor defensive, which would render this military-related style unnecessary in that place. Considering these details, it can be concluded that the building was not constructed for military purposes but instead was given certain functional features in an effort to convey an image of strength and power in relation to the presence of enemy forces, Castile in this case. Finally, the merging of these two purposes can be seen here: the defensive purpose, noted in the civilian esthetic of the building and in the subsequent defense-related features, and the liturgical and religious use, present in its basilica or hallenkirche layout of the interior.

The completely rational structure of this type of fortified church, in which the support and thrust systems are designed in a very strong and simple manner, is not seen in other Aragonese Mudejar monuments; instead, this group must be considered a series of unique specimens whose features do not become widespread, emphasizing their dual religious and defensive function.