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The Alhambra and Granada Caroline: the dream of Emperor

previousRoyal Monastery of San Jerónimonext

Main façade of the monastery church, designed by Diego de Siloé, and financed as a burial place for Gonzalo Fernández de Córdoba by his widow, the Duchess of Sessa

Main façade of the monastery church, designed by Diego de Siloé, and financed as a burial place for Gonzalo Fernández de Córdoba by his widow, the Duchess of Sessa

Apse of the church, notable for its polygonal plan and heavy buttresses inherited from the building’s Gothic beginnings

Apse of the church, notable for its polygonal plan and heavy buttresses inherited from the building’s Gothic beginnings

Coat-of-arms of Fernando González de Córdoba, “The Great Captain”, held by warriors attired ‘in the ancient fashion’

Coat-of-arms of Fernando González de Córdoba, “The Great Captain”, held by warriors attired ‘in the ancient fashion’

Founded in 1492 by Ferdinand and Isabella in the town of Santa Fe, the monastery was subsequently moved to an area of Arab orchards in Granada called Dar Aben Murdi. It became a focal point for the city's urban development after the Christian conquest when Emperor Charles V granted the High Chapel of the church to the Duchess of Sessa, the wife of the Great Captain Don Gonzalo Fernández de Córdoba, as a family mausoleum in exchange for financing the building work. The duchess and her entourage of friends and relatives established their residences near the monastery, forming the new district of La Duquesa. This was to prove crucial in the evolution of the construction project, initially begun in the Gothic style, towards the Renaissance model with which it was concluded in 1543. The church, designed on a basilica plan by Jacobo Florentino and Diego de Siloé, has a richly ornamented interior. Especially outstanding are the High Chapel, with its magnificent Romanist altarpiece, and the choir stalls. On the exterior, the octagonal chancel with its heavy buttresses is decorated with reliefs alluding to the exploits of the legendary warrior. The monastery's two cloisters combine Mudejar and Gothic decorative elements with others in the Roman style. The larger of them contains portals leading into seven funerary chapels for great Granadine families, whose decorative programme was completed by Siloé, one of the foremost artists of the Spanish Renaissance.

The religious order of the Hieronymites was one of the first to be established in the newly conquered Granada. Fray Hernando de Talavera, the first Archbishop of Granada and confessor of Queen Isabella, was a member of the order, and it was he who inspired and created the strategies and instruments for the Christianisation of the Moriscos. Another Hieronymite monk, Fray Pedro Ramírez de Alba, also became the archbishop. Under his mandate it was decided, with the agreement and support of Charles V, to transform the Gothic Cathedral into a Renaissance building. In 1526, it was precisely the Emperor who granted the church of the monastery then under construction to the widow of Gonzalo Fernández de Córdoba, the Great Captain, as a mausoleum for this military hero, celebrated for his victories in the war waged by the Catholic Monarchs to recover the Kingdom of Naples.

This mausoleum is an early work of Renaissance architecture in whose construction Jacopo Florentino and Diego de Siloé were involved, the latter before his work on the Cathedral. Both on the exterior and the interior, strictly classicist allegories and images of heroic figures form a humanist programme extolling the fame of the Great Captain and his military exploits.

Text: Legend on the exterior of the chancel: "Gonsalo Ferdinando a Corduba, magno hispanorum duci gallorum ac turcarum terrori" (Gonzalo Fernández de Córdoba, great general of the Spaniards, terror of the Gauls and the Turks).