Singular elements within the delimitation
Royal Palace
Built on the same site where a house of the masters of the Order of Santiago was located, its construction took place throughout different stages. The initial project consisted of a square building, with two floors and an interior patio, whose main façade would be lengthened with two wings, ending in towers, which would overlap the gardens of the King and the Queen.[2] The first construction phase took place under Philip II; The works were carried out between 1565 and 1586, according to the project of Juan Bautista de Toledo, and continued by Jerónimo Gili") and Juan de Herrera.[3] It consisted of the construction of the Chapel tower, part of the façade and the southern wing.[2] Felipe V ordered the works to continue and thus, between 1715 and 1733, the eastern wing and part of the northern wing were built, in addition to a large staircase, under the direction of Pedro Caro Idrogo").[4].
In 1741 Santiago Bonavía took charge of the works and, until 1749, replaced the main staircase with a new one, completed the northern wing and northwest sector and renovated the roof with two levels of attics.[4] Later (1750-51), and already under the reign of Ferdinand VI, he completed the central sector of the façade.[5] Finally, and by order of Charles III, Francis Sabatini expanded the palace between 1771 and 1778 with two wings to the west of the main façade. Its factory is made of brick and limestone from Colmenar, and the bichromatism it generates was a constant in the constructions that were carried out in Aranjuez from that moment on.[6].
King's Garden
It is located next to the south wing of the Palace. It was designed as another element of the palace complex by Juan Bautista de Toledo in 1561 and carried out by Juan de Herrera between 1577 and 1582. Between 1622 and 1623, a renovation of the garden's sculptural complex was carried out by Juan Gómez de Mora, whose iconography was replaced by another related to the Roman emperors and the monarch's ancestors. Later, in 1733, and on the occasion of the construction of the Parterre garden, the wall that closed its eastern side was removed, and in contemporary times there is an iron railing.[7].
It has a cruciform plan composed of two perpendicular axes, at the intersection of which a square plaza is formed, and two other transverse axes, which gives rise to eight squares planted with boxwood. In the central square there is a green jasper fountain with a mixtilinear plan made by Roque Solario" in 1580, while on the walls there are niches for busts representing the twelve Roman Caesars and stone benches. Leoni.[8].
Parterre Garden
It is located at the back of the palace. It was built between 1728 and 1735, according to a project by Esteban Marchand"), and marked the introduction of the French garden model.[9] It is composed of three large groups, organized around four fountains. The first group presents two fountains, the Nereids, located symmetrically within two areas of meadow bordered by a boxwood hedge, and between these two rotundas appear: one oval, with the figure of a crown inside, and another circular, with a wind rose in a boxwood hedge.[10] The second group is organized around the pond of the Ceres fountain, located transversally with respect to the main axis of the garden and framed by a band of flowers and a boxwood hedge. Inside the pond there are three sculptural groups.[10].
Finally, the third group, within the semicircle that closes the garden to the east; In it there is the circular fountain of Hercules and Antaeus and pieces of meadow. Between the three groups are triangular pieces of lawn, the interior of which has ornamental shrubs and trees and are bordered with boxwood hedges.[11] Originally, the garden was closed by a wall on its southern and eastern limits; However, in 1751 Santiago Bonavía replaced it with an iron railing with Colmenar stone pilasters, and between 1760 and 1763, under the direction of Jaime Marquet, a perimeter moat with water was made, like a ha-ha.
Island Garden
It is located to the north of the palace, on an artificial island of approximately 25 hectares in area, between the Tagus River (from the Palace dam to where the Green Bridge was located) and an estuary or canal. It was promoted at the initiative of Philip II, as a representation of paradise or locus amoenus, and drawn by Juan Bautista de Toledo in 1561; The works lasted from that year until 1564, and were continued by Juan de Herrera, with the arrangement of the fountains in 1582.[12] A main central axis was proposed, following the longest line of the island, in which a set of fountains would be located and around which an orthogonal layout of rectangular squares would develop, with symmetry as the protagonist. At its western end, the axis breaks 120° in a southwest direction towards the Tagus Bridge.[13].
Philip III began a reform of its iconography and his successor, Philip IV, continued the work, with the direction of José de Villarreal. After the sculptural group on the Canal Bridge, first is the fountain of Hercules and the Hydra. It is followed, along the main axis, by the fountain of Vertumnus, the fountain of the Ring, the fountain of the Harpies, the fountain of Venus, the fountain of Bacchus and the fountain of Neptune.[14] Other spaces in the garden, outside the original layout and built in the 19th century, are the Hall of the Catholic Monarchs, at the beginning of which is the fountain of the Apothecary,[15] and the garden of Diana, with its fountain. name.[16].
