Mezquita-Catedral

Discovering the monument

The history

The history

The Mosque-Cathedral Monumental Site of Cordoba summarises our identity like few other buildings can. The complexity of the history on display here creates one of its most beautiful examples. It is a living building which visibly integrates the historic layers of different cultures and civilisations

Key figures
Lampadio, Agapio and Eleuterio
Lampadio, Agapio and Eleuterio
Mid to second half of the 6th century

Lampadio (+549), Agapio (before 589-591) and Eleuterio (591- after 597) were the Bishops who followed each other in this role in Cordoba during the second half of the 6th century, during the chronological period which coincides with the dating of the remains of the basilica site of San Vicente.  The testimony of their presence is of great interest when confirming the existence of the episcopal seat founded by Osio, a diocesan administration and a "Domus episcopalis". With regard to Lampadio, his tombstone has been preserved and is on display in the Archaeological Museum. Meanwhile, with regard to the Bishops Agapio and Eleuterio, we know of their attendance at the 3rd Council of Toledo. 

Read more
Abd al-Rahman I
Abd al-Rahman I
756-788

Member of the Umayyad dynasty and grandson of Caliph Hisham of Damascus, he managed to escape from the Abbasids and reach the Iberian Peninsula. His life in Cordoba began with the conquest of the city after triumphing in the battle of al-Musara, on 14 May of the year 756. In that same year, after declaring Cordoba an independent Emirate, he became the first emir of al-Andalus. The demand for Muslim worship, which initially took place in the old basilica of San Vicente, forced him toward the end of his life to expend his efforts on building the Aljama Mosque. However, this decision was made not only for religious reasons but also for political ones, as a demonstration of the power of the emirate of Cordoba.

Read more
Abd al-Rahman II
Abd al-Rahman II
822-852

Son of Al-Hakam I, his government of al-Andalus, governing between the years 822 and 852, was not only successful from a political perspective but also from a cultural one. At that time Cordoba took on a majestic appearance that was internationally renowned, also becoming a leading example for arts and humanities. Major civil works were undertaken during his emirate including the walled enclosure and a hydraulic infrastructure. His most visible material legacy can be seen in his work on the Cordoban Mosque, through the first of its enlargements.

Read more
Abd al-Rahman III
Abd al-Rahman III
929-961

Abd al-Rahman III was proclaimed a Caliph, thus instituting the Caliphate of Cordoba in the year 929. The city reached its heyday from a social, economic and cultural viewpoint. The Cordoban capital also became the site from which significant international commercial relations emanated. Undoubtedly his best work was the building of the palatial city of Medina Azahara, residence of the Caliph and also headquarters of his administration. However, as expected, he also worked on the Aljama of Cordoba. His contribution to this sacred complex consisted of the building of the great minaret and the chapel façade that overlooks the courtyard.

Read more
Alhakén II
Alhakén II
961-976

He succeeded his father Abd al-Rahman III in the year 961. Looking beyond his political life, sources refer to him as a very religious person who showed great concern about culture, as is demonstrated by the creation of the most important library in the west, housing more than 400,000 volumes. Given the incredible increase in the Muslim faith within the Cordoban population, from the outset he gathered his forces to carry out an enlargement of the Mosque, providing an intervention of great artistic wealth and quality.  He also reformed the Caliphate fortress and made significant contributions to improving the infrastructure of the city.

Read more
Almanzor
Almanzor
981-1002

The early death of Al-Hakam II led to Prince Hisham II coming to the helm of Caliphate power, although at that time was only eleven years old. This situation was taken advantage of by Almanzor, who until then had held important positions in the Caliphate administration.  Following a period in which he worked as a tutor to the Prince, in the year 978 his strategy and ambition led him to be appointed hajib, a position which allowed him to impose his absolute authority. Throughout his life he participated in many victorious military campaigns, although aside from his military role he also expanded the Cordoban Mosque to create the spatial configuration we see today.

Read more
Enrique de Arfe
Enrique de Arfe
1475-1545

This silversmith of German origin is without doubt one of the first artists to introduce a  new plastic language into the city of Cordoba. Enrique de Arfe received the commission from the Cathedral Chapter to create the Processional Monstrance of the Corpus Christi, and we know that in the year 1514 he was already working on this. The Processional Cross of Arcediano is also attributed to him.

