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University of Henares Castle
(جامعة قلعة إيناريس)

Title	University of Henares Castle
Title Original	جامعة قلعة إيناريس
Author	Inscribed: probably according to the project of Pedro Jumiel (1460 – 1518); Plasterers: Bartolomé Aguilar, Hernando de Sahagun and Pedro de Villaroel; Painters and gilders: Diego Lopez, Luis Medina and Unzo Sanchez; Ebony: Under the management of Andre de Zamora.
Author Original	مدرج من المحتمل حسب مشروع بيدرو جومييل ؛ جصاصون بارتولومي أجيلار، إيرناندو دي ساهاجون وبيدرو دي فياروويل؛ رسامون ومذهبون دييجو لوبيز، لويس ميدينا وأونزو سانشيز؛ الآبنوس تحت إدارة أندري دي زامورا
Type	Other
Language	Undetermined
Digital	Yes
Manuscript	No
Library:	Museum With No Frontiers
Record ID	monument;ISL;es;Mon01;34;ar
Library Location	Henares Castle (Madrid), Spain
Notes	The amphitheater of the Citadel University was built between 1516 and 1520, and possibly in 1517. It is possible that the building was completed according to a project by Pedro Jumiel - who had died before that, because his name does not appear among the names of the artists who worked on it. Pedro Gumiel was the grand master of the works of Cardinal Cisneros, of which the main church of the castle remains the largest. It is about the artist who embodies, to the best of his ability, what is called the “Sisnoris style”, which is a faithful reflection of the temperament of the Franciscan pontiff: modesty, the weakness of the material (gypsum), and the absence of bulk, all of which are characteristics that match, with the utmost perfection, the Franciscan thought of this great man. The geographical scope of the Cessinorian style corresponds to the scope of life and ink works, especially Toledo and the Citadel. The cardinal did not undertake any work without the assistance of “the Venerable Jumiel,” as is recorded in the writings of the entire period. Jumiel was steward of the castle, where he was undoubtedly held in high trust and in good esteem. The amphitheater, or seminary theater, was managed by the plasterers Bartolomé Aguilar, Hernando de Sahagún and Pedro de Villaroel, and the painters and gilders Diego Lopez, Luis Medina and Unzo Sánchez. In order to fulfill the decorative program, it is possible that the Santa Cruz brothers were present alongside them, brothers who had intervened in the church of San Ildefonso for the same city. The ebony works were managed by Andre de Zamora with other assistants, including Pedro Izquierdo. The amphitheater is a rectangular hall, of great height, covered by a roof in the form of an inverted eyelid, decorated with lattices, the wooden ties giving it the appearance of a beamed ceiling. In the lower part, the walls remain bare; The decoration does not appear except in the upper part, where a portico unfolds its architectural arrangement consisting of recessed arches between wall supports. This architectural arrangement is designed in the form of a luxurious, densely decorated frieze. Everything appears to be covered with fine decorative work surrounded by vertical and horizontal panels of perfect symmetry. There are no human forms in it. As for the plant, it adopts the usual classic style, consisting of vases and boxes that form imaginary towers or central rooms for different compositions, and their slight prominence contributes to evoking a kind of weaving or brocade. As Castillo Oreja notes (see references), the painting was completed with a Renaissance program in relation to the Escorialian constitution, with heraldic figures of the cardinal on the stirrup frieze. In his iconographic analysis of the ceiling, A. Toajas (see references) that Cisneros's artistic choice is the meeting of local elements renewed with a return to ancient art, dear to the Renaissance. The amphitheater perpetuates the Mudéjar tradition, although it suffers from heaviness or poor consistency because its laws, unlike Tuscan art, aim for distinction. We have historical information about the successive sales of the university building until it reached the hands of the Padres Aesculapius, and some domesticated details of the amphitheater that disappeared over time.
Sample Text	Ángela Franco “University of Henares Castle” in Discover Islamic Art. Museum Without Borders, 2026. 2026. https://islamicart.museumwnf.org/database_item.php?id=monument;ISL;es;Mon01;34;ar

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Museum With No Frontiers

University of Henares Castle

(جامعة قلعة إيناريس)

Author Inscribed: probably according to the project of Pedro Jumiel (1460 – 1518); Plasterers: Bartolomé Aguilar, Hernando de Sahagun and Pedro de Villaroel; Painters and gilders: Diego Lopez, Luis Medina and Unzo Sanchez; Ebony: Under the management of Andre de Zamora.