Prince's Garden
Located north of Calle de la Reina, and delimited by the Tagus River, its construction took place in the last quarter of the century with the intention of unifying different previous actions with new spaces designed under the concept of landscape garden. These actions were restructured under Charles III and, finally, Charles IV would finish the last four gardens.[18] Pablo Boutelou") worked on its execution, between 1775 and 1784, and himself and Juan de Villanueva between 1785 and 1808.[17].
The garden has a length, between one end and the other, of approximately three kilometers.[19] Its enclosure began to be erected between 1758 and 1759, by the hand of Santiago Bonavía, and the work continued from 1785. After the interruption due to the War of Independence, it was completed in 1845.[18] Access from Calle de la Reina is through 15 doors, some of them monumental, the main one being the main one. the one located closest to the palace.[19] In the eight spaces that make up it, fountains such as those of Narcissus and Apollo, the American and Asian islands, the Chinese pond and the House of the Labrador stand out.
Farmer's House
Located at the eastern end of the Prince's garden and an example of neoclassical architecture, it was a whim "Capricho (architecture)") intended for the recreation and fun of Charles IV, far from the Palace protocol. The house underwent two construction phases. A first, between 1794 and 1796, by Juan de Villanueva, in which a rectangular building was built, with a ground floor, main floor and attic, a brick factory and without exterior decoration.[20] It sought to look like a typical workhouse—hence its name—as a complement to the garden landscape.[21].
The second phase, between 1798 and 1804, consisted of an extension and renovation of the building by Juan de Villanueva and Isidro González Velázquez, with the construction of two side wings, the creation of a closed courtyard of honor and the enrichment of its interior and exterior decoration. Thus, on its façade, the plaster takes center stage and presents padding on the ground floor, niches for statues and frames of the balconies on the main floor, and panels with fruits and flowers in the attic.[22] In the niches, plaster figures were placed, the work of Joaquín Arali, and on the pedestals of the fence and the balustrades of the terraces, twenty were installed in 1805 busts of Roman emperors.[23].
Wooded walks, orchards and copses
Between the Embocador dam, in the east, to the channels of the Tajo and Jarama rivers, in the west, extends a wide expanse of land characterized by its natural wealth and the planning carried out in it. The most unique element of it are the tree-lined walks, made up of a path flanked by alignments of trees on its margins; In addition to beautifying the accesses to Aranjuez and enlivening the Court's promenades, they served to structure and urbanize the set of orchards, meadows and groves through a plot in whose initial layout aesthetic resources from the Renaissance were applied, such as symmetry, proportionality, geometry and perspective.[24] It can thus be considered the first case of territorial planning in Western Europe, with a mastery of landscape architecture that made Aranjuez pioneer.[25].
The Picotajo area was where this organization began in the times of Philip II. It had two bridges, one over the old Jarama riverbed and the other over the Tagus, which were part of the old itinerary of the Kings from Madrid to the Palace. The road between the two — called Entrepuentes — was the first road to be fixed, in 1553, and seven years later it already had tree alignments, a central plaza and the plan to build other semicircular plazas next to both bridges. In 1561, at which time Juan Bautista de Toledo would plan the network of walks from these squares,[26] the Ventanilla street was laid out from the Tajo square, which later served as an axis of symmetry to locate the Twelve Streets roundabout equidistant from the Jarama square.[27] The leveling of the streets was accompanied by the necessary work for the irrigation connection, including arks, floodgates, ditches and potholes, thanks to which the land between the streets was put into cultivation, with orchards and fruit trees.[27].
Although in the first two squares only five paths could converge due to the riverbed, in the Twelve Streets roundabout that problem did not exist and twelve paths were drawn oriented to the cardinal points. Its landscaping and trees were awarded to Philip III in 1613, although it is already mentioned in the seventies of the century,[28] and the surrounding lands were initially used as pastures. To the west of Picotajo is the Legamarejo grove, at the confluence of the rivers; The floods of these and the silt they deposited modified their extension and configuration and thus, at first, to access their lands you had to cross a bridge over the Jarama. Since the century it was dedicated to pastures for the Royal Yeguada and crops, and here, at the beginning of the century, the Royal Hippodrome of Legamarejo was located. Finally, to the east of Doce Calles extends the Rebollo grove, whose name comes from the existence of an old oak grove. Its land was used as a hunting ground until the Royal Yeguada moved here in 1839, and since the century it has been used as farmland.
