Tag Archives: Renaissance

CALLIOPE FOUNTAIN

by

In the centre of the Plaza de la Magdalena there is a marble fountain from 1844, crowned by an 18th century sculpture representing the muse Calliope. The fountain is made up of a large polygonal vessel, in the centre of which there is a stem-shaft divided into two bodies by a second vessel, this time circular.

The first body of the shaft is decorated at its base with scallops, royal crowns, the symbol of the city (NO8DO) and the aforementioned date of the fountain's creation. In its cylindrical part there are several male mythological figures linked to the aquatic world (tritons). The circular vessel that supports this first body is ribbed and surrounded by four fountain masks through which the water falls to the sea of ​​the fountain.

Crowning the whole, we find a female sculpture holding a laurel wreath in her right hand. It could be the muse Calliope, protector of epic poetry and eloquence.

The square where the fountain is located was occupied by the primitive parish of La Magdalena, which today is located a few meters further west. This church was demolished in 1810, during the French occupation of the city. After the expulsion of the French, an attempt was made to rebuild the temple, but finally it was decided to open a square in its place, at which time the fountain was installed.

Elements from earlier sources were used for its construction. The main vessel comes from a fountain that was located in front of the Hospital de la Misericordia, in the current Plaza Zurbarán. It is probably of Italian origin and dates back to the Renaissance.

For its part, the first body of the central shaft and the circular vessel come from a mannerist fountain that was located in the Alameda in the 16th century. Finally, the female sculpture that tops the ensemble comes from the 18th century sculpture collection that the Archbishop's Palace of Umbrete held. A good part of the sculptures from this collection are now found decorating the Garden of Delights, in the south of the city.

This combination of origins gives the fountain a rather eclectic character, mixing the classicism of the Renaissance and the 18th century with the 19th century romanticism of the time when it was recomposed.

“Calliope, in Greek mythology, according to Hesiod’s Theogony, foremost of the nine Muses; she was later called the patron of epic poetry. At the behest of Zeus, the king of the gods, she judged the dispute between the goddesses Aphrodite and Persephone over Adonis. In most accounts she and King Oeagrus of Thrace were the parents of Orpheus, the lyre-playing hero. She was also loved by the god Apollo, by whom she had two sons, Hymen and Ialemus. Other versions present her as the mother of Rhesus, king of Thrace and a victim of the Trojan War; or as the mother of Linus the musician, inventor of melody and rhythm. Her image appears on the François Vase, made by the potter Ergotimos about 570 bce.”

Britannica, The Editors of Encyclopaedia. "Calliope". Encyclopedia Britannica, 1 Dec. 2023, https://www.britannica.com/topic/Calliope-Greek-Muse

 

* Wikimedia Commons

CONVENT OF SANTA MARÍA DE JESÚS

by

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/

ROYAL ALCÁZAR

by

The Alcazar of Seville is one of the most fascinating royal residences in Spain. This is due to the fact that it does not respond to a single project undertaken at a given moment, but rather is the result of numerous construction phases that have taken place throughout its history.

It has been used continuously as a royal palace since its Muslim origins, back in the 10th or 11th century, until today, in which it is still the oldest royal palace in use in Spain and Europe. Throughout its history, the different monarchs who have inhabited here have been adapting the different palaces, courtyards and gardens to the tastes of each era, until configuring the marvelous and diverse complex through which we can walk today.

Although its origin is a set of Muslim palaces, very little remains of this early period of the Alcázar. Most of the palaces that we are going to see correspond to the reforms undertaken in Christian times by:

- Alfonso X the Wise, who built the so-called Gothic Palace in the 13th century.

- Pedro I, called by some the Cruel and by others the Justiciero, who built the wonderful that is the true heart of the Alcázar. It was built in the middle of the 14th century and constitutes the peak of the Mudejar style.

- In the reign of the Catholic Monarchs, the so-called Casa de Contratación was built, of which we will also see some rooms on this side, intended to centralize and organize trade with the Indies, after the discovery of America in 1492.

