Mudejar art

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Pedro I Palace in the Royal Alcazar of Seville

Interior of the church of San Andrés de Calatayud

Torre y cimborrio mudéjar de la Catedral de Teruel

Mudejar art is an artistic style that developed in the Christian kingdoms of the Iberian Peninsula and that incorporated influences, elements or materials from the Hispano-Muslim style. It was the consequence of the existing conditions of coexistence in medieval Spain. It is an exclusively Hispanic phenomenon that takes place between the XII and XVII, as a mixture of Christian (Romanesque, Gothic, Renaissance) and Muslim artistic currents of the time and that serves as a link between Christian and Islamic art.

The characteristics of Mudejar art are:

The use of soft materials such as brick, plaster, ceramic or wood, which facilitates decorative profusion.
The use of certain architectural elements and decorative themes.

For some historians, it is an epigone of Islamic art and for others, of a period of Christian art in which Islamic decoration appears, since it was practiced by the Mudejars, people of the Muslim religion and Arab-Berber culture who they remained in the Christian kingdoms after the conquest of their territory and, in exchange for a tax, they kept their religion and their own legal status; but also Moors and Christians who learned the techniques of Muslim art.

It is not a unitary artistic style, but rather has peculiar characteristics in each region, among which the Toledo, Leonese, Aragonese and Andalusian Mudejar stand out. From the Iberian Peninsula, he also traveled to Spanish America. In the XIX century, along with other historicist styles, Neo-Mudejar appeared.

The term «Mudéjar art» was coined by Amador de los Ríos in 1859, when he gave his entrance speech at the San Fernando Academy of Fine Arts on The Mudéjar style in architecture. Mudejar art is the most representative of Spain in medieval times, it is not grandiose, but peculiar and more personal. This peculiarity is given by its border character between the Christian north and the Muslims.

There are different variants of Mudejarism: brick Romanesque (León, Valladolid, Ávila and Segovia), Western Mudejar art (from the Tagus to Portugal), Aragonese Mudejar (with its own characteristics, among others, the profusion of elements glazed ceramic ornamentals, and greater development in the Ebro, Jalón and Jiloca valleys), Extremadura, Andalusia (Granada, Córdoba and Seville), the Valencian Community (Castellón, Valencia and Alicante) and finally the Canary Mudejar, with a control more lax guild where the Hispano-Muslim carpentry stands out, through the roofs, balconies and mullioned windows.

Mudejar

Main article: Mudéjar

Mudéjar is the term that designates the Muslims who remained living in territory reconquered by the Christians in the Iberian Peninsula, during the process of advance of the Christian kingdoms towards the south (called Reconquista) during the Middle Ages.

These Muslims were allowed to continue to practice Islam, use their language, and maintain their customs. They used to be organized in communities called aljamas or morerías with varying degrees of self-government, depending on the conditions of surrender or subordination.

From an economic point of view, the vast majority of Mudejars carried out agricultural or craft work (masonry, carpentry and textile trades). Over time, the conditions of coexistence and tolerance towards Muslims in Christian areas became harsher, restricting social and economic contacts between communities.

In some region like Aragon there is a clear relationship between the Mudejar constructions and the abundant Islamic workforce that remained in this area. However, in the case of Andalusia, there is not such a clear relationship, since the Muslims who remained after the conquest were much fewer, although a significant part of the scarce Mudejar population was dedicated to work related to construction, reaching almost a 50%, so it can be seen more as a cultural surrender to the loser.

General characteristics

Tower of the church of the Assumption of Utebo.

There is a new type of material, brick, and a new decoration superimposed on Christian and Muslim construction elements. The architectural structures and materials are modest, but great enhancement is achieved through the ornamental work of brick, plaster, and wood: checkering, herringbones, corners, blind arches, diamond nets, and Christian crosses. Mudejar is a national reaction against the European styles that were being introduced. Until the XII century, a tolerant status towards Muslim master builders was promoted, in the XIII the Christian kings began to learn about Islamic culture and there was a move away from European influences and an approach to Muslim life.

Elements and materials

Plasterwork

Main article: Yesería mudéjar

Gypsum is supposed to have been introduced into the Iberian Peninsula by Muslims, coming from the East and specifically probably from Iran. Its use was abundant during the Islamic domination, continuing during the period of the Taifa kingdoms. From here it spread to Christian territories. The oldest known plasterwork in the lands of Castilla y León are those of the cloister of San Fernando in the monastery of Santa María la Real de Las Huelgas (Burgos), dated between 1230 and 1260.

