Category Archives: Guide of Seville

The most complete guide of Seville. All the monuments and points of interest in the city over a beautiful map. Don’t miss anything about the city

FOUNTAIN IN GLORIETA DE SAN DIEGO

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In the San Diego roundabout, at the northern end of the María Luisa Park, a structure in the shape of a triumphal arch is preserved with three openings that house the allegorical figures of Spain, in the center, and the city of Seville in its center. material and spiritual dimension, on both sides. The sculptures were made by Enrique Pérez Comendador and Manuel Delgado Brackenbury. In the central part of the plinth there is a fountain, whose spout, under the pedestal of the central sculpture, is a bearded character who spouts water from his mouth.

It was the central axis of the main entrance to the 1929 Ibero-American Exhibition site and was designed by the architect Vicente Través. The entrance actually had four doors, which faced the avenues of Portugal and Isabel la Católica on the left, and the avenue of María Luisa and the Seville Pavilion on the right.

This triumphal arch was conceived as the center of the monumental entrance to the exhibition site. In this way, the aforementioned allegories of Spain and Seville were placed, somehow symbolizing the welcome offered by the city and the nation as a whole.

Enrique Pérez Comendador, a young sculptor from Cáceres who was barely 28 years old at the time, was chosen to create the side sculptures. The work of this sculptor was quite prolific throughout his life, specializing above all in public monuments, since his style fit very well with the purpose of extolling the characters represented, by combining a realism of very classic forms with the simplification of the volumes and a renunciation of detail, which were considered to be typical of the “modern” style. He was always quite faithful to the academic opinions of the time in the execution of his works and showed a special ability to develop allegorical themes and the aggrandizement of heroic characters, so popular in official art during the Franco regime.

The artist called the two sculptures “The spiritual and material wealth of Seville”, although they were renamed in an article written by the poet Alejandro Collantes de Terán as “The sky and the earth of Seville” (el cielo y la tierra de Sevilla). These are two female figures with clear classical reminiscences, dressed in tunics that very clearly show the effect of wet cloths, so the round shapes of the bodies are perfectly visible.

The figure located to the viewer's left is the material wealth of Seville. His shapes are more rounded and he has more ease in his posture. He holds an orange raised in his right hand and in his left he holds a bunch of grapes and a bunch of ears of wheat, as symbols of the fertility of the earth. His face has an expression between mischievous and friendly, framed by semi-tied hair with a certain Andalusian air, as shown by the loose locks that form snails around his face.

The other figure is the one that represents the spiritual wealth of Seville. Her main attribute is a small Inmaculada with mountain features that she holds in her right hand. With it, reference is made to the fierce defense that the city always made of the dogma of the Immaculate Conception and in general to its profound Marian character. In this case, the allegorical figure shows a somewhat forced posture, with more rigid features and less naturalism, probably seeking greater solemnity. Her face is reminiscent of sculptures from the archaic period of Greek art, due to the lack of expressiveness and that characteristic frozen half smile. Although she also shows some little snails of hair around her forehead, most of her hair appears covered, surely as a sign of respect for the image she carries and what it symbolizes.

Both images flank a majestic allegory of Spain, the work of the Sevillian sculptor Manuel Delgado Brackenbury. His features are more naturalistic and classic than those of Pérez Comendador, although both coincide in the use of some stylistic resources, such as the use of the wet cloth technique to reveal the shapes of the body. The figure appears standing, with one leg slightly forward, in a posture that gives it great solemnity. He wears a tunic tight under the chest and over his collected hair he wears an open royal crown, a symbol of the Spanish monarchy. She rests her right arm on a large shield of Spain and her right arm on a lion, which in turn rests its paw on a globe, a symbol of Spanish sovereignty. It must be remembered that the lion and not the bull has been the animal that has most symbolized our country throughout its history, appearing profusely since the Middle Ages on a multitude of supports, such as coins, pictorial representations or architectural elements.

CONVENT OF SAN LEANDRO

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The convent of San Leandro is a convent of Augustinian nuns that occupies a large sector of the Alfalfa neighborhood, a place where they have settled since the 14th century. It is famous among Sevillians for the baking work of its nuns, who prepare the coveted yemas de San Leandro. The convent complex has a large number of rooms, with several cloisters and a very complex structure. However, its magnificent church is the only element that can be visited regularly, so we will focus on its analysis.

History

The Augustinian order arrived in Seville at the end of the 13th century and initially settled on land outside the city walls, near the Puerta de Córdoba. Apparently, it was a very unhealthy area and one of great insecurity, even being cited as “Degolladero de Cristianos”.

A century later, King Pedro I facilitated the transfer of the order to premises on current Melgarejos Street (1367). But the new location did not meet the necessary conditions either and from there they moved to the place they occupy today just a few years later.

The convent initially had a church, probably a Mudejar Gothic temple, but at the end of the 16th century it was decided to replace it and construction of the current one began. Francisco Pacheco, Velázquez's famous father-in-law, stated that the design of the new building corresponded to Juan de Oviedo. However, documentary evidence has only been able to confirm the participation in the project of Asensio de Maeda as architect and Juan de los Reyes and Juan Miguel, as master bricklayers.

 

DESCRIPTION

The temple is a classic “box church”, the most common type in Sevillian convents. It has a rectangular floor plan, with a single nave and a high and low choir at the foot.

 

Exterior

The convent has two exterior doors. The first is located in the Plaza de San Ildefonso and gives access to the cloister. It has a simple Mannerist form, with a lintel entrance framed by pilasters. These support a split pediment with a niche in the center that houses a small terracotta sculpture of Saint Augustine. This is the entrance through which the famous San Leandro yolks are generally shipped.

Next to the cover, since 2002, a small marble plaque has been located on which a fragment of a prose poem by Luis Cernuda can be read. It is taken from her book "Ocnos" and seems to allude to this convent: "In the Gallery after discreetly knocking on the convent's lathe, a female voice sounded like an old shearing: 'Deo gratias' she said. 'To God be given ', we responded. And the spun egg yolks..."

In the nearby Plaza de San Leandro the door opens that gives access to the church through its left wall. It is very similar to the previous one, but in this case the opening is a semicircular arch and the upper niche houses a burning heart, a symbol of the Augustinian order.

A few meters to the right is a ceramic altarpiece in which Saint Rita of Casia is presented. This saint was in life an Italian nun of the Augustinian order who lived at the end of the Middle Ages. She is usually represented with a small wound on her forehead, since according to tradition she had a stigma that recalled Christ's crown of thorns and that it miraculously reopened every night. Today she is one of the most popular saints in the Catholic world and she is known as an intercessor in impossible causes.

The tile that we find in our convent was made in the 1950s in the Santa Ana de Triana factory, although its author is unknown.

Inside

The church is accessed through a splendid gate richly decorated with sculptural decoration in the Baroque style. Upon entering, we find that the nave is divided into four sections through pilasters attached to the walls. Among them are the different side altarpieces of the church. A large main arch serves to separate the presbytery area at the head, while at the foot, a wall in which a large lattice opening opens, serves to separate the choir area, reserved for the cloister.

The nave is covered with a barrel vault with lunettes, divided into sections by transverse arches. The chancel area is covered by a hemispherical dome that is only visible from the inside.

Main nave divided into four sections by transverse arches and covered with a barrel vault with lunettes. Cruise covered by a hemispherical dome decorated with geometric paintings and only visible from the inside.

The pictorial decoration on the walls is not very abundant. We find it especially on the walls of the presbytery and in the dome, where geometric motifs very typical of Mannerism can be seen. In the center of each of the sections of the vault there are a type of rosettes like stalactites. They are framed by moldings that also form curious geometric motifs.

Main altarpiece

The current baroque altarpiece was built in the mid-18th century to replace a previous one made in the 16th century in the Mannerist style. The previous one had sculptural decoration by Jerónimo Hernández and, in fact, some of the old reliefs are preserved in the current one.

This has generally been attributed to Pedro Duque Cornejo and Felipe Hernández and has some characteristics that make it particular. For example, it is quite tall compared to most Sevillian altarpieces and is very compartmentalized, a fact that is not usually common in larger altarpieces. Perhaps the most original feature is that it is not gilded, but rather covered in light tones.

