Omnium Sanctorum (All Sants) is one of the oldest churches in Seville, since it was founded shortly after the Christian conquest of the city in 1248. However, it was greatly affected by the great earthquake of 1356, so it had to be raised in new to a large extent, remaining from the original work only the main façade towards Calle Feria. This has made it classified within the so-called “group of churches of 1356”, along with San Andrés and San Esteban, all of them with deep reconstructions paid for by Pedro I.
It is built in the Mudejar Gothic style, has a rectangular floor plan with a very marked polygonal apse and has three naves, separated by pointed arches that rest on cruciform pilasters. The apse is covered by Gothic rib vaults, while the rest of the church has wooden roofs, which follow the Mudejar style, although they were built in the 20th century, within the deep reconstruction that was undertaken after the fire of the church in 1936.
It has a magnificent tower at the foot whose dating has generated various interpretations. There are authors who point out that it would be part of the original work of the thirteenth century, although the most likely option is that it was built already in the fifteenth century, with a last body added in the seventeenth. What seems totally ruled out is that it was an old minaret reused as a bell tower, since, despite the popular belief that the Mudejar churches of Seville are based on old mosques, the truth is that the different archaeological excavations have shown that it is of temples built already in Christian times.
What is certain is that it makes use of resources present in Almohad art, such as the characteristic decoration with sebka cloth on each side, following the Giralda model, also repeated in other nearby towers, such as those of San Marcos or Santa Marina.
To the left of the main portal there is a wrought iron cross known as “Cruz del Garfio” or “de los Carboneros”. It comes from the nearby Peris Mencheta street and apparently it had a hook on which a roman or scale was placed where the charcoal sellers weighed their merchandise.
On the right we find a ceramic altarpiece by Antonio Kierman made in 1929 that represents the Virgin of All Saints, the work of Roque Balduque from the 16th century who is the owner of the temple, whose main altar presides under a neo-baroque temple located in the center of the Gothic apse.