Brick

Brick has been considered the Mudejar material par excellence, being used for both decorative and constructive purposes. Brick was widely used in the East due to the influence of the Mesopotamian culture and also in the Hispano-Arab times, both in the Caliphate period, although with a helpful nature regarding stone, and under the Almoravid and Almohad dominations, in which brick takes on more prominence.

Ceramics

The use of ceramics at the service of architecture was a constant in Mudejar pottery, both indoors and outdoors, and with particular showiness and virtuosity in doorways, towers, plinths, wainscoting, flooring, and roofs. The most important production centers were Paterna and Manises in Valencia; Teruel, Calatayud and Muel in Aragon, and Seville in Andalusia. The main techniques used, coming from Hispano-Muslim Art, were tiling, cuerda seca and basin and/or edge.

The wooden deck

Mudejar roof of the Aljafería Palace (1492). It was pointed out in 2001 as one of the significant examples of the declaration of the Aragon Mudejar as a UNESCO World Heritage Site, which extended to the Mudejar of the rest of Aragon the recognition that had been obtained in 1986 from the city of Teruel.

The use of wood in roofs is one of the most representative elements of Mudejar art, both in Spain and in America, where this technique was exported. The type of roofs makes it possible to distinguish:

Flat covers (called pottery)
Armor covers
- Armor to two waters
  - Pair and row
  - Pair and knuckle
- Armor to four waters
  - Simple lime or embroidery
  - Double lime or moamares
Circular or vaulted roofs

Ambassadors' Hall, Real Alcázar de Sevilla.

Civil architecture

Casa de Pilatos in Seville.

Mudejar civil architecture offers characters similar to the religious one, although it tends more to use the round arch and the horseshoe arch. Notable are the royal fortresses from the XIV and XV, like that of Seville and, in part, that of Segovia; the palace of Alfonso XI in Tordesillas; the palaces of the prelates and magnates of the 15th and XVI, like the one in Alcalá; the palace of the Duke of Infantado in Guadalajara; that of the Dukes of Alcalá in Seville (vulgarly, Casa de Pilatos), etc., all with their interior patios surrounded by arcades; the gates of some cities, such as the Puerta del Sol in Toledo, which dates from the XIV century and, finally, some castles famous as those of the castle of Fonseca in the town of Coca (Segovia), among many other constructions easy to recognize by the enunciated characters.

Evolution

Beginnings

Church of San Lorenzo in Sahagún

San Basil Gate in Quail.

The first representations of Mudejar appear in the XII century in the Duero basin, with two main foci: the villas medieval Cuéllar and Sahagún. In the case of the first, because it was located halfway between the cities of Segovia and Valladolid, it represented a square of great importance, and a cattle emporium was established there, which provided it with a prosperous economy from the XII, which would provide an important number of constructions, reaching the XV with twenty-four churches and a population of 1700 inhabitants. In its constructions, especially in the gates of the Cuéllar wall and especially in the arch of San Basilio, great similarities with the Toledo military Mudejar can be seen.

As for the second villa, it is located on the Camino de Santiago and became a strong religious and economic center in the centuries XII and XIII, where some gangs of master builders from Toledo were able to work to speed up the works that at that time time they were running on it. The speed of these builders in the brick constructions would prevail over the construction of Roman masonry.

The first known outbreak is made around the Duero and is known as brick Romanesque. The builders follow Christian typologies both in plan and elevation using pillars, semicircular arches, external blind arches and portals with archivolts, with a progression called flaring.

Mudejar was consolidated in the XIII century and was exported to the south and southeast, to lands that were all flat and with few stone quarries (Zamora, Valladolid, Ávila, Guadalajara, Madrid and west of Segovia, hardly affecting Burgos, Palencia and Soria).

The most important period in Mudejar architecture in Spain is the XII centuries, XIV and XV, which is due to quality and low price of the master builders compared to Christian builders. The builders are masters in the use of brick and take very little time to build. Mudejar architecture is fundamentally decorative, it introduces new solutions that help current architecture. They use soft and cheap materials such as brick, plaster and glazed clay. It differs from the great Christian constructions, it is an architecture that does not use large ashlars, but masonry. The large vault is replaced by a flat roof or armor.

