Monastery of Uclés

Location

The monastery is at the top of a hill, at whose feet, to the east, the town of Uclés unfolds. It is part of a large complex of buildings, constructed during different historical periods, starting from the Muslim domination, and reaching its completion as a fortress during its possession by the Order of Santiago. This was their most important home, acquiring its present aspect as part of the Reconquista.

History

The hill on which the monastery now stands was the site of a Celtiberian castro, a Bronze Age fortress used by the native Celts. In 893, Al-Fath ben Musa ben Dhi-l-Num, having to withdraw from Toledo, made Uqlish (Uclés) his home and capital of the region. He had to fortify the town from attack, building a new alcazaba in the 896. In 1085 Uqlīsh is occupied by Christians, following the conquest of Toledo, who installed a garrison there. In 1108 came the battle of Uclés, or the Seven Counts (where 3,000 Christians died), and that led to the defeat of the Christian army by Tamim ben Yusuf

After the final conquest by the Christians in 1174, King Alfonso VIII of Castile ceded the castle to the Order of Santiago, which became their main headquarters. Over time, it formed an intricate set of dependencies where the members of the order, who resided there, joined the fortress and the church that had been built after the Christian conquest.

After the end of the Reconquista, the set of buildings underwent a radical remodeling, which wiped out much of the defensive elements of the castle and gave it its current appearance. Not so with the walls, which are still preserved: a first wall protects the old orchard, watered with the waters of the Bedija river; a second, currently in very poor condition, still shows traces of its decay in the form of sawtooth.

The construction of the monastery began on May 7, 1529, during the reign of Carlos V, Holy Roman Emperor (the crown having acquired the Maestrazgo), starting in the east wing, which is of Plateresque style. The original traces are by Enrique Egas. In the last quarter of the 16th-century construction in the Herrerian style began. In the 17th-century the work on the courtyard and the main staircase continued, and the west and south wings were finished. In 1735, under the reign of Philip V, the body of the east nave and the main roof were completed in the Churrigueresque style. For its construction, stone from the hill "Cabeza del Griego" (Segobriga) was used, particularly in the eastern façade.

In 1836, with the confiscation of Mendizábal, the Order of Santiago had to leave the building. There were plans in the early 20th century for the monastery to become a secondary school, and later a novitiate and college of Augustinians, but in 1936 it was looted and smashed inside. Instead, it became a makeshift hospital. After the Spanish Civil War, it became a prison for political prisoners between 1939 and 1943. The prisoners who died here from disease, or who were executed, were buried in an area outside the monastery, known as "La Tahona". In October 1949 the monastery was host to minor seminary of the bishopric of Cuenca, with the name of Minor Seminary "Santiago Apóstol".

Bien de Interés Cultural

The monastery was declared a National Monument on 3 June 1931. Under the protection of the Generic declaration of the Decree of April 22, 1949, and the Law 16/1985 on Spanish Historical Heritage. In 2003 protection was extended to its environment.

Architecture

As a result of the long period over which the works were carried out, there can be seen in the monastery three architectural styles: Plateresque, Herrerian and Churrigueresque, making it an ideal place for a review of the history of art. The east wing of the monastery, of the first half of the 16th century, was executed in Plateresque style. The church, which occupies the north wing, and was completed in 1602, is of Herrerian style. The rest of the monastery, built in the 17th century is of Baroque style, and culminates with its Churrigueresque facade work by Pedro de Ribera.

Plateresque Style

It is so named because its decoration imitates the filigrees that the goldsmiths performed on silver. The building was designed by Enrique Egas and its execution corresponds to the following masters: Francisco de Luna, Pedro de Vandelvira, Gaspar de Vega, Pedro Tolosa, Diego de Alcántara and Bartolomé Ruiz (16th century).

