The Real Alcázar of Seville is a walled palace complex built in different historical stages. The original palace was built in the Early Middle Ages. Some vestiges of Islamic art are preserved and, from the period after the Castilian conquest, a Mudejar palatial space and another in the Gothic style. In later reforms, Renaissance, Mannerist[1] and Baroque elements were added.[2].
It is the residence of the members of the Spanish royal family when they visit Seville.[3] This makes it the oldest royal palace in use in Europe.[4] UNESCO declared it a World Heritage Site, along with the Cathedral of Seville and the Archive of the Indies, in 1987.[5].
In 2019 it received 2,067,016 visitors, making it one of the most visited monuments in Spain.[6].
History
Background
During the archaeological excavations in the space occupied by the Patio de Banderas, fragments of Bell-shaped style vessels appeared, from the late or final period of the Chalcolithic, with probable dates between 2100 and 1900 BC. C., linked to sites at Valencina de la Concepción, as well as pieces of vessels decorated with an external cord in relief that in turn bears impressions of small segments, perhaps made with nails, dated to the 6th-5th millennium BC. C. Remains of late bronze ceramics have appeared in the area, equal to those found in the area of the church of San Isidoro and Cuesta del Rosario, which would indicate that it is an urban area occupied since the century BC. C. It is not known if they are remains of a population settled in the area or if they are elements contained in the earth that would have come from the environment, used for construction; The remains show us that it is a coastal settlement, possibly cattle ranching.
At about 6 meters deep, kitchen pits (cabin bottoms) have been found with remains of food processed with oil (mollusks stewed with olive oil) and ceramics. These remains correspond mainly to the Phoenician occupation, at the beginning of the city's history.
Remains of a Roman building from the century BC have been found. C. or century BC. C., a large horreus, possibly for grain or more certainly for oil, about 4 meters deep.
A cryptoportico has also appeared, which may belong to a large temple dedicated to the goddess Isis, a goddess linked to commerce, whose image was found in the 19th century, currently missing, as well as marble tombstones with dedications to said divinity. In a fill from the Almohad period of the primitive door of the Alcázar, a Roman stele from the imperial period has appeared, a Roman altar dedicated to Minerva, protective goddess of the college of olearios, found as part of the Almohad fill; This Roman altar is dedicated to Minerva, goddess protector of the college of olearios of Hispalis: "". The dedication to Minerva has parallels in other towns such as Italica, Carmo, Tomares... as the official goddess of the State within the Capitoline triad, with wide devotion in the south of the peninsula; The character of Q. Valeri Valentis is documented in Rome in the government of Antoninus Pio, and seems to be a prominent member of the corps of olearios; The inscription would be either from a temple to Minerva or from some work inside the college of olearios; This altar was reused as a summit for a column of a possible church from the 19th century, linked to a monastery founded by Saint Florentina in the 6th century and dedicated to Saint Honorato, as demonstrated by the imprint of a carved cross. It also presents a decorative motif of Germanic origin formed by circles with stars, like those seen on the tombstone of Bishop Honorato, found in the Alcázar, today in the Cathedral; Both pieces, found in this same area at different times, are an indication of the possible location in the area of the Basilica of San Vicente.[7].
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Introduction
The Real Alcázar of Seville is a walled palace complex built in different historical stages. The original palace was built in the Early Middle Ages. Some vestiges of Islamic art are preserved and, from the period after the Castilian conquest, a Mudejar palatial space and another in the Gothic style. In later reforms, Renaissance, Mannerist[1] and Baroque elements were added.[2].
It is the residence of the members of the Spanish royal family when they visit Seville.[3] This makes it the oldest royal palace in use in Europe.[4] UNESCO declared it a World Heritage Site, along with the Cathedral of Seville and the Archive of the Indies, in 1987.[5].
In 2019 it received 2,067,016 visitors, making it one of the most visited monuments in Spain.[6].
History
Background
During the archaeological excavations in the space occupied by the Patio de Banderas, fragments of Bell-shaped style vessels appeared, from the late or final period of the Chalcolithic, with probable dates between 2100 and 1900 BC. C., linked to sites at Valencina de la Concepción, as well as pieces of vessels decorated with an external cord in relief that in turn bears impressions of small segments, perhaps made with nails, dated to the 6th-5th millennium BC. C. Remains of late bronze ceramics have appeared in the area, equal to those found in the area of the church of San Isidoro and Cuesta del Rosario, which would indicate that it is an urban area occupied since the century BC. C. It is not known if they are remains of a population settled in the area or if they are elements contained in the earth that would have come from the environment, used for construction; The remains show us that it is a coastal settlement, possibly cattle ranching.
At about 6 meters deep, kitchen pits (cabin bottoms) have been found with remains of food processed with oil (mollusks stewed with olive oil) and ceramics. These remains correspond mainly to the Phoenician occupation, at the beginning of the city's history.
Remains of a Roman building from the century BC have been found. C. or century BC. C., a large possibly for grain or more certainly for oil, about 4 meters deep.
To Minerva, Valeria, daughter of Quintus Valerius Valens, did works for the cult on behalf of her extraordinary father. She gave a donation in honor of the body of the olearios
From around the century AD. C. a stratum of sand and marine remains found interspersed in the walls and structures of the Roman building dedicated to the port is dated. Archaeologists call this level “a high-energy event,” which may have been a strong storm or tsunami. It seems that the city almost disappeared, at least its port, which would explain the city's decline during that century.
The area was abandoned from the 3rd century AD. C., and in the 4th-5th century d. C. came to have a Christian religious use.
A possible polygonal basin discovered in 1976 by Bendala and Negueruela was identified as a possible Paleo-Christian baptistery, but today it is known that it is not.
Later, a late antique building was identified, dating from the 4th-5th centuries AD. C., which has been estimated to be a monastery.
The latest archaeological study has demonstrated the presence of a suburb from the 11th century AD. C., prior to the construction of the fortress, with a very short duration, just a few decades.
The castle complex is the result of the union of several palatine enclosures from different periods; The oldest enclosure is from the middle or end of the century, corresponding to the area of the current Patio de Banderas. Thus appears what is known as Enclosure I, either with Almutamid or with the Almoravids. The enclosure is quadrangular and occupies the current Patio de Banderas and surrounding houses. Possibly it began with Almutamid, using material from the old Roman wall and other constructions in the area and even from far away; Access to Enclosure I was direct, between two large towers.
At the end of the century or beginning of the century there was a rectangle-shaped extension and a new access door. The only known access door to this citadel was at number 16 of the Banderas patio and of which the north jamb of an arch is preserved.[8] It is a curved access, and a direct one, both in turn connected. It is assumed that the horseshoe gate preserved on the current Romero Murube street was an access to the city, not to the Alcázar. This is how what is known as Enclosure II is formed.
In an archaeological intervention inside the current Patio de Banderas, in houses numbers 7-8 and numbers 1-2, remains of a palace from the late 11th century were found, either built by Almutamid at the end of his reign or by the Almoravids in their early days. It is the oldest palace in the area. It may be the primitive Alcázar of Blessing (Al-Mubarak).[8].
In 2009, the Alcázar wall was tested for carbon 14. This test gave the year 1090 as the most approximate date of construction, with an estimated margin of error of +/- 40 years. That is, the preserved wall of the Alcázar would be from the times of the taifa of Seville or the beginning of the Almoravid period.[9].
In the century the river had moved to the west, in such a way that the palatine enclosure grew with the Almohads on an old suburb and port, and a new major mosque was created; The new access was in the Giralda area, and the old one gradually became unused. In the century the Almohads completely renovated this entire space. They created a system of walls that linked the Alcázar with other fortifications up to the bed of the Guadalquivir. The Alcázar reached the tower of Abd el Aziz "Torre Abd el Aziz (Seville)"), located on the current Avenida de la Constitución "Avenida de la Constitución (Sevilla)"). Inside, a dozen new and larger buildings were built.[8] The walls of the Alcázar also became part of new and renovated fortifications for the defense of the city. These defensive works culminated at the beginning of the century with the construction of the Torre del Oro.[8].
The Real Alcázar after the Castilian conquest
After the conquest of the city in 1248, Ferdinand III did not make any updates to the Alcázar. The Christian court was established for decades in the old Almohad spaces.[8] Between 1252 and 1260, Alfonso Almohads to build the Mudéjar palace, which was attached to the Gothic Alfonsí palace.[8] Construction began in the same year 1356[11] and, according to the inscriptions of the Alcázar itself, it finished in 1364.[12].
In 1366 the first Castilian civil war began between Pedro I and his half-brother Enrique II[13] and ended with Pedro's death in 1369, so it does not seem that he could have lived there for long.[14].
Throughout history, the Alcázar has been the scene of various events related to the Spanish Crown. Between 1363 and 1365, as the seat of the Castilian court, it was visited by the diplomats of the court of Granada Ibn Jaldún, philosopher, and Ibn al-Jatib, chronicler and poet, to sign a peace treaty with King Pedro. In 1367 the Prince of Wales sent the English diplomats Neil Loring, Richard Punchardoun and Thomas Balastre to this Alcázar to meet with Don Pedro. and collect some payments.[16].
On July 28, 1477, the Catholic Monarchs arrived in Seville and used the premises as a chamber after ten years without a king setting foot in the city. Upon observing the poor condition of the building, Queen Isabel I of Castile ordered interventions and measures for the material and functional recovery of the site.[17].
A year later, on June 30, 1478, his second son, Prince Juan "Juan of Aragón (Prince of Asturias)") was born in the palace. It is known that this royal birth was attended by a Sevillian midwife known as "la Herradera" and that Garci Téllez, Alonso Melgarejo, Fernando de Abrejo and Juan de Pineda were present as witnesses designated by King Ferdinand, as established by Castilian regulations, to dispel the slightest doubt that the son was the queen's.[18] In 1526, the wedding of Charles I with his cousin Isabella was celebrated in the Alcázar. Portugal.[19].
Between 1729 and 1733 the Court was established in the Alcázar of Seville. Felipe V, Isabel de Farnese and the future Carlos III lived there.[20].
During the War of Independence, the Sevillian junta[21] and, later, the Supreme Central Junta met here.[22].
Between September 13 and 16, 1816, the queen consort María Isabel de Braganza and her sister María Francisca stayed here.[23].
In 1823, due to the military intervention of the Hundred Thousand Sons of San Luis, the government and the Cortes decided to transfer the royal family, with Fernando VII at the head, to Seville.[24] They arrived on April 10, 1823.[25] On April 17, 1823, the Infante Enrique de Borbón y Borbón-Dos Sicilias, son of the Infante Francisco de Paula de Borbón and Luisa Carlota de Borbón-Dos Sicilias, and to whom the king granted, two days after his birth, the title of Duke of Seville.[26] Faced with the advance of the French troops, the Cortes, meeting in the church of the old Convent of San Hermenegildo, and the government decided to transfer the royal family to Cádiz.[27] They left Seville on the 12th of June.[28] Once absolutism was restored, Fernando VII and his family set out on the road from Cádiz to Madrid, and stopped in Seville between October 8 and 23, 1823.[29].
In the 19th century, Joaquín Domínguez Bécquer lived for years in a house in the Banderas patio. He had his painting workshop in the Apeadero. He worked as a restorer in the Alcázar and was an honorary chamber painter of the Royal House.[30][31].
En 1848 se instalaron aquí el duque de Montpensier y la infanta María Luisa,[32] que al año siguiente se trasladaron al Palacio de San Telmo.[33].
During the reign of Alfonso For this reason, Isabel II left the Alcázar of Seville with her daughters on September 8, 1877 to settle in the Monastery of San Lorenzo de El Escorial.[34].
Alfonso 1879. It was a mourning visit on the occasion of the death of his cousin, Cristina de Orleans.[38].
Alfonso XIII and his wife Victoria Eugenia de Battenberg traveled to Seville numerous times. This king was fond of sports and had a tennis court built in the courtyard of the Alcubilla, which was one of the first in Spain, but which is currently no longer preserved.[39].
By decree of April 22, 1931, the Government of the Second Spanish Republic, at the proposal of its Minister of Finance, Indalecio Prieto, transferred the Alcázar and its gardens to the municipality of Seville.[40].
