MONASTERIO DE NUESTRA SENORA DE LA ASUNCION LA CARTUJA

The refectory, profundis chamber, layman's, monk's chapter house, and church are all connected to the cloister, a work from the 17th century, through which the monastic community shares its daily meals and worship. Several of the picture series presently displayed here were formerly housed in the claustrillo. The refectory is a small, plain space with a ribbed vault that harkens back to the Carthusians' severe lifestyle. Fray Juan Sanchez Cotin's priceless artwork still hangs there to this day. The Legos room, formerly a chapel, is now the oldest portion of the complex; the Profundis room served as the monks' dining hall and prayer space before meals. Paintings by Vicente Carducho are on display in the chapter house, a building that heralds the Renaissance, even before it arrives.

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The temple is a single nave structure with three separate sections. The first is aimed at city dwellers, the second at laypeople, and the third at religious leaders like monks. The church has the paintings by Sanchez de Cotán adorn the walls. These six paintings depicting events in the life of the Virgin are surrounded by statues in this elaborately adorned room.The doors were embellished by José Manuel Vázquez with shells, ivory, silver, and ebony. The primary altar is a wooden structure with mirrored embellishments.

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It is said, José de Bada, an architect born in Granada who worked for firms founded by Cordovan's father. Marble, stucco, furniture, and paintings, everything brought together with the help of illumination. A temple which contains within its walls an expansiveness that defies the rationale of any sacristy. All of the stucco carvings inside and out are abstract and geometric in nature. Exquisitely executed work that has a lovely optical illusion on the viewer. The room's grandiosity is amplified by the void at its centre, the whiteness of its walls, the volumetric play, and the rhomboid pattern of its floor. The constant presence of light is therefore crucial to its design.

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Taking a vow of silence, the Carthusians met only in the Chapter House and spoke only there. In this space, bricks serve as the seats. There were community issues, both practical and religious, that were often discussed at these gatherings. Our contemplation of the evolution of art from the Baroque to the Renaissance is greatly enhanced by the seclusion of this space.

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This incredible masterpiece, which combines architecture, sculpture, and painting, is unmatched anywhere in Europe. Hurtado Izquierdo assembled an elite team of artisans to create this masterpiece, including some of the finest sculptors, painters, and stonemasons of the era. It's covered in a dazzling array of materials, including marbles in a variety of colours, sculptures, paintings, canopies, and curtains, giving the space a strong dramatic and religious vibe. The marble tabernacle rises in the middle like a stone monstrance, enticing you to gaze skyward by constantly shifting its shapes. Absolutely nothing here moves slowly or in a straight line, but everything has a deliberate home here.

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It is entered through a doorway built by Juan Garcia de Prada in the 16th century to the tempo of the Monastery, a place that acts as a prelude and is enclosed by a wall that isolates it from the secular world. The entrance to the monastery is reached via a double staircase made of Sierra Elvira marble that dates back to the 17th century and was planned by Cristobal de Vilchez, who also happened to have laid the best surviving example of Granada's 1600s cobblestones at the bottom of the staircase. Architect Joaquin Hermoso is responsible for the church's neoclassical façade, which dates back to the late 18th century. 

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