It is divided horizontally into two bodies and an attic, which are in turn divided vertically into three streets. To separate them, various types of columns are used, such as stipes or composite columns, all of them with profusely decorated shafts.

In the first body, the niche houses a contemporary image of the Sacred Heart of Jesus, which is apparently the first of its kind to be worshiped in Seville. On both sides, two beautiful sculptures represent Saint Barbara and Saint Teresa, who appears as a Doctor of the Church.

The central niche of the second body houses the owner of the temple, San Leandro. He was bishop of Seville at the end of the 6th century, during the times of the Visigoths. In fact, he played an important role in their conversion from Arianism to Catholicism. He was the brother of the Sevillian bishop San Isidoro, probably the most prominent personality of this historical period in the peninsula.

Two scenes represented in relief occupy the side streets, probably works by Jerónimo Hernández coming from the previous altarpiece. On the left we have “The Adoration of the Magi” and the “Baptism of Christ”, and on the right we see Saint Augustine and “The Flagellation”.

In the center of the attic there is an interesting sculptural group, with Saint Augustine kneeling in the center and, behind him, Christ, the Virgin and the Holy Spirit observe him from Heaven. The whole, on the altarpiece, is crowned by a representation of God the Father in an attitude of blessing, surrounded by angels. In the side streets we find two reliefs also coming from the previous one: “The Assumption of the Virgin” and “The Prayer in the Garden”.

In addition to the main altarpiece, the church has a series of altarpieces that are attached to the side walls, some of them with enormous artistic interest.

Altarpieces on the right side:

- Next to the presbytery, a small chapel houses a simple neoclassical altarpiece from the 19th century. It houses a small dress image of the Virgin and Child, probably from the same period as the altarpiece.

- Next we find the altarpiece of San Agustín, made by Felipe de Ribas around 1650. It has a very classic structure, similar to that usual in the altarpieces of Martínez Montañés, with two bodies, an attic and three streets. In the center of the first body is Saint Augustine, with episcopal attributes, since he was bishop of Hippo, and holding the model of a church, which alludes to his consideration as one of the four fathers of the Church. On its sides appear Saint Thomas of Villanueva and Saint Nicholas of Tolentino. In the center of the second body, a relief represents Saint Augustine and Saint Monica in the port of Ostia. Santa Clara de Montefalco and Santa Rita de Casia appear in the side streets. Finally, in the attic we find the Virgin and Child flanked by the allegories of Faith and Hope.

- Altarpiece of Saint John the Evangelist. It is located right in front of the one dedicated to San Juan Bautista, following a very common tradition in Sevillian convents, which used to place the altarpieces dedicated to the “holy johns” facing each other on both sides of the nave. This altarpiece of the Evangelist is a work by Martínez Montañés and his workshop, completed in 1632. In the center of the first body we find a magnificent relief with the representation of Saint John on Patmos, where the apostle wrote the Apocalypse according to tradition. This relief is considered to be the only personal work of Martínez Montañés, with the rest of the altarpiece being the work of his workshop. Above it, a small niche houses another relief with the representation of the martyrdom of John, following Tertullian's story in his “De praescriptione haereticorum XXXVI”, according to which the saint was thrown into a cauldron of boiling oil but was miraculously unharmed. The relief is the work of Francisco de Ocampo, who was an apprentice in the workshop of Martínez Montañés. In the center of the second body is a Virgin and Child dedicated to Our Lady of Good Counsel. On its side streets it is flanked by Santiago el Menor and Santa María Cleofás.

- Altarpiece of the Virgin of Consolation and Correa. It is a simple neoclassical altarpiece that houses in its central niche an image of the Virgin and Child made by Sebastián Santos Rojas in 1932. This curious dedication, “Consolación y Correa”, is legendary linked to the figure of Saint Monica , mother of Saint Augustine. Apparently, the saint was going through moments of great grief due to the sinful life of her son Augustine, which was added to the death of her husband. One day she was absorbed in meditation when the Virgin appeared to her, girded with a strap, and said: “Monica, my daughter, this is the dress I wore when I was with the men, after the death of my son. You will wear the same dress as a sign of your devotion to me.” The Virgin with this dedication is considered today the patron saint of the Augustinians. On two small side pedestals there are two contemporary carvings of San Francisco de Paula and San Juan de Sahagún.

Altarpieces on the Gospel wall:

- Altarpiece of Saint Rita of Casia. It is a simple neoclassical altarpiece with a 19th century dress image as the title. Saint Rita has great popularity among parishioners, linked to the popular consideration of her as a lawyer in impossible causes. On the bench of the altarpiece there is a painting, also from the 19th century, that again represents the passage from “The Virgin giving the cingulum to Saint Monica.”

-Altarpiece of San Juan Bautista, contracted to Martínez Montañés in 1621, although most of the sculptures are the work of his workshop and not of the master personally. Once again we find the classic structure of the mountain altarpieces. In the central niche of the first body we see a splendid relief that shows the Baptist kneeling and pointing to the Lamb of God who appears in the upper right corner on a cloud. It alludes to the famous phrase uttered by John upon seeing Jesus: “This is the Lamb of God who takes away the sin of the world.” According to its quality and characteristics, this part of the altarpiece is considered the personal work of Martínez Montañés. On both sides we find the Virgin Mary and Saint Joseph.

On the relief of the Baptist, two angels support the masterful representation of the saint's head, also considered to have come from the master's gouge. In the center of the second body we find a Baptism of Christ, with a composition very similar to what we can find in the altarpiece with the same theme and workshop found in the church of the Annunciation. On the left is Saint Elizabeth and on the right is her husband Zechariah. In the attic, the Maltese cross or the Order of Saint John of Jerusalem refers to the dedication of the altarpiece.

- Next to the presbytery there is an interesting baroque altarpiece made by José Maestre in the second half of the 18th century. For a long time it housed the image of Saint Rita, but today it houses in its central niche a dress image of the Virgin and Child, probably also from the 18th century. In the side streets we find San Antonio de Padua and San Fernando. An expressive and beautiful Nazarene Jesus stands out in the attic, who seems about to fall exhausted from the weight of the cross.

📷   * : Wikimedia Commons  │   º : Leyendas de Sevilla

MONUMENT TO THE CID CAMPEADOR

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Located in the center of Avenida del Cid, it is an equestrian statue by the American artist Anne Hyatt Vaugh. It was a gift from the New York Hispanic Society to the city of Seville on the occasion of the celebration of the Ibero-American Exposition of 1929. In fact, it was decided to place it right in front of what was the main entrance to the venue, between the Portugal Pavilion and the old Tobacco Factory.

Its author stood out above all for her monumental bronze sculpture, frequently representing historical figures and specializing above all in the recreation of animals. In this field she achieved great mastery, especially with the figure of the horse, of which Huntington was truly in love.

These qualities are clear in the example of her statue for Seville. The Cid's horse is represented with great anatomical realism and transmitting a strong sensation of movement, which gives the entire work a great dynamism that does not detract from its solemnity.

The posture of the figure of Rodrigo, turned to one side with respect to the axis of the horse, contributes to this dynamism. He wears warrior mail and raises one arm holding a spear, in an attitude of haranguing the troops. In the other arm he carries a shield and his sword.

It is a magnificent example of 20th century equestrian sculpture, which from the beginning enjoyed the recognition and admiration of both the people of Seville and the artistic circles of the time. The original sketch of the work was made in the same year, 1927, and is today in Brookgreen Gardens in South Carolina. The success of the Sevillian monument led to various copies being made that are spread throughout various points of Spanish and American geography, such as New York, Buenos Aires, San Francisco and Valencia.

El Cid is the nickname by which Rodrigo Díaz de Vivar was known, a Castilian knight who lived during the 11th century and who ended up being one of the most famous characters of the Spanish Middle Ages. He was first a vassal of King Sancho II and, after his death, of his brother, Alfonso VI.