Development

Church of the Apostle James of Montalban.

Brick is used for decorative effect and forces to vary the proportions of apses, walls and towers, being smaller. The lower walls have to be stronger and their towers smaller. These buildings are appearing in León, Segovia, Ávila, etc.

The true Mudejar dates from the XIII century to the XV and has its most important foci in Toledo, Andalusia and the Ebro valley. At this time there was almost total dominance and there was contact between European and Muslim styles. Different typologies such as churches, synagogues and mosques will be built, which are fused into a common style: Mudejar.

They begin to raise slender towers for the churches in Aragon that resemble Muslim minarets. There is a fusion of constructive and decorative elements, of Muslim and Christian elements, correlative with the spirituality between the two Spains. The School of Translators of Toledo and Alfonso X are the most notable example of this culture.

Mudejar art was influenced by the situation of the border, always mobile, in addition to the various European styles that are penetrating Spain and conditioning this art.

The subsequent conquest of Andalusia will give a younger Mudejar and with direct influences from traditional architecture. An important figure in the Mudejar is the bricklayer and his world, in opposition to stonework and stonemasons. The "mason", "the master builder" he uses brick, plaster, plaster, masonry, wood... His defeated situation transforms him into cheap labor and in a position to build what his clients order, which will be churches, synagogues, fortresses, palaces, etc. Later the Christians will learn this tradition.

Location of some Mudejar style works in Spain and Portugal.

Schools

Leonese and Castilian focus

An example of the so-called «brick Romanesque» is the church of San Tirso, finished in 1189, with a solid and massive appearance. The dome rises above the transept and advances some Romanesque characteristics, such as the use of arches and the two rows of blind arches that appear in the circular apses with a tectonic function, which form the skeleton of the building. It forms a support and thrust that supports the wall. The Mudejar buildings copy the Christians and develop their plan and height but in brick. By using brick inside, the column is lost and the pillar is used. Another characteristic is the dome, which despite being so heavy, when openwork will convey a feeling of lightness. In the dome as we ascend, the openings are larger to lighten the weight and gain height. Another example is the church of San Martín de Arévalo in Ávila; the most characteristic are the two brick towers, supported and decorated by blind arches that become openings at the top. Brick is used, as well as masonry. Also the church of San Andrés de Cuéllar, with a very characteristic main brick façade and one of the few that are preserved; its plan was described by Vicente Lampérez y Romea as the best of the style.

Its brick buildings are decorated with blind semicircular arches, sets of recessed boxes, and saw-tooth friezes. Three main foci are located: Arévalo, Cuéllar and Sahagún, the Cuellaran foco constituting the most numerous in Castilla y León. Another foco is the one in Valladolid, with the municipalities of Santervás de Campos and Olmedo, while that of Ávila joins the Mudejar of Madrigal de las Altas Torres.

There are many churches, such as San Tirso, San Lorenzo and San Pedro de Dueñas, from Sahagún, or the eleven that are located in Cuéllar, where their three Mudejar doors and the remains of the same art that They are spread over different points of its walled enclosure.

Aragonese Mudejar

Tower of the church of San Andrés de Calatayud

Main article: Mudéjar aragonés

The Aragonese Mudejar has a very characteristic personality. Its color is surprising, which it receives from the use of exterior tiles and the innumerable resources that are extracted from the brick. Original church towers.

Aragonese Mudejar is distributed mainly in the middle valley of the Ebro, Jalón and Jiloca in the provinces of Zaragoza and Teruel, to the point that the Mudejar group of the capital of the latter province (where its towers of San Pedro, El Salvador, San Martín and the Cathedral) was declared a World Heritage Site in 1986, recognition that in 2001 was extended to other monuments in Aragon, highlighting the collegiate church of Santa María de Calatayud, the church of Santa Key of Cervera de la Cañada, that of Santa María de Tobed and the Mudejar elements of the church of San Pablo, the Seo and the Aljafería de Zaragoza.

The description of its importance is as follows:

The development in the 12th century of Mudéjar art in Aragon is the result of the particular political, social and cultural conditions that prevailed in Spain after the Reconquista. This art, influenced by the Islamic tradition, also reflects the various contemporary European styles, particularly the Gothic. Present until the beginning of the 17th century, it is characterized by an extremely refined and inventive use of brick and tiles enameled in architecture, especially in the bell towers of churches.
Declaration of the Aragonese Mudéjar on the official UNESCO page.

