The Monastery of Our Lady of the Assumption, also known as the Granada Charterhouse, is one of the great jewels of the Spanish and Andalusian Baroque. It stands next to the University Campus, in the Cartuja district, about 2 kilometres from the city centre. Behind its austere walls, typical of the Carthusian Order, lies one of the most spectacular examples of Baroque decoration. Visiting it is a journey into the spirituality, art and history of this religious order in Granada. Inside you can find works by Antonio Palomino and by the Carthusian monk Juan Sánchez Cotán.

 

History

The origins of the Charterhouse Monastery date back to 1514, with the arrival of the first monks from the Charterhouse of El Paular.

Construction of the Granada Charterhouse began in the final years of the life of Gonzalo Fernández de Córdoba, known as the Great Captain. Already ill and retired to Granada, he received Father Juan de Padilla, a prominent figure of the Carthusian Order, who asked him to donate land on which to build a new monastery.

The Great Captain, devoted to the Virgin venerated by the order, agreed not only to cede a large tract in the orchards of Aynadamar—once a retreat for Muslim nobility—but also to contribute financially to the works. He even envisaged that, in due course, it would be the place where his remains would lie.

In 1514 everything was ready to begin building, but Father Padilla was replaced by Friar Alonso de Ledesma. Dissatisfied with the donated plot, he decided to change the site and drew up plans for the location the monastery occupies today. The decision deeply angered the Great Captain, who withdrew his support.

A year later, the Great Captain died. He was first buried in the Convent of San Francisco and, subsequently, his remains were transferred to the Monastery of San Jerónimo.

The loss of Don Gonzalo’s patronage meant that the works dragged on for almost three centuries, resulting in a layering of different architectural styles: late Gothic, Renaissance, Plateresque, Baroque and Neoclassical.

Within its walls lived two notable painters: Juan Sánchez Cotán and Vicente Carducho. Sánchez Cotán, a native of Toledo and a lay brother (a monk but not a priest), carried out manual tasks that allowed him time to paint. Renowned for his religious works and still lifes of striking realism, he already enjoyed fame before entering the order. Vicente Carducho, born in Florence, was an esteemed painter at the court of Philip II. He rivalled Velázquez following a competition to depict the expulsion of the Moriscos; although Velázquez won, Carducho always maintained that the decision was manipulated. He was one of the artists who most frequently portrayed Carthusian monks in the history of art.

Over time, the monastery suffered significant losses to its heritage, especially in 1835, when, during the Ecclesiastical Confiscations (Desamortización) of Mendizábal, the monks were expelled and part of the complex was destroyed.

Even so, the monastic ensemble preserved today is a fine example of Spanish Baroque art and Carthusian devotion. It is listed as an Asset of Cultural Interest and, in 1931, it was declared a Historic–Artistic Monument.

 

Description of the Monument

 

The Forecourt (Compás)

This is a large little square preceding the monastery, enclosed by a wall pierced by a Plateresque gateway attributed to Juan García de Pradas (16th century). The Granada-style pebble paving of the forecourt is of the same period.
The double staircase in Sierra Elvira marble leading up to the door dates from the 17th century and was made by Cristóbal de Vílchez. The church façade, which gives access to the monastery, was executed by Joaquín Hermoso in the late 18th century and is crowned by a niche containing an image of Saint Bruno.

 

The Small Cloister (Claustrillo)

The cloister that survives today was built in the 17th century, with arcaded galleries of round arches on Tuscan columns. Off this cloister are the various communal areas used by the monks: the refectory, the De Profundis room, the Lay Brothers’ Hall, the chapter house and the church.
There was formerly a large cloister with 76 arches, surrounded by cells with private gardens. The space was planted with palms, cypresses, myrtles and other trees, among which lay the monks’ graves.