By order of this king, the Cid traveled to Seville in 1079 to collect the pariahs from King Al Mutamid. During Rodrigo's stay in Seville, the kingdom suffered an attack by order of the Granada king Abdalá ibn Buluggin. El Campeador collaborated with Al Mutamid in his fight against the Granadans, who were defeated in the battle of Cabra. This fact is alluded to in the inscription found on the pedestal of the monument: “Seville, home and court of the poet King Motamid, hosted Mio Cid, ambassador of Alfonso VI, and saw him return victorious from the King of Granada.” On the other side of the pedestal one can read: “The Campeador, a firm calamity for Islam, was, due to the virile firmness of his character and his heroic energy, one of the great miracles of the Creator. “Ben Bassam.”

In detail: El Cid in Seville

CHURCH OF SAN ILDEFONSO

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The church of San Ildefonso is an imposing neoclassical temple that stands right in front of the convent of San Leandro, in the Alfalfa neighborhood. Its construction began at the end of the 18th century and, from the outside, it is one of the most striking churches in Seville for various reasons. Firstly, there are very few neoclassical churches in the city. In addition, it has two tall twin towers that flank its entrance and is completely covered in the quintessential colors of Seville: albero and almagra.

History

The current temple began to be built at the end of the 18th century, replacing a previous one that was damaged after the Lisbon Earthquake in 1755. We know that San Ildefonso was one of the 24 parishes into which the city was divided after the Christian conquest. , so it is very likely that the previous temple was a medieval construction, probably of the Gothic Mudejar style so characteristic of Seville.

However, there is a tradition that tries to trace the origins of the parish to Visigothic times. It is based on a supposed tombstone that was preserved in the old church and that alluded to a priest named Saturninus who would have been buried in this place in 657. Diego Ortiz de Zúñiga, famous Sevillian historian of the 17th century, describes it this way in Book II of his famous “Ecclesiastical and Secular Annals”:

"...even as a primitive Christian Church, the Parish of San Ildefonso has singular signs, attested with the stone of the tomb of San Saturnino, which was inside it until the year 1649, when in the plague that this city suffered with the escape from opening graves, he was lost or buried there. Viola Ambrosio de Morales, Don Pablo de Espinosa and others, whose epitaph said: (…) Saturnino, Priest, servant of God, lived, more or less, 53 years. this life in peace on the 2nd of the Ides of November (it is the 12th) in the Era of 657, which is the year of Christ of 619. Call him Saint Saturninus' piety; but the epitaph only warns him of a Christian priest, a contemporary of our Archbishop and Patron San Isidoro. This tomb was in front of an altar of our Lady, whose painted effigy shows great antiquity, entitled Coral, and venerated with deep devotion."

Of note is the mention of the Virgen del Coral, a mural painting that fortunately is still preserved in the church today. Attempts to trace the origin of this venerated image to pre-Islamic times were also frequent, although currently its dating to the 14th century is certain, more or less contemporary with the Virgin of Antigua.

In any case, the works for the construction of the temple we are talking about today began in 1794 under the direction of José de Echamorro and in accordance with the neoclassical project of Julián Barcenilla. The monumentality of the building meant that the works lasted for almost fifty years. The church was inaugurated in 1816, but only with the left nave completed, so services were held at an altar presided over by the Virgen del Coral. Complete completion of the church would not take place until 1841.

DESCRIPTION

As we have pointed out in the introduction, the church of San Ildefonso is a neoclassical temple that fits perfectly with the academic aesthetic trend prevailing in the country since the 18th century and during the 19th century. It has a rectangular floor plan, divided into three naves, with the central nave and the transept being the widest. Protruding from the floor is a deep semicircular presbytery at the head and two large square towers at the foot.

 

Outside

Possibly the first thing that catches your attention from the outside is the bright albero and almagra colors with which the church is painted. On the main façade, the two towers stand out, moving forward with respect to the line of the façade, creating a small atrium in front of the main entrance.

The towers are very tall and have four bodies of decreasing size. The first two are square in plan, the third is octagonal in plan and the last is circular. They are decorated with white stone elements that stand out against the albero and almagra background, such as the columns, balustrades and vases.

The cover has two bodies and a very classic structure. The first, framed by pairs of Ionic columns, houses the segmental arch that constitutes the main entrance. Above it, a niche houses a small stone sculpture of San Ildefonso, also framed by columns on the sides, in this case in a composite style. The niche is topped by a curved pediment in the center of which the episcopal shield of the titular saint is represented.

On the left side, on Rodríguez Marín Street, a second access door to the temple opens, with similar characteristics to the previous one but simpler. In this case, two pairs of simple Tuscan columns frame the entrance. They also serve to support the entablature on which a simple niche topped by a triangular pediment is located.

In this niche we see two little angels holding a marble inscription that reads: “O ILDEPHONSE PER TE VIVIT DOMINA MEA QUE COELI CULMINA TENET.” This is a phrase that tradition attributes to Saint Leocadia. Apparently, one day Bishop Ildefonso was praying before the tomb of the saint, when she appeared to him and uttered the phrase that can be translated as "Oh Ildefonso, my Lady, who supports the peaks of heaven, lives through you". In this way, the apparition recognized the important work of Saint Ildefonso as a defender of the Virgin Mary and promoter of her devotion to her.

To the right of this side doorway, a molding with a classical structure but baroque decoration houses the ceramic altarpiece of Nuestro Padre Jesús Cautivo de Medinaceli. It is an image of great devotion that is venerated inside the temple and which we will talk about later. The tile was made by the great ceramist painter Antonio Kierman Flores in the Santa Ana factory in Triana (1955).

Inside

Inside, the church is divided into three naves by eight cruciform pillars. In the central nave and in the transept, the vaults are barrel vaults with lunettes and have transverse arches. The side naves, which are somewhat narrower, are covered by a groin vault, except in the chapels at the head of each nave, which are covered by hemispherical vaults. Above the transept there is a large dome, raised on a high circular drum and topped by a lantern. Both the drum and the lantern have semicircular openings that provide luminosity to the interior.

The presbytery area is quite unique in the context of Sevillian churches, since it does not have an altarpiece, following the dictates of the academic aesthetic to which the temple adheres. In its place, we find a classical style temple made by José Barrado in 1841. Six columns of black jasper support a hemispherical dome on which is located a small stone allegory of Faith. The temple houses a classic Immaculate Conception from the 18th century by the author a stranger.

Above the main arch that frames the presbytery, there are three niches between Corinthian columns that house the sculptures of San Ildefonso, in the middle, flanked on the sides by San Pedro and San Pablo. These are carvings made by Felipe de Ribas around 1637 that belonged to the altarpiece of the church before the current one. Juan de Astorga intervened on them in the 19th century to adapt them to the new temple, thus completely altering their original baroque polychrome.

The altarpieces of the church are all from the 19th century, in line with the neoclassical aesthetics prevailing at the time and without much artistic interest. However, the church has a series that should be highlighted for its artistic and historical interest.

 

On the Epistle side (on the right):

- Relief of the “Two Trinities”, made by Martínez Montañés around 1609. It is located in the Baptismal Chapel, at the foot of the Epistle nave (right). It is a beautiful relief in which the master combines the representation of the Trinity formed by the Father, the Son and the Holy Spirit, with that other trinity that would be formed by Jesus himself, along with Saint Joseph and the Virgin Mary. The Holy Family is located on a lower plane, and above them the Holy Spirit and God the Father. In the center, the figure of Jesus, still a child and in front of a Cross, serves as a union and link between the two planes.

- Sculptural group of “The Appearance of the Virgin to San Cayetano”, in one of the chapels on the right side. It has been dated to the 18th century and is probably by Cristóbal Ramos.

- The Virgin of Soledad presides over another of the altarpieces on the right side. This is a magnificent dress-painting made around 1844 by Juan de Astorga, probably the most prominent sculptor of the 19th century in Seville.

- Sculptural group of “The delivery of the chasuble to San Ildefonso”, which is located in a marble altarpiece at the head of the nave. This is a quite interesting group dating from the late 18th or 19th century, but whose authorship is unknown.