All this is surrounded by a magnificent set of patios and gardens, which have been added and reformed until very recent times. It must be remembered that a part of the Palace of Pedro I, specifically the upper floor, is still used as the residence of the kings of Spain when they are in Seville.

Thanks to all this, its long history, its beauty and its architecture, the Real Alcázar of Seville was declared a World Heritage Site by UNESCO in December 1987, together with the nearby cathedral and Archivo de Indias.

[mapsmarker map="2"  lat="37.384222" lng="-5.991888" zoom="18" height="300" heightunit="px"]

CONVENT OF SAN AGUSTÍN (OLD)

by

The Convent of San Agustín was one of the great Sevillian convents during the Middle and Modern Ages, founded according to Ortiz de Zúñiga already in the 13th century, shortly after the Christian conquest of the city. It seems that the religious settled here at the end of the same century and the Augustinian community remained here until 1835, the year in which they were exclaustrated.

After the expropriation of the convent, the property has been put through various uses and gradually reduced its original dimensions. The church and one of the cloisters have disappeared and today only a few rooms remain around what was the main cloister, all in a dilapidated state.

Although the convent had a long construction history between the 13th and 19th centuries, the remains of the cloister that have survived to this day date from the end of the 16th or beginning of the 17th century. It is an enormous porticoed cloister, with semicircular arches on brick pillars on the first floor and carpanel arches on paired columns on the second. ´

In the center of the courtyard are the stone remains of what appears to be a great gate or triumphal arch, deposited there after being dismantled from its original location. It is probably access to the compass of the convent that was designed by the great architect of the Sevillian Renaissance Hernán Ruiz II.

There is currently a project to build a hotel on what remains of the old convent, maintaining the cloister façades.

[mapsmarker map="2"  lat="37.389726" lng="-5.983682" zoom="18" height="300" heightunit="px"]

CONVENT MADRE DE DIOS

by

Convent of Dominican nuns founded at the end of the 15th century, when Queen Isabella the Catholic ceded a large plot of the old Jewish quarter of Seville to the nuns. Some authors maintain that the convent was partly based on one of the old synagogues in the neighborhood, but this information has not been confirmed. The building that has survived to this day dates from the second half of the 16th century.

The main elements of the convent can be dated to that date: the church, a small patio that acts as a cloister and another larger one that is used as a garden.

The temple is one of the largest convent churches found in Seville and the architects Juan de Simancas and Pedro Díaz Palacios were involved in its construction. It has a rectangular plan, with a square head and high and low choirs at the feet.

The façade is on the Gospel side, accessed through a late Renaissance doorway. The royal coat of arms appears on the lintel, flanked by that of the Dominicans, a symbol of the patronage of the Crown. In the central niche, we see a relief by Juan de Oviedo with a beautiful representation of the Virgin and Child giving a rosary to Saint Dominic de Guzmán, founder of the order. Next to it appears the iconographic element that traditionally identifies it: a dog holding a torch in its mouth. In the attic there is an image of God the Father in an attitude of blessing.

Inside, a large wooden coffered ceiling covers the nave, while a magnificent octagonal vault on tubes, also made of wood, covers the presbytery area. The nave and the presbytery are separated by a large, richly polychrome main arch, a very characteristic element of the Sevillian conventual churches as well.

In the church there are more than twenty burials, among which those of Hernán Cortes's wife, Juana de Zúñiga, and two of her daughters, which are found on the sides of the presbytery, stand out.

The main altarpiece is the work of Francisco de Barahona from the beginning of the 18th century, made to replace a previous one from the 16th century. Some images of Jerónimo Hernández were preserved from the original, such as the Virgin of the Rosary in the central niche, also called Madre de Dios de la Piedad.

On each side of the presbytery there are two valuable Renaissance side altars from the second half of the 16th century. As usual in Sevillian convent churches, they are dedicated to the 'Santos Juanes', that is, to Saint John the Baptist and Saint John the Evangelist, both the work of the sculptor and altarpiece artist Miguel Adán. However, it was Jerónimo Hernández who carved the image of Saint John the Evangelist, whom he represents at the end of his life, on Patmos, the place where he wrote the Apocalypse. The one dedicated to San Juan Bautista is just opposite and has a very similar structure to the previous one. In its central niche, Miguel Adán represented the scene of the Baptism of Christ.