On April 2, 1976, during the Spanish Transition, a meeting of the Council of Ministers took place here, chaired by Juan Carlos I.[41] The Council of Ministers met again in the Alcázar on March 19, 2010, this time without the presence of the monarch.[42].
On March 18, 1995, a lunch and reception was held in this place on the occasion of the wedding of Infanta Elena de Borbón, daughter of King Juan Carlos I, with Jaime de Marichalar.[43].
On October 20, 1988, Queen Elizabeth II of England attended a flamenco show at the Alcázar.[44] It has also been visited by other personalities who passed through the city, such as the Prince of Wales in 2012,[45] Harrison Ford in 2016,[46] Barack Obama in 2019[47] or Hillary Clinton in 2024.[48].
Stays
Lion's Gate
The Lion Gate, located in the outer wall of the complex, is the main access route to the enclosure. Between the lintel of this door and under a machicolation there was a painting of a lion, whose origin is unknown,[53] although it already appears in the drawings made by Richard Ford "Richard Ford (Hispanist)") in 1832.[54] This painting was restored by Joaquín Domínguez Bécquer, in 1876.[53] In 1892 the painting was replaced by a mural of tiles designed by Manuel Tortosa y Fernández, with the historical advice of José Gestoso. The tile was made in the Mensaque factory[53] and also represents a lion, in Gothic style, which appears holding a crucifix with its right claw and with a flag under its left claw. On the chest there is a phylactery that reads in Latin Ad utrumque, which means "for one thing and for another", the word 'paratus' would be missing; Ad utrumque paratus, thus meaning "prepared for one thing and another".[53].
The name Lion's Gate probably dates back to the 17th century. Historically this gate had been known as La Montería. According to Ortiz de Zúñiga (1st century), it was called that way because it was where the king went out with his huntsmen to go hunting.[55] This hypothesis has a basis, since the father of Pedro I, Alfonso two very worn polylobed medallions. In one of them you can see something similar to a quadruped animal.[55].
After the door you access the León patio. At the back of the patio there is a section of Almohad wall with three porticos.[56] This wall seems to have been reinforced later. Furthermore, the arches were horseshoe-shaped but in the Christian era they were transformed into semicircular arches.[56] Behind this section of wall is the courtyard of the Montería.[57].
Courtroom
The courtroom is accessed through the León patio.[57].
It has a square floor plan, Mudejar style and was built in the reign of Alfonso Although the room was dated to the reign of Alfonso The most likely thing is that it would have been an Almohad room used to meet a council (maswar) and that it was renovated with Mudejar art by the Christians, who continued to use it for the same purpose.[64] This was probably the room where the court presided over by Pedro I was, although there are other hypotheses about its possible location.[65] In this court there were three brick steps with a stone throne, although this structure was demolished before the visit of Philip II in 1570.[64] This performance displeased Philip II,[66] who was a great admirer of King Don Pedro and who was the first to indicate that he should be called "the Justicier".[67].
Plaster Courtyard
From the Hall of Justice you can access the Yeso courtyard, which was built at the end of the century, from the Almohad period, with an almost square floor plan, it has a pool in the center and with porticoed arches on each side of the patio, on which a rich decoration appears. In the arcade there is an entrance with two horseshoe arches with a column in the center. Two windows open on the lintel of that entrance.[69] On the opposite wall there is a bricked-up exit with three horseshoe arches in the Caliphal style of Cordoba.[70] As in other places of the Alcázar, several renovations have been carried out in this courtyard throughout its history.[69][70] The entire wall where the sebka archway was located was found covered up. It was discovered by Francisco María Tubino at the end of the century. The Marquis of Vega-Inclán, then curator of the Alcázar, commissioned its recovery and restoration to the architect José Gómez Millán in 1912.[71].
Patio de la Montería
It is the main patio and is presided over by the door of the palace of Pedro I.[72] On the walls there are semicircular arches that were bricked up in the 19th century.[73] To the right were the rooms of the Casa de Contratación.[72].
Fan Room
It is a room where, since 1998, 37 fans from the centuries donated by the collector Gloria Trueba Gómez have been exhibited.[74].
In this place there is also a large painting that represents the Procession of the Santo Entierro Grande of 1854. It is a work of the time that was acquired in 1992 at the Sotheby's auction house by the Sevillian antique dealer Antonio Plata del Pino and that was later purchased by the City Council for five million pesetas.[75].
Contracting House
The Catholic Monarchs approved the creation, in 1503, of the Casa de Contratación de Indias, which was an institution in charge of promoting and regulating trade and navigation with the Spanish overseas territories and that carried out review and reception of merchandise, actions of a technical-scientific nature and also judicial activities.[76].
The Casa de Contratación spanned from the current Plaza de la Contratación, where it had its main façade, to the western part of the Montería patio. In 1717 this institution moved to Cádiz and in 1790 it disappeared.[77].
From the patio of the Montería you can access the Almirante's room,[2] where the following paintings stand out: The inauguration of the Ibero-American Exhibition of 1929, which presides over the room, the work of the painter Alfonso Grosso; The End of Saint Ferdinand, by Virgilio Mattoni; The taking of Loja by Fernando the Catholic, work of Eusebio Valldeperas; and the portraits of Ferdinand VII and María Cristina of Naples by Carlos Blanco&action=edit&redlink=1 "Carlos Blanco (painter) (not yet written)"), dated to the first third of the century. This place is used as a hall for public events.[78].
Next, there is the so-called Audience Hall, transformed into a chapel in the 19th century. It is covered with a rich tracery roof of the century with geometric ornaments. The chapel has a stone step attached to the wall that runs along the perimeter and presiding over the room is a triptych-shaped altarpiece, the work of Alejo Fernández,[79] made between 1531 and 1536.[80] The central part is occupied by an image of the Virgin of the Navigators, accompanied by Saint Sebastian and Saint James on one side and Saint Telmo and Saint John the Evangelist on the other.
Cruise Courtyard
The transept patio is located to the west of the Montería patio. It was built in the 19th century, during the Almohad period, although it was later renovated. In the time of Alfonso X, ribbed vaults were added. The garden had two levels, the highest would correspond to the one the patio currently has, with two main galleries in the shape of a cross and four other peripheral ones, and a second level, 4.7 meters below the previous one, occupied by a garden with orange trees, divided into four parts, in the center of which was a large fountain and at the ends, pools.[81].
As a result of the Lisbon earthquake, this lower garden was covered, filling it with earth and forming the current rectangular patio. The visible vestiges of this lower floor can be seen from the Crucero patio and the only part that survives are the so-called María Padilla baths, which are accessed from the Danza garden. This basement is made up of a large nave with ten sections covered by cross vaults. The entrance from the garden is covered with a long barrel vault.[82][83][84].
Currently it is a rectangular landscaped patio, divided into four by myrtle hedges and inside the quadrants there are bonnet trees, Jupiter trees, palm trees, bougainvilleas and jasmines.[85].
In the century, several works were carried out in the Crucero patio and in the Gothic palace.[83] The façade of the Gothic palace that faced the Crucero patio was completely renovated in the baroque style. The other facades of the patio were also remodeled.[84] The entire garden was buried to put its floor at the level of the rooms.[84] The sides of the patio corridors were walled up and these remained as underground chambers.[84].
Mudejar or Pedro I Palace
It was built next to the Gothic palace of Alfonso According to archaeological investigations, King Pedro's palace was a new project, which was built in a place where previous constructions existed.
This palace was born to serve as the private building of King Pedro I, compared to the more formal character represented by the Gothic palace, built in the previous century by order of Alfonso This is because, starting in the 19th century, the Castilian monarchs stopped copying European trends and were inspired by Andalusian models. This meant that this palace of Peter I housed various writings in Arabic praising his figure.[88][89].
On almost all the plinths of the palace you can read the phrase "Glory to our Lord Sultan Don Pedro, may Allah protect him!"[90].
The wood used in the coffered ceilings (alfarjes), the doors with lacework and the window frames is usually pine.[91] These lacework are gilded or polychrome.[92].
It has a first floor that does not extend throughout the entire ground floor, but only through some rooms.[93].
The main entrance is located in the courtyard of La Montería. At the top there is a large wooden eaves, supported by golden muqarnas. Below there is a tile mural with an inscription in Arabic that speaks of the year in which the building was completed.[89] This mural is bordered by an inscription in Gothic characters that says: "the very tall, very noble, very powerful, and very conquering Don Pedro, by the grace of God, king of Castile and León, commanded these fortresses, these palaces, and these portals to be built, which was made in the era of one thousand four hundred and two years.".[94].
The entrance door is rectangular, with a voussoir lintel decorated with fine alaurique. On both sides there are lobed arches decorated with sebka and supported by marble columns.[73] In the upper band there are windows, twinned on each side and tripartite in the central space, with marble columns supporting their lobed arches.[73].
The doorway gives access to a hallway, from which a hallway leads to the Patio de las Muñecas.[93] It is believed that this area of the palace was intended for the queen,[93] this being a domestic patio.[95] It was subjected to a renovation between 1847 and 1855. In this renovation, a cornice with muqarnas and a neo-Mudejar mezzanine between the ground floor and the first floor were added.[96] This renovation was directed by Juan Manuel Caballero and José Gutiérrez. The ten current marble columns were made by the marble worker José Barradas in that reform.[96].
The name "of the Dolls" is old. In 1637 the historian Rodrigo Caro speculated that it could be called that because that was where the children were raised or because it is a very small patio.[97] Nowadays it is believed that it may be due to some faces of girls or dolls that are at the beginning of the arches.[98].
Gothic Palace
Alfonso
The first news of works in the period of King Alfonso date from March 22, 1254, when he ordered that a conduit be made to bring water from the Caños de Carmona aqueduct to the interior of the Alcázar.[125].
The Gothic palace of the Alcázar was renovated by Charles I, although the Gothic structure of the ground floor was preserved.[126] The plinths on the walls of the Chapel, the Great Hall and the Cantarera Room are decorated with tiles made by Cristóbal de Augusta between 1577 and 1578, during the reign of Philip II.[127][128].
The chapel of San Clemente was probably here, created in 1271.[129] Currently it is presided over by an altarpiece of the Virgin of Antigua, made in the century by Diego de Castillejo and which contains an anonymous copy of the one existing in the cathedral of Seville.
The Great Hall,[130] also known as the Vaults room or the Festival hall, has four sargas commissioned by Alfonso 1920 by other authors for that pavilion: one with the coat of arms of Charles V and another with the coat of arms of Portugal.[132].
Next to it there is a smaller room, known as the Cantarera room, which since 2015 has been used for temporary exhibitions.[133].
It was completely rebuilt in the 19th century. The façade of this room is the south façade of the Crucero patio.[134].
It is decorated with six tapestries of the conquest of Tunisia by Charles I, made in the 1730s. In the century a series of Flemish tapestries were made in the workshop of Willem de Pannemaker about the conquest of Tunisia by Charles I with cartoons drawn by Jan Cornelisz Vermeyen (who had been present at that event as a Court painter)[135] and Pieter Coecke van Aelst. In the century Zenón de Somodevilla y Bengoechea, Marquis of Ensenada, planned the making of new tapestries to avoid the wear and tear caused by the continuous use of the Flemish tapestries in the Madrid palace. In 1732 the Royal Tapestry Factory commissioned Jacob Vandergoten the Younger to make these tapestries. He carried out this work with the supervision of Andrea Procaccini and his disciple Domenico Maria Sani. They were made with tracings by Jaime Alemán, who was supervised by Procaccini. Of the 10 tapestries produced in the 1730s, six are in this room of the Alcázar of Seville and the other four They are in Madrid. Those found in the Alcázar of Seville are: The map, Taking of La Goleta, Taking of Tunisia, The army camps in Rada and Reembarking of La Goleta.[136].
Grounds
Contenido
Los jardines constituyen un elemento fundamental del Alcázar[123]
Son los más antiguos de la ciudad y desde su creación han sufrido grandes alteraciones que han transformado su trazado primitivo.[123] En la Baja Edad Media había configurado un Alcázar con edificios de distintas épocas, pequeños patios ajardinados y grandes huertas.[137] Fueron reformados en el siglo y a comienzos del siglo , conservando como herencia musulmana el concepto de jardines compartimentados sin ninguna vinculación entre ellos, al igual que lo habitual de las fuentes bajas, los azulejos y los naranjos.[138].