In the Gospel nave (left side):

- At the foot of the nave, next to the entrance, a showcase like a temple houses a beautiful small-format Pietà. This is an image from the 18th century, most likely the work of the sculptor Cristóbal Ramos.

- Also on the Gospel side is the altarpiece of the Virgin of the Kings, also called “of the Tailors”, as this guild was the one that originally commissioned the image. Traditionally the image has been considered one of the so-called “fernandinas”, that is, original from the early times after the Christian conquest (13th century). Today there is a tendency to think that the image is the work of the 16th century, with notable baroque transformations, such as the Child himself, which was added in the 17th.

The image is owned by the Brotherhood of Tailors, which has its origin in the old San Marcos hospital, which was located in the Alfalfa area. This is the reason why we find a small carving of Saint Mark in the attic of the altarpiece. In the side streets, we find San Fernando and San Hermenegildo, patron saints of the Spanish monarchy. They are carvings by Pedro Roldán dated around 1674.

- At the left end of the transept is the Cautivo altarpiece, which houses the image of Nuestro Padre Jesús Cautivo y Rescatado, also called Medinaceli because it reproduces the iconography of the image found in Madrid with the same dedication. It is an anonymous image from the 18th century that represents Jesus just before starting the path to Calvary. It is a dress size that makes use of natural hair, a resource that was very common during the Baroque as a way of giving images greater realism and drama.

This iconography was greatly promoted by the order of the Trinitarians, who were dedicated to collecting alms for the rescue of Christian captives in Muslim territory. It was the monks of this order who brought devotion to Seville. The image was originally in the church of his convent, which was located next to the Plaza del Cristo in Burgos. When the convent disappeared during the confiscation, the carving went to the church of San Hermenegildo and from there it was moved to its current location at the beginning of the 20th century. Currently it has great devotion in the city, with numerous devotees approaching its altar every Friday, especially during the Fridays of Lent.

- At the head of the Gospel nave is the altarpiece of the Virgen del Coral. The central image is a very interesting representation of the Virgin and Child, by an anonymous author, but belonging to the so-called international style of the late 14th century. It would, therefore, be contemporary with the Virgen de la Antigua that is venerated in the Cathedral. José Francisco Haldón Reina makes an interesting description of the image on the parish website:

“It is a mural painting that follows the so-called international style, dating back to the last quarter of the 14th century. The dedication of the Coral is due to the fragment that hangs from the necklace that adorns the Child's neck. The red color of the coral appears here as a prefiguration of the Eucharist and the Passion of Christ. The Virgin is represented as "Hodegetria" (Bearer or Conductor). She is dressed in a purple tunic and mantle, decorated with golden lozenges, bands and plant motifs. The Virgin surrounds her head with a golden nimbus with stars. The head of the Child also has a golden nimbus. Both effigies are surrounded by golden glow. Mary carries the Child on her right arm, showing in her left hand a pomegranate, a symbol of the Church.

* : Leyendas de Sevilla   │   º : Wikimedia Commons

CHURCH OF SAN ALBERTO

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The church of San Alberto is the temple of the convent of the same name, which currently houses the Congregation of the Oratory of San Felipe Neri (Philippian fathers). It is a church with a single nave built in the first half of the 17th century, but with profound reforms in the following centuries.

History

The convent originally belonged to the order of the Carmelites, who founded the convent of San Alberto in 1602 as a center of higher education. The church was not consecrated until 1626 and work continued for a few more years, with the completion of the main chapel in 1640.

The convent and the church suffered considerably during the French occupation (1810-1812), when the complex was transformed into a barracks for Napoleonic troops. A good part of its artistic heritage was then lost.

After the war, the Carmelites would return to the convent, although it would not be for long. After the Confiscation of Mendizábal (1636) they were forced to abandon it. From that moment on, it went through various uses, such as the headquarters of the Royal Academy of Good Letters or a secondary school. Finally, it was acquired by the Philippian fathers at the end of the 19th century.

A dispute then began with the Carmelites, former owners of the property, who defended their right to return to it. Finally, through the intermediation of Cardinal Spínola, the Carmelites settled in the old Buen Suceso hospital, where they remain today. To seal the peace, the Philippians had to give them some artistic works of special relevance that were originally in this church and that are today found in Buen Suceso. We can cite the magnificent “Saint Anne presenting the Virgin in the Temple”, by Martínez Montañés, or the carvings of “Saint Albert” and “Saint Teresa”, by Alonso Cano.

Description

The church responds to a late-mannerist model that we found on other occasions in Seville. It has a rectangular floor plan and a single, large nave. It is divided into five sections by large buttresses. Between them a series of side chapels-niches open, over which a tribune runs.

The covering is done by lowered vaults with lunettes and transverse arches. Especially interesting is the elliptical dome that covers the transept. It sits on pendentives and eight oculi open in it, giving it luminosity.

The presbytery is slightly elevated with respect to the rest of the church and at the foot of the temple is the high choir, also sitting on a lowered vault with lunettes.

Outside

Access to the church is through a simple mannerist door open at the foot of the right wall. It is a work with very simple lines that has been related to the architect Diego López Bueno. Above the door there is a split pediment with a niche in the center. The sculpture represents Saint Albert and was carved in 1626 by Alonso Álvares de Albarrán, a disciple of Martínez Montañés. It has some remains of polychrome, but it probably comes from some restoration in the 19th century.

In a curious chamfer on the left side of the façade there is an open chapel with two sections. The first and largest is dedicated to the Virgin of Carmen, while the upper one houses a tile of the Virgin of Perpetual Help. To the right of the doorway we find another ceramic altarpiece, this time reproducing the carving of San Felipe Neri that is found inside the church. Fernando Orce painted it for the Pedro Navia factory in Triana around 1955.

Although it is difficult to see from the façade, the church has a bell tower visible from the surrounding streets. It presents the usual tile decoration of the Sevillian bell towers and is dated 1739. It is very likely that the tower is earlier and that this date corresponds to a major renovation that had to be undertaken after it was badly damaged in 1736 when it fell on it. a ray.

Inside

The main altarpiece is neoclassical in style and was made to replace a previous baroque style altarpiece destroyed during the French occupation. In its large central niche, there is a Crucified figure that reproduces the Christ of Clemency by Martínez Montañés. It was made in 1791 by a sculptor named Ángel Iglesias, of whom no other works are known.

At the foot of the Cross there is an anonymous 18th century Dolorosa dress. It is of notable quality and it has been pointed out that it could be the painful primitive of the Brotherhood of the True Cross (Manuel Jesús Roldán, “Iglesias de Sevilla”).

In the side streets are Santa María Magdalena and Santa María Egipciaca, interesting works by Duque Cornejo (18th century). In the attic we find anonymous sculptures dating from the same period as the altarpiece. In the center, a group represents “The Apotheosis of Saint Albert”, and on the sides are Saint Elias and Saint Teresa.

In the presbytery area, the lamp angels are also interesting, made in the 18th century by Cayetano de Acosta, one of the most prominent sculptors of this century in Seville.

The rest of the altarpieces are neoclassical, from the 19th century, and are not of considerable quality. Some of them can be mentioned because they have some aspect of interest:

- Altarpiece of the Virgin of Valvanera. In its central niche it houses an interesting image from the early 19th century that reproduces the Virgin of Valvanera, patron saint of La Rioja. It is flanked on the side streets by Blesseds Antonio Gassi and Juan de Ávila. In the attic there is a painting with "The Breastfeeding of Saint Bernard", anonymous from the 18th century, which reflects the medieval tradition according to which the Virgin Mary appeared to the saint to grant him the gift of eloquence by giving him to drink her own breast milk. she. On both sides are two saints, presumably Carmelites, but not identified.

- Altarpiece of San José. Located next to the previous one on the left side of the church. The only notable thing is the central carving that represents Saint Joseph with the baby Jesus in his arms. Saint Joseph has traditionally been one of the favorite devotions of the Carmelites. Here we find it in a carving made by the Sevillian sculptor Cristóbal Ramos around 1782. It is worth highlighting the moving delicacy with which Saint Joseph rests his cheek on the head of the Child.

