Catedral de la Almudena, Madrid, Spain

Nestled in Colmenar Viejo, this church, spanning 102 meters in length and 12.5 meters in nave width, is a harmonious blend of Colmenar Viejo granite and Novelda marble. The enduring strength of granite and the elegant allure of marble converge, creating a sacred space that seamlessly integrates natural elements into architectural magnificence

The Cathedral de la Almudena in Madrid boasts an impressive and eclectic mix of architectural styles. The exterior design showcases a combination of neoclassical, neo-gothic, and neo-romanesque styles, resulting in a magnificent and unique facade. The gray and white facade of the Palacio Real, located directly opposite the cathedral, influenced the exterior design.

The Marquis of Cubas designed a large cathedral, in a flowery French neo-Gothic style, with a Latin cross plan and side chapels that would be directly connected by a narrow ambulatory; The transept would also have three naves while the apse would be semicircular with an ambulatory and five radial chapels. The image of the Almudena would be placed on the main altar.

The crypt was completed in 1911, but the marquis had already died; He was succeeded in leading the works by the architects Miguel Olabarría, Enrique Repullés y Vargas and Juan Moya. The work progressed very slowly, with the logical pause occurring between 1936 and 1939. In 1944, the general director of Fine Arts, Marquis of Lozoya, promoted a national competition to give the cathedral a new architectural solution. The architects Fernando Chueca Goitia and Carlos Sidro won the project and modified it to adapt it to the environment.

In 1944, the general director of Fine Arts, the Marquis of Lozoya, promoted a national competition to give the cathedral a new architectural solution. The architects Fernando Chueca Goitia and Carlos Sidro de la Puerta won the project and modified it to adapt it to the environment. The most important reform was to lower the height of the new building in order to make it more harmonious in relation to the Royal Palace.

During the period from 1984 to 1993, other important works were carried out, such as the complete paving of the temple with cream and green marble from Almería, forming simple drawings, but with great visual impact. Also, the presbytery was ordered according to models of the new liturgy, inspired above all by the latest reforms of the Milan cathedral.

The altar of the Virgin of Almudena was also created, with a scenography that exalted the dignity of the image incorporated into a beautiful altarpiece by Juan de Borgoña. Likewise, works were carried out in some chapels and underfloor radiant heating installations were carried out; lighting with spotlights and protectors appropriate to the environment, as well as the installation of public address systems.

Inside, the Almudena Cathedral has a Latin cross plan with a central nave and two side naves and a three-nave transept, topped on one side by the titular chapel. The floor of this temple is a combination of green serpentine marble from Granada and yellow polished travertine; the altar table has also been made of green serpentine marble. To its right is the episcopal chair, carved in walnut, in a neo-Gothic style, a work made by Ramón Fonollosa in 1885.

Behind the main altar is the Crucified Christ by Juan de Mesa commissioned by the Imperial College of Madrid and which, like the choir stalls, located on both sides of the altar, comes from the collegiate church of San Isidro.

In the presbytery of the cathedral the seven mysteries of our salvation are represented: Baptism of Jesus, the Transfiguration, the Death, the Resurrection, the Ascension to heaven and Pentecost. In the centre, presiding over the composition, the image of Jesus Pantocrator. The work of this presbytery was directed by Kiko Argüello, initiator of the Neocatechumenal Way. He also made the eight stained glass windows that accompany it. The entire set makes up the so-called mystery crown.

Behind the ambulatory stands out the central chapel dedicated to Saint Isidro Labrador and his wife, Saint María de la Cabeza. The baroque-style images of both saints (17th and 18th centuries) are attributed to Villabrille and Ron and flank the funerary ark that contained the incorrupt remains of the saint, which are currently found in the collegiate church of San Isidro. This ark, from the 13th century, presents scenes from the life of Saint Isidro painted in oil on coated leather. On the side of the ambulatory you can see an altarpiece by Domingo Becerrill, Berruguete’s son-in-law, relating to the life of Saint Peter. Under the altarpiece, the Almudena stele made by the silversmith Manuel Carrera in 2011 and funded by the Villa y Corte Foundation. The rest of the chapels are dedicated to contemporary saints, from Madrid or related to the city.

The chapel of the Blessed Sacrament was decorated with mosaics in 2011 by Father Ivan Marko Rupnik, SJ, head of the Aletti Center art workshop. The type of art he develops is eminently liturgical. He was also in charge of the decorations of the main sacristy and the chapter house, carried out in 2005 and 2006, respectively.

Of great value is a Via Crucis with fourteen stations that respond to the Flemish neo-Gothic style and that would have been made at the end of the 19th century, of German origin; It is made in oil on copper and its frame is made of hand-decorated chestnut wood. As for the stained glass windows, the ones dedicated to the Virgin of Atocha, Saint Isidro the Labrador, the Coronation to the Virgin of the Fleur de Lis, and the Angels stand out.

On the main façade, the belfry stands out with sculptures by Ramón Chaparro: Saint Isidro, Saint María de la Cabeza, Saint Fernando and Saint Teresa of Jesús flank an image of the enthroned Virgin of Almudena. The shields at the bottom of the façade represent the full arms of the Spanish Royal House and the pontifical shield.The doors, like the sculptures located in the dome, are the work of Luis Sanguino.