The justification for the statement is based on criterion IV of the same organization:

Criterion IV. For being an exceptional example of a type of building, architectural or technological set or landscape that illustrates a significant period in human history.
Selection criteria (UNESCO, World Heritage).

Toledo Focus

The Toledo style offers and brings together all the Mudejar forms in different buildings, although without presenting in the Gothic form the brilliance of that of Aragon.

Andalusia

Church of San Marcos, Seville.

In the Andalusian Mudejar focus, the styles of Baja Andalucía and Penibética Andalucía differ. In Córdoba the use of stone is maintained, while in Seville brick and Almohad forms predominate and the construction of funerary chapels, churches, palaces and synagogues. Due to its formal characteristics and its late chronology, the Mudejar of Alta Andalucía is distinguished, where elements of Nasrid inspiration survive, although its development was slowed down by the rise of the Renaissance.

Valencian Community

Cloister of the Monastery of San Jerónimo de Cotalba, in Alfauir (Valencia).

Valencian Mudejar art is centered in the provinces of Castellón and Valencia, the latter being where the most numerous testimonies can be found. The Torre de la Alcudia, in Jérica (Castellón) is the only Mudejar tower that remains in the Valencian Community. In the province of Valencia, the Gothic-Mudejar cloister of the Monastery of San Jerónimo de Cotalba, in Alfauir, and the Arab baths stand out for their special singularity, with two interesting examples, the Baños del Almirante in Valencia and those of Torres Torres.

Canary Islands

After the conquest of the archipelago, a fast and functional architecture was needed, considering that the best constructive solution was, without a doubt, the Mudejar style. This was favored by the arrival on the islands of Andalusians, Extremadurans and Portuguese, as well as Moors expelled from the peninsular territory.

Matriz de El Salvador

The mixture of these cultures, the great abundance of resistant tea wood and the lax application of union legislation far from the metropolis, led to its own Mudejar that stands out mainly for the carpentry work on roofs, balconies and mullions.

Detail of the Matrix Church of El Salvador

The oldest examples of the archipelago are located in Santa Cruz de La Palma. These are several roofs dating from the XVI century.

Portuguese

In Portugal there are also examples of Mudejar architecture, although to a lesser extent and with a much simpler decoration than in Spain. The brick Mudejar is found only in the apse of the church of Castro de Avelãs, in Braganza, which is very similar to that of Sahagún.

A hybrid Gothic-Mudejar style developed mainly in the Alentejo during the XV and XVI, coexisting with the Manueline style. The windows of the Royal Palace and the Palace of the Counts of Basto, in Évora are good examples of this hybrid style. Mudejar-inspired decorative elements are found in the tiles of churches and palaces, such as the XVI century tiles imported from Seville that decorate the Sintra National Palace. Mudejar wooden ceilings are found in churches in Sintra, Caminha, Funchal, Lisbon and elsewhere.

Mudejar works

In Navarre

The Watch Tower in Miranda de Arga.
The Church of St. Stephen of Arguedas.
The Church of San Irineo de Valtierra.
The Chapel of Saint Mary the Royal of the Yugo.

In the Basque Country

The Antxieta House in Azpeitia.
La Casa-torre de los Loyola en Azpeitia (within the Sanctuary complex of San Ignacio).

Mudejar Tower of San Martín (Teruel).

In Aragon

Teruel Province

Teruel Cathedral.
The Mudejar towers of Teruel.
Tower of the church of Muniesa.
Church of Santiago Apostle of Montalban.
Tower of the church of the Albalate Assumption of the Archbishop
Torre y chapel del Castillo Arzobispal de Albalate del Arzobispo

Province of Zaragoza

In Zaragoza, the palace of Peter IV and the palace of the Catholic Kings of the Aljafería.
The Monastery of the Holy Sepulchre.
Abstracts, cimborrium and parroquieta of the Cathedral of San Salvador.
The churches of St. Paul, the Magdalene and St. Gil.
Tarazona Cathedral and Magdalena Church.
Examples in Tauste, Utebo, Ricla, Romans, Calatayud, Terrer and Daroca, highlighting their towers.
The Mudejar tower of the Church of the Assumption of Our Lady in Monterde.
In Paniza, the church of Our Lady of Angels.
Tower of the ancient church of Monzalbarba
Tower of the parish church of Plenas

In Galicia

In Lugo the church of Saint Peter.