- Altarpiece of San Antonio. It is located in one of the niches on the Gospel side (left). The altarpiece and the central carving do not present much interest from an artistic point of view, but the five paintings that decorate it are worth highlighting. They represent the Four Evangelists in the side streets and “The Coronation of the Virgin” in the attic. Historically they were attributed to Francisco Pacheco, but today they are considered works of Juan del Castillo from around 1632.

- Altarpiece of San Felipe Neri. Located on the right side of the transept, in front of the altarpiece of the Virgin of Valvanera. Its interest lies in the carving of the saint that occupies the central niche. It is a work of great quality that was sometimes linked to the production of Pedro Roldán. Today it is considered more of a work by Duque Cornejo, based on an attribution made by Manuel García Luque, which dates it to the beginning of the 18th century.

- Nativity altarpiece. It is located next to that of San Felipe Neri, on the Epistle side. Of particular note is the sculptural ensemble of the Nativity located in the central niche, dating back to the 18th century. On the sides are San Joaquín and Santa Ana. Both appear to be from the 17th century, although apparently they were not made together, since the figure of San Joaquín is somewhat smaller.

The rest of the altarpieces are interesting for their devotional value rather than their artistic value. They are dedicated to such popular devotions as the Sacred Heart, the Virgin of Perpetual Help or Saint Joseph.

OLD SILO OF THE CATHEDRAL COUNCIL

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The Old Silo of the Cathedral Council (Antigua Cilla del Cabildo de la Catedral) is an 18th century building that stands on Santo Tomás Street in Seville. Throughout its history it has undergone various remodeling in relation to the different uses it has received. Currently it is the headquarters of the General Archive of the Indies, a condition it shares with the Antigua Lonja de Mercaderes, which stands just across the street.

Its construction took place in 1770 to serve as a grain warehouse for the Cathedral Chapter. Apparently, the place they had been using for this purpose was seriously damaged in the 1755 Earthquake, so it was necessary to undertake this project. There is no certainty about the architect who directed the work. Some authors point to Pedro de Silva, who was the chief architect of the Archbishopric. However, the Navarrese Lucas Cintora is also mentioned, who would later be mainly responsible for the transformations in the Lonja building to adapt it to its new use as an Archive.

For the construction of the façade, a fragment of the wall that joined the Alcázar with the Torre del Oro was used. In fact, even today we find one of the towers attached to the façade of the building. It is a simple square tower, dating from the late 12th century or early 13th century.

La Cilla lost its use as a warehouse in the 20th century and for a short period was the headquarters of the Royal Asturian Mines Company. In 1972 it was decided to completely renovate the property to make it the headquarters of the Museum of Contemporary Art of Seville. The architect from Cádiz Rafael Manzano Martos was in charge of directing the works on this occasion.

A new stage in the history of the old cilla would begin around the year 2000, when the process began to incorporate it as a complementary headquarters for the General Archive of the Indies. The works were completed in 2005 and the building was then configured with its current characteristics.

La Cilla was originally designed as a rectangular building with two floors. The naves are covered with hollow vaults supported by rectangular pillars and marble columns. It currently has two more floors, one in the basement and another under the roof, added in successive transformations to adapt the property to a museum and, later, an archive.

The façade repeats the compositional scheme of the Lonja building that is located directly opposite. La Lonja responds to the design of the great Renaissance architect Juan de Herrera and introduced a bichrome on its façade that was enormously successful in Seville.

We see this bichrome repeated on the façade of the cilla, with the stone areas in lighter tones and the brick facings with a more reddish color. The two floors of the building are divided into seven equal modules divided by pilasters. In the central module of the first floor there is a simple lintel doorway. Right above it, already on the second floor, is sculpted the emblem of the Cathedral Chapter, the Giralda between two jars of lilies. Above the emblem is a simple oculus that serves to distinguish this central module, since in all the others rectangular windows framed by simple stone moldings open.

The old Cilla del Cabildo was declared a Site of Cultural Interest in 1985 and is currently home to the Reference Department, the Library, a conference room, the research room and other services of the General Archive of the Indies.

CHURCH OF THE SAVIOR

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The Church of the Divine Savior of Seville is the second largest temple in the city, only after the Cathedral. It is one of the great architectural jewels of the city and inside it houses a magnificent sculpture collection, with works by the most prominent authors of the Sevillian baroque. As a result of its long and complex history, a huge and majestic temple with three naves has been created. The transept stands out noticeably in height over the rest, although it is not perceptible in the floor plan of the building, which is called a living room.

History

We know that in the space it occupies today was the so-called mosque of Ibn Adabbas, created around 830 as the aljama or main mosque of the city. It held this rank until the new great mosque was built in the 12th century, on the site now occupied by the Cathedral.

Some elements of the mosque that was located in El Salvador have been preserved, such as part of its patio and the beginning of its minaret, which corresponds to the lower part of the tower that we find at the northern end, on Córdoba Street.

Once the city was conquered by the Christians in 1248, the mosque was used as a church, although maintaining the essentials of its structure. It remained this way for centuries, with the architectural characteristics of an Islamic temple but serving for Christian worship, as continues to happen today, for example, with the Mosque-Cathedral of Córdoba.

However, when the 17th century arrived, it seems that its condition was quite ruinous and it was decided to build a new temple. Work began around 1674, but when the vaults were being closed, a resounding collapse occurred that forced a good part of the project to be rethought.

Leonardo de Figueroa, the best architect of the Sevillian baroque, who also intervened in other projects such as San Luis de los Franceses or La Magdalena, was eventually entrusted with directing the works. In this case, Figueroa was in charge of closing the vaults, building the large dome and finishing the interior of the building. The works were not completed until 1712.

Outside

Courtyard and Tower

Today you can see some remains of the old mosque in the current Patio de los Naranjos, where some of the columns that surrounded the primitive ablution patio are preserved in situ. Some of them have Roman and Visigoth origin, and their depth makes it clear that the height of the mosque was much lower than that of the current church.

The base of the bell tower, between the patio and Córdoba Street, was also the original minaret of the mosque, completely altered on its upper floors by successive renovations. The upper part that we can see today was added by Leonardo de Figueroa at the end of the 17th century.

Capilla de los Desamparados

At the western end of the patio is the Chapel of Cristo de los Desamparados, a small rectangular temple that was built in the mid-18th century, under the direction of one of Leonardo Figueroa's sons, Matías or Ambrosio. Sources differ in this regard.

The interior is covered by two elliptical vaults, the one closest to the main altar being crowned by a lantern. Its walls are profusely decorated with baroque mural paintings and a series of niches open on the sides as side altars. In one of them is located the Virgen del Prado, a dress image made by the image maker Sebastián Santos in 1949, who is the owner of his own brotherhood of glory.

The main altarpiece is occupied by the image of the Cristo de los Desamparados, owner of the chapel, a crucified by an anonymous author that has been dating back to the 16th century.

Church Facade

As for the church itself, the main façade has very classic baroque lines and Italian influence, close to Renaissance forms. The succession of stone pilasters and reddish brick panels achieve the classic bichrome that is so characteristic of many Sevillian buildings since the Lonja, today the Archive of the Indies, was built in the 16th century.

Despite its monumentality, the Salvador façade stands out for its scarce decoration, which contrasts greatly with the interior.

It is organized into three streets separated by pairs of pilasters, which correspond to the three naves of the temple. In the first body there are three doors, with the central one larger than the side ones. They are framed in a very classic way, with pilasters supporting a lintel on which a second, much smaller body opens. Two angels on each lintel hold a shield with the representation of the "Agnus Dei". On the main portal, a globe crowned by a cross symbolizes the "Savior", while the side portals are crowned by the effigies of Saint Peter and Saint Paul.

The Plateresque-style decoration that runs through the pilasters and some of the moldings is relatively recent, from the end of the 19th century. Two oculi framed by square molding open on the side portals.

In the second body, we find only the extension of the central street, framed again by pilasters, and with a large central oculus as the only decoration. On each side, there are two areas decorated with scrolls, very frequent elements in European religious architecture since the Renaissance. They have the function of softening the transition between the great width of the first body and the much smaller width of the second.

