Royal Chapel of Granada

The Royal Chapel of Granada, known locally as the Capilla Real de Granada, is a magnificent testament to Spain's rich historical and architectural heritage. Nestled adjacent to the Granada Cathedral, this splendid chapel is not just a religious site but a cherished monument that encapsulates the spirit of the Spanish Renaissance. The Royal Chapel is the final resting place of the Catholic Monarchs, Ferdinand II of Aragon and Isabella I of Castile, as well as their daughter Joanna I of Castile and her husband, Philip the Handsome.

The History of the Royal Chapel of Granada

In 1504, the Catholic Monarchs chose Granada as their burial site, a decision formalized by a Royal Decree on September 13 of that year. The construction of the Royal Chapel commenced in 1505 under the direction of Enrique Egas and continued until 1517. The chapel was dedicated to the saints John the Baptist and John the Evangelist, reflecting the devout nature of Ferdinand and Isabella. The construction saw contributions from notable architects such as Juan Gil de Hontañón, Juan de Badajoz the Elder, and Lorenzo Vázquez de Segovia.

The 16th century marked three distinct phases in the chapel's evolution. Initially, it embodied a medieval spirit and simplicity, mirroring Queen Isabella's wish to be buried in the habit of Saint Francis, symbolizing poverty and humility. The chapel's grandeur flourished under Emperor Charles I, who adorned the temple and expanded its institution, reflecting the Renaissance's humanist ideals. Philip II, while maintaining the legacy, initiated the construction of El Escorial and transferred half of the royal remains and the chapel's library to the General Archive of Simancas.

The chapel experienced a period of decline in the 17th century with Baroque modifications, followed by a revival in the late 18th century under Ferdinand VI. The 19th century brought political upheavals and economic challenges, altering the chapel's relationship with the state. The 1851 Concordat restored some stability, leading to a reorganization under Queen Isabella II. The Restoration era sparked interest in historical research, artistic restoration, and museology, culminating in the first scientific publications about the chapel.

The 20th century saw increased historiographical, artistic, archival, and musical interest in the chapel. The creation of the chapter museum in 1913 and the growing importance of tourism highlighted the chapel's spiritual significance. Restoration efforts continued, including the presentation of the Loggia and the Sacristy-Museum and the restoration of the main altarpiece.

Architectural Marvels

The Royal Chapel of Granada's exterior mirrors the design of the Monastery of San Juan de los Reyes. Although attached to the cathedral, it maintains an independent architecture with a single nave, ribbed Gothic vault, octagonal presbytery, and a small transept. The walls are supported by buttresses topped with pinnacles, adorned with gargoyles, windows, coats of arms, and the initials of the Catholic Monarchs. The Plateresque-style main façade features a semicircular arch framed by pilasters with mace-bearer figures, topped by a pediment with the double-headed eagle and statues of the Virgin and Child with the two Saint Johns.

Inside, the nave houses four chapels, with the Chapel of the Holy Cross standing out. Enclosed by a grille, it contains a Baroque altarpiece with paintings of the Immaculate Conception, Saint John, and Saint Joseph with the Child, and two polychrome wooden Baroque sculptures by José Risueño: Ecce Homo and Our Lady of Sorrows. The presbytery creates a luminous effect symbolizing justice, with a hierarchical transept dedicated to the mausoleum separated by a decorated grille.

The head of the temple features two lateral chapels before the main altar, housing altarpieces dedicated to Saint Apollonia and Saint Michael.

The Crypt and Mausoleum

At the center of the transept lie the tombs of Ferdinand and Isabella by Domenico Fancelli and those of Joanna and Philip by Bartolomé Ordóñez. Fancelli's mausoleum, completed in 1517, is a truncated pyramidal piece. The recumbent figure of Ferdinand is depicted in military attire, while Isabella's figure is dressed simply, with hands gently clasped. At their feet are small lions symbolizing fidelity and vigilance, with tondos depicting the Baptism of Christ, the Resurrection, Saint George and the Dragon, and Saint James. The corners feature seated statues of the four Latin Church Fathers: Saint Gregory, Saint Ambrose, Saint Jerome, and Saint Augustine.

Beneath the tombs is a small, austere crypt housing the royal lead coffins, identified by initials. The Catholic Monarchs' coffins rest on a stone platform, with Joanna and Philip's coffins and the small coffin of Prince Miguel da Paz of Portugal on a surrounding stone bench. A Gothic-style wooden crucifix presides over the crypt. Before their transfer to El Escorial in 1754, the remains of Empress Isabella of Portugal, Princess Maria, and the infants Ferdinand and John of Habsburg were also interred here.

The Main Altarpiece

The main altarpiece (1520-1522), crafted by Felipe Bigarny, is one of Spain's earliest Plateresque altarpieces. It combines Gothic ogival elements with Renaissance naturalism and ornamental richness, reflecting the transitional period between medieval and modern eras. Flanking the altarpiece are two praying statues of the Catholic Monarchs, carved by Diego de Siloé.

The Sacristy-Museum

Established in 1913, the Sacristy-Museum showcases the Catholic Monarchs' legacy. Its gallery features works from the Flemish, Italian, and Spanish schools, including paintings by Rogier van der Weyden, Hans Memling, and a rare piece by Sandro Botticelli (The Agony in the Garden). The museum also displays exquisite pieces of goldsmithery, such as the crowns and sceptres of the Catholic Monarchs, textiles, and Queen Isabella's books.

The Loggia, built in 1518 for banking and commerce, has been recently restored and is open to visitors. It offers architectural interest with its façade and coffered ceilings, as well as exhibits of paintings and furniture.

The Royal Chapel of Granada is not merely a historical monument; it is a symbol of Spain's illustrious past and enduring spirit. Its walls echo the stories of the Catholic Monarchs, the rise of the Renaissance, and the nation's journey through centuries of change. A visit to this remarkable site offers a profound glimpse into Spain's rich cultural and historical tapestry.