On the other hand, along the Tagus there are copses, plant communities made up of species favored by proximity to water. In the past they covered a larger area, like a forest, but due to anthropic action they were eliminated on the southern bank of the Tagus. On its northern bank, the planning carried out was less aggressive with the natural environment and its typical vegetation remains in groves of a certain size next to the river. They are an ideal refuge for birdlife, in addition to softening the effects of climatic elements such as wind and frost. Among them stands out El Rebollo; It is the best preserved in the middle and lower reaches of the Tagus and is home to plant species such as osier bardaguera, licorice, esparcilla, scurvy herb), , , and animals such as genet, marten or black-faced dormouse, in addition to numerous reptiles, amphibians and birds. The Rancho Grande, in the Legamarejo area, is mainly composed of white poplars and has a thick undergrowth of brambles, as well as . Finally, in the Junta de los Ríos—also in Legamarejo—you can find , , reeds and brambles.
Squares and roundabouts
As part of the set of elements that make up and configure the historic groves, there are the different squares or roundabouts. The most emblematic is the Twelve Streets roundabout, which is fundamental in the configuration of this entire space. Conceived by Juan Bautista de Toledo, there are reports of it since the 70s of the century.[28] It is made up of a circular plaza, with trees planted throughout its perimeter, which since the century has had a circular enclosure, 73 meters in diameter, composed of a low wall of stone from Colmenar - interrupted by twelve openings in front of the twelve streets -, brick pilasters and pilasters, and a linden wood fence (from iroko since its rehabilitation in 2011).[29] The pilasters are finished with cups, while the pilasters have an oval ornament. Another of the squares is that of the Cirigata gate, located to the north of the previous one, and which was the entrance to the Royal Site in the Bourbon era. With a circular plan, it has an enclosure similar to that of the Twelve Streets, although its dating is later, from the middle of the century, and instead of Colmenar stone, artificial stone is used.[30].
To the southwest of the Twelve Streets, at the end of Calle de la Princesa, is the Plaza de Legamarejo. Located next to the point where there was a bridge over the old Jarama riverbed, it has a door made by Santiago Bonavía in 1756; This was part of the stone wall that, since the time of Fernando VI, closed the Picotajo orchards, and consists of four brick pilasters, similar to those of Cirigata and Doce Calles.[30] To the south of Legamarejo, at the other end of Lemus Street, is the Mosquitos roundabout. In the century the Tagus ran next to it and from that point another street started towards the then Junta de los Ríos, where there was a viewpoint. Finally, on Calle de los Tilos is the Plaza del Bonetillo, originally square in plan, and at the end of it is the Plaza de la Isleta, where the bridge over the Tagus was to access the Island and the Palace.
Hydraulic works and irrigation systems
Laid out on the right bank of the Tagus for almost eight kilometers, it was ordered to be built by Philip II on an unknown date, although different theories date its construction between 1535 and 1572. It starts 350 meters upstream from the Embocador dam and after watering the crops and orchards of Cortijo, Rebollo, las Tejeras and Picotajo —where the water is derived through potholes—, it drains into the Jarama River.[31] At the height of the Cortijo it receives the waters of the Cola Alta and Cola Baja canals, whose beginning is in the Tagus canal.
The dam was built with a triple function: to allow the navigability of the Tagus, to filter the entry of water into the estuary and to form a waterfall that would allow the installation of mills.[32] There are reports of these since the 19th century, so the dam and the estuary would date from that time or even from the end of the century, although the existing structure was defined by De Witte and Bonavía in 1751.
The estuary has its antecedent in the canal of some mills that has existed since the 19th century, and thanks to it the arm of land due to the meander of the Tagus becomes an island.[33] In the section that runs next to the palace, Charles III ordered the construction of an ornamental waterfall, the Castañuelas waterfall, whose project was carried out by Caro Idrogo and its construction was completed in 1753; It is a set of semicircular platforms, at different levels, with two series of stones that produce the rippling of the water.[33].
After the concession granted by Fernando VII to a private company, downstream of the Palacio dam—in the same place where a mill was previously located—a flour factory (El Puente) was built with six grinding stones and machinery of English design. It was inaugurated in 1830 and its surroundings were landscaped. It subsequently underwent various modifications until it was finally demolished in 2001.[32][34].