Read more
Pablo de Céspedes
Pablo de Céspedes
1538-1608

This humanist and Renaissance painter held the position of prebendary of the Cathedral from the year 1577 to 1608. His appreciation of aesthetics is evident from the works that were commissioned during this period. Moreover, one highlight in his role as painter was the creation of the Holy Supper, although also attributed to him are the Baptism of Jesus in the chapel of the Holy Spirit and the paintings on the altarpiece in the chapel of Santa Ana. His tomb can be found in the Monumental Site, close to the Chapel of the Conversion of Saint Paul.

Read more
César Arbasia
César Arbasia
1547-1607

It is very likely that the choice of this Italian painter to decorate the chapel of the Sanctuary was down to Pablo de Céspedes. They worked together in Rome on the paintings in the Bonfili Chapel of the church of the Santissima Trinità dei Monti. Moreover, in the Sanctuary of the Cordoban Cathedral, César Arbasia created a complete pictorial series centred on the Cordoban martyrs. Prior to this, he also worked on the main church in Malaga, working on its main chapel. 

Read more
Obispo Íñigo Manrique
Obispo Íñigo Manrique
1486-1496

He was responsible for the construction of the Gothic nave which was the first major work adapting the old Muslim chapel to Christian worship. Another testimony of his contribution to the building is the Processional Cross which is preserved in the Cathedral Treasury. His memory is also embodied in two inscriptions located at  the site. The first, referring to the existence of his burial site in the transept, can be found under the Epistle organ, and the second can be found in one of the watch body bells in the Bell Tower. 

Read more
Obispo Francisco Reinoso
Obispo Francisco Reinoso
1597-1601

It is no coincidence that the shield of his episcopate can be found in the choir vault, as he is one of the prelates that gave a new impetus to the cathedral' s construction. Shortly after arriving here he visited the new factory and sought the opinion of Diego de Praves, architect of Burgos cathedral. Later, the completion of the works would be carried out by Juan de Ochoa. The definition of the iconographic series on the choir vault could also possibly correspond to Bishop Reinoso. His contribution is also evident in the configuration of the courtyard, where he introduced an innovative garden concept meaning that from that moment it was called "Patio de los Naranjos", in reference to the orange trees.

Read more
Bishop Diego de Mardones
Bishop Diego de Mardones
1607-1624

The new main chapel and transept were finalised under his governance of the diocese and this is recalled in the inscription on one of the arches on its southern side. However, the Cathedral also received another essential contribution from Mardones, with the donation of 50,000 ducats allocated to the main altarpiece. In gratitude, the Chapter awarded him an area in this space for his tomb, which can be seen from the figure praying sculpted by Juan Sequero de la Matilla. Another testimony to his episcopate is embodied in the luxurious Processional Cross of Bishop Mardones, made by the silversmith Pedro Sánchez Luque and on display today in the Treasury.

Read more
Antonio del Castillo
Antonio del Castillo
1616-1668

The leading exponent  of Baroque painting in Cordoba maintained a close relationship with the Cathedral throughout his life. This connection was both professional and personal, given that he was baptised and had his wedding in the Parroquia del Sagrario. His artistic contribution can be seen in the following works:  Saint Acisclus Martyrdom of Saint Pelagius, Pictorial Altarpiece of Our Lady of the Rosary, Immaculate Virgin with Saint Phillip and James, son of Alphaeus, Immaculate Conception on the Altar of Saint Martha, Saint Phillip and James, son of Alphaeus, Denial of Saint Peter and the Immaculate Conception of the Cathedral Treasury.

Read more
Antonio Palomino
Antonio Palomino
1653-1726

His contribution is embodied in the five paintings on the main altarpiece, commissioned in the year 1713. Here we are referring to the paintings of Our Lady of the Assumption, Saint Acisclus, Saint Victoria, Saint Pelagius and Saint Digna. He was also author of the three large works found in the chapel of Santa Teresa: Martyrdom  of Saints Acisclus and Victoria, Appearance of Saint Raphael to Father Roelas and Delivery of Cordoba to Fernando III "the Saint".

Read more
Pedro Duque Cornejo
Pedro Duque Cornejo
1677-1757

The Sevillian sculptor, after making a life-sized chair model, won the competition which allowed him to create the choir stalls. He signed the contract on 31 October 1747. He was therefore appointed master and director of the work which would last until his death, on 3 September 1757, two weeks before the inauguration. His work on the creation of the stalls continued up to the end of his life, so the Chapter officiated a solemn funeral and decided to bury him at the foot of the choir, as we can see from a funerary inscription.

