After knowing these historical data, enter the sacred space where the carvings of the apostles Saint Peter and Saint Andrew, brothers and apostles of the Lord, guard the entrance. An extraordinary star-ribbed vault supports the choir. The larger medallion of the central key contains the image of the Virgin with the Child. In the left angle of the vault, a castle with a rampant lion on each side represents the coat of arms of the city of Bayonne. The parish belonged to that diocese at the time of its construction.

Let’s start the visit by going to the nave of the Epistle, located to the right of the main entrance. Here we see a striking Calvary with its usual iconographic composition; Jesus Christ on the cross, accompanied by his mother, the Virgin Mary and the apostle Saint John. Above the set, there is a colourful stained glass window of “the Baptism of Jesus Christ in the Jordan River”.

On the side wall is the baptistery and the baptismal font, covered with a curious lid, in which the children of Hondarribia have received baptism for generations.

Below are two similar altarpieces. The first is the altarpiece of Saint Anthony of Padua, one of the few saints represented with the Child Jesus in his arms. The carvings of Saint Anton and another saint in sackcloth are on both sides, and in the attic there is an effigy of Saint John the Baptist.

In the adjoining altarpiece of the Virgin of the Pillar, the scene of her appearance to the Apostle Santiago in Zaragoza is represented. On both sides, two unknown saints, while the ensemble is crowned by the Archangel Saint Michael with the devil under his feet.

We continue our way until we reach the head of the nave to discover the baroque altarpiece of Our Lady of the Rosary. The main carving, which occupies the central niche of the altarpiece, has fine features and great serenity. Mary appears as a young mother who presents her Son and puts her right arm forward, bringing her rosary closer to us. The image is accompanied by the figures of Saint Augustine and another saint. In the upper body, between sober columns, is the figure of Saint Dominic de Guzman, founder of the Dominicans; escorted by those of Saint Catherine of Alexandria and another saint. The attic is topped by the image of the Eternal Father, and two allegorical figures, the Fortress and Justice, were later placed at the ends. They are two of the cardinal virtues that complement the theological virtues, Faith, Hope and Charity.

Now you come to the base of the altar where the main altarpiece is presided over by Our Lady of the Assumption and the Apple Tree, to whose invocation the temple is dedicated. The current altarpiece, in the neo-Gothic style, was inaugurated on September 8, 1914, the feast of the city’s patron saint. It stands out for its slender architecture and its golden polychrome and is separated from the wall so as not to cover the windows of the apse that opens to the east as is usual in Christian temples.

The previous altarpiece was destroyed by fire and only the delicate carving of Ecce Homo, located in the tabernacle and the figures of the apostles Saint John and Saint Andrew, located in the lower part of the altarpiece, could be saved.

The majestic image of Our Lady of the Assumption and the Apple Tree, in the Baroque style, centres the whole complex. This work, originally from a Neapolitan workshop, arrived in Hondarribia in 1753. The Mother of God holds her son in her left arm, while in her right hand she holds an apple, a symbol that reinforces the idea of the wisdom of the Son of God. Flanking the image of Our Lady we can see the carvings of Saint Prudence and Saint Francis of Assisi on the left, while on the right we can see those of Saint Teresa of Jesus and Saint Ignatius of Loyola, patron saint of Gipuzkoa and founder of the Jesuits.

We continue the visit by going to the nave of the Gospel. At the head is the altarpiece of the Sacred Heart of Jesus. Along with the image of the Lord, we distinguish that of Saint Roch, which shows the sores on his leg and is accompanied by a dog. This animal, which would help him in his moments of need, is a sign of Providence and is always included in the iconography of the saint. There is also the arrow-filled effigy of Saint Sebastian, a martyr with great devotion in times past because he is the patron of the dying and protector against the plague.

The image of Saint Peter, clothed as a pontiff and seated in his chair while blessing with his right hand, occupies the central niche of the upper body. He is escorted by Saint Andrew with his characteristic cross in X and Saint Paul.

At the bottom of this attractive altarpiece, at the foot of the image of the Sacred Heart, the greatest treasure that we can find in this temple seems to go unnoticed, the Eucharistic Presence of the Lord in the Tabernacle. The living Christ has saved and redeemed us; he has freely given us eternal life and is always by our side.

Going past the door of Saint Jerome, the oldest in the church, and a sober carving of the Crucified Christ on a red background, we can see similar altarpieces in the Churrigueresque style from the early 18th century. The first of them is that of the Virgin of Sorrows whose image occupies the central niche. The Mother of the Lord appears mourning before the Passion and Death of her son. At the foot of it is a magnificently carved Reclining Christ with articulated arms. Both images appear in the processions of Holy Week in Hondarribia. A representation of the Holy Spirit completes the ensemble.

Between Solomonic columns, the carving of Saint Joseph with the Child Jesus in his arms presides over the altarpiece. In the upper part we distinguish an interesting figure of the Immaculate Conception, while the relief of God the Father occupies the attic.