It is located at the end of Calle de la Reina, three kilometers east of the palace complex. In the same place, other wooden bridges previously existed, at least since the 19th century, when Luis de Vega laid out the street around 1551. In 1774, Charles III ordered that it be made of stone to ensure the passage of the Tagus in periods of river flooding, since sometimes the Green Bridge was also unusable, cutting off the Court's communication with the south of the peninsula. The project was executed by Manuel Serrano "Manuel Serrano (fl. 1774-1785)"), but in 1776, with the buttresses and buttresses already finished with Colmenar stone, the work was suspended and a temporary wooden floor was installed. Finally, and after the damage and repairs suffered after the War of Independence, in 1847 the arches, parapets and abutments were completed with brick. It is made up of six eyes, with carpanel arches with a span of 8.5 meters, triangular breakwaters and a deck 6.2 meters wide.[35].
urban layout
Until the century it was prohibited to reside in the Royal Site, with the exception of the Court and its servants; In addition to the Palace and the House of Knights and Trades, there were only two organized spaces—the Raso de la Estrella and the Plaza de Parejas—and a few houses in what would be the Plaza de San Antonio. However, in the middle of that century, Fernando VI undertook the initiative to create a new city, whose design and execution was in the hands of Santiago Bonavía.[38] He, on the one hand, drew a trident from the palace (west-east), composed of Reina, Príncipe and Infantas streets, based on the previous existence of the first. Perpendicular to that axis, he located the Plaza de San Antonio, in line with the Barcas bridge and the Andalusian road (north-south). To the west of that square, Bonavía allocated the land to orchards and gardens, while in its eastern part was where he laid out the new city. This was made up of a grid of blocks centered around another plaza, Abastos.[39].
The consolidation of the urban center was due to Charles III, who promoted the completion of the works started by his predecessor and under whose reign the city grew south of the Bonavía layout.[40] The direction of the works was in the hands of Jaime Marquet, who succeeded Bonavía in 1760, and Manuel Serrano "Manuel Serrano (fl. 1774-1785)"), who replaced Marquet in 1774. Under Charles IV, who dedicated With special attention to the gardens, Juan de Villanueva was in charge of carrying out new works at a time of great construction boom. In 1801 the numbering of the blocks and the placement of street names began. Its image changed little under Ferdinand VII. The set was characterized by its regularity and uniformity; The height varied between one and three floors, with large palaces, single-family houses and two-story blocks arranged around patios.[41] Throughout the century, the lack of maintenance and the construction of buildings that did not respect pre-existing standards led to a certain deterioration of the urban landscape; This was replaced at the end of the century with the approval of special plans that regulate new constructions.[42].
San Antonio Square
The space it occupies, before its construction, was an unpaved and quite rugged area, in which stood old buildings, houses and commercial establishments that served the delegation that went to Aranjuez on the occasion of the royal days. However, around 1745 it had been decided to reorganize the accesses to Aranjuez and for the public the entrance would be through the Barcas bridge), so that space would be the entrance hall to the city. In addition, in order to supply water to the population, a fountain would be installed in the center of the square. Both reasons motivated the creation of a main square that would also serve as a connecting element between the palace complex and the new city. The project was carried out by Santiago Bonavía and its execution took place between 1750-1752.[43].
Its construction dates back to 1584. It is a set of auxiliary rooms organized around two patios;[44] the one located to the north was used for Offices of His Majesty's Mouth and was complemented by small patios attached to its corners: to the northwest the patio of the king's kitchen, to the northeast the bakery shop, to the southwest the apothecary shop and to the southeast the sauseria, confectionery and corsage shop. In addition, the houses were occupied by servants and minor officials, such as the palace priest, the chamber doctor, glaziers, squires and the architect of the Royal Site himself.[44] The works on this first patio were completed at the beginning of the century by Juan Gómez de Mora who then began the construction of the new patio - Caballeros -, intended for the accommodation of gentlemen with positions at court, such as the major butler, the week butler and the gentlemen of chamber.[45] The new construction, of greater height, was attached to the first and its works progressed significantly under the guidance of Santiago Bonavía as architect, who followed the Renaissance lines given at the time by Juan de Herrera. The use of the Herrerian arch bordering the entire complex unifies its style with that of the palace, to which the bichromatic use of brick and white stone also contributes. The entire building was completed in 1770.[45].