In Castilla y León

Yesería mudéjar in the Monastery of Las Huelgas (Burgos).

Church of St. Tirso in Sahagún.

Church of San Andrés de Cuéllar.

Dome of the church of San Miguel in Almazán (Soria).

Church of San Boal de Pozaldez (Valladolid).

Palace of Pedro I, Tordesillas.

Province of Avila

In Arévalo the churches of Santa Maria, San Martín, La Lugareja, San Juan, El Salvador and San Miguel.
In Barroman the Church of the Assumption.
In Fuente el Saúz the Church of the Assumption of Our Lady (Source the Sauz)
In Madrigal de las Altas Torres, the church of San Nicolás, the church of Santa Maria del Castillo and remains in its wall.
In Donvidas the head of his parish church.
In Narros del Castillo, the church of Santa Maria del Castillo.
In Narros del Puerto, the church of Our Lady of Assumption.
At Fontiveros, the church of San Cipriano.

Province of León

In Sahagún, the churches of Saint Lawrence, St. Tirso, The Peregrine, The Trinity, the hermitage of the Virgin of the Bridge and the ruins of the monastery of St.Benedict.

Province of Palencia

In Astudillo the Convent of Santa Clara (Astudillo)

Province of Salamanca

In Alba de Tormes the church of San Juan and Santiago.
In Béjar, the church of Santa María la Mayor.
In Salamanca the church of Santiago del Arrabal.
In Villar de Gallimazo, the Church of San Pedro ad Víncula and San Felipe.

Province of Segovia

Main article: Mudejar architecture of Cuéllar

The wide range of Mudejar architecture of Cuéllar is the largest focus of Castile and Leon, and is composed of the churches of San Andrés, San Martín, San Esteban and El Salvador; the abyss of the church of Santiago and of the Trinity, the tower of the church of Santa Marina, several gates and towers of the wall of Cuéllar and the south gate of the castle of the Dukes of Alburquerque, as well as remains in the Holy Churches. It also has the Santa Cruz Palace, and the Mudéjar Art Interpretation Centre, a pioneer in Spain.
In Narros de Cuéllar, the hermitage of San Marcos.
In Campo de Cuéllar, the hermitage of San Mamés.
Coca Castle.
The Alcazar of Segovia.
In Samboal, the Church of Saint Baudilio.
In Montuenga, the church of San Bartolomé.
In Tolocirio, the fortified church of Saint Peter the Apostle.
In Aguilafuente, the churches of Santa Maria and San Juan.
In Pinarejos, the church of Our Lady of Assumption.
In Nieva, the church of San Esteban.
In Rapariegos, the church of Saint Peter.
In Zarzuela del Monte, the church of Saint Vincent.

Province of Soria

In Almazán, the church of San Miguel, especially its star vault of the centuryXII.

Valladolid Province

In Castilla-La Mancha

Province of Ciudad Real

Church of Santiago de Ciudad Real.
Puerta de Toledo de Ciudad Real.

Province of Toledo

Interior of the Transit Synagogue in Toledo.

Church of Illescas.
Transit synagogue.
Church of Santa Maria la Blanca.
Church of San Roman.
Church of Santiago del Arrabal de Toledo.
Church of Saint Andrew.
Church of St. John of Penance.
Palace of Peter I.
Other houses, towers in Toledo (San Román, Santa Leocadia, San Miguel, etc.), churches, palaces.

In Andalusia

Real Alcázar de Sevilla.

Patio de la Sinagoga de Córdoba.

Almeria Province

In Huécija, the church of Our Lady of Annunciation.

Province of Cadiz

In Jerez de la Frontera, the Church of San Dionisio.
In Medina Sidonia, the castle of Torrestrella.
In Sanlúcar de Barrameda, the Parish of Ntra. Mrs. de la O.

Province of Córdoba

In Cordoba, its synagogue, the gate of Forgiveness and the Royal Chapel of the Mosque, the chapel of San Bartolomé, the House of the Bells, the House of the Knights and the church of San Miguel.

Province of Grenada

In Granada, the Church of Saint Joseph, the Church of the Convent of Saint Elizabeth La Real, the Sagrarian of the Convent of Saint Elizabeth the Real, the Minarete together with the Church of Saint Joseph, the Church of Saint Peter and Paul, the Church of Saint Anne, the Palace of the Madraza, the Church of Saint Bartholomew, the Church of the Saviour, the Church of Saint Nicholas.
In Guadix, the Church of San Francisco.
In Pinos Genil, Church of Santa Maria Magdalena.