They are not the only Renaissance altarpieces that the church has.

The one next to that of the Evangelist frames a beautiful panel painting with a Flemish-inspired Burial of Christ.

On the opposite side we find the altarpiece of the Virgen del Rosario, anonymous from the 16th century and of great quality. The image of the Virgin, in the center, appears flanked by Santo Domingo and Santo Tomás, while the rest of the altarpiece has a series of reliefs with different scenes from the life of Christ and the Virgin.

In the upper and lower choir space of the church, the nuns have set up a museum space in which a series of high-quality artistic pieces are exhibited, mainly sculptures from the 16th and 17th centuries. To cite just a few of them, we can mention the Virgin and Child by Mercadante de Brittany, a Risen One by Jerónimo Hernández or a Calvary by Cristóbal Ramos.

With the entrance to the museum, you collaborate with the large expenses that the convent has to face for the maintenance of the property and its valuable artistic heritage.

❋ : Leyendas de Sevilla  │   ✧ : Wikimedia Commons  │   ✢ : Archidiócesis de Sevilla

 

CATHEDRAL OF SEVILLE

by

The Cathedral of Seville is probably the most emblematic monument of the city. Unesco declared it a World Heritage Site in 1987, along with the Alcázar and the Archivo de Indias. It is considered the largest Gothic temple in the world.

Most of its work was done in the late Gothic style during the 15th century, although it retains elements of the 12th-century Almohad mosque on which it sits, such as the Patio de los Naranjos or the Giralda. In addition, in the 16th century the Royal Chapel, the Chapter House and the Greater Sacristy were added in the Renaissance style. Later, during the Baroque period and practically up to the present day, various elements of the cathedral would be added and remodeled, until it became a true compendium of the history of art in the city.

Its floor plan is one of the hall calls, with a flat head and five naves, the central one being taller and wider than the rest. It has numerous side chapels located between the buttresses.

The supports are enormous pillars with a rhomboid section, made of brick and masonry and covered with ashlars. Rib vaults sit on them, so characteristic of Gothic. They are sexpartite in the chapels, quadripartite in the naves, and those corresponding to the transept, in the central part of the temple, are star-shaped.

On the side chapels and on the main axes there is a narrow gallery in the form of a clerestory.

Its construction was approved by the cathedral chapter in 1401. Legend has it that the project would be inspired by the phrase "Let's make a church so beautiful and so great that those who see it carved will consider us crazy" and according to the capitular act of that day the new work should be "one such and so good, that there is no other like it."

In detail: Cathedral of Seville

1. Giralda, 2. Puerta de Palos, 3. Capilla Real,

4. Puerta de Campanillas, 5. Sala Capitular, 6. Sacristía Mayor,

7. Sacristía de los Cálices, 8. Puerta del Príncipe,

9. Sepulcro de Cristóbal Colón, 10. Altar Mayor, 11. Coro,

12. Puerta de San Miguel, 13. Puerta de la Asunción,

14. Puerta del Bautismo, 15. Parroquia del Sagrario,

16. Puerta del Perdón, 17. Patio de los Naranjos.

MORE ABOUT THE CATHEDRAL:

Tumba de Cristóbal Colón, Catedral de Sevilla

THE LAST VOYAGE OF COLUMBUS

Christopher Columbus is one of the most famous characters in the history of mankind. It is true that in the last century the almost epic narrative of his achievements has been nuanced, giving way to a more critical view of the figure of the admiral ... ➪
Santas Justa y Rufina en la Puerta del Bautismo

THE SAINTS JUSTA AND RUFINA IN THE DOOR OF THE BAPTISM

Seville Cathedral is a splendid display of the history of art in the city. It ranges from the Almohad style of the 12th century in which the original mosque was built, and which is visible above all in the first sections of the Giralda, to ... ➪
Portada del Perdón de la catedral de Sevilla