Designed by Santiago Bonavía, it was originally conceived as a monument to Ferdinand VI, with a statue of the sovereign at the top of a triangular structure, at whose feet were three lions, the work of Juan Domingo Olivieri. In this way, it not only expressed the monarch's dominance over the Site, but also received visitors who entered through the Barcas bridge.[46] In 1760, Charles III ordered the removal of the statue of the king - later located in the Plaza de Paris, in Madrid - and in its place a "Venus" made by Juan Martínez Reina" between 1761-1762, also called Mariblanca due to its resemblance to the one existing in Madrid, was placed. It presents symbols alluding to the water, like a jug that drops the liquid on a shell, a dolphin at its feet and the water from which it itself emerges. The last transformation took place between 1831 and 1836 by the hand of Isidro González Velázquez; the triangular body was transformed into a cylindrical one and three niches were opened in the circular base, with children on the backs of dolphins. church of San Antonio.[47].
Palaces of the nobility
It is part of block 1 of the general plan of 1750. The first building, attributed to Jaime Marquet, dated from 1761 and was the Casa de Capellanes, built by royal initiative to house the palace chaplain and the parish priest of Alpajés. It consisted of two party buildings, with independent entrances, each with its patio.[55] In 1781, Charles III sold the houses to the Marquis of Llano, who renovated the complex to transform it into a single building. At that time the existing elevations were raised under the neoclassical guidelines of Juan de Villanueva. In 1792, the Marquis sold the house to Manuel Godoy; He expanded the building in surface area and height, with a second floor and attic, while on the ground floor he built a portico styled in antis "Anta (architecture)"). In 1902 it was transformed into the Gran Hotel de Pastor, and that function was maintained until the civil war. Finally, in 1952 it was acquired by the Sisters of the Holy Family of Bordeaux, who dedicated it to a girls' school, and since then it has maintained its educational function.[55][56].
It is located between Queen and Prince streets, adjacent to the Godoy palace. In 1750, by royal initiative, a house was ordered to be built for Farinelli; Its façade, open to the east, had two levels, barred windows on the lower one and balconies on the upper one, and in the center the entrance, with a carpanel arch and between Doric pilasters.[57] Next to the house, another building was built for stables, and in both of them the traces of Santiago Bonavía were followed. When Charles III came to the throne, Farinelli sold the house and returned to Italy. It was purchased by the Crown and both the house and its adjacent were sold in 1787 to the Dukes of Osuna, who renovated and unified the complex into a single building under the direction of Juan de Villanueva.[58] The main entrance was moved to the southern façade and a new façade was built towards Calle de la Reina, with two octagonal sentry boxes at its ends. The palace belonged to the House of Osuna until the end of the century, when it was sold.[59] In a state of abandonment, in 2018 it was destroyed by a fire.[60].
It occupies a full block between Abastos, Gobernador, del Rey and del Capitán streets. It was built in the last decade of the century for the Dukes of Medinaceli, Luis María Fernández de Córdoba y Gonzaga") and Joaquina María de Benavides y Pacheco"), who held positions in the Court and needed accommodation for their family and service. Its authorship is attributed to Juan de Villanueva.[61] It is a rectangular complex divided into two sectors, the residential one to the west and the auxiliary one to the east. The first has three floors plus attics, while the second is made up of two pavilions in the corners. The main façade, facing Captain Street, is arranged symmetrically by a doorway, with pilasters on the sides and corbels that support a balcony, window and opening. Decorative elements include the fascia line between floors, the frames of the openings and the plinth, all of them in Colmenar stone. After the entrance there is access to a patio, with a fountain in the center.[62].
Civil buildings
With the arrival of the Bourbons "House of Bourbon (Spain)") to Spain, the French courtly etiquette was introduced, which led to an increase in the number of positions and offices. This prevented all service personnel from being inside the palace. Added to this was the interest in moving the kitchens away from the palace to avoid the danger of fire. For all these reasons, in 1758 Santiago Bonavía directed the execution of the works on the new building, which was located south of the Plaza de Parejas. It is a rectangular construction around a patio; Its factory is made of brick and masonry on a stone plinth and the main access was through Lucero Street.[67] After the confiscation of 1869, half of the house passed into private hands, while the other half was transformed into a warehouse by the Royal Family. The private part was expanded with one more height level for its conversion into homes.[68].
