full of whitewashed caves cut into the rock and used as residences. The sound of strumming guitars may still be heard there in the performance of flamenco cantes and quejíos, so that over time it has become one of the most popular tourist attractions in Granada. At the top of this hill is the Abbey of Sacromonte and the College of Sacromonte, founded in the 17th century by the then Archbishop of Granada Pedro de Castro. The Abbey of Sacromonte was built to monitor and guard the alleged relics of the evangelists of Baetica. Those are of questionable authenticity, but since their finding the area has been a religious pilgrimage destination. The abbey complex consists of the catacombs, the abbey (17th–18th centuries), the Colegio Viejo de San Dionisio Areopagita (17th century) and the Colegio Nuevo (19th century). The interior of the church is simple and small but has numerous excellent works of art, which accentuate the size and rich carving of the Crucificado de Risueño, an object of devotion for the Romani people, who sing and dance in the procession of Holy Week. The facilities also include a museum, which houses the works acquired by the Foundation. Charterhouse The Charterhouse of Granada is a monastery of cloistered monks, located in what was a farm or Muslim almunia called Aynadamar ("fountain of tears") that had an abundance of water and fruit trees. The initiative to build the monastery in that place was begun by Gonzalo Fernández de Córdoba, known as El Gran Capitán. The charterhouse was founded in 1506; construction started ten years later, and continued for the following 300 years. The Monastery suffered heavy damage during the Peninsular War and lost considerable property in 1837 as a result of the confiscations of Mendizábal. Currently, the monastery belongs to the Carthusians, reporting directly to the Archdiocese of Granada. The street entrance to the complex is an ornate arch of Plateresque style. Through it one reaches a large courtyard, at the end which is a wide staircase leading to the entrance of the church. The church, of early 16th century style and plan, has three entrances, one for the faithful and the other two for monks and clergy. Its plan has a single nave divided into four sections, highlighting the retables of Juan Sánchez Cotán and the chancel's glass doors, adorned with mother-of-pearl, silver, rare woods and ivory. The presbytery is covered