 

The Refectory

This is a simple, austere hall, built between 1531 and 1550 and covered by a ribbed vault. Inside are notable works by Juan Sánchez Cotán, including Still Life with Thistle and Carrots and his celebrated Last Supper, depicted with great naturalism, as if the scene were taking place in the refectory itself.
The remaining canvases belong to three series: one devoted to the origins of the Carthusian order, another to the history of its first members, and a third comprising three works—Calvary with Saint John and the Virgin, Ecce Homo and Christ on the Way to Calvary. A pulpit is also preserved beside the entrance.

 

The De Profundis Room

Built in 1600, this room—intended for prayer before meals—stands out for its classicist altarpiece, which employs a trompe-l’œil effect using grisaille painting. The ensemble frames a canvas of Saints Peter and Paul by Navarrete “el Mudo”.

 

The Lay Brothers’ Hall

This is the oldest part of the monastery, initially used as a church. It was built between 1517 and 1519 by Friar Luis de Ledesma in the late Gothic style of the period, evident in its ribbed vault with tiercerons. Access is through an elegant basket-handle arch framed by an ogee arch.
Inside are three of the thirteen canvases that Vicente Carducho painted for the small cloister—Our Lady of Compassion, Our Lady of Aniago and a Pietà—as well as an Annunciation and a sculpture of the Crucified Christ. It also houses an alabaster sculpture of Saint Bruno, a work of the Granada school.

 

The Chapter House

The monks’ chapter house, Renaissance in style, was built between 1565 and 1567. Its simple doorway features Doric columns and is crowned by a broken pediment interrupted by the coat of arms of Castile.
The roofing begins with a ribbed vault and continues with a barrel vault decorated with coffers, a scheme also followed by the rear semi-dome.
Inside, two sculptures of great value stand out: Christ of the Sorrows, considered the most important work by the García brothers (17th century), pioneers of the Andalusian Baroque, and the Virgin of the Rosary by the Granada sculptor José Risueño.

 

The Church

The church has a single-nave plan, covered by a groin vault. It was built by Cristóbal de Vílchez in the mid-16th century and completed in 1662. The original project envisaged four towers, one at each corner of the nave, although only one was ultimately erected.
The interior, divided into four bays, impresses visitors with its rich Baroque decoration, featuring abundant white stuccowork with foliage motifs. Among its works are canvases by Juan Sánchez Cotán, such as The Rest on the Flight into Egypt and The Baptism of Christ, as well as paintings by Pedro Atanasio Bocanegra.
The chancel is covered by an elliptical vault and is dominated by a high altar in the form of a gilded-wood baldachin by Francisco Hurtado Izquierdo (18th century), a master of the Andalusian Baroque. Within it stands an image of the Assumption carved by José de Mora, another of the great artists of the period.

 

The Sagrario (Sanctuary)

Behind the chancel lies the Sagrario, the work of Francisco Hurtado Izquierdo. This space, marked by Baroque theatricality, is crowned by an elegant dome decorated with frescoes by Antonio Palomino (1712), depicting the triumph of the Church Militant, of Faith, and of Religious Life.
Between the columns are sculptures of Saint John the Baptist, Saint Bruno and Mary Magdalene. At the centre stands an imposing marble tabernacle, conceived as a monstrance in stone, which forms the focal point of the entire ensemble.

 

The Sacristy

The spacious sacristy stands out for its abundant carved-plaster decoration in geometric and abstract forms. Construction began in 1732 and, although its author is not known with certainty, it may be by José de Bada or by the lay brother Friar José Manuel Vázquez. It is known that the stonemason Luis de Arévalo and the carver Luis Cabello took part.
The space, empty at its centre, features a rhomboidal floor design and walls profusely decorated in white, creating a powerful impression on the visitor. It is covered by a dome ornamented with figures of Saint John the Baptist and Saint Bruno, founder of the order, painted by Tomás Ferrer in 1735.

 

Visiting the Charterhouse Monastery (La Cartuja) of Granada

Visiting hours are Sunday to Friday, 10:00–18:30 (doors close at 18:00). On Saturdays, 10:00–12:15 and 15:00–17:30 (doors close at 12:45 and 18:00).

