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Updated: May 5, 2025
Consequently this art, born on Iberian soil, cannot be regarded as foreign. Much of what is called Moorish art owes its existence to the Christians, to the Muzarabs and Jews who inhabited cities which were dependent upon or belonged to the Moors. In the same way, much of the Oriental taste of the Spanish Christians was inherited from the Moors and received in Spain the generic name of Mudejar.
The crypt, reached by two Renaissance doors in the trasaltar, is spacious, and contains the bodies of San Justo and San Pastor. The general impression produced on the mind of the tourist is sadness. The severity of the structure is heightened by the absence of any distracting decorative elements, excepting the fine Mudejar ceiling to the left upon entering.
Jews, Arabs, and Christians lived peacefully together during the four following centuries. Together they created the Mudejar style tower of San Tomas and the Puerta de Sol. Pure Gothic was transformed, rendered even more insubstantial and lighter, thanks to Oriental decorative motives.
The whole façade is narrow one door and high. The effect is disastrous: an unnecessary contortion or misplacement of vertical, horizontal, slanting, and circular lines. If this shows certain Mudejar taste, so, also, do the geometrical designs carved in relief against a background, as seen in the arabesques above the upper windows.
Here, where Roman, Byzantine and Arab art have passed, and also the Mudejar, the Gothic and the Renaissance in fact, all the styles of Europe the ruins in the country are hidden and disfigured by herbage and creepers, and in the towns they are mutilated and disfigured by the vandalism of the people.
Consequently, the only school which might have been regarded as Spanish, degenerated sadly, sharing the fate of the new-born nation. Rather than a constructive style, the Mudejar or Spanish style is decorative. The aspect of these Mudejar buildings is peculiar. In a ruddy plain beneath a dazzling blue sky, these red brick churches gleam thirstily from afar.
Where red sandstone is used, the weaker parts of the buildings are very often constructed in brick, and it is these last-named cathedrals that are most Oriental in appearance, especially when the brick surface is carved into Mudejar reliefs.
MUDEJAR ART. Previous to the advent of Italian Renaissance in Spain, a new art had been created which was purely national, having been born on the peninsula as the complex product of Christian and Islam elements. This art, known by the generic name of Mudejar, received a mortal blow at the hands of the new Italian art movement.
These types, together with Moorish art, and above all Mudejar work, might have evolved still further and produced a national style. But the nation fell to pieces like a dried-up barrel whose hoops are broken, and the nation's style was never formed. Besides, contemporary with the birth of the nation was the advent of the Renaissance movement.
In San Juan de los Reyes, the Mudejar style left a unique specimen of what it might have developed into had it not been murdered by the Renaissance fresh from Italy, where Aragonese troops had conquered the kingdom of the Two Sicilies. With the first Philips and even earlier foreign workmen came over to Toledo in shoals from Germany, France, Flanders, and Italy.
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