What do a bundle of arrows, an impossible knot and Machiavelli have in common?
In San Juan de los Reyes, the symbols adorning the walls and façades are not merely ornamental. Yokes, arrows, initials and coats of arms form part of a visual language that identified Isabella and Ferdinand and conveyed their power.
Amongst these, two emblems stand out and are worth distinguishing: the bundle of arrows, associated with Isabella, and the yoke alongside the motto ‘Tanto monta’, linked to Ferdinand.
The knot that needed untangling
To understand the phrase ‘Tanto monta’, we must travel back to ancient Phrygia and the legend of the Gordian knot.
According to tradition, whoever managed to untie that complicated knot was destined to rule Asia. When Alexander the Great came up against it, he decided not to try to untie it: he cut it with his sword.
From this story arose the idea that cutting it is just as good as untying it. What matters is not the method, but finding an effective solution.
This interpretation became linked to the motto of Ferdinand of Aragon: ‘Tanto monta’.
The symbol thus took on a very clear political meaning: the ability to act decisively in the face of difficulties.
Isabel, Fernando and a language of symbols
The bundle of arrows associated with Isabel conveys, by its very composition, an idea of unity and strength: several arrows together are stronger than a single one.
The yoke and the arrows also featured an interesting interplay between the monarchs’ initials: each incorporated the other’s initial into their coat of arms.
At San Juan de los Reyes, these elements are repeated throughout the building, ensuring that the presence of the Catholic Monarchs is virtually constant.
And what of Machiavelli?
Decades after the monastery was built, Niccolò Machiavelli would also turn his attention to Ferdinand of Aragon.
In The Prince, he presents him as an example of a ruler capable of undertaking great undertakings, enhancing his reputation and consolidating his power through an active and ambitious policy.
Machiavelli was not explaining the origin of the ‘Tanto monta’ or the Gordian knot. These are different stories which, nevertheless, end up projecting a similar image of Ferdinand: that of a resolute ruler, capable of taking action and finding solutions.
When architecture becomes propaganda
Today we use logos and graphic elements to identify institutions, brands or movements. Monarchs, too, needed symbols that would help people recognise their identity and convey a message.
At San Juan de los Reyes, the yoke and the arrows serve precisely this purpose.
So, the next time you visit the monastery, look out for these two elements.
The arrows will lead you to Isabella.
The yoke and the ‘Tanto monta’ will lead you to Ferdinand.
And then perhaps you will discover that at San Juan de los Reyes, stone does not merely decorate: it identifies, commemorates and conveys power.