Read more
Damián de Castro
Damián de Castro
1716-1793

The most prolific of the Cordoban silversmiths from the 18th century, he was appointed master silversmith of the Cathedral in 1752. During the period in which he performed his trade he produced interesting pieces that can be seen in the Treasury today. His notable works include the Eucharistic Ark of Maundy Thursday, the Chrismatories, the sculptures of the Virgin of La Candelaria and Saint Raphael and the Chalice of Bishop Delgado Venegas. In the performance of his duties he also restored the Custody of Corpus Christi by Enrique de Arfe.

Read more
Ricardo Velázquez Bosco
Ricardo Velázquez Bosco
1843-1923

This architect, originally from Burgos, was responsible for the restoration of the building following its declaration as a National Monument. A follower of the ideas of Viollet le Duc, he intervened in such different areas as the Door of the Viziers and the Villaviciosa Chapel. In collaboration with Mateo Inurria, he also created the current roof and replaced the flooring with one made out of Macael marble.

Read more
Félix Hernández
Félix Hernández
1889-1975

During the 1930s he was responsible for the different archaeological research projects that took place at the site of Abd al-Rahman I in order to extract more information about the Visigoth Basilica of San Vicente. He also lowered the floor level in the original mosque to expose the bases of the columns and performed maintenance work on the ceilings.

Read more
Lampadio, Agapio and Eleuterio
Lampadio, Agapio and Eleuterio
Mid to second half of the 6th century
Read more

Lampadio (+549), Agapio (before 589-591) and Eleuterio (591- after 597) were the Bishops who followed each other in this role in Cordoba during the second half of the 6th century, during the chronological period which coincides with the dating of the remains of the basilica site of San Vicente.  The testimony of their presence is of great interest when confirming the existence of the episcopal seat founded by Osio, a diocesan administration and a "Domus episcopalis". With regard to Lampadio, his tombstone has been preserved and is on display in the Archaeological Museum. Meanwhile, with regard to the Bishops Agapio and Eleuterio, we know of their attendance at the 3rd Council of Toledo. 

Abd al-Rahman I
Abd al-Rahman I
756-788
Read more

Member of the Umayyad dynasty and grandson of Caliph Hisham of Damascus, he managed to escape from the Abbasids and reach the Iberian Peninsula. His life in Cordoba began with the conquest of the city after triumphing in the battle of al-Musara, on 14 May of the year 756. In that same year, after declaring Cordoba an independent Emirate, he became the first emir of al-Andalus. The demand for Muslim worship, which initially took place in the old basilica of San Vicente, forced him toward the end of his life to expend his efforts on building the Aljama Mosque. However, this decision was made not only for religious reasons but also for political ones, as a demonstration of the power of the emirate of Cordoba.

Abd al-Rahman II
Abd al-Rahman II
822-852
Read more

Son of Al-Hakam I, his government of al-Andalus, governing between the years 822 and 852, was not only successful from a political perspective but also from a cultural one. At that time Cordoba took on a majestic appearance that was internationally renowned, also becoming a leading example for arts and humanities. Major civil works were undertaken during his emirate including the walled enclosure and a hydraulic infrastructure. His most visible material legacy can be seen in his work on the Cordoban Mosque, through the first of its enlargements.

Abd al-Rahman III
Abd al-Rahman III
929-961
Read more

Abd al-Rahman III was proclaimed a Caliph, thus instituting the Caliphate of Cordoba in the year 929. The city reached its heyday from a social, economic and cultural viewpoint. The Cordoban capital also became the site from which significant international commercial relations emanated. Undoubtedly his best work was the building of the palatial city of Medina Azahara, residence of the Caliph and also headquarters of his administration. However, as expected, he also worked on the Aljama of Cordoba. His contribution to this sacred complex consisted of the building of the great minaret and the chapel façade that overlooks the courtyard.

Alhakén II
Alhakén II
961-976
Read more

He succeeded his father Abd al-Rahman III in the year 961. Looking beyond his political life, sources refer to him as a very religious person who showed great concern about culture, as is demonstrated by the creation of the most important library in the west, housing more than 400,000 volumes. Given the incredible increase in the Muslim faith within the Cordoban population, from the outset he gathered his forces to carry out an enlargement of the Mosque, providing an intervention of great artistic wealth and quality.  He also reformed the Caliphate fortress and made significant contributions to improving the infrastructure of the city.