Behind these convoluted spaces are hidden two buttresses that seem to serve to support the weight of the walls of the central nave. It should be noted that these elements are traditionally linked to Gothic architecture and not to Baroque. In the case of El Salvador they are especially interesting since they apparently do not fulfill any structural function due to their position. It has been pointed out by several authors that the inclusion of buttresses would simply be due to a symbolic interest, that of highlighting the importance of the church as a collegiate temple by introducing this type of elements traditionally linked to a type of "cathedral" architecture. This is how José María Medianero Hernández explains it in an article dedicated to the survival of flying buttresses in Lower Andalusian architecture:

“The general compositional role does not appear to be fortunate given its setback composition with respect to the aforementioned lateral additions ending in volutes and its only functionality seems to be established in the mission of conducting the discharge of water. Of course, this trivial problem could have been solved in a simpler way. Perhaps the most plausible explanation is the recurrence to an emblematic motif of a collegiate temple with cathedral aspirations, desires and pretensions that architecturally transcend the packaging and elegance of the building.

Dome

The dome is the most recognizable element of the church of El Salvador, especially when the temple is viewed from a distance. It was built in 1709-1710 following the design and direction of Leonardo de Figueroa, an architect who created other masterful domes in Seville, among which those of the Magdalena and San Luis de los Franceses stand out.

In the case of El Salvador, it is a hemispherical dome on an octagonal drum. It has a height of more than 40 meters and a width of more than 10 meters. The elevated drum serves to highlight the dome above the rest of the church's roofs and eight windows open on its sides, crowned by alternating curved and straight pediments.

The domes of the church of El Escorial and the Clerecía of Salamanca have been noted as antecedents, both indebted to the dome designed by Bernini for the church of Castelgandolfo.

Inside

The church has a rectangular or hall floor plan, as it does not form the classic Latin cross shape so common in Christian churches. It is divided into three naves, the central one being higher and wider than the side ones. Although the church does not have side chapels, but rather altars, some spaces are attached to the main body of the floor, such as the old baptismal chapel, the sacramental chapel and the sacristy.

The vaults are supported by colossal square pillars to which are attached columns of composite order and richly sculpted shafts. The roof is made with a barrel vault in the central nave and the transept, and a groin vault in the side naves.

The sculptural decoration runs through the stone parts of the interior of the temple, such as the shafts of the columns or the spandrels of the arches. It is mostly plant decoration, scrolls and other baroque motifs. We also frequently see the royal coat of arms, especially in the keystones of the transverse arches, an element that had the purpose of emphasizing to the Cathedral chapter the fact that the church was a royally founded collegiate church. We also find decoration in the pendentives that support the dome, in which the busts of the four evangelists are located in medallions surrounded by profuse ornamentation.

Main Altarpiece 

The church is dominated by an imposing baroque altarpiece, made between 1770 and 1779 by the Portuguese sculptor Cayetano de Acosta. It is a masterpiece of Sevillian altarpiece art that has sometimes been called "the last great altarpiece of the Spanish Baroque." The decorative profusion makes it difficult to distinguish the architectural structure of the altarpiece. In its center the scene of the Transfiguration of the Lord is represented, the moment in which Christ is present after the Resurrection on Mount Tabor. He is accompanied by Moses and Elijah, as representatives of the Old Testament and, on a lower level, the apostles Peter, James and John prostrate themselves in admiration. The central figure of Christ adopts a posture that has been related to the colossal Longinus that Bernini sculpted for St. Peter in the Vatican and is framed by a large scallop. The rest of the altarpiece is motley with countless figures of cherubs, angels and archangels. On the bench there are reliefs with representations of the Fathers of the Church and in the center we find a Tabernacle-Manifestator, crowned by an Immaculate Conception. In the attic, the figure of God the Father presides over the entire complex, emphasized by large golden sparkles behind him.

The hemispherical vault over the presbytery is decorated by tempera paintings that Juan de Espinal made at the end of the 18th century. It represents heavenly glory, with the Holy Spirit in the center, and through optical effects such as a fake balustrade, it manages to give the impression that it is a higher vault than it really is.

Organ

Above the main entrance to the church, there is today an imposing wooden organ, made by Juan de Bono and Manuel Barrera at the end of the 18th century. This organ was located in the center of the temple, in the choir area that opened in front of the High Altar. Collegiate churches were required to have their own choir, as is the case with cathedrals. A brilliant musical career developed in this temple since the 16th century, with such outstanding figures as the organist Correa de Arauxo, called "the Spanish Bach." In 1861 the collegiate character of the church was removed, the choir area was eliminated and the organ was moved to its current location. Even today, it is considered one of the best organs in Andalusia and is immersed in a restoration process.

Also magnificent is the altarpiece of the Virgin of the Waters, on the right side of the transept, a work by José Maestre from 1731 presided over by this Marian image of the so-called “fernandinas”, dating back to the 13th century but much remodeled later. These are just two examples of the large collection of altarpieces that this church houses.

And the representation in the temple of great masters of sculpture is exceptional. In all probability, the two great figures of the Sevillian baroque are Juan Martínez Montañés and his disciple Juan de Mesa.

Of the first, El Salvador preserves a colossal sculpture of Saint Christopher, reminiscent of Michelangelo for its monumentality and beauty. But the most outstanding work of this author in El Salvador is surely Our Father Jesus of the Passion, a moving image of the Lord with the cross on his back, which wonderfully shows the classicism of Montañés's baroque, managing to convey all the feeling and the emotion of the moment, but in a contained, elegant and solemn way. It presides over the silver altarpiece of the Sacramental Chapel and goes out in procession every Holy Thursday. We are not exaggerating when we say that it is one of the most successful representations of Jesus the Nazareth of the Spanish Baroque.

From the other great master of Sevillian baroque, Juan de Mesa, we find the Christ of Love, who also processions from this temple during Holy Week, this time during Palm Sunday. It is an exceptional carving of a crucified man, already dead, with a masterful treatment of the anatomy, hair and cloth. An exceptional work within the production of its author, which seems to have taken into account for its creation the model that his teacher Montañés made a few years before with the Christ of Clemency that we found in the Cathedral.

Along with these masters, the list of great artists with works in this church of the Savior is almost countless. We could cite, for example, Duque Cornejo, José Montes de Oca or Antonio Quirós. But for now we finish here this small sketch about the authentic living museum of Sevillian baroque that is the old schoolhouse of El Salvador. We will tell more in future installments.

And remember that if you are interested in taking a guided tour so as not to miss any of the details, you can contact us by any means you prefer from this website.

CONVENT OF SANTA MARÍA DE JESÚS

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The church of the convent of Santa María de Jesús is the only currently visitable part of a monastic complex of Poor Clare sisters that has been located on Águilas Street since the 16th century. It is a classic “box church” ("iglesia de cajón"), so common in Sevillian convents, which is why it has a rectangular floor plan and a single nave.

History

The convent of Franciscan nuns of Santa María de Jesús was founded in 1502 by Jorge Alberto de Portugal and his wife, Filipa de Melo, who eventually became the first counts of Gelves by concession of Charles V. Since its origin it has been a convent of barefoot nuns of the First Rule of Saint Clare (Franciscan). The construction of the current church was undertaken at the end of the 16th century and was considerably renovated at the end of the 17th century and in the middle of the 19th century.

Another important milestone in the history of this church would be the disappearance in 1996 of the Sevillian Convento de Santa Clara, on Becas Street. The few nuns who remained in the cloister moved to this convent of Santa María de Jesús, bringing with them some of the movable property belonging to the old convent.

Outside

Access from the outside is through a Mannerist doorway open on the left wall, in whose design the architects Juan de Oviedo and Alonso de Vandelvira are known to have participated. It is a lintelled doorway, framed by classic Ionic style pilasters and topped by a split and curved pediment. Above the center is a niche, topped this time by a triangular pediment, which houses a beautiful seated sculpture of the Virgin holding the Child Jesus. On the lintel above the door, two angels hold an inscription that reads "Sancta María ora pro nobis", in which "María" has been replaced by the symbol of the Ave Maria (AM). Just below appears "SE REN. YEAR OF 1695", referring to the date of one of the most important reforms undertaken in the temple.