Las naranjas de estos jardines eran usadas para la elaboración de la mermelada que consumía Isabel II de Inglaterra.[139].
Saliendo de los salones del palacio Gótico se accede al conocido como jardín de la China.[140] Los arriates están separados con setos de mirto. En ellos hay plantados un falso pomelo. Este jardín se separó de la zona del estanque de Mercurio en el siglo , durante el reinado de Felipe II.[141].
Mercury Pond
The Mercury Pond was probably built in the Arab period as a storage and regulation element for the water supply of the entire citadel.[142].
In the center of this pond is a 1576 bronze statue of the Greek god Mercury, designed by Diego de Pesquera and cast by Bartolomé Morel. By the same authors are the railing that surrounds the pond, the figures of lions holding shields that are in its corners and the 18 balls with pyramidal ends that surround the pond.[143].
Grutesco Gallery
Behind the Mercury pond, a 160-meter-long wall rises that advances in a northwest-southeast direction through the gardens and compartmentalizes the green area into two different areas: on one side the primitive gardens and on the other, the old orchard area that was also converted into gardens at the end of the century, in which orange and lemon trees abound.[144].
The origin of this construction is found in an old section of Almohad wall from the 19th century, which served as a military defense and against floods from the Tagarete River. In 1612, the architect Vermondo Resta transformed the wall into the current Gallery of Grutescos decorated on one of the faces of the wall. The ornamentation basically consisted of covering the walls with courses of different stones, plastering and painting between the stones, with imitations of marble and frescoes made by Diego Esquivel) of classical mythological scenes. The transformations continued until the 19th century, when this area acquired the appearance it currently presents.[144] This wall also has an upper gallery that can be visited from which you have a splendid view.[123].
Dance Garden
Going down some stairs, next to the Mercury pond, is the Dance Garden. This garden was built in the 1570s.[145] Through a passage you can access the María Padilla baths, which are vaulted passages from the 19th century.[145].
The name is due to the fact that in the century there were two statues on the two columns at the entrance[141] that represented a satyr and a dancing nymph. These statues were last photographed by Jean Laurent in the 19th century, but are currently missing.[145].
In the center there is a low fountain from the 18th century.[146].
Garden of Troy
It is a landscaped Mannerist courtyard.[147] On the south side there is a gallery with semicircular arches and grotesque details on the columns that was made by Vermondo Resta in 1606.[147].
On the first floor on the opposite side there is a gallery with semicircular arches and Doric marble columns made by Lorenzo de Oviedo in the second half of the century. The floor was laid in 1599.[147].
In the center there is a fountain with a marble cup. The fountain was placed between 1675 and 1759.[147].
Galley Garden
It is connected to the Troy garden by a semicircular arch and also by a staircase with a room from the palace of Pedro I. It has four flowerbeds with various vegetation. There is a marble column with an inscription in homage to Al-Mutamid.[148].
Flower Garden
In the center there is a small rectangular pond.[148] There are the remains of a small grotto built at the end of the century and which today houses a bust of Charles I.[148].
Garden of the Cross
It is accessed through the Garden of Flowers or the Garden of the Ladies, passing through the Gate of Hercules. The door receives that name because it has a painting on the frontispiece that represents the fight between Hercules and Antaeus.[149].
In the center of the garden there is a mound with a fountain and a hole at the bottom,[149] which has been named the Sultanas' Grotto.[150].
Prince's Garden
Next to the Flower Garden is the Prince's Garden. Its name comes because it can be accessed from the Prince's room, where Prince John was born in the 19th century. The back façade is the work of Lorenzo de Oviedo in the 19th century. In it there is a ground floor with a gallery with marble columns that support semicircular arches.[151] Above there is a first floor with windows and, above this, a second floor with another row of columns and semicircular arches.[151] It is Mannerist architecture.[151].
The garden is divided into four by hedges[152] and has a fountain in its center,[151] made between 1760 and 1770.[153].
Ladies Garden
The Ladies' Garden was built in 1526, on the occasion of the wedding of Charles I and Isabella of Portugal.[154] At the beginning of the century it was expanded and redesigned, by the Milanese architect Vermondo Resta, in the direction of the old Alcoba orchard. The garden borders on the east with the Grutesco Gallery, with its monumental Fountain of Fame. It is the only source of this style left in Spain. It is an allegorical representation of fame, whose hydraulic mechanism has recently been restored. It produces musical notes in the pipes of an organ every hour on the hour as water passes through them. In the century the Spanish heraldic shields were made with box hedges.[155] The garden was drawn as a large rectangle divided into eight Vignola-style compartments, delimited with myrtle and bonnet hedges. While the fountains on the side walks are low and very close to the ground, the central fountain is of monumental proportions and crowned by a bronze statue of Neptune made in the style of Giovanni of Bologna.
Pavilion of Charles V
The pavilion of Charles V was built between 1543 and 1546 by Juan Fernández.[156] It is in the Mudejar style.[156] It has a square floor plan. Inside there is a hemispherical vault. All its walls, both interior and exterior, as well as its benches, are covered with tiles of the century made by Juan Polido and his father Diego Polido.[157] The exterior is surrounded by four porticoed galleries with semicircular arches supported by marble columns.[156].
Maze
Where the garden of Troy is located there was a labyrinth until the end when a floor was laid in 1599.[147] In the garden of the Cruz del Alcázar a labyrinth of hedges was later located that was destroyed in 1910. In 1914 the Marquis de la Vega-Inclán, royal commissioner of Tourism, decided to build a new one to the south of the Pavilion of Charles V, based on the plan on the ground of said garden. pavilion.[158].
Lion's Arbor
Diego Martín de Orejuela built two gazebos in the 19th century. These were the Ochavado gazebo, which has now disappeared, and the León gazebo, which is preserved. The León gazebo was built between 1644 and 1645. There is a square room that is accessed through a semicircular arch. On the three remaining flanks there are windows inserted in ornacinas. This room is covered by a dome with tiles on the outside. In front there is a fountain with a lion, of unknown origin.[159].
English Garden
This area has been located within the walls of the Alcázar since the Almohad extension of the century that was made in the direction of the current San Fernando street.[160] Until the century this area had continued to be an agrarian space, of medieval origin, known as Huerta de la Alcoba.[160] The current space, which imitates the style of English gardens, is from a reform in 1927.[160] The garden was created at a request from Victoria Eugenia de Battenberg to the royal commissioner of Tourism, the Marquis de la Vega-Inclán.[158].
In 2008, archaeological remains of Roman, Visigoth and three Almohad houses were found in this area.[161].
Garden of the Marquis de la Vega-Inclán
From the China garden you can access the Marqués de la Vega-Inclán garden. The entrance to the China Garden is the Marchena Gate, from the 19th century, moved to this place in 1913 by the then curator of the Alcázar, the Marquis de la Vega-Inclán. This Gothic doorway was acquired by Alfonso
This entire garden was created at the beginning of the century. It was the old Retiro orchard, which extended to the nearby Paseo de Catalina de Ribera. Currently it is a garden with parallel and perpendicular streets decorated with various plant species and fountains.[162].
Garden of Poets
It was built between 1956 and 1958 by the then curator, Joaquín Romero Murube.[164][165] It has two large ponds and typologically recreates the Sevillian garden, a synthesis of Islamic, Renaissance and Romantic influences.[166].
Banderas halt and patio
In a building in the Banderas courtyard, number 8, remains of the palace of the poet king Al-Mutamid have been found.[167].
At the door of the wall that gives access to the Banderas patio from the Plaza del Triunfo, there is an altarpiece, with the Immaculate Conception, from the last third of the century.[168].
In the Banderas courtyard is the door to the Alcázar Stop. The Halt is a rectangular hall with columns. It was made in the century by Philip III. It was designed by the architect Vermondo Resta and made by the bricklayer Pedro Martín, the carpenter Alonso Durán and the stonemason Diego de Carballo in 1609. The doorway, in a Mannerist style, was designed by Vermondo Resta and made by Diego de Carballo in 1607.[169] Felipe V located the Royal Armory here. For this purpose, the room was renovated by Ignacio de Sala and Juan Vergel in 1729. A royal shield was added to the doorway.[170][171] In the Halt there is an altarpiece from the last third of the century that shows the presentation of the Virgin Mary in the Temple of Jerusalem.[168].
in the painting
In 1849 Joaquín Domínguez Bécquer made a portrait of the Infanta María Luisa with her first-born daughter in her arms in the gardens of the Alcázar. This work is in a private collection in Sanlúcar de Barrameda.[172] This same author painted, in 1854, a child playing with a dog in the gardens of the Alcázar. This work is in a private collection in Seville.[173] Finally, in 1857 this painter made a painting of the Patio de las Muñecas that is in the Meadows Museum in Dallas[174] and another of the Patio de las Doncellas that is in a private collection in Seville.[175].
In 1851 Alfred Dehodencq painted A gypsy dance in the gardens of the Alcázar, in front of the pavilion of Charles V, which is in the Thyssen Museum in Malaga.[176].
In 1868 Raimundo Madrazo painted The pavilion of Charles V in the Alcázar of Seville. This painting is in the Prado Museum in Madrid.[177].
In 1872 Manuel Wssel de Guimbarda painted the work Scene of manners in the Alcázar of Seville, which is in the Thyssen Museum in Málaga.[178].
Around 1880 Emilio Sánchez Perrier painted his painting Gardens of the Alcázar of Seville.[179].
Joaquín Sorolla painted various paintings in the gardens of the Alcázar. In 1908 he painted the painting Palace of Charles V, Alcázar of Seville (which is in a private collection).[180] In 1910 he painted The pool,[181] Old garden of the Alcázar of Seville,[182] Grotesque corner of the Alcázar of Seville,[147] and Patio of King Don Pedro, which are found in the Sorolla Museum in Madrid,[147] and Jardines del Alcázar which is located in the Getty Center in Los Angeles.
Gustavo Bacarisas painted a picture of the garden of Troy at the beginning of the century.[147].
In 1921 Manuel García Rodríguez painted a painting of the Alcázar gardens that is preserved in the Bellver Museum in Seville. Between 1920 and 1925 Manuel García painted Jardines del Alcázar, Seville, which is preserved in the Thyssen Museum in Málaga.[183] The Marchena Gate appears in both paintings.
In film and television
The Alcázar has been the setting where the following films and television series have been filmed:
• - Where are you going, Alfonso XII? (1958).
• - La femme et le pantin (1958, France).[184].
• - Lawrence of Arabia "Lawrence of Arabia (film)") (1962).[185].
• - The wind and the lion (1971).[186].
• - 1492: the conquest of paradise (1992).
• - The kingdom of heaven (2004).[187].
• - Night and Day (2010).
• - Game of Thrones "Game of Thrones (TV series)") (5th and 6th seasons, HBO, 2015-2016).[188].
• - The White Princess (2017).[189].
• - Emerald City (2017).
• - The Plague "The Plague (TV series)") (2018).
• - Warrior Nun (2020).[190].
• - Wikimedia Commons hosts a multimedia category on Real Alcázar of Seville.
• - Royal Alcázar of Seville.
• - Real Alcázar of Seville in the Andalusian Real Estate Heritage database prepared by the Andalusian Institute of Historical Heritage.
References
[1] ↑ Ana Marín Fidalgo (1988). «Vermondo Resta». Diputación de Sevilla. ISBN 84-7788-021-7. Falta la |url= (ayuda).
[2] ↑ a b Diego López Bueno (2006). Sevilla. El casco antiguo. Historia arte y urbanismo. Guadalquivir S.L., Ediciones. p. 517. ISBN 848093154X.
[7] ↑ Miguel Ángel Tabales Rodríguez (2002). «El Real Alcázar de Sevilla». Edades de Sevilla: Hispalis, Isbiliya, Sevilla (Área de Cultura del Ayuntamiento de Sevilla): 61-76. ISBN 84-95020-92-0.
[11] ↑ Olimpia López Cruz, Ana García Bueno y Víctor J. Medina Flórez (2011). «Evolución del color en el alero de la fachada del rey D. Pedro I, Real Alcázar de Sevilla. Aportaciones del estudio de materiales a la identificación de las intervenciones de restauración a lo largo de su historia». Arqueología de la Arquitectura (8). ISSN 1695-2731.: http://arqarqt.revistas.csic.es/index.php/arqarqt/article/viewArticle/133
[12] ↑ a b c Cómez, 1996, p. 54.