The Plateresque decoration is clearly seen in the windows of the eastern facade which have a certain asymmetry. Skulls, shells, crosses and other allegorical motifs are repeated. The coffered ceiling of its refectory features carvings of longleaf pine, and has thirty-six caissons corresponding to thirty-six busts of masters, priors and knights of the Order of Santiago. Prominent among them is the one dedicated to Don Álvaro de Luna. Instead of his effigy there is a crowned skull surrounded by the inscription You, noble lords, know that anyone forgives (referring to death). And that of Carlos V, Holy Roman Emperor, which occupies the central place with its imperial attributes: a sword and an orb. On the south side contains a shield of Spain. The old sacristy has two ships at right angles. Its dome is ribbed with ogival elements. The Plateresque work also covers friezes, columns and pilasters.

Herrerian Style

The church is a work by Francisco de Mora (disciple of Juan de Herrera, architect of El Escorial), who was in charge for twenty years. So sometimes the monastery is referred to as the "Escorial of La Mancha". It is in the shape of a Latin cross and has a single nave with five sections and a high choir. It is sixty-five meters long and twelve wide. The cruise is higher and is closed in lantern shape. It is separated by a grille decorated with the royal arms and the cross of Saint James. The dome, by Antonio Segura, is of half an orange and adorned with gores on scallops. In its only nave side chapels interconnect and form two aisles. It was completed in 1598.

The altarpiece is of Greco-Roman style with Baroque trends. It was commissioned to Francisco García Dardero. The painting of Saint James presiding the altarpiece is by Francisco Rizi painter of Philip IV.

The pantheon. Between the sacristy and the church is the entrance to the crypt, which has a Latin cross. Today it is intended only for theater and there are no remains of burials. The old church held the graves of many illustrious personages of the Order of Santiago. There was Doña Urraca, the Grand Master Rodrigo Manrique and his wife, and his famous son Jorge Manrique and many more. By building the present church (1602) the graves existing in the church of Santiago were relocated to a subterranean chapel under the choir. It is possible that in a cell in the crypt, under the main altar, was the prisoner Francisco de Quevedo.

In the 17th century the patio of the monastery with two floors of galleries was built, the superior closed by balconies, as well as the staircase leading to the second floor.

The cloister. Has thirty-six balconies, in honor of the thirty-six reglar canons who came from Loyo (the masters were forty-four). The top of the cloister is closed and the bottom open.

The west facade was planned by Francisco de Mora, but was not performed by him. It is also of Herrerian style and in it is the front entrance of the church. Next to it is a piece of wall of the former Arab construction. This facade is flanked by two towers with high spires (similar to that left) that disappeared in the 19th century in the fires of 1845 and 1877. They may reappear at some point, in keeping the original plan of the work.

Churrigueresque style

The main midday, or facade, was built in 1735 by Pedro de Ribera, an important Baroque master of the court. Highlighted in this facade is its composition as an altarpiece facade, and its carved ornamentation. On the cover appear four pilasters, without architectonic subjection, that act as decorative elements. At the top there are dolphins, lions, heads, warriors, trophies, fruits and two crosses of Saint James. As it ends, two busts of chained moors, half body of Saint James with the master cross in the left hand and a sword in his right where it reads Fidei defensio ("Defence of the faith"). At the bottom is the inscription Caput Ordinis ( "Head of the Order"), loose crosses, royal crown, knights with trophies and chained Moors, a reminder of the slavery to which they were reduced.

Ancient fortress

From the former fortress of the Order of Santiago are three towers whose names are mistaken in the majority of books of castles, but which are clearly defined in the guestbooks of the Order that are saved in the National Historical Archive. The three towers, in north-south direction, are the Tower del Pontido , connected by a footbridge to the Tower del Palomar, then a pit excavated in rock, linked by a drawbridge to a wall leading to the Albarrana tower. The exact locations of the ancient towers of the Old Tribute, of the Homenaje Viejo, del Homenaje, de la Plata and Blanca, are unknown because they were demolished to continue the works of the present church.

Archaeological remains

In the present monastery there are several remains of the ancient fortress: