In the Hall of Justice, next to the Patio del Yeso del Alcázar, one of the brothers, the infant Fadrique Alfonso, would be assassinated by order of the king, and in 1369 Pedro himself would die at the hands of his brother Enrique, who would succeed him in the throne as Enrique III, beginning the Trastamara dynasty. In short, a king called the Cruel or the Justiciero depending on who tells his story, but a great lover of the city of Seville, a city in which many legends starring this king still persist today.

The palace was built between 1364 and 1366, emulating Muslim palaces such as the Alhambra in Granada, the Caliphates in Córdoba or the disappeared Almohads in Seville. To the Islamic elements, features typical of Christian architecture are added, forming the so-called Mudejar style. It is the richest and most perfect sample of this style, since it brings it together in all its manifestations, both in its structure and in its ceramic decoration, in its woodwork and in its plasterwork.

Although we do not know the name of the person who directed the work, it is known that artists, masons and artisans from Toledo and Granada came, in addition to those who were already in Seville.

It is made up of two main areas:

- A more formal area with a more official and public character, around the Patio de las Doncellas.

- The other with a more private and intimate character, around the Patio de las Muñecas.

The Palace undergoes numerous modifications throughout its history, adapting to changing needs and also to the change of protocol rules and tastes of each era.

For example, on the façade, the entire central body and the lower side arches correspond to the original period. However, the upper galleries are later, probably from the reign of the Catholic Monarchs, between the 15th and 16th centuries. We see that they are made of stucco, and not stone like the central ones, and that they show a strong influence from the Nasrid palaces of Granada.

The central part of the façade is enormously beautiful and unfolds vertically like a tapestry of great solemnity, delimited on the sides by brick pilasters resting on small marble columns. Above it stands a magnificent wooden eaves, originally completely colored, which we know is the work of Toledo masters.

The voussoirs of the lintel above the door, with their characteristic decoration with vine motifs, also seem to be due to Toledo masters. The polylobed blind arches that frame the door seem to follow Almohad Sevillian models, as we can see their similarity to those of the Patio del Yeso. The same happens with the arches that we see in the upper part.

The Granada influence is clear in the lintel of white and blue tiles that we see in the upper part. In it you can read four times, from left to right, and four times from right to left, in Kufic characters, repeating the Nasrid motto “there is no victor but Allah”, wa-lā gālib illà Allāh. The Castilian presence is clear in the inscription that appears on the molding, which says “The very tall and very noble and very powerful and very conqueror Don Pedro by the grace of God the King of Castiella et de Leon commanded these Alcazares and these Palaces and these covers that were dated in the era of one million and four hundred and two ”(1364). The date of the inscription corresponds to the Hispanic era, which begins in 38 BC, which is why it coincides with 1364 of the common Gregorian calendar.

In its original structure, if we take into account that the upper galleries on both sides are posterior, the façade would closely resemble that of the Comares Palace or Tower in the Alhambra, built around the same time, perhaps somewhat earlier.

Seville, therefore, has among its enormous heritage, one of the great jewels of palatial architecture in Europe, one of the wonderful treasures that Mudejar art left in the city.

The Basilica de la Macarena, headquarters of the brotherhood of the same name, is the third most visited monument in Seville, behind only the Cathedral and the Alcázar. Every year it receives almost a million visitors, moved by the devotion that awakens the image of Esperanza Macarena, a painful anonymous woman from the 17th century, which is probably the most popular Marian invocation in the city and one of the most prominent both within and outside of Andalusia.

The temple was built during the 40s of the 20th century, according to the project of Aurelio Gómez Millán. Following the guidelines of the brotherhood, it was built in a neo-baroque style, which fits perfectly into the historicist character that characterizes most of this architect's work.

It has a basilica plan, with a single nave covered with a barrel vault with lunettes, four side chapels and a very pronounced front, in which the main altar with the image of the Virgin is located.

As for its façade, the most characteristic element is the atrium, with a central span covered by a semicircular arch and two lintelled openings on each side, supported by six pairs of marble columns. Above it, a niche covered by a split curved pediment houses a sculpture representing the theological virtue of hope. In the background, a graceful belfry rises, which originally had a single body of three bells to which a second body with one more bell was added in 1992, this time topped by a curved pediment.

As is common in regionalist and historicist architecture, of which Aurelio Gómez Millán is a great exponent, there is no hesitation in making use of classical architectural forms and resources, which have been a regular part of the Western architectural tradition. In this case, the atrium we are talking about is formally a Serlian or Serlian arch, so called because it is defined in the treatise Tutte l'opere d'architettura et prospettiva, by Sebastiano Serlio, published in the mid-16th century.

Previously, other Renaissance artists had made use of this form that combines the semicircular arch with the lintel openings. Thus, for example, we see it in the Pazzi Chapel in Florence, designed by Brunelleschi in 1429, and later in numerous works by Andrea Palladio, who was probably the architect who contributed the most to its dissemination.

Like most Renaissance architectural resources, the Serlian has a root in classical antiquity and we find it in temples such as Hadrian's in Ephesus, from the 2nd century AD.

In the case of Seville, we see it very early in the bell body of the Giralda, added by Hernán Ruiz el Joven in the middle of the 16th century. In this case, the architect, who was one of the great introducers of the Renaissance in Spain, added one more lintel span on each side, to form a total of five, including the central one. The beauty of the resulting complex caused this architectural resource to be widely disseminated, in such a way that today we can see it, under the influence of the Giralda, in numerous Sevillian belfries and bell towers.

But in the case of the Basilica de la Macarena, in addition to adopting this Serlian form, it seems to have a clear reference to another lesser-known Sevillian monument. It is the lateral entrance portico to the church of the Santa Clara convent. It was added to the temple in a reform of the early seventeenth century, in a transitional style between Mannerism and Baroque, following the design of Juan de Oviedo and Miguel de Zumárraga. In this case it is not a proper Serlian arch, but the three spaces are covered by semi-circular arches. However, the final result is in its shape and proportions the clearest Sevillian precedent for the Macarena atrium.

In conclusion, it can be pointed out how the historicism that inspired the construction of the basilica means that by looking at some of its elements we can evoke some of the forms and features that have historically defined Western architecture. A temple less than a century old can serve as a beautiful setting for an entire art history lesson.

Another very characteristic feature in the production of Aníbal González is the importance given to the corners in his works, which usually stands out in a remarkable way. Here we can see it very clearly with the chamfer shape that the facade adopts and with the greater height that it gives to this part with respect to the rest of the building.

Regarding the interior of the property, we must say that it has been profoundly remodeled by an intervention undertaken in the eighties by the architect Rafael Moneo, with the aim of adapting its basement for use as the headquarters of a bank branch.

In any case, Casa Nogueira continues to be one of the most notable examples of historicist architecture in the city and a work of great importance for understanding the whole of Aníbal González's production.