[13] ↑ Cómez, 1996, p. 56.
[14] ↑ Rafael Valencia Rodríguez. «Palacio de Pedro I. Real Alcázar de Sevilla. 1356-1366». Ibn Jaldún. El Mediterráneo en el siglo XIV. Auge y declive de los imperios. Fundación José Manuel Lara. ISBN 9788496556324.
[17] ↑ Trejo Martín, Alberto (2020). «La recuperación del alcázar de Sevilla : un elemento de tensión entre los reyes católicos y la ciudad de Sevilla». Estudios de Historia de España. 2020, 22(1). ISSN 0328-0284. doi:10.46553/EHE.22.1.2020.p29-34. Consultado el 21 de julio de 2020.: https://repositorio.uca.edu.ar/handle/123456789/10405
[49] ↑ a b c d e f g h i j k l m n ñ o p q r s t u v w x Diego Ortiz de Zúñiga (1677). Anales eclesiásticos y seculares de la Muy Noble y Muy Leal ciudad de Sevilla, metrópoli de Andalucía. Madrid: Imprenta Real. p. 507.
[51] ↑ a b c Pablo Bañasco Sánchez y Pedro José Barrero Ortega (Enero de 2019). «El Alcázar de Sevilla durante la II República Española (1931-1939). Gestión e intervenciones arquitectónicas». Estoa. Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca 8 (15): 103-112.
[53] ↑ a b c d Rafael Cómez (1996). El Alcázar del rey don Pedro. Sevilla: Servicio de Publicaciones de la Diputación de Sevilla. p. 17. ISBN 84-7798-126-4.
[69] ↑ a b Miguel Ángel Tabales Rodríguez (2004). El Alcázar de Sevilla. Primeros estudios sobre estratigrafía y evolución constructiva. Consejería de Cultura de la Junta de Andalucía y Patronato del Real Alcázar. p. 46. ISBN 84-8266-346-1.
[70] ↑ a b Tabales Rodríguez, 2004, p. 40.
[71] ↑ Francisco-Javier Blasco-López, F. J. Alejandre y Juan Jesús Martín del Río (21-24 de octubre de 2009). «Evolución de yeserías de los Patios del Yeso y del Sol del Real Alcázar de Sevilla a través de las fuentes escritas, reforzadas por ensayos de caracterización». En Santiago Huerta Fernández, ed. Actas del Sexto Congreso Nacional de Historia de la Construcción (Valencia) 1: 201-209. - [http://www.sedhc.es/biblioteca/actas/CNHC6_%20(20).pdf](http://www.sedhc.es/biblioteca/actas/CNHC6_%20(20).pdf)
[72] ↑ a b Rafael Cómez (1995). «La Puerta del León o de la Montería en los Reales Alcázares de Sevilla». Laboratorio de Arte. Revista del Departamento de Historia del Arte (8): 11-23. ISSN 1130-5762.: http://institucional.us.es/revistas/arte/08/01%20comez.pdf
[74] ↑ «Inaugurada en el Alcázar una muestra permanente de abanicos de los siglos XVIII y XIX». ABC de Sevilla. 17 de enero de 1998. p. 8.
[75] ↑ Álvaro Pastor Torres (1994). «Dos nuevas aportaciones gráficas para el estudio de la parroquia sevillana de San Miguel». Laboratorio de Arte: Revista del Departamento de Historia del Arte (7): 355-366. ISSN 1130-5762.: https://es.wikipedia.org//portal.issn.org/resource/issn/1130-5762
[76] ↑ Sevilla equipo 28. Andalucía americana. Junta de Andalucía, Consejería de Cultura y Medio Ambiente. ISBN 84-404-4877-5.
[77] ↑ Fernández López, Francisco (2018). La Casa de la Contratación: una oficina de expedición documental para el gobierno de las Indias (1503-1717). El Colegio de Michoacán A. C. y Editorial de la Universidad de Sevilla. pp. 60-63. ISBN 978-84-472-1946-9.
[81] ↑ Rodrigo Caro, Antigüedades y principado de la ilustrísima ciudad de Sevilla, 1634.
[82] ↑ López Guzmán, Rafael. Arquitectura mudéjar. Cátedra. ISBN 84-376-1801-0.
[83] ↑ a b Francisco Ollero Lobato (1998). La reforma del palacio Gótico de los Reales Alcázares de Sevilla en el siglo XVIII (11). Laboratorio de Arte. Revista del Departamento de Historia del Arte. pp. 233-252. ISSN 1130-5762.: http://institucional.us.es/revistas/arte/11/13%20ollero.pdf
[88] ↑ Julie Marquer (Junio de 2012). «Epigrafía y poder: el uso de las inscripciones árabes en el proyecto propagandístico de Pedro I de Castilla (1350-1369)». e-Spania. Consultado el 26 de noviembre de 2016.: https://e-spania.revues.org/21058?lang=fr
[89] ↑ a b Julie Marquer (2013). El poder escrito: problemáticas y significación de las inscripciones árabes de los palacios de Pedro I de Castilla (1350-1369) 23. Anales de Historia del Arte. pp. 499-508.
[94] ↑ Rafael Cómez (1989). La Puerta del Rey don Pedro en el Patio del León del Alcázar de Sevilla (2). Laboratorio de Arte: Revista del Departamento de Historia del Arte. pp. 3-14. ISSN 1130-5762.: http://institucional.us.es/revistas/arte/02/01%20comez.pdf
[95] ↑ a b c d Teodoro Falcón Márquez (26-28 octubre 2000). «Tipologías constructivas de los palacios sevillanos del siglo XVI». Actas del Tercer Congreso Nacional de Historia de la Construcción (Sevilla: Instituto Juan de Herrera, SEdHC, Universidad de Sevilla, Junta Andalucía, COAAT Granada, CEHOPU).: https://idus.us.es/xmlui/bitstream/handle/11441/26814/CNHC3_031.pdf?sequence=1&isAllowed=y
[116] ↑ a b Rafael Cómez Ramos (2006). «Iconografía de Pedro I de Castilla». Historia. Instituciones. Documentos (33).
[117] ↑ a b c d David Nogales Rincón (Junio de 2011). «Cultura visual y genealogía en la corte regia de Castilla durante la segunda mitad del siglo XV». E-Spania. Consultado el 28 de noviembre de 2016.: https://e-spania.revues.org/20362?lang=fr
[123] ↑ a b c d Morales, Alfredo; Sanz, María Jesús; Serrera, Juan Miguel; Valdivieso, Enrique. Diputación de Sevilla, ed. Guía artística de Sevilla y su provincia. pp. 70-76. ISBN 84-7798-210-4. |fechaacceso= requiere |url= (ayuda).
[132] ↑ Juan Fernández Lacomba (2016). «Las sargas colombinas de Gustavo Bacarisas para el Pabellón Real de la Exposición Iberoamericana de 1929 en el Real Alcázar de Sevilla: encargo, concepción, ubicación, motivaciones, contexto e influencias». Apuntes del Alcázar de Sevilla (17): 168-192.: https://www.alcazarsevilla.org/wp-content/uploads/2017/04/Apuntes-del-Alcazar-17.pdf
[142] ↑ Fidalgo, Ana Marín; Plaza, Carlos. Patronato del Real Alcázar de Sevilla y de la Casa Consistorial, ed. Los jardines del Real Alcázar de Sevilla. Historia y arquitectura desde el Medievo islámico al siglo XX. ISBN 978-84-933080-8-7. Consultado el 17 de diciembre de 2016.: http://www.eea.csic.es/wp-content/uploads/2016/05/2016JARDINES-DEL-ALCAZAR_AAG.pdf
[151] ↑ a b c d María Dolores Robador González (Abril-junio de 2006). «El sentimiento en la antigua construcción. Revestimientos con mortero de cal, estucos y terrajados en el Jardín del Príncipe del Real Alcázar de Sevilla». Informes de la Construcción 58: 17-32. ISSN 0020-088.: http://www.alcazarsevilla.org/wp-content/pdfs/articulo-jardin-del-principe.pdf
[158] ↑ a b Menéndez Robles, María Luisa (2008). La huella del marqués de la Vega Inclán en Sevilla. Diputación Provincial de Sevilla. p. 109. ISBN 978-84-7798-268-5.
[179] ↑ «Invierno en Andalucía. (Bosque de álamos con rebaño en Alcalá de Guadaíra)». Museo Carmen Thyssen de Málaga. Consultado el 4 de diciembre de 2016. - [http://carmenthyssenmalaga.org/obra/invierno-en-andalucia.-(bosque-de-alamos-con-rebano-en-alcala-de-guadaira)](http://carmenthyssenmalaga.org/obra/invierno-en-andalucia.-(bosque-de-alamos-con-rebano-en-alcala-de-guadaira))
[188] ↑ Plan de trabajo del rodaje de “Juego de Tronos” Archivado el 16 de abril de 2015 en Wayback Machine. Alcázar de Sevilla.: http://www.alcazarsevilla.org/?p=1814
A cryptoportico has also appeared, which may belong to a large temple dedicated to the goddess Isis, a goddess linked to commerce, whose image was found in the 19th century, currently missing, as well as marble tombstones with dedications to said divinity. In a fill from the Almohad period of the primitive door of the Alcázar, a Roman stele from the imperial period has appeared, a Roman altar dedicated to Minerva, protective goddess of the college of olearios, found as part of the Almohad fill; This Roman altar is dedicated to Minerva, goddess protector of the college of olearios of Hispalis: "To Minerva, Valeria, daughter of Quintus Valerius Valens, did works for the cult on behalf of her extraordinary father. She gave a donation in honor of the body of the olearios". The dedication to Minerva has parallels in other towns such as Italica, Carmo, Tomares... as the official goddess of the State within the Capitoline triad, with wide devotion in the south of the peninsula; The character of Q. Valeri Valentis is documented in Rome in the government of Antoninus Pio, and seems to be a prominent member of the corps of olearios; The inscription would be either from a temple to Minerva or from some work inside the college of olearios; This altar was reused as a summit for a column of a possible church from the 19th century, linked to a monastery founded by Saint Florentina in the 6th century and dedicated to Saint Honorato, as demonstrated by the imprint of a carved cross. It also presents a decorative motif of Germanic origin formed by circles with stars, like those seen on the tombstone of Bishop Honorato, found in the Alcázar, today in the Cathedral; Both pieces, found in this same area at different times, are an indication of the possible location in the area of the Basilica of San Vicente.[7].
From around the century AD. C. a stratum of sand and marine remains found interspersed in the walls and structures of the Roman building dedicated to the port is dated. Archaeologists call this level “a high-energy event,” which may have been a strong storm or tsunami. It seems that the city almost disappeared, at least its port, which would explain the city's decline during that century.
The area was abandoned from the 3rd century AD. C., and in the 4th-5th century d. C. came to have a Christian religious use.
A possible polygonal basin discovered in 1976 by Bendala and Negueruela was identified as a possible Paleo-Christian baptistery, but today it is known that it is not.
Later, a late antique building was identified, dating from the 4th-5th centuries AD. C., which has been estimated to be a monastery.
The latest archaeological study has demonstrated the presence of a suburb from the 11th century AD. C., prior to the construction of the fortress, with a very short duration, just a few decades.
The castle complex is the result of the union of several palatine enclosures from different periods; The oldest enclosure is from the middle or end of the century, corresponding to the area of the current Patio de Banderas. Thus appears what is known as Enclosure I, either with Almutamid or with the Almoravids. The enclosure is quadrangular and occupies the current Patio de Banderas and surrounding houses. Possibly it began with Almutamid, using material from the old Roman wall and other constructions in the area and even from far away; Access to Enclosure I was direct, between two large towers.
At the end of the century or beginning of the century there was a rectangle-shaped extension and a new access door. The only known access door to this citadel was at number 16 of the Banderas patio and of which the north jamb of an arch is preserved.[8] It is a curved access, and a direct one, both in turn connected. It is assumed that the horseshoe gate preserved on the current Romero Murube street was an access to the city, not to the Alcázar. This is how what is known as Enclosure II is formed.
In an archaeological intervention inside the current Patio de Banderas, in houses numbers 7-8 and numbers 1-2, remains of a palace from the late 11th century were found, either built by Almutamid at the end of his reign or by the Almoravids in their early days. It is the oldest palace in the area. It may be the primitive Alcázar of Blessing (Al-Mubarak).[8].