A few meters to the right of this doorway, you can see another one that is now blocked off and which was once the primitive access to the cloister. In the center of this old entrance there is currently a ceramic altarpiece of San Pancracio that is very popular among Sevillians. It was made in the 40s of the 20th century by Alfonso Chaves Tejada at the Ramos Rejano Factory in Triana.

Inside

Inside, the nave is covered by a barrel vault with lunettes and transverse arches. Intricate plasterwork decorates the base of the transverse arches, the center of the vaults and the semicircular space under the lunettes. In this area, the plasterwork frames the windows that open onto the street on the Gospel side and a series of canvases from the old convent of Santa Clara on the Epistle side.

At the foot of the church, there are the upper and lower choirs, reserved for the cloister and separated from the rest of the temple by a wall in which large bars and two side doors open.

A large main arch on marble columns separates the nave from the presbytery like a triumphal arch. In its lower part, a small fence makes the presbytery an exclusive area for the officiants and the nuns. It is covered by a splendid eight-panel coffered ceiling in the Mudejar style, dating from the end of the 16th century. This characteristic is quite particular to this church, since in general in Sevillian convent churches it is common to cover this area with Gothic-style stone vaults. It has a tile plinth dated 1589 and attributed to the ceramist Alonso García. The walls are profusely decorated with baroque motifs and little angels that frame representations of archangels and allegories of monastic life. They have been dated to the end of the 17th century and their state of conservation is quite poor.

The main altarpiece was also made at the end of the 17th century and is of extraordinary quality. Cristóbal de Guadix was its assembler and Pedro Roldán the image maker, making all the sculptures, with the exception of the Virgin who occupies the central niche that is later. The central body is divided into three streets through four splendid Solomonic columns. On the left we find Saint Francis and, above him, a bust of Saint Michael. In parallel, on the right is Santa Clara and a bust of Santa Catalina. It should be remembered that Saint Francis is obviously the founder of the order that bears his name and Saint Clare the architect of its female branch.

The central street is almost entirely occupied by a large niche that houses a beautiful seated image of the Virgin changing the diapers of the Baby Jesus. Although it lacks reliable documentation, this image has been attributed to Luisa Roldán, la Roldana, based on her stylistic characteristics. Above the niche, a small temple houses a representation of the Eucharist.

In the center of the attic, a high relief represents the Nativity of the Virgin, framed in curious architectural forms that emphasize the sensation of depth of the composition. On both sides, the figures of the "Santos Juanes", San Juan Bautista and San Juan Evangelista, always present in the Sevillian conventual churches.

Also inside the presbytery, to the right, is a small altarpiece, framed by Solomonic columns, dedicated to the Jesus of Forgiveness. It is a representation of Jesus with the Cross on his back, from the 17th century and in full size, something quite unusual for the Sevillian Nazarenes. Its authorship is not documented but it has sometimes been attributed to Juan de Mesa himself, author of Gran Poder. In the attic of the altarpiece we find a relief in which Pope Honorius III is represented giving Saint Francis the Rules of the Order.

Although the temple does not have side chapels, several altarpieces are attached to its walls as small altars. On the Gospel side, we find two dated to the end of the 17th century and also attributed to Cristóbal de Guadix. They are dedicated respectively to Saint Anne, who appears in the traditional attitude of teaching the Virgin to read, and to Saint Andrew, holding the cross in the shape of a cross on which he was martyred.

On the opposite wall, the first altarpiece is dedicated to Saint Anthony and is of similar chronology and characteristics to the previous ones. Something later seems to be the next altarpiece, dedicated to the Immaculate Conception, which is presided over by a beautiful carving from the 18th century that has been attributed to both Duque Cornejo and Luisa Roldán.

The next altarpiece, just in front of the entrance, is from the 20th century and houses a also modern image of Saint Pancras. It is probably the image with the least artistic value in the church but one of the ones that arouses the most popular fervor, since popular religiosity has been attributing to Saint Pancras the ability to effectively mediate especially in matters related to the work and economic sphere.

Finally, next to the low choir, the oldest altarpiece in the temple is located. Of Renaissance style, it dates back to 1587 and is the work of Asensio de Maeda and Juan de Oviedo. In the central body, framed by two Ionic columns, there is the relief of Jesus on the way to Calvary, which has the particularity that the Cross is held in a different way than usual, with Christ embracing the longest section, just like the does Our Father Jesus of the Brotherhood of Silence. In the attic there is another relief representing God the Father, probably also from the end of the 16th century, and on the bench we find a painting with the "Souls of Purgatory", already from the 18th century.

In the center of the wall that separates the nave from the upper and lower choirs, there is a Crucified Christ from the 17th century from the exclaustrated Convent of Santa Clara. It is located in the center of a curious canopy in which the emblems of San Francisco and Santa Clara (Franciscans) can be distinguished. On both sides there are two canvases also from the 17th century with "The Franciscan Martyrs of Japan" and "The Foundation of the Third Order by Saint Francis." In both there are signs with descriptions at the bottom, making their didactic purpose clear.

* Repositorio Gráfico del IAPH : https://repositorio.iaph.es/

CHURCH OF SAN LUIS DE LOS FRANCESES

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The church of San Luis de los Franceses constitutes one of the most outstanding examples of Sevillian baroque, with a clear influence of the great works of religious architecture in Rome in the 17th century.

It has a central plan in the shape of a Greek cross, preceded by the entrance by an atrium in which the choir is located. The arms of the cross on the floor plan are finished in the shape of an exedra and in the center of the complex rises an imposing dome on a circular drum.

History

It is the church of the old novitiate of the Company of Jesus in Seville. Its works began in 1699 and continued until its consecration in 1731. Leonardo de Figueroa was the architect in charge, although it seems that the plan of the project, with a marked Italian character, was imposed by the Company. Its similarity has been noted with the plan of Santa Agnese in Rome, the work of the architects Girolamo and Carlo Raimaldi some fifty years earlier. Other architects also participated in its construction, such as Matías de Figueroa, son of Leonardo, or Diego Antonio Díaz, to whom the finishing of the towers is attributed.

 

Outside

The exterior façade has two horizontal bodies divided by five vertical modules, with the central one accentuated by its greater decorative profusion. In addition, it is finished with a trilobed pediment on which the figures of the three archangels appear. The entire façade shows the traditional bichrome of the Sevillian baroque, with the facings in painted brick and the stone pilasters and decorative stone elements.

At the ends of the façade there are two robust bell towers with an octagonal section, decorated with sculptures of the Evangelists. Both flank the monumental hemispherical dome, set on a drum, covered with glazed tiles and crowned by a lantern.

 

Inside

The interior of the temple transmits in an unmatched way the sensation of exuberance and decorative profusion of the Baroque, with a perfect symbiosis between architecture, sculpture and painting. Attached to the buttresses that support the dome are monumental Solomonic columns with golden composite capitals that accentuate the feeling of dynamism of the space.

The main altarpiece is the work of Pedro Duque Cornejo and is dated around 1730. It is a true compendium of baroque elements, with paintings, sculptures, relics and architectural elements arranged to form a motley ensemble, without any ordered structure. At the top, it is covered by a large canopy that shelters the whole like a canopy, crowned by a large royal crown.

The two altarpieces on the side arms, dedicated to San Francisco de Borja and San Estanislao de Kostka, are also due to Duque Cornejo. Both consist of an identical structure, with a bench, a central body divided into three streets, and an attic. In the central niches are the sculptures of the owners and on the sides a series of canvases that allude to them, the work of Domingo Martínez.

In the four buttresses that support the dome there are four smaller altarpieces, but with a similar structure and decorative exuberance. Saint Francis Xavier, Saint Ignatius of Loyola, Saint John Francis of Regis and Saint Louis Gonzaga are dedicated.

