The church of Santas Justa y Rufina is not the prettiest but its parochialism Mozarabic Toledo is the oldest in the city on the Tagus since it was founded by none other than the Gothic king Atanagildo around the year 554 or 555. then could being a mosque and this might have as denoting a Mudejar church apse. enclvada Being in the center of the city, was taken as the main temple parish between Mozarabic and his pastor was considered and called bishop. But little remains of the above plants as the Mudejar church was burned in an accidental fire, so it had to be rebuilt at the behest of the priest Juan Pérez in 1537, changing the orientation of the temple, work in which he could intervene Covarrubias. In 1800, the church was rebuilt once again, perhaps because of another fire, but one of the chapels of the Virgin of Solitude. It seems that until the late nineteenth century Moorish tower remained exploited, perhaps, of an old Arab minaret to . 
The main entrance, beside which may be the only remains of what must be ported Visigoth (a pilaster and a half horseshoe arch), is the seventeenth century and consists of two columns on high base with Ionic capitals. About three-lobed arch supports them and on this a short attic. At the top, under a roof, there are two niches that house the sculptures of holy headlines as 1 Parro, are marble, but I seem wooden and badly damaged.
The interior has a Latin cross, with a single nave with side chapels. The apse is polygonal or header. Interesting wooden roof covering the central nave, transepts and chancel seems to me successful restoration of an older, a coffered ceiling of the torque and knuckle.
I have no chance to see the detail of the chapel which has covered different periods. The de la Soledad, image that came to happen to a more ancient of the Virgen del Socorro, held as miraculous, is a Baroque altarpiece of the late seventeenth and early eighteenth centuries. The de la Piedad, which opens the cruiser, has a very storied Baroque altarpiece. The image of Christ seems more and more ancient than that of the Virgin .
The presbytery can not go unnoticed by the large canvas of Agustín Esteve (1753-1820) (not Antonio, writes Parro, by mistake, and others copied), painted about 1800, which represents the Holy Fair Rufina and kneeling on a cloud with arms extended toward heaven where angels descend about carrying crowns. Canvas "very Goya" as the authors write artistic Inventory 2 Toledo, imitating marble with green frame and gilded moldings.
The cruise observed some large canvases, tears of St. Peter and an Adoration of the Kings, from the late seventeenth and early eighteenth centuries.
special mention in this church in the footsteps of the Good Friday procession. Long ago that this procession I miss my childhood years but still remember the respect, almost fear, that I was waving in the air to see the garments Toledo Nicodemus and Joseph of Arimathea as they descended, perched on high scales, the lifeless body of Christ and especially his body lying inside a glass case. I think it was my first contact, pretended, with death, and it always impresses. These steps are saved in the church and now I seem to observe poor bill.
most interesting part of the procession was and remains the escort of "weapon" that the number of 27 and had a complete collection of ancient armor 3 " of fine steel, consisting of overalls, backs and other tiny pieces, helmets, etc . "carrying teachers and officers of the guild of silk manufacturers. Today there will be many original and brave that are ignored if they are volunteers or, as stated in my day, soldiers of the garrison. As described by Parro, the procession, armed with the penitents of the guild of tailors, commonly called "Ladybugs Black" had to be awesome, " all done with great composure and is not supported badly dressed people."
© Manuel Martínez Bargueño
April, 2010
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1. Sisto Ramón Parro. Toledo in hand. Volume II. Toledo Printing and library Severiano Lopez Fando, 1857, p.178.
2. Inventory Toledo artistic capital. Volume I, led by Matilde Turbine revolt. National Information Center for Art, Archaeology and Ethnology. General Directorate of Fine Arts and Archives. Ministry of Culture, 1983 p.253.
3. I read that these suits were made following the model of the armor of Count Fuensalida and were made at Toulouse in 1686 by master gunsmith Don Melchor Gonzalez Chavarri
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