In 2009, the Alcázar wall was tested for carbon 14. This test gave the year 1090 as the most approximate date of construction, with an estimated margin of error of +/- 40 years. That is, the preserved wall of the Alcázar would be from the times of the taifa of Seville or the beginning of the Almoravid period.[9].
In the century the river had moved to the west, in such a way that the palatine enclosure grew with the Almohads on an old suburb and port, and a new major mosque was created; The new access was in the Giralda area, and the old one gradually became unused. In the century the Almohads completely renovated this entire space. They created a system of walls that linked the Alcázar with other fortifications up to the bed of the Guadalquivir. The Alcázar reached the tower of Abd el Aziz "Torre Abd el Aziz (Seville)"), located on the current Avenida de la Constitución "Avenida de la Constitución (Sevilla)"). Inside, a dozen new and larger buildings were built.[8] The walls of the Alcázar also became part of new and renovated fortifications for the defense of the city. These defensive works culminated at the beginning of the century with the construction of the Torre del Oro.[8].
The Real Alcázar after the Castilian conquest
After the conquest of the city in 1248, Ferdinand III did not make any updates to the Alcázar. The Christian court was established for decades in the old Almohad spaces.[8] Between 1252 and 1260, Alfonso Almohads to build the Mudéjar palace, which was attached to the Gothic Alfonsí palace.[8] Construction began in the same year 1356[11] and, according to the inscriptions of the Alcázar itself, it finished in 1364.[12].
In 1366 the first Castilian civil war began between Pedro I and his half-brother Enrique II[13] and ended with Pedro's death in 1369, so it does not seem that he could have lived there for long.[14].
Throughout history, the Alcázar has been the scene of various events related to the Spanish Crown. Between 1363 and 1365, as the seat of the Castilian court, it was visited by the diplomats of the court of Granada Ibn Jaldún, philosopher, and Ibn al-Jatib, chronicler and poet, to sign a peace treaty with King Pedro. In 1367 the Prince of Wales sent the English diplomats Neil Loring, Richard Punchardoun and Thomas Balastre to this Alcázar to meet with Don Pedro. and collect some payments.[16].
On July 28, 1477, the Catholic Monarchs arrived in Seville and used the premises as a chamber after ten years without a king setting foot in the city. Upon observing the poor condition of the building, Queen Isabel I of Castile ordered interventions and measures for the material and functional recovery of the site.[17].
A year later, on June 30, 1478, his second son, Prince Juan "Juan of Aragón (Prince of Asturias)") was born in the palace. It is known that this royal birth was attended by a Sevillian midwife known as "la Herradera" and that Garci Téllez, Alonso Melgarejo, Fernando de Abrejo and Juan de Pineda were present as witnesses designated by King Ferdinand, as established by Castilian regulations, to dispel the slightest doubt that the son was the queen's.[18] In 1526, the wedding of Charles I with his cousin Isabella was celebrated in the Alcázar. Portugal.[19].
Between 1729 and 1733 the Court was established in the Alcázar of Seville. Felipe V, Isabel de Farnese and the future Carlos III lived there.[20].
During the War of Independence, the Sevillian junta[21] and, later, the Supreme Central Junta met here.[22].
Between September 13 and 16, 1816, the queen consort María Isabel de Braganza and her sister María Francisca stayed here.[23].
In 1823, due to the military intervention of the Hundred Thousand Sons of San Luis, the government and the Cortes decided to transfer the royal family, with Fernando VII at the head, to Seville.[24] They arrived on April 10, 1823.[25] On April 17, 1823, the Infante Enrique de Borbón y Borbón-Dos Sicilias, son of the Infante Francisco de Paula de Borbón and Luisa Carlota de Borbón-Dos Sicilias, and to whom the king granted, two days after his birth, the title of Duke of Seville.[26] Faced with the advance of the French troops, the Cortes, meeting in the church of the old Convent of San Hermenegildo, and the government decided to transfer the royal family to Cádiz.[27] They left Seville on the 12th of June.[28] Once absolutism was restored, Fernando VII and his family set out on the road from Cádiz to Madrid, and stopped in Seville between October 8 and 23, 1823.[29].
In the 19th century, Joaquín Domínguez Bécquer lived for years in a house in the Banderas patio. He had his painting workshop in the Apeadero. He worked as a restorer in the Alcázar and was an honorary chamber painter of the Royal House.[30][31].
En 1848 se instalaron aquí el duque de Montpensier y la infanta María Luisa,[32] que al año siguiente se trasladaron al Palacio de San Telmo.[33].
During the reign of Alfonso For this reason, Isabel II left the Alcázar of Seville with her daughters on September 8, 1877 to settle in the Monastery of San Lorenzo de El Escorial.[34].
Alfonso 1879. It was a mourning visit on the occasion of the death of his cousin, Cristina de Orleans.[38].
Alfonso XIII and his wife Victoria Eugenia de Battenberg traveled to Seville numerous times. This king was fond of sports and had a tennis court built in the courtyard of the Alcubilla, which was one of the first in Spain, but which is currently no longer preserved.[39].
By decree of April 22, 1931, the Government of the Second Spanish Republic, at the proposal of its Minister of Finance, Indalecio Prieto, transferred the Alcázar and its gardens to the municipality of Seville.[40].
On April 2, 1976, during the Spanish Transition, a meeting of the Council of Ministers took place here, chaired by Juan Carlos I.[41] The Council of Ministers met again in the Alcázar on March 19, 2010, this time without the presence of the monarch.[42].
On March 18, 1995, a lunch and reception was held in this place on the occasion of the wedding of Infanta Elena de Borbón, daughter of King Juan Carlos I, with Jaime de Marichalar.[43].
On October 20, 1988, Queen Elizabeth II of England attended a flamenco show at the Alcázar.[44] It has also been visited by other personalities who passed through the city, such as the Prince of Wales in 2012,[45] Harrison Ford in 2016,[46] Barack Obama in 2019[47] or Hillary Clinton in 2024.[48].
Stays
Lion's Gate
The Lion Gate, located in the outer wall of the complex, is the main access route to the enclosure. Between the lintel of this door and under a machicolation there was a painting of a lion, whose origin is unknown,[53] although it already appears in the drawings made by Richard Ford "Richard Ford (Hispanist)") in 1832.[54] This painting was restored by Joaquín Domínguez Bécquer, in 1876.[53] In 1892 the painting was replaced by a mural of tiles designed by Manuel Tortosa y Fernández, with the historical advice of José Gestoso. The tile was made in the Mensaque factory[53] and also represents a lion, in Gothic style, which appears holding a crucifix with its right claw and with a flag under its left claw. On the chest there is a phylactery that reads in Latin Ad utrumque, which means "for one thing and for another", the word 'paratus' would be missing; Ad utrumque paratus, thus meaning "prepared for one thing and another".[53].
The name Lion's Gate probably dates back to the 17th century. Historically this gate had been known as La Montería. According to Ortiz de Zúñiga (1st century), it was called that way because it was where the king went out with his huntsmen to go hunting.[55] This hypothesis has a basis, since the father of Pedro I, Alfonso two very worn polylobed medallions. In one of them you can see something similar to a quadruped animal.[55].
After the door you access the León patio. At the back of the patio there is a section of Almohad wall with three porticos.[56] This wall seems to have been reinforced later. Furthermore, the arches were horseshoe-shaped but in the Christian era they were transformed into semicircular arches.[56] Behind this section of wall is the courtyard of the Montería.[57].
Courtroom
The courtroom is accessed through the León patio.[57].
It has a square floor plan, Mudejar style and was built in the reign of Alfonso Although the room was dated to the reign of Alfonso The most likely thing is that it would have been an Almohad room used to meet a council (maswar) and that it was renovated with Mudejar art by the Christians, who continued to use it for the same purpose.[64] This was probably the room where the court presided over by Pedro I was, although there are other hypotheses about its possible location.[65] In this court there were three brick steps with a stone throne, although this structure was demolished before the visit of Philip II in 1570.[64] This performance displeased Philip II,[66] who was a great admirer of King Don Pedro and who was the first to indicate that he should be called "the Justicier".[67].
Plaster Courtyard
From the Hall of Justice you can access the Yeso courtyard, which was built at the end of the century, from the Almohad period, with an almost square floor plan, it has a pool in the center and with porticoed arches on each side of the patio, on which a rich decoration appears. In the arcade there is an entrance with two horseshoe arches with a column in the center. Two windows open on the lintel of that entrance.[69] On the opposite wall there is a bricked-up exit with three horseshoe arches in the Caliphal style of Cordoba.[70] As in other places of the Alcázar, several renovations have been carried out in this courtyard throughout its history.[69][70] The entire wall where the sebka archway was located was found covered up. It was discovered by Francisco María Tubino at the end of the century. The Marquis of Vega-Inclán, then curator of the Alcázar, commissioned its recovery and restoration to the architect José Gómez Millán in 1912.[71].
Patio de la Montería
It is the main patio and is presided over by the door of the palace of Pedro I.[72] On the walls there are semicircular arches that were bricked up in the 19th century.[73] To the right were the rooms of the Casa de Contratación.[72].
Fan Room
It is a room where, since 1998, 37 fans from the centuries donated by the collector Gloria Trueba Gómez have been exhibited.[74].
In this place there is also a large painting that represents the Procession of the Santo Entierro Grande of 1854. It is a work of the time that was acquired in 1992 at the Sotheby's auction house by the Sevillian antique dealer Antonio Plata del Pino and that was later purchased by the City Council for five million pesetas.[75].
Contracting House
The Catholic Monarchs approved the creation, in 1503, of the Casa de Contratación de Indias, which was an institution in charge of promoting and regulating trade and navigation with the Spanish overseas territories and that carried out review and reception of merchandise, actions of a technical-scientific nature and also judicial activities.[76].
The Casa de Contratación spanned from the current Plaza de la Contratación, where it had its main façade, to the western part of the Montería patio. In 1717 this institution moved to Cádiz and in 1790 it disappeared.[77].
From the patio of the Montería you can access the Almirante's room,[2] where the following paintings stand out: The inauguration of the Ibero-American Exhibition of 1929, which presides over the room, the work of the painter Alfonso Grosso; The End of Saint Ferdinand, by Virgilio Mattoni; The taking of Loja by Fernando the Catholic, work of Eusebio Valldeperas; and the portraits of Ferdinand VII and María Cristina of Naples by Carlos Blanco&action=edit&redlink=1 "Carlos Blanco (painter) (not yet written)"), dated to the first third of the century. This place is used as a hall for public events.[78].
Next, there is the so-called Audience Hall, transformed into a chapel in the 19th century. It is covered with a rich tracery roof of the century with geometric ornaments. The chapel has a stone step attached to the wall that runs along the perimeter and presiding over the room is a triptych-shaped altarpiece, the work of Alejo Fernández,[79] made between 1531 and 1536.[80] The central part is occupied by an image of the Virgin of the Navigators, accompanied by Saint Sebastian and Saint James on one side and Saint Telmo and Saint John the Evangelist on the other.
Cruise Courtyard
The transept patio is located to the west of the Montería patio. It was built in the 19th century, during the Almohad period, although it was later renovated. In the time of Alfonso X, ribbed vaults were added. The garden had two levels, the highest would correspond to the one the patio currently has, with two main galleries in the shape of a cross and four other peripheral ones, and a second level, 4.7 meters below the previous one, occupied by a garden with orange trees, divided into four parts, in the center of which was a large fountain and at the ends, pools.[81].
As a result of the Lisbon earthquake, this lower garden was covered, filling it with earth and forming the current rectangular patio. The visible vestiges of this lower floor can be seen from the Crucero patio and the only part that survives are the so-called María Padilla baths, which are accessed from the Danza garden. This basement is made up of a large nave with ten sections covered by cross vaults. The entrance from the garden is covered with a long barrel vault.[82][83][84].
Currently it is a rectangular landscaped patio, divided into four by myrtle hedges and inside the quadrants there are bonnet trees, Jupiter trees, palm trees, bougainvilleas and jasmines.[85].