At the end of the century, Juan de Villanueva was commissioned to build a house to house the governor and the accounting, treasury and notary offices. Its construction took place between 1799 and 1802 and occupied half of one of the blocks, between Almíbar and Capitán streets.[62] It has a "U"-shaped floor plan around a dividing patio and has a ground and main level, as well as a semi-basement and attic. Externally, its composition is simple, with a doorway framed with Colmenar stone, windows with bars on the lower floor and balconies on the upper floor. In 1836, after the establishment of the constitutional town hall, it lost its function when the position of governor disappeared and was renamed the Royal Heritage Administration House. In 1873 it was transferred to the City Council, which transformed it into a public school, and it continued until the end of the 1980s. In 1998, the City Council, the Community of Madrid and the Complutense University of Madrid reached an agreement to rehabilitate it and incorporate it into the Felipe II Center for Higher Studies.[69].
It is a building that occupies an entire block and whose central façade opens onto the Plaza de la Constitución. It was built in 1792 to house His Majesty's highest-ranking servants and had a main floor and a second floor with an attic, except on the façade facing the plaza where a lower floor was added due to the slope. Although on the outside it appears to be a unitary complex, it encompasses nine different residential divisions with autonomous access. Its façade is built with brick walls and masonry boxes, with stone in the plinths and beginnings of the corners.[70] In 1836, when the first constitutional Town Hall of Aranjuez was established, the houses facing the Plaza de la Constitución were requested as its headquarters. In 1881, a renovation was carried out on the façade, with the replacement of balconies and windows and with the placement of a pediment and the clock tower, inspired by the Royal Post Office in Madrid.[70].
It was built in 1775-1776 under the direction of Manuel Serrano "Manuel Serrano (fl. 1774-1785)"), in order to offer healthcare to royal employees and residents of the Royal Site. It is organized in bays "Crujía (architecture)") around a patio, like the block model followed in the urban layout.[71] The main façade, made of exposed brick with masonry boxes, opens to the Plaza de San Pascual; Its façade has two padded buttresses on which a semicircular arch rests, crowned by a cross; The arch houses a triangular pediment and a cartouche with the inscription Hospital Municipal de San Carlos.[72] Due to economic problems, in 1840 its closure was ordered; However, during the reign of Isabel II, an extension was carried out by José Segundo de Lema, with the incorporation of a rear patio towards Calle del Capitán and open galleries on the sides, and it was put at the service of the Sisters of Charity. It was later used as a military hospital, prison and nursing home for the Sisters of St. Vincent de Paul. In 1990 it became property of the City Council and, after several rehabilitation attempts, finally the Rey Juan Carlos University took charge of it, after obtaining a transfer for 75 years.[73].
religious buildings
Its origin is in a hermitage dedicated to San Marcos, located next to the old houses of Alpajés. In 1680 the brothers of Nuestra Señora de las Angustias requested permission to build a new temple and not have to go to Ontígola,[86] and the following year work began under the project of Cristóbal Rodríguez de Jarama. It has a Latin cross plan, with the unfinished body of a tower at the foot and the priest's home and parish office at the head. In 1744, Santiago Bonavía raised an octagonal dome over the transept "Crucero (architecture)") - rebuilt after the civil war - crowned by an octagonal dome with a lantern "Lantern (architecture)"). Its façade alternates brick with Colmenar limestone. Above the door is the choir window "Choir (architecture)") and around it four cartouches appear, the two lower ones with texts from the Laurentian litany and the two upper ones with the emblem of the Order of Santiago, and the royal coat of arms of Charles II.[87].
Located on Calle del Rey, on the edge of the old town, its construction took place between 1765 and 1770, although it underwent renovation and expansion during the reign of Isabel II. The complex is made up of a church, conventual rooms - organized in patios - and an orchard.[72] The church is the work of Marcelo Fontón. It has a Latin cross plan, with side chapels in the nave and poorly developed transept arms. On the outside, the transept is topped by a dome on a drum. Its neoclassical façade highlights the symmetry and chromatic combination between Colmenar stone and plaster. It is divided into two floors and three vertical streets; The central body presents, on the lower floor, the entrance door crowned by a curved pediment and flanked by Tuscan columns, and on the upper floor a window, crowned by the royal coat of arms and flanked by pilasters. It is finished with a broken pediment "Frontón (architecture)"). The side streets have pilasters on the lower floor and fins on the upper floor, and are crowned by turrets on which iron bell towers are placed.[82].