Visitors experience a genuine sense of dazzlement, being left in a state of feeling blinded by intense beauty, overwhelmed by brilliance and splendor. The human senses reel from the magnificence and opulence of the place, observing holy ornamentation everywhere. In the end, most visitors stop taking photos -- they just can't absorb any more.
The basilica was completed in 1759 after nearly twenty years of construction. The timing was perfect. In those years ships laden with gold were arriving from the New World. Skilled local artisans fashioned the gold to cover every part of the interior in order to give glory to God and to honor the memory of St. John of God.
Many great architects and artists made this basilica a reality. The task of giving form fell to José de Bada y Navajas, who was later joined by the talents of José Francisco Guerrero—notably for his altarpieces—and by the sculptural contributions of Diego Sánchez Sarabia to the high altar. Other artists included Tomás Ferrer, Atanasio Bocanegra, and La Roldana.
The Saintly Founder
St. John of God (1595-1550) is remembered as having been one of the leading religious figures in the history of the Iberian Peninsula. He was born in the Kingdom of Portugal and in his youth ended up a homeless orphan. He became a soldier and at age 42 had a major conversion to the Faith and devoted his life to the sick and destitute in Spain.
During his life, St. John of God possibly suffered from periodic bouts of mental illness. Having suffered himself, he saw the acute health needs of the general public. He therefore devoted his later life to health care for those in need. After his death, his followers gained recognition as the Brothers Hospitallers of Saint John of God, a religious institute dedicated to the poor, sick, and those with mental disorders.
The order continues its work today with a presence on all five continents in over 50 countries, operating more than 300 hospitals and medical centers that treat the sick, and those with mental health and psychiatry needs. There are over 45,000 members and co-workers who commit their lives to the vision of their founder, serving those. most in need.
The Golden Interior
This mighty temple stands as one of the most outstanding Baroque churches in Spain, distinguished both by its artistic mastery and its significant cultural heritage, as well as by its status as a spiritual touchstone for all the brothers and devotees of St. John of God.
Knowing the theological concept around which the basilica revolves is the key to understanding perfectly its Baroque idiom, conveying to visitors a message of illusionism and dynamism that envelops the human senses and stirs the soul.
The purpose is the triumph of charity and love. This was the particular message of St. John of God that he sought to teach his followers during his own lifetime after his conversion. Therefore the basilica stands as a funerary monument, holding his remains, and honoring this legacy.
It stands as one of the most outstanding Baroque churches in Spain, distinguished both by its artistic mastery and its significant cultural heritage, as well as by its status as a spiritual touchstone for all the brothers and devotees of Saint John of God.
The basilica as a fascinating Latin cross design with various chapels that house important sculptural and pictorial works, with notable frescoes. Interestingly, the basilica has not one, but two domes. The sanctuary is completely covered in gold.
The Main Altarpiece
At the center is the main gilded altarpiece in the sanctuary was created by José Francisco Guerrero, and the sculptures housed within it were carved by Sánchez Sarabia. Up above in the middle can be seen an archway with golden doors that open to reveal the "camarÃn" (shrine chamber or relics chapel), where the remains of St. John of God are preserved.Above this is what is called the "manifestador" (or monstrance display niche), typically concealed behind a canvas painting by Sarabia depicting the Good Shepherd. Behind it is kept the monstrance created for the quincentenary of the birth of St. John of God.
The altar reredos has small golden doors then open to reveal the most noteworthy design feature in the basilica, a relics chapel located behind the main altar. Here are kept relics of St. John kept in glass cases. These treasures include his personal belongings, and his bones kept in a box of solid silver.
The Golden Relics Chapel
The reliquary chamber impresses all who see it with its golden hues and Baroque forms—richly adorned with ornamentation that envelops the throne upon which the relics of St. John of God are enshrined.
Birth and death are symbolically represented on the magnificent silver urn that safeguards his remains. Adorning the four sides are four medallions depicting key moments in the saint's life: his spiritual rebirth (his "nativity"); the investiture ceremony in which he received his habit from the Bishop of Tuy, Sebastián RamÃrez de Fuenleal; the moment the saint washed the feet of Christ while dressed as a pauper; and the incident of his fall from a mare, followed by the divine consolation he received from the Virgin Mary.