‘CLEANSING OF THE TEMPLE’ AT THE PUERTA DEL PERDÓN

The Puerta del Perdón of the Cathedral of Seville and its surroundings constitute an enclave of great artistic and aesthetic value in which it is possible to read about some of the most significant episodes in the history of the city. To begin with, it ... ➪
GATES OF THE CATHEDRAL OF SEVILLE

GATES OF THE CATHEDRAL OF SEVILLE

The Cathedral has numerous portals towards the exterior:– On the west side, three on the façade at the foot, towards the Avenida de la Constitución, called Baptism, Asunción and San Miguel.– Two on both sides of the transept, called de la Concepción and San Cristóbal ... ➪
Puerta de la Asunción de la Catedral de Sevilla

THE DOOR OF THE ASSUMPTION IN THE CATHEDRAL OF SEVILLE

The Puerta de la Asunción, on Avenida de la Constitución, is the main entrance to the Cathedral of Seville. However, its completion was not addressed until well into the 19th century, at the initiative of Cardinal Cienfuegos Jovellanos. In a first phase, between 1827 and ... ➪
Dibujo de la giralda de Sevilla con detalle del campanario de Hernán Ruiz

THE GIRALDA OF SEVILLE

It measures about 100 meters high, making it the tallest cathedral tower in Spain and was for centuries the tallest building in the country. The lower two thirds of the tower are from the Islamic period, Almohad from the 12th century. It began to be ... ➪

PALACE HOUSE AT GUZMÁN EL BUENO STREET 4

by

We are in front of a 16th century palace house, of which we do not know documentary origin. However, it is clear that it has undergone successive reforms over the following centuries, mainly in the 17th and 19th centuries, as reflected in the inscription on the lintel over the main door: 1560, 1654 and 1856.

CC BY-SA 4.0

The main façade has preserved a beautiful Renaissance portal from the 16th century, framed by Ionic columns with plant decoration on the shafts. They support a lintel on which appear a series of corbels that in turn support the central balcony.

Inside, the model of a Sevillian house is faithfully reproduced, with the rooms distributed around a porticoed patio on all four sides. On the floor below, the arches are semicircular and rest on marble columns with capitals of ribbons or castanets. The arches have the classic Sevillian plateresque decoration, with vegetation and 'candelieri'. Between them, a series of pilasters support a continuous frieze, all with the same decorative motif.

[mapsmarker map="2"  lat="37.387345" lng="-5.990816" zoom="18" height="300" heightunit="px"]

GENERAL ARCHIVE OF THE INDIES

by

The large Renaissance building that we know today as the Archivo de Indias was originally conceived as the Lonja de Mercaderes, to house and organize part of the commercial activity that arrived in the city during the 16th century. Until its construction, merchants used the spaces around the Cathedral as a market, especially the area known as 'las gradas', towards Alemanes street. The Chapter of the Cathedral was upset with this situation and asked the king for a solution.

Felipe II would attend to the request and commission Juan de Herrera, the famous architect from El Escorial, to design the new building in 1572. Work began in 1584 directed by Juan de Minjares following Herrera's plans. It seems that the building was ready for use in 1598, although there is evidence that the works continued during the 17th century.

When the center of commerce moved to Cádiz, in the 18th century, it was when the building was readapted to house all the documentation generated by the Casa de Contratación. As a result of this new circumstance, new works would be undertaken on the property in order to adapt it to the new use. It would be then, for example, when the monumental main access staircase to the upper floor was built.

It houses all the documentation related to the Spanish administration of the American territories. It was declared a World Heritage Site by UNESCO in 1987, together with the Cathedral and the Alcázar, due to the great historical and artistic values of the complex.

The building is a magnificent sample of the Renaissance in the city, with a more sober and Italianate air than is usual here. It has a square plan, two stories high, articulated around a monumental central patio, porticoed with Doric columns, very similar to the Patio de los Evangelistas in El Escorial.