Province of Huelva

In Aracena, Church of Our Lady of Dolores.
In Moguer, the Monastery of Santa Clara.
In Palos de la Frontera, the Monastery of La Rábida.


Jaén Province

In Jaén, the church of Saint Bartholomew, the church of the Magdalene, the church of Saint Andrew, the Palace of the Countessant Iranzo.
In Úbeda, the Convent of Santa Clara, the Puerta del Losal, the Mudéjar House.

Province of Malaga

In Malaga, the convent of the Trinity and the Church of Santiago, Árchez and much of the Axarquia.

Province of Seville

In Seville, the Royal Alcázar of Seville, the House of Pilates, the Olea House and the Church of San Julián, Church of Santa Marina, Church of San Marcos, Church of Santa Catalina, Church of San Andres, Church of San Esteban, * Church of San Isidoro, Church of San Pedro, Church of San Martin, Church of San Lorenzo, Church of Omnium Sanctorum, Church of Saint Sebastian, Church of Saint
In Lebrija, Church of Santa Maria de la Oliva.
In Mairena del Alcor, the church of Santa Maria de la Asunción, the hermitage of San Sebastian and the castle of Luna.
In Sanlúcar la Mayor, the Church of Saint Peter.
In Santiponce, the Monastery of San Isidoro del Campo.

In Extremadura

View of the Monastery of Guadalupe from the cloister.

In Abbey, the palace of Sotofermoso or the Dukes of Alba.
In Cáceres, the Mudéjar House of the Aldana Cuesta
In Fuente del Arco, the Sanctuary of the Virgin of Ara.
In Galisteo, the Almohad wall and the church of the Assumption.
In Torrehermosa Farm, the church of Our Lady of Assumption.
In Azuaga, the Church of Merced, Mudejar neighborhood (with a multitude of houses and windows of the S:XIV and XV, Holy Pozo and Mudejar elements the Gothic Church of Our Lady of Consolation, among others.
In Guadalupe, the Royal Monastery of Santa Maria de Guadalupe.
In Torrequemada, the hermitage of Our Lady of the Salor.
The Monastery of Tentudy in Calera de León.

In the Community of Madrid

San Pedro el Viejo de Madrid.

In Camarma de Esteruelas, the church of San Pedro.
In Madrid, the hermitage of Nuestra Señora de la Antigua in the cemetery of Carabanchel; the bell towers of the church of San Nicolás and the church of San Pedro el Viejo.
In Móstoles, the church of Our Lady of Assumption.
In Prádena del Rincón, the church of Santo Domingo de Silos.
In Talamanca de Jarama, the Abyss of Miracles.
In Valdilecha, the church of St. Martin Bishop.

In the Region of Murcia

Santa Eulalia de Totana

In Algezares the church of Our Lady of the Loreto.
In Caravaca the church of Our Lady of Conception.
In Cehegín the church of the Purest Conception.
In Mazarron the church of St. Andrew.
In Totana the church of Santa Eulalia and the church of Santiago el Mayor.

Ariel 4

Province of Castellón

In Jérica, the Mudejar Tower of the Alcudia.
In Onda, the Church of Blood.
In Segorbe, craftsmanship of the Hall of Sessions of the former Ducal Palace (now headquarters of the City of Segorbe).

Province of Valencia

In Alfauir, the cloister of the Monastery of San Jerónimo de Cotalba.
In Godella, the chapel of the Christ of Peace in the Church of St.
In Lliria, the church of the Blood of Liria.
In Sagunto, the old church of Sagunto.
In Torres Torres, the Arab baths.
In Valencia, the Baths of the Admiral.

Canary Islands

Fuerteventura

Church Matriz de la Concepción (Betancuria), Betancuria.

Gran Canaria

Hermitage of Our Lady of the Snows, Agaete.
Chapel of San Telmo, Las Palmas de Gran Canaria.
Basilica of Our Lady of Pino, Teror.
Casa Quintana, Santa María de Guía de Gran Canaria.

Lanzarote

Church of Our Lady of Remedies (Yaiza), Yaiza.

La Gomera

Matriz de la Asunción (San Sebastián de La Gomera), San Sebastián de La Gomera.

