The parish church of Our Lady of the Assumption located in Campanario (Province of Badajoz, Spain) is a construction of medium proportions raised practically in its totality at the end of century XV by D. Juan de Zúñiga with factory of masonry and ashlars in its buttresses. Following the typical models of rural architecture of this type of religious buildings, the Parish shows in each of its formal parallel elements with the rest of works of Extremadura of such nature.
To the elemental plant, have been added over the course of time abundant lateral bodies or chapels opening for it spaces between the buttresses. They are especially significant, because they break with the architectural harmony, the cradles attached to the wall of the Epistle, fulfilling with more than evident space needs. It is on this side where the sacristy was built, in the part of the head of the building. The game of lateral machones, gives to the exterior an interesting contrast of volumes, mainly in the wall of the Gospel.
The interior is a single nave divided into three sections with arches fajones and cover originating from wood carvings; while the altar of the temple is covered with ribbed vault, raised in contemporary times because it collapsed.
Of the most significant elements, it should be noted the front pages, among which, of the three, the foot and Gospel stand out. Of the most interesting and spectacular, the noon, in Gothic style, highlights its arch, jambas as fine columns topped with capitals, remains of decorative polychrome and two coats of arms of Cardinal D. Juan de Zúñiga, last Master of the Order of Alcántara that financed the building. Special mention should be made of the sgraffito latinos and shotguns on the highest part of the wall next to the cantilever of tiles, examples that show the decorative elements diffused in times of RR. DC. of late XV.
The monumental steeple on the front of the feet, with three enormous holes where the bells are located, is a contemporary work that came to replace the lack of bell tower, destroyed after a storm.
Within its walls we can see several altarpieces from the eighteenth and nineteenth centuries as more interesting elements, preserving some baroque pieces of silverware wrought with exquisite invoice.
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