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This essay offers a general overview of some of the main artistic, liturgical and musical works inspired by the Capitulation of Granada in favor of the Catholic Monarchs and related to the patronage of Cardinal Pedro González de Mendoza, Cardinal Bernardino López de Carvajal, Archbishop Fray Hernando de Talavera and his circle. Particular attention is paid to the composition of the well-known Oficios de la Toma de Granada (Offices of the Capitulation of Granada). Granada is conceived therein as a New Jerusalem, the center of a mono-religious but multicultural providentialist discourse identified with the Crown of Castile. Such convergent discourses in music, liturgy and the arts, both at the peninsular and European levels, helped turn the nominatissima urbs Granate after the fall of the Nasrid Kingdom in 1492 into an enduring symbol of Hispanic culture.

In Sardinia many are the medieval fragments recovered in currently destroyed churches and frequently recognized as out of context. Therefore, specialists find it difficult to proper investigate artefacts such as the Greek-Sardinians epigraphs. Some of those report the men and women names who probably were part of the aristocratic families that ruled the island. Comparing Sardinian evidences with the ones found in south Italy could allegedly provide responses about this period. Moreover, it might be significantly effective in order to reveal all the connections between artistic patronage and women in Sardinia.