Author Original مدرج من المحتمل حسب مشروع بيدرو جومييل ؛ جصاصون بارتولومي أجيلار، إيرناندو دي ساهاجون وبيدرو دي فياروويل؛ رسامون ومذهبون دييجو لوبيز، لويس ميدينا وأونزو سانشيز؛ الآبنوس تحت إدارة أندري دي زامورا

Type Other

Language Undetermined

Digital Yes

Manuscript No

Library Museum With No Frontiers

Record ID monument;ISL;es;Mon01;34;ar

Library Location Henares Castle (Madrid), Spain

Notes The amphitheater of the Citadel University was built between 1516 and 1520, and possibly in 1517. It is possible that the building was completed according to a project by Pedro Jumiel - who had died before that, because his name does not appear among the names of the artists who worked on it. Pedro Gumiel was the grand master of the works of Cardinal Cisneros, of which the main church of the castle remains the largest. It is about the artist who embodies, to the best of his ability, what is called the “Sisnoris style”, which is a faithful reflection of the temperament of the Franciscan pontiff: modesty, the weakness of the material (gypsum), and the absence of bulk, all of which are characteristics that match, with the utmost perfection, the Franciscan thought of this great man. The geographical scope of the Cessinorian style corresponds to the scope of life and ink works, especially Toledo and the Citadel. The cardinal did not undertake any work without the assistance of “the Venerable Jumiel,” as is recorded in the writings of the entire period. Jumiel was steward of the castle, where he was undoubtedly held in high trust and in good esteem. The amphitheater, or seminary theater, was managed by the plasterers Bartolomé Aguilar, Hernando de Sahagún and Pedro de Villaroel, and the painters and gilders Diego Lopez, Luis Medina and Unzo Sánchez. In order to fulfill the decorative program, it is possible that the Santa Cruz brothers were present alongside them, brothers who had intervened in the church of San Ildefonso for the same city. The ebony works were managed by Andre de Zamora with other assistants, including Pedro Izquierdo. The amphitheater is a rectangular hall, of great height, covered by a roof in the form of an inverted eyelid, decorated with lattices, the wooden ties giving it the appearance of a beamed ceiling. In the lower part, the walls remain bare; The decoration does not appear except in the upper part, where a portico unfolds its architectural arrangement consisting of recessed arches between wall supports. This architectural arrangement is designed in the form of a luxurious, densely decorated frieze. Everything appears to be covered with fine decorative work surrounded by vertical and horizontal panels of perfect symmetry. There are no human forms in it. As for the plant, it adopts the usual classic style, consisting of vases and boxes that form imaginary towers or central rooms for different compositions, and their slight prominence contributes to evoking a kind of weaving or brocade. As Castillo Oreja notes (see references), the painting was completed with a Renaissance program in relation to the Escorialian constitution, with heraldic figures of the cardinal on the stirrup frieze. In his iconographic analysis of the ceiling, A. Toajas (see references) that Cisneros's artistic choice is the meeting of local elements renewed with a return to ancient art, dear to the Renaissance. The amphitheater perpetuates the Mudéjar tradition, although it suffers from heaviness or poor consistency because its laws, unlike Tuscan art, aim for distinction. We have historical information about the successive sales of the university building until it reached the hands of the Padres Aesculapius, and some domesticated details of the amphitheater that disappeared over time.

Sample Text Ángela Franco “University of Henares Castle” in Discover Islamic Art. Museum Without Borders, 2026. 2026. https://islamicart.museumwnf.org/database_item.php?id=monument;ISL;es;Mon01;34;ar