The Granada Cathedral, or Cathedral of the Incarnation, is an architectural gem of the Spanish Renaissance, located in the heart of the city, beside the Royal Chapel and the Church of Sagrario.

The cathedral's construction was initiated by the express wish of Queen Isabella I of Castile, who commissioned it to be built on the site of the Great Mosque of the Alhambra. Due to the project's magnitude, however, it was relocated to the city center, as the mosque site was deemed too small.

The cathedral was initially commissioned to Enrique Egas, who designed it as a Gothic temple. In 1523, construction began, and in 1529, Diego de Siloé took over, proposing a more ambitious Renaissance design. Siloé envisioned an innovative space with a Latin cross layout and five naves, which was unusual for Spanish cathedrals of the time. The central dome and spacious main chapel stand out for their harmonious proportions and the brightness that floods the space.

The works were completed in 1563, making Granada Cathedral a masterpiece of the Spanish Renaissance. In the 17th century, Alonso Cano redesigned the main façade, reflecting a transition to Baroque style. Cano crafted a monumental entrance with three arches, crowned by elegant sculptural decoration combining Renaissance and Baroque elements.

Initially, the cathedral was intended to have two towers with six levels each, but due to financial constraints and Alonso Cano’s death, only one three-level tower was built.

In the 18th century, Francisco Hurtado Izquierdo, and later José Bada, constructed the Sagrario Chapel, maintaining the cathedral's classical and restrained lines.

Architecture

The floor plan of Granada Cathedral, designed by Diego de Siloé, is inspired by Early Christian funerary temples. Parallels can be drawn between Granada Cathedral and the Church of the Holy Sepulchre in Jerusalem. The structure is divided into a circular apse with an ambulatory and a basilica-style nave with five sections, allowing light to flow and creating space for side chapels and the transept. The layout symbolizes a balance between earthly and spiritual realms, aligning with the Renaissance pursuit of harmony.

Main Chapel

In the Main Chapel, designed initially by Diego de Siloé, the dome and triumphal arch stand out architecturally, forming the cover and access to the high altar.

Siloé sought optimal visibility of the High Altar, eliminating barriers and bringing it closer to the community. Unlike traditional longitudinal layouts, he placed the altar centrally, creating an open space around it and allowing worshippers to visually participate in the celebration. The chapel’s layout balances horizontal and vertical elements, offering majesty and a unique communal experience reminiscent of early Christian liturgies.

In addition to the Main Chapel, the cathedral houses several perimeter chapels and altars: Our Lady of Pilar of Zaragoza, Our Lady of Carmen, Our Lady of Sorrows, Our Lady of “La Antigua,” Saint Lucy, Christ of Sorrows, Saint Teresa of Avila, Saint Blaise, Saint Cecilio, Saint Sebastian, Saint Anne, the Triumph of Saint James, Jesus the Nazarene, the Holy Trinity, and Saint Michael the Archangel.

Of particular note is the altarpiece in the Triumph of Saint James, featuring the Virgin of Forgiveness. This painting was a gift from Pope Innocent VIII to Queen Isabella and is believed to have been part of the Catholic Monarchs' portable altar.

Triumphal Arch

The triumphal arch of Granada Cathedral, an impressive work by Diego de Siloé, connects the central nave with the Main Chapel. This arch, 32.5 meters high and 12 meters wide, stands out for both its structure and iconography. Its design harmonizes with the dome’s curves and the chapel's circular elements, creating a sense of movement and grandeur.

The arch's iconography includes busts of Adam and Eve placed over the arch’s jambs, crafted by Alonso Cano and polychromed by Juan Vélez de Ulloa. These sculptures are notable for the intensity of their gazes, which are directed inward toward the chapel. Both figures rest on ornamental leafy pedestals crafted by Juan Puche. Additionally, on the arch’s upper level are two paintings by José Risueño depicting Saint James, Spain's patron, and Saint Cecilio, Granada’s patron. These figures are part of the cathedral’s iconography, reflecting Granada's religious history and its connection to Christian tradition in Spain. Angels and Plateresque decorations complete the ornamentation.

Apse

The apse structure is divided into three parts: a high rotunda housing the main chapel, a ring forming the secondary ambulatory, and a lower band with radial chapels. Inside, the passages of the ambulatory, spaces for royal coffins, paintings by Alonso Cano, and reliefs culminate in a dome illuminated by stained glass, filling the space with light and majesty.

In the apse’s first tier, sculptures and paintings surround three hagiographic themes: the apostles, the church founders, and the Church Fathers and Doctors.

The twelve apostles are represented by 17th-century statues resting on pedestals inside the rotunda.

The founders occupy the spaces between the columns. These are six 17th-century statues donated to the Cathedral by religious congregations and orders.

The Church Fathers and Doctors are depicted in canvases positioned above the arches of the radial passageways that connect with the ambulatory. These paintings were made by Juan de Sevilla and Pedro Anastasio Bocanegra, also from the 17th century.

The apse's second tier contains works by Bocanegra, Sevilla, and Risueño, as well as stained glass and paintings by Alonso Cano.

Of particular note in this tier are seven monumental canvases by Alonso Cano depicting the life of the Virgin. These canvases measure over four meters in height and are placed 25 meters above the ground.

Dome

The dome, designed by Diego de Siloé, is blue with golden stars. At the base of the dome are a series of ten stained glass windows depicting salvation history: the life of John the Baptist, the life of Jesus, and the coming of the Holy Spirit.

The arrangement of stained glass and high windows allows natural light to fill the interior, creating an open atmosphere and highlighting the color contrasts between columns, capitals, and gilded friezes. This interplay of light evokes purity and spirituality, reflecting Diego de Siloé's Renaissance intentions.

Visiting the Granada Cathedral

Visiting hours for Granada Cathedral are Monday to Saturday from 10:00 a.m. to 6:15 p.m. (closing at 6:45 p.m.). On Sundays, hours are from 3:00 p.m. to 6:15 p.m. (closing at 6:45 p.m.).

The Cathedral is closed on December 24, 25, and 31, and January 1.

It has reduced hours from 3:00 p.m. to 6:15 p.m. on January 2 and 6.

Tourist visits are suspended during liturgical events.

Accessibility to the monument may have certain limitations. Due to its historical and monumental nature, external installations are not possible. Before visiting, it is advisable to request specific accessibility information to assess suitability for individual needs.

The best and quietest visiting time is early in the morning.

Audio guides are available in multiple languages.

How to Get to Granada Cathedral

On Foot

The Cathedral is centrally located in Granada, accessible from anywhere in the city.

The entrance to the Cathedral is in Plaza de las Pasiegas, a pedestrian square near Plaza Bib-Rambla, Gran Vía, Calle San Jerónimo, or Calle Reyes Católicos.

By Car

It is not possible to reach the Cathedral by car due to restricted private transportation in the city center.

By Bus or Taxi

You can reach Granada Cathedral via city bus lines 4, 8, 11, 21, 33, C31, C32, C34 (Gran Vía / the Cathedral stop) and lines C30, C35 (Plaza Isabel Católica stop).

A taxi can also take you to the Cathedral.

Visitor Rules

Photos and videos are allowed as long as they do not disturb those in prayer.

Inside the temple, silence, respectful attire, mobile phone disconnection, and removal of hats are required. Travel bags or backpacks are not allowed.

No eating, drinking, smoking, or animals are allowed, except for guide dogs.

Minors must be supervised.