La Palma

Church of San Francisco de Assisi, Santa Cruz de La Palma.
Iglesia Matriz de El Salvador (Santa Cruz de La Palma), Santa Cruz de La Palma.
Church of Santo Domingo, Santa Cruz de La Palma.

Tenerife

Church Matriz of the Apostle James, The Realejos.
Convent of Santa Catalina de Siena (San Cristóbal de La Laguna), San Cristóbal de La Laguna.
Parroquia Matriz de Nuestra Señora de la Concepción (San Cristóbal de La Laguna), San Cristóbal de La Laguna.
Parish of Santo Domingo de Guzmán, La Orotava.
Parroquia Matriz de Santa Ursula de Adeje, Adeje.
Matriz de la Concepción (Santa Cruz de Tenerife), Santa Cruz de Tenerife.

Portuguese

There are still important Mudejar monuments from the 15th and 16th centuries, without taking into account those of pure Manueline style that also have Muslim influences. They can be classified as Mudéjares:

The National Palace of Sintra, which is the main of the centuryXV with its armpits in horseshoe, its colorful tiles, its magnificent handicrafts and its two huge conical domes.
Other monuments in Évora, such as the ruined Palace of Don Manuel, the porch of San Francisco, some door in the convent of the Loyos, etc., all with arches in horseshoe.
Other pieces of minor importance in different populations of the Alentejo, which is where the style abounds most.

Sicily

Palazzo dei Normanni or Palatine Chapel of Palermo.

In Sicily, Italy, the monuments that exist there from the Norman era (1072-1194) have many aspects in common with Mudejar architecture, especially in Palermo, since the Norman conquerors used the defeated Muslims to construction of churches and palaces. The style of these monuments is known as Arab-Norman architecture. The church known by the name of the Martorana (IT) and the Palatine Chapel of the Palazzo dei Normanni, both in the Sicilian capital, stand out.

America

Mudejar art as a construction style apparently began to spread in America very quickly since its discovery. The first years of the colonies presented a moderate migration of Moors, this thanks to the fact that the main trade routes started from Andalusia and because it became an escape route for the Moors before the surrender of the Nasrid emirate of Granada, the first step for the expulsion of the Moors which would be decreed in 1609.

About the active participation of the Moors in the construction of churches and palaces, the historian Joaquín Weiss tells us:

“At this time Seville was the main port for the race of the Indies and headquarters of the house of Recruitment, thus enjoying a great prosperity that lasted until the century XVIII. When the crown, on different occasions, it needed to send to Cuba engineers and masters of lottery, materials and tools, it consulted with its officers from Seville, and from there, as we have said, most of those came. ”

One can only speculate that the participation of the Moors was economically modest during the early colonization of America, since later prohibitions would be decreed for their entry into the colonies.

Another reason why this style was widely spread throughout America was that this way of building and designing was already deeply rooted in the peninsula, which would inevitably migrate along with its population: “The persistence of the Moorish influence in the The Cuban milieu is also explained by the contacts that the colony maintained with Andalusia, a preferred area of Moorish art(...)" Some examples are found in the following list.

Cloister of the former convent of Merced in the historic center of Mexico City.
Church of the Holy Spirit, Havana, Cuba.
Castillo de la Real Fuerza de La Habana, Cuba.
Retablo de la chapel de la Santa Cruz en Iztacalco, Mexico City, Mexico.
Mudejar ceiling of the Cathedral of Our Lady of Assumption in Tlaxcala de Xicohténcatl, Mexico.
Source of Chiapa de Corzo Pila, in Chiapas, Mexico.
Bovedas of the convent of San Francisco, in Quito, Ecuador.
Presbytery of the convent of San Diego, in Quito, Ecuador.
Capitular room of the convent of San Agustín, in Quito, Ecuador.
Bovedas de la Iglesia de Santo Domingo, en Cotopaxi, Ecuador.
Torre Mudéjar de Cali, Colombia.
Techumbre de la Iglesia de San Francisco de Bogotá, Colombia.
Cathedral of Saint Catherine of Alexandria of Cartagena de Indias, Colombia.
Church of the Third Order Cartagena de Indias, Colombia.
Techumbre de la Iglesia de la Concepción de Bogotá, Colombia.
Metropolitan Basilica Cathedral Santiago de Tunja, Colombia.