In the century, several works were carried out in the Crucero patio and in the Gothic palace.[83] The façade of the Gothic palace that faced the Crucero patio was completely renovated in the baroque style. The other facades of the patio were also remodeled.[84] The entire garden was buried to put its floor at the level of the rooms.[84] The sides of the patio corridors were walled up and these remained as underground chambers.[84].
Mudejar or Pedro I Palace
It was built next to the Gothic palace of Alfonso According to archaeological investigations, King Pedro's palace was a new project, which was built in a place where previous constructions existed.
This palace was born to serve as the private building of King Pedro I, compared to the more formal character represented by the Gothic palace, built in the previous century by order of Alfonso This is because, starting in the 19th century, the Castilian monarchs stopped copying European trends and were inspired by Andalusian models. This meant that this palace of Peter I housed various writings in Arabic praising his figure.[88][89].
On almost all the plinths of the palace you can read the phrase "Glory to our Lord Sultan Don Pedro, may Allah protect him!"[90].
The wood used in the coffered ceilings (alfarjes), the doors with lacework and the window frames is usually pine.[91] These lacework are gilded or polychrome.[92].
It has a first floor that does not extend throughout the entire ground floor, but only through some rooms.[93].
The main entrance is located in the courtyard of La Montería. At the top there is a large wooden eaves, supported by golden muqarnas. Below there is a tile mural with an inscription in Arabic that speaks of the year in which the building was completed.[89] This mural is bordered by an inscription in Gothic characters that says: "the very tall, very noble, very powerful, and very conquering Don Pedro, by the grace of God, king of Castile and León, commanded these fortresses, these palaces, and these portals to be built, which was made in the era of one thousand four hundred and two years.".[94].
The entrance door is rectangular, with a voussoir lintel decorated with fine alaurique. On both sides there are lobed arches decorated with sebka and supported by marble columns.[73] In the upper band there are windows, twinned on each side and tripartite in the central space, with marble columns supporting their lobed arches.[73].
The doorway gives access to a hallway, from which a hallway leads to the Patio de las Muñecas.[93] It is believed that this area of the palace was intended for the queen,[93] this being a domestic patio.[95] It was subjected to a renovation between 1847 and 1855. In this renovation, a cornice with muqarnas and a neo-Mudejar mezzanine between the ground floor and the first floor were added.[96] This renovation was directed by Juan Manuel Caballero and José Gutiérrez. The ten current marble columns were made by the marble worker José Barradas in that reform.[96].
The name "of the Dolls" is old. In 1637 the historian Rodrigo Caro speculated that it could be called that because that was where the children were raised or because it is a very small patio.[97] Nowadays it is believed that it may be due to some faces of girls or dolls that are at the beginning of the arches.[98].
Gothic Palace
Alfonso
The first news of works in the period of King Alfonso date from March 22, 1254, when he ordered that a conduit be made to bring water from the Caños de Carmona aqueduct to the interior of the Alcázar.[125].
The Gothic palace of the Alcázar was renovated by Charles I, although the Gothic structure of the ground floor was preserved.[126] The plinths on the walls of the Chapel, the Great Hall and the Cantarera Room are decorated with tiles made by Cristóbal de Augusta between 1577 and 1578, during the reign of Philip II.[127][128].
The chapel of San Clemente was probably here, created in 1271.[129] Currently it is presided over by an altarpiece of the Virgin of Antigua, made in the century by Diego de Castillejo and which contains an anonymous copy of the one existing in the cathedral of Seville.
The Great Hall,[130] also known as the Vaults room or the Festival hall, has four sargas commissioned by Alfonso 1920 by other authors for that pavilion: one with the coat of arms of Charles V and another with the coat of arms of Portugal.[132].
Next to it there is a smaller room, known as the Cantarera room, which since 2015 has been used for temporary exhibitions.[133].
It was completely rebuilt in the 19th century. The façade of this room is the south façade of the Crucero patio.[134].
It is decorated with six tapestries of the conquest of Tunisia by Charles I, made in the 1730s. In the century a series of Flemish tapestries were made in the workshop of Willem de Pannemaker about the conquest of Tunisia by Charles I with cartoons drawn by Jan Cornelisz Vermeyen (who had been present at that event as a Court painter)[135] and Pieter Coecke van Aelst. In the century Zenón de Somodevilla y Bengoechea, Marquis of Ensenada, planned the making of new tapestries to avoid the wear and tear caused by the continuous use of the Flemish tapestries in the Madrid palace. In 1732 the Royal Tapestry Factory commissioned Jacob Vandergoten the Younger to make these tapestries. He carried out this work with the supervision of Andrea Procaccini and his disciple Domenico Maria Sani. They were made with tracings by Jaime Alemán, who was supervised by Procaccini. Of the 10 tapestries produced in the 1730s, six are in this room of the Alcázar of Seville and the other four They are in Madrid. Those found in the Alcázar of Seville are: The map, Taking of La Goleta, Taking of Tunisia, The army camps in Rada and Reembarking of La Goleta.[136].
Grounds
Contenido
Los jardines constituyen un elemento fundamental del Alcázar[123]
Son los más antiguos de la ciudad y desde su creación han sufrido grandes alteraciones que han transformado su trazado primitivo.[123] En la Baja Edad Media había configurado un Alcázar con edificios de distintas épocas, pequeños patios ajardinados y grandes huertas.[137] Fueron reformados en el siglo y a comienzos del siglo , conservando como herencia musulmana el concepto de jardines compartimentados sin ninguna vinculación entre ellos, al igual que lo habitual de las fuentes bajas, los azulejos y los naranjos.[138].
Las naranjas de estos jardines eran usadas para la elaboración de la mermelada que consumía Isabel II de Inglaterra.[139].
Saliendo de los salones del palacio Gótico se accede al conocido como jardín de la China.[140] Los arriates están separados con setos de mirto. En ellos hay plantados un falso pomelo. Este jardín se separó de la zona del estanque de Mercurio en el siglo , durante el reinado de Felipe II.[141].
Mercury Pond
The Mercury Pond was probably built in the Arab period as a storage and regulation element for the water supply of the entire citadel.[142].
In the center of this pond is a 1576 bronze statue of the Greek god Mercury, designed by Diego de Pesquera and cast by Bartolomé Morel. By the same authors are the railing that surrounds the pond, the figures of lions holding shields that are in its corners and the 18 balls with pyramidal ends that surround the pond.[143].
Grutesco Gallery
Behind the Mercury pond, a 160-meter-long wall rises that advances in a northwest-southeast direction through the gardens and compartmentalizes the green area into two different areas: on one side the primitive gardens and on the other, the old orchard area that was also converted into gardens at the end of the century, in which orange and lemon trees abound.[144].
The origin of this construction is found in an old section of Almohad wall from the 19th century, which served as a military defense and against floods from the Tagarete River. In 1612, the architect Vermondo Resta transformed the wall into the current Gallery of Grutescos decorated on one of the faces of the wall. The ornamentation basically consisted of covering the walls with courses of different stones, plastering and painting between the stones, with imitations of marble and frescoes made by Diego Esquivel) of classical mythological scenes. The transformations continued until the 19th century, when this area acquired the appearance it currently presents.[144] This wall also has an upper gallery that can be visited from which you have a splendid view.[123].
Dance Garden
Going down some stairs, next to the Mercury pond, is the Dance Garden. This garden was built in the 1570s.[145] Through a passage you can access the María Padilla baths, which are vaulted passages from the 19th century.[145].
The name is due to the fact that in the century there were two statues on the two columns at the entrance[141] that represented a satyr and a dancing nymph. These statues were last photographed by Jean Laurent in the 19th century, but are currently missing.[145].
In the center there is a low fountain from the 18th century.[146].
Garden of Troy
It is a landscaped Mannerist courtyard.[147] On the south side there is a gallery with semicircular arches and grotesque details on the columns that was made by Vermondo Resta in 1606.[147].
On the first floor on the opposite side there is a gallery with semicircular arches and Doric marble columns made by Lorenzo de Oviedo in the second half of the century. The floor was laid in 1599.[147].
In the center there is a fountain with a marble cup. The fountain was placed between 1675 and 1759.[147].
Galley Garden
It is connected to the Troy garden by a semicircular arch and also by a staircase with a room from the palace of Pedro I. It has four flowerbeds with various vegetation. There is a marble column with an inscription in homage to Al-Mutamid.[148].
Flower Garden
In the center there is a small rectangular pond.[148] There are the remains of a small grotto built at the end of the century and which today houses a bust of Charles I.[148].
Garden of the Cross
It is accessed through the Garden of Flowers or the Garden of the Ladies, passing through the Gate of Hercules. The door receives that name because it has a painting on the frontispiece that represents the fight between Hercules and Antaeus.[149].
In the center of the garden there is a mound with a fountain and a hole at the bottom,[149] which has been named the Sultanas' Grotto.[150].
Prince's Garden
Next to the Flower Garden is the Prince's Garden. Its name comes because it can be accessed from the Prince's room, where Prince John was born in the 19th century. The back façade is the work of Lorenzo de Oviedo in the 19th century. In it there is a ground floor with a gallery with marble columns that support semicircular arches.[151] Above there is a first floor with windows and, above this, a second floor with another row of columns and semicircular arches.[151] It is Mannerist architecture.[151].
The garden is divided into four by hedges[152] and has a fountain in its center,[151] made between 1760 and 1770.[153].
Ladies Garden
The Ladies' Garden was built in 1526, on the occasion of the wedding of Charles I and Isabella of Portugal.[154] At the beginning of the century it was expanded and redesigned, by the Milanese architect Vermondo Resta, in the direction of the old Alcoba orchard. The garden borders on the east with the Grutesco Gallery, with its monumental Fountain of Fame. It is the only source of this style left in Spain. It is an allegorical representation of fame, whose hydraulic mechanism has recently been restored. It produces musical notes in the pipes of an organ every hour on the hour as water passes through them. In the century the Spanish heraldic shields were made with box hedges.[155] The garden was drawn as a large rectangle divided into eight Vignola-style compartments, delimited with myrtle and bonnet hedges. While the fountains on the side walks are low and very close to the ground, the central fountain is of monumental proportions and crowned by a bronze statue of Neptune made in the style of Giovanni of Bologna.
Pavilion of Charles V
The pavilion of Charles V was built between 1543 and 1546 by Juan Fernández.[156] It is in the Mudejar style.[156] It has a square floor plan. Inside there is a hemispherical vault. All its walls, both interior and exterior, as well as its benches, are covered with tiles of the century made by Juan Polido and his father Diego Polido.[157] The exterior is surrounded by four porticoed galleries with semicircular arches supported by marble columns.[156].
Maze
Where the garden of Troy is located there was a labyrinth until the end when a floor was laid in 1599.[147] In the garden of the Cruz del Alcázar a labyrinth of hedges was later located that was destroyed in 1910. In 1914 the Marquis de la Vega-Inclán, royal commissioner of Tourism, decided to build a new one to the south of the Pavilion of Charles V, based on the plan on the ground of said garden. pavilion.[158].
Lion's Arbor
Diego Martín de Orejuela built two gazebos in the 19th century. These were the Ochavado gazebo, which has now disappeared, and the León gazebo, which is preserved. The León gazebo was built between 1644 and 1645. There is a square room that is accessed through a semicircular arch. On the three remaining flanks there are windows inserted in ornacinas. This room is covered by a dome with tiles on the outside. In front there is a fountain with a lion, of unknown origin.[159].
English Garden
This area has been located within the walls of the Alcázar since the Almohad extension of the century that was made in the direction of the current San Fernando street.[160] Until the century this area had continued to be an agrarian space, of medieval origin, known as Huerta de la Alcoba.[160] The current space, which imitates the style of English gardens, is from a reform in 1927.[160] The garden was created at a request from Victoria Eugenia de Battenberg to the royal commissioner of Tourism, the Marquis de la Vega-Inclán.[158].
In 2008, archaeological remains of Roman, Visigoth and three Almohad houses were found in this area.[161].
Garden of the Marquis de la Vega-Inclán
From the China garden you can access the Marqués de la Vega-Inclán garden. The entrance to the China Garden is the Marchena Gate, from the 19th century, moved to this place in 1913 by the then curator of the Alcázar, the Marquis de la Vega-Inclán. This Gothic doorway was acquired by Alfonso
This entire garden was created at the beginning of the century. It was the old Retiro orchard, which extended to the nearby Paseo de Catalina de Ribera. Currently it is a garden with parallel and perpendicular streets decorated with various plant species and fountains.[162].