On the façade, a bichrome color was introduced between the reddish brick panels and the pale stone pilasters. This game of two colors was enormously successful in Seville and we will see it reproduced in numerous buildings in the city for centuries to come.

Inside, the naves around the patio are covered with hollow vaults, with coffers and plant decoration. Practically all the walls are covered by shelves of magnificent quality, made with mahogany and cedar wood brought expressly from Cuba. These shelves were added in the 18th century, when the old Lonja was converted into an Archive.

It was also then that Lucas Cintora designed the monumental staircase behind the main access from Avenida de la Constitución. It is covered with red and greyish black jaspers and above it stands a vaulted ceiling with a central lantern that provides light.

The Archive contains documents of incalculable value. Manuscripts of characters such as Christopher Columbus, Hernán Cortés, Miguel de Cervantes, Felipe II, Felipe IV or George Washington himself, the first president of the United States. In addition, it brings together a magnificent collection of engravings, drawings and maps, authentic jewels for the study of the history of America up to the 19th century.

OLD CONVENT OF EL CARMEN

by

This enormous building, which today occupies the Superior Conservatory of Music and the Superior School of Dramatic Art, was originally a Carmelite convent founded in 1358 and known as Casa Grande del Carmen. In the 19th century it became a barracks and remained in that use until relatively recently. This makes its architecture complex and difficult to analyze, with two main construction moments: the 16th and 17th centuries, when it was configured as a convent, and the 19th century, when it was transformed into a barracks.

CC BY-SA 4.0

The church remains of the old convent, rectangular in plan and with a dome over the presbytery, although it was also heavily modified in the 19th century. The tower, dating from the 17th century, has also been preserved, although it has no tops.

The main cloister is original, from the transition from the 16th to the 17th century, late-Renaissance or Mannerist style. It is porticoed on its lower floor, with semicircular arches that rest on pillars, decorated with Tuscan pilasters. On the upper floor, the molding of the large windows is finished off with a split pediment of clear Mannerist tradition.

The main façade constitutes the most important artistic contribution of the nineteenth-century reform. It has a marked neoclassical character, with a central doorway designed according to the prevailing academic models of the time, which determine the auction of the set by a classical entablature with its characteristic triangular pediment.

[mapsmarker map="2"  lat="37.395534" lng="-6.000295" zoom="18" height="300" heightunit="px"]

HOUSE OF SANTA TERESA

by

This palace house on Zaragoza street is known as Casa de Santa Teresa because the first foundation of the Discalced Carmelites in the city was established there, by the hand of six nuns who accompanied Saint Teresa herself to Seville. Her brother, Lorenzo de Cepeda, bought the house for them in 1576 and a letter from Saint Teresa to the clergyman García Álvarez has been preserved in which he describes it with great praise:

'The lieutenant says that there is no better house in Seville or better position. It seems to me that the heat should not be felt in it. Now they are all in the patio, where mass is said in a room until the church is done, and they see the whole house, that in the innermost patio there are good rooms. The orchard is very graceful, the views extreme'.

The Carmelites would stay there for about ten years until they moved to a new convent in the Barrio de Santa Cruz, the convent of San José or de las Teresas, which is still active as a Carmelite convent today.

The original house underwent important modifications in 1882, when it underwent a profound reform to adapt it to the prevailing taste of the time. In 1924 it was bought by Armando de Soto, who wanted to return it as far as possible to its original appearance from the 16th century, the time when it was inhabited by Saint Teresa. The reform was entrusted to the great architect of Sevillian regionalism, Vicente Traver, who restored the façade to its original appearance based on a drawing that Cardinal Lluch, Archbishop of Seville, had done before the 1882 reform. The architect also recovered the interior all the elements he could from the original house.

Inside, the traditional scheme of the Sevillian palace house is reproduced, with a hallway after the entrance through which you can access a porticoed patio around which the house is distributed. The access staircase to the upper floors is located in one of the corners of the patio, also following the tradition of Sevillian houses.

[mapsmarker map="2"  lat="37.387876" lng="-5.996330" zoom="18" height="300" heightunit="px"]