The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the National Museum of Sculpture.

Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.

The creation of the college, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia.

The foundation of the college was confirmed by with papal bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.

Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue.

On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.

However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.

The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping.

And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.

The so-called Patio de los Estudios (Courtyard of Studies) is the direct access from main facade, which in the form of Roman atrium shows quadrangular with lobbed section pillars topped with the founder's shields.

Has rectangular plant with two sections with polygonal apse, covered with starred rib vault with nerves on corbels with the founder's arms with angels at its sides and choir on the feet with a small tribune for the organ.

It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.

It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.