To commence building in the Gothic style and finish in the Baroque generates a whole host of formal, as well as technical, problems. The floor layout which reflected the habitual gardness of Gothic cathedrals was carried out by Enrique Egas, a great master of Flemish descent. Hidden within its design are old secrets linked to the European quarrymens' Guilds, the lodges close to the Cathar and Albigensian deviations and even the Templars, features which became scattered around the world when the above-mentioned heretics were pursued and the order of the Templars dismantled.
The truth of the matter is that the floor plan caused enormous problems for the building's subsequent development when other architects, above all Siloé, attempted to transform the original Gothic style into the Roman.
Another outstanding feature is the facade by Alonso Cano, a truly marvellous example of Baroque scenography, culminating in the bell tower which holds more than a secret within.
Constructed as a sepulchre for the kings at rest in their crypt, its style is an unique epilogue of the Gothic, this has often be termed Elizabethan or Plateresque. Its collection of Flemish panels are extraordinary, though do not miss magnificent ironwork as well.
Located in the angle formed by the Cathedral and the Capilla Real is the side chapel and guildhall of the church, both have been restored recently.
Flemish panels in the Capilla Real
It's Granada's Baroque shared an importance with that of other Andalusian cities, its Flemish panels, the property of the Catholic Queen, were quite simply unequalled. Today these can be admired in the Capilla Real. The presence of this magnificient collection complicates still more our perspective of that strange world which shaped the Granada's artistic taste in the era of the Catholic Monarchs.