The current temple of San Nicolás de Bari was built in the 18th century on the site of a previous 16th-century church, which in turn replaced a previous medieval one. The church is located next to what was one of the entrances to the Jewish quarter during the 13th and 14th centuries. It is a site linked to numerous traditions without archaeological confirmation. It is said, for example, that a Visigothic church was already located in this same place and that it could even survive as a Mozarabic temple during the Islamic period.

CC BY-SA 4.0

In any case, we know that the current church was blessed in 1758 and that a good part of its works were paid for by a patron from the neighborhood, Juan de Castañeda.

It is a temple with five naves, the only one we can find in Seville with this layout, with the exception of the cathedral.

To the outside, it has two entrances. The main one, at the foot, is framed by a simple cover in a baroque style with a very classic air. Two Tuscan-style pilasters support a split pediment, in the center of which is a niche with the image of Saint Nicholas, head of the temple. On both sides, the ceramic altarpieces of the holders of the Brotherhood of Candelaria are practically the only decorative motifs on the façade.

As for the side cover, on the left side, it presents characteristics very similar to the main one but on a smaller scale. In this case, in the central niche we can see a stone image of the Virgen del Subterráneo, which is venerated inside the church.

Inside, the five naves are separated by semicircular arches that rest on 18 reddish marble columns of Genoese origin. The naves are covered with semicircular vaults with transverse arches and at the foot of the church there is a high choir, which preserves the stalls and two original organs from the 18th century.

The main altarpiece is in the Baroque style, from the mid-18th century, attributed to Felipe Fernández del Castillo. In it, the Virgin of the Subterranean is venerated over the manifestor. It is a small size by an anonymous author and dates from the 15th century, although it was reformed on various occasions, such as during the 18th century, when the crown and the burst of silver were added.

Tradition has it that this image was found in a cave under the church when works were being carried out in it around 1492. From this circumstance would come the invocation of her as Virgin of the Underground. It shares this nickname with the Dolorosa de la Hermandad de la Cena, currently in the church of Los Terceros, since apparently this brotherhood had its headquarters in this parish during the 16th century.

Continuing with the main altarpiece, the image of San Nicolás de Bari, head of the temple, is located in the central niche, with San Pedro and San Pablo in the side streets. In the attic there is another niche, smaller than the main one, with a Christ on the Cross. The ensemble is finished off by a large royal crown on a glued curtain, an element used in the late Baroque period to emphasize theatricality. The wall paintings in the presbytery are original from the 18th century and reproduce scenes from the life of Saint Nicholas.

On the left side of the church is the Sacramental Chapel, which, in a neo-Baroque altarpiece from the 20th century, houses the titular images of the Brotherhood of Candelaria. In the center, our Father Jesús de la Salud, a work of full size and somewhat smaller than life size, attributed to Francisco de Ocampo around 1615. To his right, the Virgin of Candelaria, a dress image made by Manuel Galiano Delgado in 1924 and remodeled in 1967 by Antonio Dubé de Luque. On the left is a San Juan by José Ruíz Escamilla from 1926.

On the walls of the Chapel there are some interesting canvases, such as the one that represents the Virgin of Guadalupe, the work of the Mexican painter Juan Correa from 1704, or the one of "San Carlos Borromeo giving communion to the plague victims of Milan", the work of Juan de Espinal from 1750.

Returning to the nave, we can see how practically all the walls of the church are covered by a series of altarpieces, mostly Baroque from the 18th century, which give the temple an atmosphere of great monumentality and decorative exuberance.

At the head of the naves on the left there are two 18th century altarpieces dedicated to the Virgen del Patrocinio and the Virgen de los Dolores or "del Camino", an image that probably comes from the old "Ecce Homo" brotherhood, which disappeared in the eighteenth century.

On the other side of the presbytery, at the head of the naves on the right, there are two altarpieces also dating from the mid-18th century. The first of them is dedicated to Saint Joseph, and is presided over by a beautiful carving of the saint made in 1678 by Francisco Ruiz Gijón, famous for being the author of the Christ of the Expiration, the "Cachorro" of Triana. In the mural paintings next to the altarpiece we find two passages from the life of Saint Joseph made by Pedro Tortorelo in 1760.

The other altarpiece is dedicated to San Carlos Borromeo and on its surrounding walls you can see scenes with the life of the saint, made by Vicente Alanís in 1760. The same author painted the vault with a representation of the Trinity between angels.


