1. Palace of Charles V2. Apartments of Emperor Charles V: Queen’s Rooms and Closet3. Church of Santa María de la Alhambra4. Convent of San Francisco (now Parador Nacional)5. Generalife (Renaissance Gardens)6. Walled precinct (Bastions – Tendilla Cistern – Gate of the Seven Floors and Gate Of Justice)7. Basin of Charles V8. Gate of the Pomegranates – Russet Towers and Ravelin9. Plaza Nueva – Chancellery10. Church of Santa Ana11. Castril House12. Monastery of Santa Isabel La Real – Palace of Dar Al-Horra13. Hospital of San Juan de Dios14. Royal Monastery of San Jerónimo15. Cathedral16. The Madrasa17. Ecclesiastical Curia18. Plaza de Bibarrambla, Alcaicería and Zacatín1920. Casa de los Tiros21. Royal Chapel and Merchants’ Exchange
In 1501, the original parish church of San Matías was set up inside a small mosque known as "Gima Abrahem". However, when Emperor Charles V was honeymooning in Granada in 1526 after his marriage to Isabella of Portugal, he visited the church, which still occupied the old mosque, and found it poor and undignified. He therefore immediately ordered the construction of a new church which received the title of the "Imperial Church of Saint Matthew".
The church was built on a platform of ashlar blocks that raise it above the street of the same name, located in the historic centre of Granada and now the main thoroughfare of today's San Matías neighbourhood.
The designer of the church was Master Rodrigo Hernández. It consists of a single aisleless rectangular nave with pointed transverse arches. It has eight side chapels, and the high chapel is differentiated by height and covered by a polygonal timber framework. The arch leading into the high chapel preserves the arms of Charles V and of Archbishop Gaspar de Ávalos, under whose administration the church was begun.
On the exterior, the church has three portals, two of them fashioned in stone in the style of Siloé. The one opening onto Plaza Ábside de San Matías displays a fully Plateresque decorative repertoire with monstrous creatures, masks, putti or winged angels' heads, condelieri and, in particular, grotesques.
The five-storey tower rises on the line of the main façade, with decoration on twin windows that alternate brick with glazed ceramics.
Charles V was ready to follow the plans adopted in the time of his grandparents, the Catholic Monarchs, for the conversion and integration of the Moorish population remaining in the city. In this respect, the construction of parish churches was the most significant development for the urban fabric. That of San Matías, built during his reign, is the only one which bears the imperial emblem of the double-headed eagle on its façade and in its interior, along with the arms of Archbishop Dávalos, but its type, construction technique, materials and decoration adhere to the regular pattern of these churches, in which the Moorish craft traditions and the new classical Renaissance style converge with harmonious originality in such visible features as the portals, with their combination of the architectural orders with classicist artistry.