Almanzor
Almanzor
981-1002
Read more

The early death of Al-Hakam II led to Prince Hisham II coming to the helm of Caliphate power, although at that time was only eleven years old. This situation was taken advantage of by Almanzor, who until then had held important positions in the Caliphate administration.  Following a period in which he worked as a tutor to the Prince, in the year 978 his strategy and ambition led him to be appointed hajib, a position which allowed him to impose his absolute authority. Throughout his life he participated in many victorious military campaigns, although aside from his military role he also expanded the Cordoban Mosque to create the spatial configuration we see today.

Enrique de Arfe
Enrique de Arfe
1475-1545
Read more

This silversmith of German origin is without doubt one of the first artists to introduce a  new plastic language into the city of Cordoba. Enrique de Arfe received the commission from the Cathedral Chapter to create the Processional Monstrance of the Corpus Christi, and we know that in the year 1514 he was already working on this. The Processional Cross of Arcediano is also attributed to him.

Pablo de Céspedes
Pablo de Céspedes
1538-1608
Read more

This humanist and Renaissance painter held the position of prebendary of the Cathedral from the year 1577 to 1608. His appreciation of aesthetics is evident from the works that were commissioned during this period. Moreover, one highlight in his role as painter was the creation of the Holy Supper, although also attributed to him are the Baptism of Jesus in the chapel of the Holy Spirit and the paintings on the altarpiece in the chapel of Santa Ana. His tomb can be found in the Monumental Site, close to the Chapel of the Conversion of Saint Paul.

César Arbasia
César Arbasia
1547-1607
Read more

It is very likely that the choice of this Italian painter to decorate the chapel of the Sanctuary was down to Pablo de Céspedes. They worked together in Rome on the paintings in the Bonfili Chapel of the church of the Santissima Trinità dei Monti. Moreover, in the Sanctuary of the Cordoban Cathedral, César Arbasia created a complete pictorial series centred on the Cordoban martyrs. Prior to this, he also worked on the main church in Malaga, working on its main chapel. 

Obispo Íñigo Manrique
Obispo Íñigo Manrique
1486-1496
Read more

He was responsible for the construction of the Gothic nave which was the first major work adapting the old Muslim chapel to Christian worship. Another testimony of his contribution to the building is the Processional Cross which is preserved in the Cathedral Treasury. His memory is also embodied in two inscriptions located at  the site. The first, referring to the existence of his burial site in the transept, can be found under the Epistle organ, and the second can be found in one of the watch body bells in the Bell Tower. 

Obispo Francisco Reinoso
Obispo Francisco Reinoso
1597-1601
Read more

It is no coincidence that the shield of his episcopate can be found in the choir vault, as he is one of the prelates that gave a new impetus to the cathedral' s construction. Shortly after arriving here he visited the new factory and sought the opinion of Diego de Praves, architect of Burgos cathedral. Later, the completion of the works would be carried out by Juan de Ochoa. The definition of the iconographic series on the choir vault could also possibly correspond to Bishop Reinoso. His contribution is also evident in the configuration of the courtyard, where he introduced an innovative garden concept meaning that from that moment it was called "Patio de los Naranjos", in reference to the orange trees.

Bishop Diego de Mardones
Bishop Diego de Mardones
1607-1624
Read more

The new main chapel and transept were finalised under his governance of the diocese and this is recalled in the inscription on one of the arches on its southern side. However, the Cathedral also received another essential contribution from Mardones, with the donation of 50,000 ducats allocated to the main altarpiece. In gratitude, the Chapter awarded him an area in this space for his tomb, which can be seen from the figure praying sculpted by Juan Sequero de la Matilla. Another testimony to his episcopate is embodied in the luxurious Processional Cross of Bishop Mardones, made by the silversmith Pedro Sánchez Luque and on display today in the Treasury.

Antonio del Castillo
Antonio del Castillo
1616-1668
Read more

The leading exponent  of Baroque painting in Cordoba maintained a close relationship with the Cathedral throughout his life. This connection was both professional and personal, given that he was baptised and had his wedding in the Parroquia del Sagrario. His artistic contribution can be seen in the following works:  Saint Acisclus Martyrdom of Saint Pelagius, Pictorial Altarpiece of Our Lady of the Rosary, Immaculate Virgin with Saint Phillip and James, son of Alphaeus, Immaculate Conception on the Altar of Saint Martha, Saint Phillip and James, son of Alphaeus, Denial of Saint Peter and the Immaculate Conception of the Cathedral Treasury.