The monastery is closed on 25 December and 1 January.

On 24 and 31 December it operates reduced hours and will be closed from 14:00.

During liturgical services, tourist visits inside the church are not permitted.

Taking photographs and video is permitted, but without flash or lights, and no tripods or selfie sticks.

Pets are not allowed, except for guide dogs.

 

How to get there

 

On foot

The monastery is in the north of the city, about 2 km from the centre. The walk from Plaza Nueva takes around 35 minutes and lets you discover charming streets such as Calle Elvira and Gran Vía.

 

By bus

There are several lines that will take you to the monastery:

- Line 8: Palacio de Deportes – Camino de Alfacar is the most direct from the city centre or from the Zaidín neighbourhood. The route runs along Acera del Darro, Gran Vía and Avenida Constitución. The nearest stop is Prof. Vicente Callao – Facultad de Ciencias de la Educación.

- Line U2: Plaza Albert Einstein – Campus de Cartuja. Ideal if you are near the Fuentenueva University Campus area. The nearest stop is Paseo de Cartuja – Monasterio.

- Line U3: P.T. Salud – Campus de Cartuja – Camino de Alfacar if you are in the Zaidín and Camino de Ronda area. The nearest stop is Prof. Vicente Callao – Facultad de Ciencias de la Educación.

- Line U1 if you are in the Campus de Aynadamar area or the La Chana neighbourhood. The stop is the same as for Line U3, next to the Facultad de Ciencias de la Educación.

 

By car or taxi

You can reach the monastery by car. Camino de Alfacar and Paseo de Cartuja are very well connected. You can look for parking on Paseo de Cartuja itself, in the surrounding streets, or in the free car parks available on the university campus.
Taking a taxi is also a good option. The fare will depend on the day of your visit and the distance.

 

Where to eat

On Calle Real de Cartuja itself you’ll find Mesón la Rumba, a well-regarded spot where you can enjoy tapas and traditional sharing plates, including vegetarian options.
You can also head to nearby neighbourhoods such as Beiro, Los Pajaritos, La Caleta, Plaza de Toros, or straight to the city centre.

In Beiro you can go for tapas at Bar Los Arcos. In La Caleta you’ll find Bar Aliatar Caleta, which keeps the tradition of the classic Aliatar bar in the centre and offers a wide range of hot and cold sandwiches. In this area there are also emblematic places such as Torcuato Caleta and La Cueva de 1900 (Caleta). In Plaza de Toros you’ll find home-style tapas at Bar El Nido del Búho. And in the centre you’ll come across traditional bars such as Ávila or La Sitarilla.

We recommend checking the latest availability and up-to-date reviews for these establishments.

 

Nearby Places of Interest

The Charterhouse Monastery lies close to the Cartuja University Campus, a little way from Granada’s historic centre. Very nearby, next to the Faculty of Psychology, there is a small lookout tower known as the “cenador”, the “Jesuit belvedere” or the “templete”, which formed part of the Jesuits’ facilities in the 19th century. Although now in a state of disrepair, from this spot you can still enjoy magnificent views over the city, the vega (fertile plain) and nearby ranges such as Loja and Sierra Elvira.

In a little over 20 minutes on foot along Paseo de Cartuja and Carretera de Murcia you reach the Mirador de San Cristóbal. The route is uphill, so if you prefer you can go by car and park in the San Cristóbal car park, or even take a taxi.

Another option is to head towards the centre of Granada. On Avenida Doctor Olóriz you’ll find the bullring, also known as the Monumental de Frascuelo, a Neo-Mudéjar building from the early 20th century. You can also make for the Royal Hospital and reach the Elvira Gate, one of the city’s historic entrances during Islamic rule.

From there, your walk can continue along Gran Vía and lead you to some of the centre’s standout monuments: the Monastery of San Jerónimo, the Basilica of St John of God, the Cathedral and the Royal Chapel, among many other places of interest.