The current temple on Mateos Gago street was originally the church of the Espíritu Santo convent, of the Clérigos Menores congregation. The primitive church of Santa Cruz was located in the current square of the same name, but its demolition began during the Napoleonic invasion, initially moving the parish to the Hospital de los Venerables and in 1840 to its current location.

The church was built between 1665 and 1728 and we know that at least for a while the works were directed by the master José Tirado. It has three naves, with a transept and a flat head.

Its only façade opens at the foot and remained unfinished until the 20th century. Within the general embellishment of the Santa Cruz neighborhood that took place in the years prior to the Ibero-American Exposition, the great regionalist architect Juan Talavera y Heredia designed the current façade, which was carried out between 1926 and 1929.

It is made in a neo-baroque style of great classicism, following the model of some of the Sevillian Mannerist portals, such as the one in the Convent of Santa María de Jesús or the side of the church of San Pedro. The decorative elements also include garlands of flowers and fruit at the top of the pilasters and some ovals framed by the characteristic Baroque rockeries.

In the central niche above the entrance there is a wrought iron cross reminiscent of the 'Cruz de las Sierpes' that today is found in the nearby Plaza de Santa Cruz. Above it, a shield again reproduces a tree cross on a stone Calvary and on both sides, two shields profusely decorated with the symbols of Jesus and Mary.

To finish off the façade, the architect devised a stylized belfry with two heights and three openings for bells. It is practically the same height as the great dome that is located on the transept, which gives the church a characteristic profile.

Inside, the first thing that catches the attention of the church is its great monumentality and neoclassical air, characteristics highlighted by its white color and sparse decoration, a very unusual feature in Sevillian churches.

The central nave is taller than the lateral ones and is covered by a barrel vault with transverse arches and lunettes. The lateral ones are accessed through deep semicircular arches on thick pilasters. A clerestory runs over the side naves, which opens onto the church with wrought iron balconies. This is quite a common feature in conventual churches, since it allowed the religious to attend the ceremonies while preserving their privacy. Above the entrance to the temple, we find a high choir supported by a large lowered semicircular arch.

The wide transept of the church is covered with a semicircular vault on pendentives. The circumstance occurs that the dome has a drum that is very hidden from the inside, even giving the impression that it is a dome without a drum, while it is very marked seen from the outside. Four large windows open in it, which added to those located in the lantern, give the whole a great luminosity.

The head of the temple is flat and has been covered by a barrel vault. At its end, an arch supports the space in which the church organ is located, in a very unusual location in Sevillian temples. It is a magnificent neoclassical organ designed by Antonio Otín Calvete around 1810. In its upper part, there is a beautiful group of angels sculpted in stone holding different musical instruments. Under the organ, there are choir stalls, made at the end of the 18th century, also in neoclassical style.

At the end of the 18th century, within an academic atmosphere rejecting what were considered excesses of the Baroque, it was decided to replace the original altarpiece of the church, which apparently stood out for its profuse decoration and theatricality. Some authors, such as Santiago Montoto in his collection of articles on the "Parishes of Seville", point out that the previous altarpiece was burned down in a fire. In any case, it was replaced by the neoclassical temple that we can see today, made in 1792 by Blas Molner.

It is a dome supported by Corinthian columns, forming a polychrome complex to imitate marble. An allegorical image of Faith is located on the dome and the temple houses the image of the Virgin of Peace, a magnificent Renaissance image attributed to Jerónimo Hernández and dated around 1579. It comes from the old Convent of San Pablo, current church of La Magdalena , and represents the classic iconography of the Virgin with Child enthroned in the manner of Roman matrons. It seems that it was originally conceived as a Virgin of the Rosary and that it acquired the current dedication of Peace when it was transferred to this parish in 1835.

Along the walls of the church there are a series of altarpieces, mostly from the 17th and 18th centuries, which house some pieces of notable artistic value.

You can start by mentioning the altarpiece of the Cristo de las Misericordias, which is on the left side, in the front of the transept. The image is a beautiful anonymous carving from the 17th century, which represents Christ still alive with his gaze directed towards heaven. It has traditionally been located in the circle of Pedro Roldán and due to its composition it is related to the Christ of the Expiration of Triana. He is the owner of the Brotherhood of Santa Cruz, which carries out a procession on Holy Tuesday through the streets of the city.

On that same side of the church, two 17th-century altarpieces made by Bernardo Simón de Pineda can be highlighted, one dedicated to Santa Ana and the other to the Immaculate Conception (although the Immaculate Conception that currently centers the altarpiece is later, from the 18th century). . Along with them, we can mention the altarpiece dedicated to San Francisco Caracciolo, founder of the Minor Clerics. Both the altarpiece and the image of the saint are attributed to Pedro Duque Cornejo, one of the most outstanding sculptors of the 18th century in Seville.

On the right side, we can highlight the altarpiece of the Virgen del Mayor Dolor, designed in the 17th century by Bernardo Simón de Pineda and polychromed by Juan Valdés Leal, although it was reformed in the 18th century adding Rococo-style decorative elements. The image of the Virgin that presides over the altarpiece is a kneeling Soledad also dated from the 18th century, while on the bench there is an interesting painting with the representation of Christ Recumbent.


This small church was built at the initiative of the city's carpenters' union, and hence its dedication to Saint Joseph, patron saint of woodworkers. It is known that the carpenters already had a temple in this area in the 16th century, but its dilapidated state meant that it had to be demolished. The current temple was built in two phases during the 18th century.

CC BY-SA 4.0

The first of these was directed by Pedro Romero and concluded in 1717 with the construction of the only nave of the chapel. The second was completed in 1766 under the direction of Esteban Paredes, completing the main chapel and the exterior of the temple. The church reached the 20th century in a state of practical ruin and in 1931 suffered a fire in which it lost the roof and part of its wall paintings. Fortunately, she was able to be rehabilitated and returned to the cult.

As we said, it is a small church, with a single nave and transept slightly marked in plan. It has two exterior doors, one at the foot and another on the Gospel side.

The main doorway is made of brick with a showy Baroque style that manages to convey the sensation of monumentality despite its small dimensions. Two pilasters support a divided curved pediment, in the center of which opens a niche with the image of San José, designed by Lucas Valdés in 1716. On both sides, two richly framed medallions with the busts of San Fernando and San Hermenegildo, and on the central niche, a third medallion with a representation of San Juan Bautista in youth.

On both sides of the door, two niches housed the images of San Joaquin and another saint, identified as San Jason or San Teodoro de Amasea. To avoid damage, both are currently kept in the sacristy of the church, being replaced by two images made in resin by the contemporary sculptor Jesús Curquejo Murillo. One of them is a copy of the previous San Joaquín, while the other is a tender representation of Santa Ana with the girl Virgin.

The side doorway can be dated to the same period as the main one and its central element is a beautiful relief that represents the Betrothal of the Virgin and Saint Joseph, attributed to the great eighteenth-century sculptor Cristóbal Ramos. On the molding that frames this scene, four high-quality images gracefully rest despite their profound deterioration. On the first level, Saint Peter (today headless) and Saint Paul, and on the main scene, two allegorical figures representing virtues attributed to Saint Joseph: Meekness, holding a lamb, and Chastity.

Inside, the only nave of the temple is covered with a barrel vault resting on transverse arches, and an elliptical dome with a blind lantern rises over the transept. The profuse sculptural and pictorial decoration of the temple make the Chapel of San José an exquisite little jewel of Sevillian Baroque.

The main altarpiece was designed by the Portuguese-born sculptor Cayetano de Acosta, one of the most outstanding artistic figures of the 18th century in the city. On the bank, the main body is divided into three streets by means of stipes, although the profuse decoration that covers practically every centimeter makes it difficult to distinguish this structure. In the central niche is located the head of the temple, San José, in a sculpture of the circle of Pedro Roldán. In the stipes that frame this niche are the figures of San Joaquín and Santa Ana, parents of the Virgin, attributed to Pedro Duque Cornejo, another of the great sculptors of the 18th century in Seville.

On the Tabernacle, there is an image of the Immaculate Conception, and on both sides, in the side streets of the altarpiece, we find San Juan Bautista and San Juan Evangelista, under two medallions with high reliefs of San Sebastián and San Roque.

In the upper part of the altarpiece, a series of children and young angels complete the composition, and in the center of the attic is the image of God the Father in an attitude of blessing.

On both sides of the transept there are two altarpieces, with the same chronology as the main one and also with profuse decoration. The one on the right gives access to the sacristy and the one on the left is presided over by a sculptural group with the Coronation of the Virgin.

On the sides of the nave, framed under semicircular arches, there are two other altarpieces. Both have been dated to the 18th century. The one on the right has in its center a beautiful set with The Betrothal of the Virgin on an interesting and classic architectural background, while the one on the left is presided over by an image of Santa Ana.

The paintings that decorate the vaults and arches have been dated to the last third of the 18th century, a century to which the various canvases on the canvas walls also belong. As an exception, we find a beautiful painting from the 17th century that represents Rest on the flight to Egypt. It is by an anonymous author who seems to follow in style the work of the Italian Paolo Veronese.


The Hospital of Nuestra Señora de la Paz is a welfare foundation belonging to the Order of Hospitaller Brothers of San Juan de Dios, settled in Seville since 1543 and in the location they currently occupy since 1574. It was founded as a center for the care of sick with few resources and later began to also deal with convalescent former soldiers. With the Confiscation, the Hospital was expropriated in 1836 but the hospital brothers returned to their old home in 1880. Since then, the order has continued to be in charge of the Hospital, which currently functions as a nursing home.

The most artistically interesting part, and the only one open to the general public, is the church of Nuestra Señora de la Paz, which overlooks the Plaza del Salvador. It is a temple originally built in the first half of the 17th century, although deeply reformed during the 18th century.

It is a church with three naves, with a transept not marked in plan and a flat head.

On the outside, its only façade at the foot has a design that has originally been attributed to the late-Renaissance architect Vedmondo Resta. It is divided into three levels

In the first, four Doric columns support a frieze of metopes and triglyphs. Between the lateral ones there are two oculi and between the central ones, the lowered semicircular arch that gives access to the temple.

In the center of the second level, four columns again, but this time surrounded by profuse decoration with plant motifs, rockeries and child angels, elements probably added in the 18th century. They frame three niches that house the images of San Agustín, the Virgin with the Child and San Juan de Dios. The side niches are profusely decorated, while the central one is extremely simple. In addition, the stylistic features of the central image of the Virgin are clearly different from those of the lateral images, which indicates that this central space was reformulated after the rest of the cover. The whole set is framed by two pilasters, also with abundant ornamentation.

On the third level, the doorway is completed with a niche framing a modern stained glass window, flanked by abundant and meticulous sculptural decoration. Above the stained glass window, two angels hold a crown over the symbol of the brothers of San Juan de Dios, a pomegranate, which recalls the founding of this order in the Andalusian city of the same name in 1572.

Above the whole, a curved and divided pediment rises in the center of which an oculus opens. On both sides of the façade, we find two bell towers topped by stylized spiers covered in tile.

Inside, we find the three naves of the church divided by semicircular arches on marble columns, with the central one notably higher than the lateral ones. The side naves are covered with barrel vaults, like the central one, which also includes lunettes. At the foot of the temple, there is a high choir decorated with abundant rococo-style plasterwork decoration. Above the transept, there is a dome with a lantern, decorated with plasterwork with geometric motifs, original from the 17th century.

The tile base that runs along the walls of the temple is especially interesting for its originality in Seville. It has been dated back to 1771 and has a beautiful 'candelieri' decoration in blue and white, with some yellow motifs in prominent areas.

The main altarpiece is neoclassical in style and dates from around 1800, when it replaced a previous one in the Baroque style. In the central niche, a dressed image of the Virgin of Peace, head of the temple, is venerated, flanked by San Juan de Dios and San Juan Grande, all sculptures from the same period as the altarpiece.

Two of the most artistically interesting images in the temple are located in the headers of both side naves. These are the representations of San Rafael and San Juan de Dios, both attributed for their great quality to the great Martínez Montañés.

On the walls of the church there is a series of eight Baroque altarpieces, dating from the 17th and 18th centuries, which house an interesting set of sculptures. Among the religious images, we could highlight the following for their interest:

- An image of San Andrés from the 17th century attributed to Francisco de Ocampo, from the previous main altarpiece of the church, now disappeared.

- San Carlos Borromeo, carved by Juan de Mesa in 1618.

- An image of the Cristo de la Humildad, dated around 1600, which reproduces the iconography of Christ grieving in the moments before the Crucifixion. This representation has its origin in an engraving by Dürer and is widespread in Sevillian churches.

- An Immaculate Conception by the Valencian sculptor Blas Molner, from the late 18th or early 19th centuries. Due to its great dynamism and originality, it could also be identified as an Assumption of the Virgin.


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.

CC BY-SA 4.0

We know that in the space it occupies today was the so-called Ibn Adabbas Mosque, created around 830 as the main or aljama mosque of the city. It held this rank until the new great mosque was built in the 12th century, in the place 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 start of its minaret, which corresponds to the lower part of the tower that we find at the north 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 like this for centuries, with the architectural characteristics of an Islamic temple but serving for Christian worship, as is still the case today, for example, with the Mosque-Cathedral of Córdoba.

However, already in the 17th century, it seems that its state was quite dilapidated and it was decided to build a new temple. The works began around 1674, but when the closure of the vaults was underway, there was a resounding collapse that forced a good part of the project to be reconsidered.

The direction of the works ended up being entrusted to Leonardo de Figueroa, the best architect of the Sevillian Baroque, who also took part in other projects such as San Luis de los Franceses or La Magdalena. In this case, Figueroa was in charge of closing the vaults, building the great dome and finishing the interior of the building. The works were not completed until 1712.

The result is a huge and majestic temple with three naves. The transept stands out notably in height from the rest, although it is not perceptible in the plan of the building, which is what is called a living room.

The main façade has very classic baroque lines, 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 Archivo de Indias, was built in the 16th century. Despite its monumentality, the El Salvador façade stands out for its sparse decoration, which contrasts sharply with the interior. The decoration with a Plateresque air that covers the pilasters and some of the moldings is relatively recent, from the end of the 19th century.

But in addition to its architecture, the Church of El Salvador, which was Collegiate until 1852, stands out for the magnificent art collection that it treasures. It has some of the most outstanding works of Sevillian altarpieces, beginning with the main altarpiece, dedicated to the Ascension of the Lord. It is a work directed by Cayetano de Acosta around 1779, who conceived an exuberant altarpiece, with a baroque profusion close to rococo.

Also magnificent is the altarpiece of the Virgen de las Aguas, 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”, dated around the 13th century but much remodeled later. These are just two examples of the large collection of altarpieces that this church houses.

And it is that 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.

From the first, El Salvador preserves a colossal sculpture of San Cristóbal, reminiscent of Michelangelo due to its monumentality and beauty. But the most outstanding work of this author in El Salvador is surely Nuestro Padre Jesús de la Pasión, a moving image of the Lord with the cross on his back, which marvelously shows the classicism of the Montañés 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 do not exaggerate when saying that it is one of the most accomplished representations of Jesus Nazareno in the Spanish Baroque.

From the other great master of the Sevillian baroque, Juan de Mesa, we find the Cristo del Amor, who also takes a procession from this temple during Holy Week, this time on Palm Sunday. It is an exceptional size of the crucified, already dead, with a masterful treatment of the anatomy, hair and cloth. An exceptional work within the production of its author, who seems to have taken into account for its realization the model that his teacher Montañés made a few years before with the Cristo de la Clemencia that we found in the Cathedral.

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


The Archbishop's Palace of Seville stands on the land that has occupied the bishop's residence since the Christian conquest of the city in the 13th century. However, nothing has survived from the primitive palace to the present day and the oldest preserved remains date from the 16th century.

Elements of the chapel are preserved from the first half of this century, such as the wooden roof and the tile frieze, as well as a gallery with marble columns dating from around 1530.

However, it can be considered that the configuration of the palace as it has come down to us corresponds to the reconstruction undertaken under the direction of Vedmondo Resta between the end of the 16th century and the 17th century. It was then that the distribution of the different rooms and rooms around two main patios was configured.

The magnificent Baroque doorway that faces the Plaza Virgen de los Reyes was carved by Lorenzo Fernández de Iglesias around 1704. It stands out for its great dynamism and decorative richness, constituting one of the best examples of this style in Seville.

In the main courtyard there is a fountain presided over by a sculpture representing 'Hercules with the Nemean Lion'. In the same courtyard, a beautiful Baroque doorway dating from 1666 gives access to the Archbishop's Archive, which houses valuable documentary collections.

From an artistic point of view, the most interesting rooms are located on the top floor around the second patio. They are accessed by a monumental staircase, with a single shot and three sections, which is crowned by a dome with the shield of Archbishop Antonio Paino. The pictorial decoration of the staircase was carried out by Juan de Espinal, with the exception of the paintings of the pendentives and the semicircular areas, which were already made in the 20th century.

The main hall of the palace is covered with a ceiling divided into sixty squares with a series of paintings from the Old Testament interspersed with emblems and shields. They were made at the beginning of the 17th century by two authors who have not been identified. As a whole, they make up a moralizing message about the values and virtues that prelates should possess.

In addition to the paintings on the ceiling, the living room exhibits a very interesting collection of paintings by various authors. We find, for example, an apostolate attributed to Sebastián Llanos Valdés, a series of sixteen Biblical-themed paintings by Juan de Zamora and another ten on the Passion of Christ by Juan de Espinal. To these must be added a series of paintings of saints from Zurbarán's workshop, a work by Murillo representing 'The Virgin delivering the Rosary to Saint Dominic' and a 'Slayed Saint John the Baptist' by Mattia Pretti.

Also of great value are the works of the so-called Gallery of the Prelate, presided over by one of the oldest works in the Palace, an Immaculate Conception from the end of the 16th century by Cristóbal Gómez. Next to it, a series of paintings from Venetian workshops and copies by various Italian authors dating from around 1600 are exhibited. They represent allegories of the elements and the seasons, as well as episodes from the story of Noah.

The collection of portraits of Sevillian archbishops also deserves mention for its historical value, with the representation of more than seventy archbishops from the 17th century to the present.

In other smaller rooms there is a large collection of Sevillian painting, with works by authors such as Herrera el Viejo, Juan de Espinal, Francisco Pacheco or Murillo. They are interspersed with works by various foreign authors, such as the Dutch Abraham Willaert or Carel Van Savoy, who produced a series on the life of David.

The main chapel of the palace is presided over by a main altarpiece from the 18th century made by the great sculptor of Portuguese origin, Cayetano de Acosta. It is presided over by a beautiful image of the Immaculate Conception made by the same author, who also carried out the four side altarpieces of the chapel, dedicated to Saint Peter, Saint Paul, Saint John the Baptist and Saint John the Evangelist.

In addition to the main chapel, the palace has an oratory designed by Pedro Sánchez Falconete in the mid-17th century. In it, the vault stands out above all, decorated with plasterwork attributed to Pedro de Borja.


This gazebo has kept its original appearance since it was placed in the Garden of Earthly Delights around 1864. It was made up of a series of 18th-century sculptures and pedestals from the Archiepiscopal Palace of Umbrete. It has an elliptical shape and delimiting its contour there was a continuous marble bench with a metal back. The pedestals are in the Rococo style and were made by the eighteenth-century sculptor of Portuguese origin, Cayetano de Acosta. The busts are replicas of the Italian originals that were here for more than a century and that were returned to Umbrete in 2006. They represent a series of Roman characters depicted in a beautiful baroque style. In the center of the gazebo there is a marble fountain with an octagonal vase. The fountain is a replica of the original from the 18th century that is now in the Fuente del Estanque, in this same garden.


Pan was the Greek god of shepherds and flocks, especially revered in the Arcadian region. He was identified with Faun in Roman mythology. He was depicted mixing human and animal features, with legs, tail, and ram's horns. Here we see him resting on a trunk, with striking hooves for feet, in an Italian sculpture from the 18th century from the Archbishop's Palace in Umbrete. It is made of marble and measures approximately 1.60 m. It sits on a pedestal also made in the 18th century by Cayetano de Acosta, about 2 m high and in a Rococo style.


The path inside Jardín de las Delicias that leads to Plaza de América is known as Avenida del Líbano. It is framed by a series of rococo pedestals made in the 18th century by Cayetano de Acosta for the Archbishop's palace in Umbrete. On them rise a series of sculptures of Roman characters, replicas of the Italian originals from the 18th century that were in the Umbrete Palace itself. The replicas were made in 2006 when the originals were returned to Umbrete for better conservation.


This set is made up of a rectangular base with a slatted floor that is raised by means of a three-step tier. In the corners are a series of four Rococo pedestals made by Cayetano de Acosta in the 18th century. On them we see four vases made of artificial stone. They are replicas of those made for the Jardines de Cristina, in front of the Palacio de San Telmo. They were arranged here during the remodeling of the garden undertaken in 2007. Originally, a series of sculptures representing the Greek gods Apollo, Zeus, Ares and Hera were located on the pedestals, all of which have now disappeared.