Antonio Palomino
Antonio Palomino
1653-1726
Read more

His contribution is embodied in the five paintings on the main altarpiece, commissioned in the year 1713. Here we are referring to the paintings of Our Lady of the Assumption, Saint Acisclus, Saint Victoria, Saint Pelagius and Saint Digna. He was also author of the three large works found in the chapel of Santa Teresa: Martyrdom  of Saints Acisclus and Victoria, Appearance of Saint Raphael to Father Roelas and Delivery of Cordoba to Fernando III "the Saint".

Pedro Duque Cornejo
Pedro Duque Cornejo
1677-1757
Read more

The Sevillian sculptor, after making a life-sized chair model, won the competition which allowed him to create the choir stalls. He signed the contract on 31 October 1747. He was therefore appointed master and director of the work which would last until his death, on 3 September 1757, two weeks before the inauguration. His work on the creation of the stalls continued up to the end of his life, so the Chapter officiated a solemn funeral and decided to bury him at the foot of the choir, as we can see from a funerary inscription.

Damián de Castro
Damián de Castro
1716-1793
Read more

The most prolific of the Cordoban silversmiths from the 18th century, he was appointed master silversmith of the Cathedral in 1752. During the period in which he performed his trade he produced interesting pieces that can be seen in the Treasury today. His notable works include the Eucharistic Ark of Maundy Thursday, the Chrismatories, the sculptures of the Virgin of La Candelaria and Saint Raphael and the Chalice of Bishop Delgado Venegas. In the performance of his duties he also restored the Custody of Corpus Christi by Enrique de Arfe.

Ricardo Velázquez Bosco
Ricardo Velázquez Bosco
1843-1923
Read more

This architect, originally from Burgos, was responsible for the restoration of the building following its declaration as a National Monument. A follower of the ideas of Viollet le Duc, he intervened in such different areas as the Door of the Viziers and the Villaviciosa Chapel. In collaboration with Mateo Inurria, he also created the current roof and replaced the flooring with one made out of Macael marble.

Félix Hernández
Félix Hernández
1889-1975
Read more

During the 1930s he was responsible for the different archaeological research projects that took place at the site of Abd al-Rahman I in order to extract more information about the Visigoth Basilica of San Vicente. He also lowered the floor level in the original mosque to expose the bases of the columns and performed maintenance work on the ceilings.

Timeline

6TH CENTURY

Mid-6th century
Visigoth Basilica of San Vicente

This archaeological site consisted of different buildings, the highlight being the Visigoth Basilica. Some of its remains are visible in the San Vicente exhibition area

8TH CENTURY

786-788
Original Muslim Mosque of Abd al-Rahman I

The Islamic faith required a new space. The original Muslim chapel was built following a Basilica layout and was structured into eleven naves perpendicular to the Qibla wall

788
Original minaret. Hisham I

The need to call the faithful to prayer is embodied in the construction of a minaret, the first in al-Andalus. The discovery and study of its foundations has enabled us to learn about its location, around ten metres to the south of the current tower 

9TH CENTURY

833-848
1st enlargement. Abd al-Rahman II

Population growth required the mosque to be expanded. Following the original layout, eight new naves were added towards the south. The courtyard of ablutions was expanded at the same time

10TH CENTURY

951-952
Minaret. Abd al-Rahman III

A new minaret was built, which according to sources reached a height of 47 metres. It served as an example for the minarets of Seville, Rabat and Marrakesh. Some of its remains are still preserved inside the current tower

962-966
2nd enlargement. Al-Hakam II

This is the material witness to the splendour of Caliphate of Cordoba. His intervention not only involved the enlargement of the prayer hall, but also the construction of the new Maqsurah and Qibla. All offering great artistry and wealth

991-994
3rd enlargement. Almanzor

Unable to continue building towards the south due to the proximity of the river, he opted to expand the chapel towards the east to create a rectangular and proportioned space. To do this he also expanded the courtyard, creating a tank and pavilion of ablutions

12TH CENTURY

1146
1st Dedication of the Cathedral

The Christian army entered the town. Don Raimundo, archbishop of Toledo, celebrated Holy Mass in the city' s Mosque, accompanied by King Alfonso VII