Garden of Poets
It was built between 1956 and 1958 by the then curator, Joaquín Romero Murube.[164][165] It has two large ponds and typologically recreates the Sevillian garden, a synthesis of Islamic, Renaissance and Romantic influences.[166].
Banderas halt and patio
In a building in the Banderas courtyard, number 8, remains of the palace of the poet king Al-Mutamid have been found.[167].
At the door of the wall that gives access to the Banderas patio from the Plaza del Triunfo, there is an altarpiece, with the Immaculate Conception, from the last third of the century.[168].
In the Banderas courtyard is the door to the Alcázar Stop. The Halt is a rectangular hall with columns. It was made in the century by Philip III. It was designed by the architect Vermondo Resta and made by the bricklayer Pedro Martín, the carpenter Alonso Durán and the stonemason Diego de Carballo in 1609. The doorway, in a Mannerist style, was designed by Vermondo Resta and made by Diego de Carballo in 1607.[169] Felipe V located the Royal Armory here. For this purpose, the room was renovated by Ignacio de Sala and Juan Vergel in 1729. A royal shield was added to the doorway.[170][171] In the Halt there is an altarpiece from the last third of the century that shows the presentation of the Virgin Mary in the Temple of Jerusalem.[168].
in the painting
In 1849 Joaquín Domínguez Bécquer made a portrait of the Infanta María Luisa with her first-born daughter in her arms in the gardens of the Alcázar. This work is in a private collection in Sanlúcar de Barrameda.[172] This same author painted, in 1854, a child playing with a dog in the gardens of the Alcázar. This work is in a private collection in Seville.[173] Finally, in 1857 this painter made a painting of the Patio de las Muñecas that is in the Meadows Museum in Dallas[174] and another of the Patio de las Doncellas that is in a private collection in Seville.[175].
In 1851 Alfred Dehodencq painted A gypsy dance in the gardens of the Alcázar, in front of the pavilion of Charles V, which is in the Thyssen Museum in Malaga.[176].
In 1868 Raimundo Madrazo painted The pavilion of Charles V in the Alcázar of Seville. This painting is in the Prado Museum in Madrid.[177].
In 1872 Manuel Wssel de Guimbarda painted the work Scene of manners in the Alcázar of Seville, which is in the Thyssen Museum in Málaga.[178].
Around 1880 Emilio Sánchez Perrier painted his painting Gardens of the Alcázar of Seville.[179].
Joaquín Sorolla painted various paintings in the gardens of the Alcázar. In 1908 he painted the painting Palace of Charles V, Alcázar of Seville (which is in a private collection).[180] In 1910 he painted The pool,[181] Old garden of the Alcázar of Seville,[182] Grotesque corner of the Alcázar of Seville,[147] and Patio of King Don Pedro, which are found in the Sorolla Museum in Madrid,[147] and Jardines del Alcázar which is located in the Getty Center in Los Angeles.
Gustavo Bacarisas painted a picture of the garden of Troy at the beginning of the century.[147].
In 1921 Manuel García Rodríguez painted a painting of the Alcázar gardens that is preserved in the Bellver Museum in Seville. Between 1920 and 1925 Manuel García painted Jardines del Alcázar, Seville, which is preserved in the Thyssen Museum in Málaga.[183] The Marchena Gate appears in both paintings.
In film and television
The Alcázar has been the setting where the following films and television series have been filmed:
• - Where are you going, Alfonso XII? (1958).
• - La femme et le pantin (1958, France).[184].
• - Lawrence of Arabia "Lawrence of Arabia (film)") (1962).[185].
• - The wind and the lion (1971).[186].
• - 1492: the conquest of paradise (1992).
• - The kingdom of heaven (2004).[187].
• - Night and Day (2010).
• - Game of Thrones "Game of Thrones (TV series)") (5th and 6th seasons, HBO, 2015-2016).[188].
• - The White Princess (2017).[189].
• - Emerald City (2017).
• - The Plague "The Plague (TV series)") (2018).
• - Warrior Nun (2020).[190].
• - Wikimedia Commons hosts a multimedia category on Real Alcázar of Seville.
• - Royal Alcázar of Seville.
• - Real Alcázar of Seville in the Andalusian Real Estate Heritage database prepared by the Andalusian Institute of Historical Heritage.
References
[1] ↑ Ana Marín Fidalgo (1988). «Vermondo Resta». Diputación de Sevilla. ISBN 84-7788-021-7. Falta la |url= (ayuda).
[2] ↑ a b Diego López Bueno (2006). Sevilla. El casco antiguo. Historia arte y urbanismo. Guadalquivir S.L., Ediciones. p. 517. ISBN 848093154X.
[7] ↑ Miguel Ángel Tabales Rodríguez (2002). «El Real Alcázar de Sevilla». Edades de Sevilla: Hispalis, Isbiliya, Sevilla (Área de Cultura del Ayuntamiento de Sevilla): 61-76. ISBN 84-95020-92-0.
[11] ↑ Olimpia López Cruz, Ana García Bueno y Víctor J. Medina Flórez (2011). «Evolución del color en el alero de la fachada del rey D. Pedro I, Real Alcázar de Sevilla. Aportaciones del estudio de materiales a la identificación de las intervenciones de restauración a lo largo de su historia». Arqueología de la Arquitectura (8). ISSN 1695-2731.: http://arqarqt.revistas.csic.es/index.php/arqarqt/article/viewArticle/133
[12] ↑ a b c Cómez, 1996, p. 54.
[13] ↑ Cómez, 1996, p. 56.
[14] ↑ Rafael Valencia Rodríguez. «Palacio de Pedro I. Real Alcázar de Sevilla. 1356-1366». Ibn Jaldún. El Mediterráneo en el siglo XIV. Auge y declive de los imperios. Fundación José Manuel Lara. ISBN 9788496556324.
[17] ↑ Trejo Martín, Alberto (2020). «La recuperación del alcázar de Sevilla : un elemento de tensión entre los reyes católicos y la ciudad de Sevilla». Estudios de Historia de España. 2020, 22(1). ISSN 0328-0284. doi:10.46553/EHE.22.1.2020.p29-34. Consultado el 21 de julio de 2020.: https://repositorio.uca.edu.ar/handle/123456789/10405
[49] ↑ a b c d e f g h i j k l m n ñ o p q r s t u v w x Diego Ortiz de Zúñiga (1677). Anales eclesiásticos y seculares de la Muy Noble y Muy Leal ciudad de Sevilla, metrópoli de Andalucía. Madrid: Imprenta Real. p. 507.
[51] ↑ a b c Pablo Bañasco Sánchez y Pedro José Barrero Ortega (Enero de 2019). «El Alcázar de Sevilla durante la II República Española (1931-1939). Gestión e intervenciones arquitectónicas». Estoa. Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca 8 (15): 103-112.
[53] ↑ a b c d Rafael Cómez (1996). El Alcázar del rey don Pedro. Sevilla: Servicio de Publicaciones de la Diputación de Sevilla. p. 17. ISBN 84-7798-126-4.
[69] ↑ a b Miguel Ángel Tabales Rodríguez (2004). El Alcázar de Sevilla. Primeros estudios sobre estratigrafía y evolución constructiva. Consejería de Cultura de la Junta de Andalucía y Patronato del Real Alcázar. p. 46. ISBN 84-8266-346-1.
[70] ↑ a b Tabales Rodríguez, 2004, p. 40.
[71] ↑ Francisco-Javier Blasco-López, F. J. Alejandre y Juan Jesús Martín del Río (21-24 de octubre de 2009). «Evolución de yeserías de los Patios del Yeso y del Sol del Real Alcázar de Sevilla a través de las fuentes escritas, reforzadas por ensayos de caracterización». En Santiago Huerta Fernández, ed. Actas del Sexto Congreso Nacional de Historia de la Construcción (Valencia) 1: 201-209. - [http://www.sedhc.es/biblioteca/actas/CNHC6_%20(20).pdf](http://www.sedhc.es/biblioteca/actas/CNHC6_%20(20).pdf)
[72] ↑ a b Rafael Cómez (1995). «La Puerta del León o de la Montería en los Reales Alcázares de Sevilla». Laboratorio de Arte. Revista del Departamento de Historia del Arte (8): 11-23. ISSN 1130-5762.: http://institucional.us.es/revistas/arte/08/01%20comez.pdf
[74] ↑ «Inaugurada en el Alcázar una muestra permanente de abanicos de los siglos XVIII y XIX». ABC de Sevilla. 17 de enero de 1998. p. 8.
[75] ↑ Álvaro Pastor Torres (1994). «Dos nuevas aportaciones gráficas para el estudio de la parroquia sevillana de San Miguel». Laboratorio de Arte: Revista del Departamento de Historia del Arte (7): 355-366. ISSN 1130-5762.: https://es.wikipedia.org//portal.issn.org/resource/issn/1130-5762
[76] ↑ Sevilla equipo 28. Andalucía americana. Junta de Andalucía, Consejería de Cultura y Medio Ambiente. ISBN 84-404-4877-5.
[77] ↑ Fernández López, Francisco (2018). La Casa de la Contratación: una oficina de expedición documental para el gobierno de las Indias (1503-1717). El Colegio de Michoacán A. C. y Editorial de la Universidad de Sevilla. pp. 60-63. ISBN 978-84-472-1946-9.
[81] ↑ Rodrigo Caro, Antigüedades y principado de la ilustrísima ciudad de Sevilla, 1634.
[82] ↑ López Guzmán, Rafael. Arquitectura mudéjar. Cátedra. ISBN 84-376-1801-0.
[83] ↑ a b Francisco Ollero Lobato (1998). La reforma del palacio Gótico de los Reales Alcázares de Sevilla en el siglo XVIII (11). Laboratorio de Arte. Revista del Departamento de Historia del Arte. pp. 233-252. ISSN 1130-5762.: http://institucional.us.es/revistas/arte/11/13%20ollero.pdf
[88] ↑ Julie Marquer (Junio de 2012). «Epigrafía y poder: el uso de las inscripciones árabes en el proyecto propagandístico de Pedro I de Castilla (1350-1369)». e-Spania. Consultado el 26 de noviembre de 2016.: https://e-spania.revues.org/21058?lang=fr
[89] ↑ a b Julie Marquer (2013). El poder escrito: problemáticas y significación de las inscripciones árabes de los palacios de Pedro I de Castilla (1350-1369) 23. Anales de Historia del Arte. pp. 499-508.
[94] ↑ Rafael Cómez (1989). La Puerta del Rey don Pedro en el Patio del León del Alcázar de Sevilla (2). Laboratorio de Arte: Revista del Departamento de Historia del Arte. pp. 3-14. ISSN 1130-5762.: http://institucional.us.es/revistas/arte/02/01%20comez.pdf
[95] ↑ a b c d Teodoro Falcón Márquez (26-28 octubre 2000). «Tipologías constructivas de los palacios sevillanos del siglo XVI». Actas del Tercer Congreso Nacional de Historia de la Construcción (Sevilla: Instituto Juan de Herrera, SEdHC, Universidad de Sevilla, Junta Andalucía, COAAT Granada, CEHOPU).: https://idus.us.es/xmlui/bitstream/handle/11441/26814/CNHC3_031.pdf?sequence=1&isAllowed=y
[116] ↑ a b Rafael Cómez Ramos (2006). «Iconografía de Pedro I de Castilla». Historia. Instituciones. Documentos (33).
[117] ↑ a b c d David Nogales Rincón (Junio de 2011). «Cultura visual y genealogía en la corte regia de Castilla durante la segunda mitad del siglo XV». E-Spania. Consultado el 28 de noviembre de 2016.: https://e-spania.revues.org/20362?lang=fr
[123] ↑ a b c d Morales, Alfredo; Sanz, María Jesús; Serrera, Juan Miguel; Valdivieso, Enrique. Diputación de Sevilla, ed. Guía artística de Sevilla y su provincia. pp. 70-76. ISBN 84-7798-210-4. |fechaacceso= requiere |url= (ayuda).