Housed within the urn is a small wooden casket—lined both inside and out with crimson damask—where the sacred relics are preserved, wrapped in exquisite embroidered lace. The chamber as a whole harmoniously blends a multitude of mirrors and reliquaries, totaling one hundred and ninety pieces.
Prominent among these relics are the crucifix that St. John of God held in his hands at the moment of his death; the "Lignum Crucis" (a fragment of the true cross of Christ); one of the thorns from the crown of thorns—that once pressed against Christ's skull following the flagellation—and a tooth of St. Lawrence. Standing behind the urn is a striking 18th-century statue of the Immaculate Conception by Vera Moreno, featuring delicate features that accentuate the gentle sweetness of the Virgin Mary's countenance.
Above the saint's tomb is a splendid golden baldachin, one of the rarest in the world. Crowning the chapel above is a dome with heavenly frescoes that are intended to mirror heaven.
The Side Chapels
The two lateral chapels in the transepts are prominent and the altarpieces are identical in form, both surmounted by a crown topped with a cross. One is dedicated to St. Raphael and the other St. John of God.
In the chapel of St. John of God, the statue of the saint vested in real garments, a common Spanish tradition known as "imagen de vestir." His habit bears the patriarchal cross—adorned with the banner of the Order of San Juan de Dios—in one hand, and in the other, a figure of the Crucified Christ, which he holds forth without gazing upon it, thereby placing equal importance on the sick and on Christ.
Also noteworthy in the sculpture are the crown of thorns and the halo encircling his head, as well as his benevolent and tender expression, which invites devotion and love—the central theme around which the entire message of the basilica revolves.
Adjacent to the chapel of St. Raphael stands the imposing pulpit, crafted from gilded wood and featuring a multitude of mirror inlays. Like the altarpieces in the chapels, it is the work of José Francisco Guerrero.
Four other chapels are dedicated to Our Lady of Bethlehem, St. Michael, St. Joseph, and the Sorrowful Christ of Sorrows.
The Main Dome
The main dome rises above the transept of the basilica, notable for its height of fifty-two meters. It is divided into three parts: the ring, the drum, and the dome proper. The images depict the Assumption of the Virgin Mary, the birth of the saint (his conversion), St. John of God aided by the Virgin, the Triumph of Virginity, and a choir of virgins following the Lamb.
The ring, measuring ten and a half meters in diameter, rests upon four arches, which feature oil paintings by Sánchez Sarabia depicting the four Evangelists, as well as escutcheon decorations bearing the coat-of-arms or emblem of the Order. The drum is of the Corinthian order and is divided into sixteen niches. Within the dome itself, paintings of the founding saints of various religious orders adorn it with great color and deep meanings.
The Sacristy
Also noteworthy is the splendid sacristy, with striking golden mirrors and massive chests of drawers for vestments featuring mahogany tops, and walnut drawers carved in bas-relief and fitted with bronze pulls. The large mirrors enhance the light and spaciousness of the room, lending it an atmosphere that is both elegant, welcoming, and majestic.
The ceramic tile panels are also of great merit—crafted in the Sevillian style—depicting hunting scenes, rural landscapes, and warrior figures. In the center of the room is an interesting bonus piece of furniture.
Here stands the so-called "calicera" table, composed of two marble columns supporting a large marble slab. Here the chalices and liturgical vessels for Mass are kept and prepared by the sacristans. Two staircases provide access to the flanks of the high altar, thereby connecting the sacristy with the basilica’s main body.
A Saint to be Remembered
Although the relics of St. John of God have been kept here since 1557, more than once the relics of the chapel had to be hid. The first time was in 1808, due to the fear of looting and profanation of the Napoleonic army.
The second time was in 1835 when the church was expropriated by the anti-Catholic government during the time of Masonic revolutions.
The third time was in the 1930s during the heartbraking violence of the Spanish Civil War, when many Catholics were killed by left-wing atheists called "Republicans" who burned and destroyed many churches in Granada and across Spain.
The memory of the work of St. John of God continues. He was a male nurse who is best remembered for his sanctity, generosity, and is considered a pioneer in the treatment of the mentally ill. When he died at age 55, he already laid the foundation for the development of the modern hospital.
He is a patron saint of the sick, nurses, hospitals, and firefighters. He is also the co-patron of the City of Granada. May his glorious memory be eternal.
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