 

Domestic Chapel

In addition to the church, within the premises of San Luis de los Franceses there is another space of enormous artistic value called the "domestic chapel". It has a single nave, covered by a barrel vault with lunettes and transverse arches, while the presbyter area is covered by an elliptical vault. The altarpiece is also the work of Duque Cornejo, from around 1730, and includes a profusion of Jesuit saints. Among the numerous sculptures, it is worth highlighting an Immaculate Conception that stands above the Tabernacle in a style very close to that of Gregorio Fernández.

The entire chapel is profusely decorated. On the walls there are a series of paintings of the apostles, interspersed with reliquaries and a set of Flemish bronzes on the life of the Virgin. Equally rich is the pictorial decoration of the presbytery and the vaults, works by Domingo Martínez and his workshop.

CHURCH OF SAN ISIDORO

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The church of San Isidoro is one of the medieval parishes of Seville. Several authors much later than its foundation say that it was built on the site that would have been occupied by the family house of San Isidoro during the Visigothic period. Naturally, absolutely nothing could be verified about these statements.

History

We do know that its construction must have begun in the first third of the 14th century, since the cover on the Epistle side is closely linked to that on the side of the Gospel of Saint Anne of Triana, for which the chronology is documented. In this way, both would be among the oldest churches in the city. Furthermore, the urban area in which it is located is the highest with respect to the river and, therefore, the one with the oldest settlement. The forum of Roman Hispalis has traditionally been located in its vicinity, although it is true that without any archaeological basis.

Since the Christian conquest, wealthy families from the city settled in this area and merchants of the most diverse origins settled there from the 16th century onwards. In this way, San Isidoro will be a "rich" parish and this has an inevitable reflection in the architecture and ornament of the temple.

The original 14th century building was notably altered between the 16th and 17th centuries, mainly in the presbytery area. Also in the 18th century, reforms were undertaken, such as the construction of the chapels on the left side.

As it has come down to us, San Isidoro is a rectangular church with three naves, a transept, a choir at the foot and side chapels, which are different in size, style and layout.

Outside

On the outside, the temple has three doors. The one located at the foot is very simple, in the Mudejar style. It consists of a slightly pointed arch framed by an alfiz. Apparently, the arch was initially horseshoe-shaped and was "simplified" to adopt its current appearance sometime between the 16th and 18th centuries.

The door that opens to the left side is the most recent, added in the 18th century in a neoclassical style. It is lintel, with two pilasters supporting a simple entablature. Next to it, we find the most ornamentally rich façade fragment in this church. This is the exterior part of the sacramental chapel, added as we said in the 18th century, which in some way functions as a separate façade. It is made of exposed brick, with a baroque style with very classic lines, and stands out for its reddish color, different from the rest of the temple. It is topped by a triangular pediment and in the center of the wall there is a lobed medallion with an allegorical scene of the “Adoration of the Holy Sacrament”.

Right at the other end, on the Epistle side, the other door opens, dated to the 14th century. It presents the classic forms of the Sevillian Gothic-Mudejar doorways. It consists of a pointed arch with archivolts, the two outermost ones at the top being decorated with geometric motifs: one with saw teeth and the other with diamond points. It is framed by a double alfiz, the first triangular and a larger square one.

At the apex of the triangular alfiz we find a sculpted star of David or Solomon, historically linked to the Hebrew religion. It is the only church in Seville in which we can see this element, which has been the subject of the most diverse interpretations. However, the truth is that this six-pointed star is a symbol that appears quite frequently in medieval religious buildings, apparently as an element of protection. In an article about this cover, Rafael Cómez tells us that "with a talismanic meaning and a spell against the forces of evil, the six-pointed star, inscribed in a circle, must have been made, which is shown to us on the cover of the nave of the Epistle. ".

Above this door, a bell tower was built much later, and already in the Baroque style, which preserves the 18th century tiles depicting Saint Isidore and Saint Leandro.

Inside

Inside, the naves are divided by pointed brick arches that rest on cruciform pillars. The roofs are wooden coffered ceilings in the Mudejar style, with the central trough shaped and the side ones hanging. As an exception, the transept is covered with a hemispherical dome on pendentives in its center and with barrel vaults on each of its sides.

The main altarpiece is mainly made up of an excellent canvas that represents the "Transit of San Isidoro", a work by Juan de Roelas from 1613. The frame-altarpiece that houses it is later; It was made around 1752 by Felipe del Castillo. The paintings in the vaults date from the mid-18th century and have been related to the work of Juan de Espinal. They represent fake architectures in which San Fernando and San Hermenegildo are framed.

To the left of the main chapel, at the head of the Gospel nave, is the Maestres chapel, which has an interesting tiled plinth original from the 17th century. A 19th-century neoclassical altarpiece houses the image of the Christ of the Blood, a moving Gothic carving from the mid-14th century. It is the oldest Crucified of those preserved in Seville, comparable only to the Christ of the Million in the Cathedral.

Just on the other side of the main altar, at the head of the Epistle nave, is the Villampando chapel, from the beginning of the 17th century, the date in which the tile plinths and the grille that closes it were made. It is presided over by a baroque altarpiece dedicated to Saint Albert.

On the wall of this same nave there is another baroque altarpiece, this time from the mid-18th century. In its center, an image of Saint Joseph from the same period, the work of José Montes de Oca.

On this right side the church has a single chapel, dedicated to the Virgin of Health. It is the most clearly Mudejar style. It has a hemispherical vault, decorated with geometric motifs and set on squinches. The image of the Virgin has been dated to the beginning of the 16th century, with a transitional style between Gothic and Renaissance. She is full size, although she is generally presented dressed in the baroque style.

On the other side of the church, in the Gospel nave, next to the entrance is the Chapel of Our Father Jesus of the Three Falls, the titular image of the brotherhood based in this church that processions every Good Friday. The Christ is a carving by Alonso Martínez from around 1667. The Virgin of Loreto is the image that accompanies him in this chapel and on his processional exit. It is an anonymous dressing room from the 18th century, although deeply renovated by Sebastián Santos in the mid-20th century. Although it is not found in this chapel, the brotherhood has another image of great value. This is the Cyrenean who helps Jesus with the cross on his path. It is a magnificent carving from 1687 by Francisco Antonio Gijón, an illustrious name in the history of Sevillian art, forever linked to the overwhelming "Puppy" of Triana. The Cirineo of San Isidoro is considered one of the best "secondary" carvings of Holy Week in the city and is generally located in the Epistle nave, close to the entrance.

The most prominent chapel of the church, and one of the most notable in the Sevillian baroque, is the sacramental chapel. It has its origins in the 16th century, the date on which the gate that closes it is dated, although as it has come down to us it is a work from the 18th century.

Above the access to the chapel there is a canvas with the "Allegory of the Eucharist", an interesting work attributed to Lucas Valdés. Once inside, the walls are covered with a series of canvases, mainly with themes related to the Eucharist, such as "The Transfer of the Ark of the Covenant" or "The Delivery of the Propitiation Bread", works also linked to the style by Lucas Valdes.

The cornices and upper part of the walls have a profuse decoration of plasterwork, which reproduces plant and architectural motifs, such as Solomonic columns.

But the element that attracts most attention in the chapel is its spectacular altarpiece, one of the most exuberant examples of Sevillian altarpieces. It is a work by Jerónimo Balbás and Pedro Duque Cornejo, made at the beginning of the 18th century by order of Juan Bautista Melcampo, a merchant of Flemish origin buried in the same chapel. The decorative profusion is such that it is difficult to distinguish the architectural structure. Countless child and youth angels intermingle with vegetal motifs, garlands, stipes and Solomonic columns in a motley and dazzling ensemble.

In the central niche, the Virgin of the Snows is venerated, a seated image that reproduces the scheme of the "Fernandine" Virgins, such as that of the Kings of the Cathedral or that of the Waters of El Salvador. However, it seems that that of San Isidoro is later, at least from the 16th century. On both sides are San Sebastián and San Roque.

In the center of the second body of the altarpiece there is a Child Jesus with the style of Juan Martínez Montañés. On his sides, Saint Thomas Aquinas and Saint Ignatius of Loyola, and above him the figure of God the Father appears from a medallion in an attitude of blessing.