13TH CENTURY

1236
2nd Dedication as a Catholic church

The consecration to Catholic worship took place. The original Main Chapel was created in the large skylight of Al-Hakam II and on 29 June 1236 it hosted the Cathedral' s dedication mass

14TH CENTURY

1371
Enrique II completes the Royal Chapel

This rectangular shaped area, with a Mudejar appearance, housed the tombs of the monarchs Fernando IV and Alfonso XI. In the year 1736 their remains were transferred to San Hipólito collegiate church

15TH CENTURY

1489
Gothic nave. Bishop Íñigo Manrique

Here we have the first great Christian work on the building. Occupying six naves from the enlargement of Al-Hakam II, this nave of basilica design was erected facing the east and covered with a wooden gabled frame

16TH CENTURY

1523
Work on the transept. Hernán Ruiz I

Bishop Alonso Manrique ordered Hernán Ruiz I to build the Cathedral transept and he suggested a Latin cross floor layout with three naves. He was also responsible for building the walls of the choir up to the windows and the Gothic vaults on the southern side of the choir and of the sacristy

1593
1st phase of the construction of the Bell Tower. Hernán Ruiz III

Its poor state of preservation led to agreement about the need for its reconstruction, in keeping with the project of Hernán Ruiz III. The architect enveloped the old minaret in a thick wall and built the body of bells

1597
Current configuration of the Patio de los Naranjos. Bishop Reinoso

Bishop Francisco de Reinoso suggested a courtyard-garden concept, arranged in three squares that are structured through paths. These house the different plant species, among which are orange trees, cypresses and palm trees

17TH CENTURY

1599-1607
Dome of the transept and choir vault. Juan de Ochoa

The master builder Juan de Ochoa covered the transept with an oval vault resting on pendentives. In the choir space he devised a barrel vault compartmentalised into lunettes

1618
Start of work on the Main Altarpiece

Its execution began with the initiative by Bishop Diego de Mardones who used the mannerist design of Jesuit Alonso de Matias. It was structured into a pew, with a main body of three aisles and an attic. The work was completed in 1713, with the paintings being commissioned from Antonio Palomino

18TH CENTURY

1748
Pedro Duque Cornejo begins the choir stalls

The mastery of the sculptor Pedro Duque Cornejo led to the creation of one of the best choir stalls in Spain. The artistry of the relief and richness of the iconographic series come together perfectly in this ensemble

19TH CENTURY

1816
Patricio Furriel restores the Mihrab

The mosaics of the Mihrab, hidden until this moment under the altarpiece of the old chapel of San Pedro, were restored by Furriel. He applied glass tiles with a coloured base to create plant motifs that were easily distinguishable from the originals

1879-1923
Restoration work of Velázquez Bosco

The work of Velázquez Bosco focused on recovering the Islamic legacy. From among the actions carried out, the highlight was the dismantling of the Baroque vault and altarpieces located in the Villaviciosa chapel

1882
Declaration as a Historic-Artistic National Monument

The Holy Church Cathedral of Cordoba was declared a "National Monument" through the Royal Order dated 21 November 1882. This honour was earned due to the historical and artistic importance of this church, as stated in the decree itself

20TH CENTURY

1931-1936
Research work of Félix Hernández

Félix Hernández carried out a series of archaeological excavations in different areas around the building. The site of the original mosque and the Patio de los Naranjos were two of the areas where this action was focussed

1984
Declared a World Heritage Site by UNESCO

On 2 November 1984, UNESCO declared the Mosque-Cathedral a "World Heritage Site". This distinction was granted on the basis of four fundamental criteria: representing a masterpiece of human creative genius, being the manifestation of a considerable exchange of human values, providing a unique testimony to a cultural tradition and being an outstanding example that illustrates a significant era of humanity

1991
Restoration of the Bell Tower

Restoration work began on the Cathedral tower which contains the remains of the old Muslim minaret. This process finished in November 2014 with its opening for tourist visits

21ST CENTURY

2006-2009
Restoration of the transept and choir

In this period comprehensive restoration work took place which covered areas such as the choir ceiling, the interior of the vaults, their walls and their arches. The project was executed under the management of the conservation architects Gabriel Ruiz and Gabriel Rebollo

2014
Declaration as a "Site of Outstanding Universal Value"

In June 2014, UNESCO ratified its World Heritage Site declaration with the awarding of the "Site of Outstanding Universal Value" mention, acknowledging that the religious use of the church has guaranteed the preservation of the monument

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