[132] ↑ Juan Fernández Lacomba (2016). «Las sargas colombinas de Gustavo Bacarisas para el Pabellón Real de la Exposición Iberoamericana de 1929 en el Real Alcázar de Sevilla: encargo, concepción, ubicación, motivaciones, contexto e influencias». Apuntes del Alcázar de Sevilla (17): 168-192.: https://www.alcazarsevilla.org/wp-content/uploads/2017/04/Apuntes-del-Alcazar-17.pdf
[142] ↑ Fidalgo, Ana Marín; Plaza, Carlos. Patronato del Real Alcázar de Sevilla y de la Casa Consistorial, ed. Los jardines del Real Alcázar de Sevilla. Historia y arquitectura desde el Medievo islámico al siglo XX. ISBN 978-84-933080-8-7. Consultado el 17 de diciembre de 2016.: http://www.eea.csic.es/wp-content/uploads/2016/05/2016JARDINES-DEL-ALCAZAR_AAG.pdf
[151] ↑ a b c d María Dolores Robador González (Abril-junio de 2006). «El sentimiento en la antigua construcción. Revestimientos con mortero de cal, estucos y terrajados en el Jardín del Príncipe del Real Alcázar de Sevilla». Informes de la Construcción 58: 17-32. ISSN 0020-088.: http://www.alcazarsevilla.org/wp-content/pdfs/articulo-jardin-del-principe.pdf
[158] ↑ a b Menéndez Robles, María Luisa (2008). La huella del marqués de la Vega Inclán en Sevilla. Diputación Provincial de Sevilla. p. 109. ISBN 978-84-7798-268-5.
[179] ↑ «Invierno en Andalucía. (Bosque de álamos con rebaño en Alcalá de Guadaíra)». Museo Carmen Thyssen de Málaga. Consultado el 4 de diciembre de 2016. - [http://carmenthyssenmalaga.org/obra/invierno-en-andalucia.-(bosque-de-alamos-con-rebano-en-alcala-de-guadaira)](http://carmenthyssenmalaga.org/obra/invierno-en-andalucia.-(bosque-de-alamos-con-rebano-en-alcala-de-guadaira))
[188] ↑ Plan de trabajo del rodaje de “Juego de Tronos” Archivado el 16 de abril de 2015 en Wayback Machine. Alcázar de Sevilla.: http://www.alcazarsevilla.org/?p=1814
It is accessed through the north gallery of the Patio de las Muñecas. It receives this name from Juan de Trastámara, son of the Catholic Monarchs, born in the Alcázar in 1478. On the roof there is heraldry of the Catholic Monarchs.[99] The room is divided with plaster arches into three rooms.[99] In this room, Isabel I gave birth to Prince Juan on June 30, 1478.[100].
It is a rectangular patio measuring 21x15 meters surrounded by four galleries; two with seven and two with five arches.[101] In the center there is a pool with large sunken flowerbeds one meter on both sides. The sides of these flowerbeds are decorated with interlocking semicircular arches. The lobed arches are decorated with sebka and plaster reliefs.
Around the ground floor there were some rooms that were accessible to guests, while on the upper floor there were only private rooms.[101] The upper floor of this patio was renovated between 1540 and 1572. From this period are the semicircular arches supported by marble columns with Ionic capitals made in Genoa by Antonio María Aprile da Carona and Bernardino da Bissone.[105] The columns on the ground floor were replaced between 1560 and 1569 by others carved in the same Italian city by Francisco and Juan Lugano and Francisco da Carona.[103].
In 2024 the National Mint and Stamp Factory issued 1.5 million 2 euro coins with a relief of this patio on the obverse.[106].
The Royal bedroom, which was also called the bedroom of the Moorish Kings, has its access from the Maidens' patio. The interior is divided into two rooms, which are connected by an entrance with three horseshoe arches.[103] The first room accessed from the patio, known as the Lost Steps room, has a coffered ceiling from the reign of the Catholic Monarchs.[107].
Its walls have plasterwork friezes[108] and it is covered by a coffered ceiling from the 19th century.[103] The doors that lead to the patio are decorated with lacework, among which six-armed circular figures stand out.[109] The two windows in this room are decorated with stars and eight-armed wheels.[109].
From the Patio de las Doncellas you also access the hall of the Roof of Charles V.[109] It has wooden doors with Mudejar lacework. In the center of the gates there are geometric figures with eight arms in the shape of wheels.[109] The two shutters of this room are decorated with four, six and eight-pointed stars.[109].
It is believed that it could have been a chapel, due to the inscription about Corpus Christi on the door.[110] If so, the Royal Alcove, which is located next door,[110] could have been a presbytery.[110] In any case, it is possible that the religious inscription on the door was simply at the wish of Peter I.[110].
It receives that name from its coffered ceiling, made between 1541 and 1543. This coffered ceiling has 75 octagonal coffered ceilings. It is attributed to Sebastián de Segovia.[111].
The entrance doors from the Maidens' patio are from the 19th century. They are made of wood with geometric lacework decorated with plant motifs.[109] In the central parts of the gates there are figures with eight and twelve arms in the shape of wheels.[109] They have a lefe layout on the margins.[109] They indicate the date of completion of the Mudéjar palace; 1364.[12] On the outside they have inscriptions in Arabic praising the lord of the palace[12] and, in the upper part of the interior side, there are phylacteries with Gothic characters[109] in Latin with Psalm 54 and the beginning of the Gospel of Saint John.[112].
The Ambassadors' Hall is the most sumptuous place in the palace.[114] Here was the Al-Turayya or Pleiades hall of the Alcázar Al-Mubarak or the Blessing of Al-Mutamid.[115] The current hall corresponds to the construction of Peter I. It has a square floor plan (qubba) and is covered by a golden hemispherical dome. This type of dome responds to a model that is called "half orange".[95][116] The dome was made by Diego Ruiz in 1427.[95] Under the dome there is a Gothic arrocabe with portraits of monarchs. This wooden frieze is medieval, but the portraits were replaced in a renovation that took place between 1599 and 1600.[117] There are 56 panels painted by Diego de Esquivel in chronological order, from Chindasvinto[117] to Philip III. Pedro I is located in the southern half of the facing.[116].
In them, the kings, identified by name, appear in a seated position and crowned; In their right hand they carry a sword and in their left a globe; On a lower level is his coat of arms and, further down, his period of reign.[117] Above the series there is a continuous frieze with the coat of arms of Castile and León.[117].
The walls, as in other rooms of the palace, are decorated with tiles and plasterwork.[118] In the upper part of the hall there are wooden balconies built at the end of the century.[118] On two sides there are entrances with two marble columns that support triple horseshoe arches.[118].
Next to this room there are two rooms, one to the north and one to the south,[119] in which there are 26 plaster plates cut out and outlined with a burin so that the represented figures stand out against the ataurique background. In the north room they measure approximately 50 centimeters, and they are somewhat larger in the south room. In both rooms the plaster plaques represent kings, princes, knights, ladies, tournaments and fantastic animals.[62] These scenes may be inspired by the Book of Montería, written by Alfonso González finished it in December 1350, when Alfonso XI had already been succeeded by Pedro I.[120].
It is accessed through an entrance in the Ambassadors' lounge. That entrance is known as the Pavones arch, for having bird decoration.[121] It is a rectangular room with a mullioned window that overlooks the Prince's garden.[15].
The first floor of the Mudéjar palace was built in the century by Pedro I, although it was renovated by the Catholic Monarchs[122] in the century and by Isabel II in the century.[122].
It is known as the Royal High Room.[122] There are various rooms for the use of the monarchs. In the room that served as a dining room in the century there is a painting by Murillo, The miracle of San Francisco Solano and the bull.[122].
Among these rooms located on the upper floor of the palace, the Oratory of the Catholic Monarchs stands out, where the altar and tiled altarpiece of The Visitation of the Virgin made in 1504 by the Italian ceramist Francisco Niculoso Pisano is located.[123].
It is accessed through the north gallery of the Patio de las Muñecas. It receives this name from Juan de Trastámara, son of the Catholic Monarchs, born in the Alcázar in 1478. On the roof there is heraldry of the Catholic Monarchs.[99] The room is divided with plaster arches into three rooms.[99] In this room, Isabel I gave birth to Prince Juan on June 30, 1478.[100].
It is a rectangular patio measuring 21x15 meters surrounded by four galleries; two with seven and two with five arches.[101] In the center there is a pool with large sunken flowerbeds one meter on both sides. The sides of these flowerbeds are decorated with interlocking semicircular arches. The lobed arches are decorated with sebka and plaster reliefs.
Around the ground floor there were some rooms that were accessible to guests, while on the upper floor there were only private rooms.[101] The upper floor of this patio was renovated between 1540 and 1572. From this period are the semicircular arches supported by marble columns with Ionic capitals made in Genoa by Antonio María Aprile da Carona and Bernardino da Bissone.[105] The columns on the ground floor were replaced between 1560 and 1569 by others carved in the same Italian city by Francisco and Juan Lugano and Francisco da Carona.[103].
In 2024 the National Mint and Stamp Factory issued 1.5 million 2 euro coins with a relief of this patio on the obverse.[106].
The Royal bedroom, which was also called the bedroom of the Moorish Kings, has its access from the Maidens' patio. The interior is divided into two rooms, which are connected by an entrance with three horseshoe arches.[103] The first room accessed from the patio, known as the Lost Steps room, has a coffered ceiling from the reign of the Catholic Monarchs.[107].
Its walls have plasterwork friezes[108] and it is covered by a coffered ceiling from the 19th century.[103] The doors that lead to the patio are decorated with lacework, among which six-armed circular figures stand out.[109] The two windows in this room are decorated with stars and eight-armed wheels.[109].
From the Patio de las Doncellas you also access the hall of the Roof of Charles V.[109] It has wooden doors with Mudejar lacework. In the center of the gates there are geometric figures with eight arms in the shape of wheels.[109] The two shutters of this room are decorated with four, six and eight-pointed stars.[109].
It is believed that it could have been a chapel, due to the inscription about Corpus Christi on the door.[110] If so, the Royal Alcove, which is located next door,[110] could have been a presbytery.[110] In any case, it is possible that the religious inscription on the door was simply at the wish of Peter I.[110].
It receives that name from its coffered ceiling, made between 1541 and 1543. This coffered ceiling has 75 octagonal coffered ceilings. It is attributed to Sebastián de Segovia.[111].
The entrance doors from the Maidens' patio are from the 19th century. They are made of wood with geometric lacework decorated with plant motifs.[109] In the central parts of the gates there are figures with eight and twelve arms in the shape of wheels.[109] They have a lefe layout on the margins.[109] They indicate the date of completion of the Mudéjar palace; 1364.[12] On the outside they have inscriptions in Arabic praising the lord of the palace[12] and, in the upper part of the interior side, there are phylacteries with Gothic characters[109] in Latin with Psalm 54 and the beginning of the Gospel of Saint John.[112].
The Ambassadors' Hall is the most sumptuous place in the palace.[114] Here was the Al-Turayya or Pleiades hall of the Alcázar Al-Mubarak or the Blessing of Al-Mutamid.[115] The current hall corresponds to the construction of Peter I. It has a square floor plan (qubba) and is covered by a golden hemispherical dome. This type of dome responds to a model that is called "half orange".[95][116] The dome was made by Diego Ruiz in 1427.[95] Under the dome there is a Gothic arrocabe with portraits of monarchs. This wooden frieze is medieval, but the portraits were replaced in a renovation that took place between 1599 and 1600.[117] There are 56 panels painted by Diego de Esquivel in chronological order, from Chindasvinto[117] to Philip III. Pedro I is located in the southern half of the facing.[116].
In them, the kings, identified by name, appear in a seated position and crowned; In their right hand they carry a sword and in their left a globe; On a lower level is his coat of arms and, further down, his period of reign.[117] Above the series there is a continuous frieze with the coat of arms of Castile and León.[117].
The walls, as in other rooms of the palace, are decorated with tiles and plasterwork.[118] In the upper part of the hall there are wooden balconies built at the end of the century.[118] On two sides there are entrances with two marble columns that support triple horseshoe arches.[118].
Next to this room there are two rooms, one to the north and one to the south,[119] in which there are 26 plaster plates cut out and outlined with a burin so that the represented figures stand out against the ataurique background. In the north room they measure approximately 50 centimeters, and they are somewhat larger in the south room. In both rooms the plaster plaques represent kings, princes, knights, ladies, tournaments and fantastic animals.[62] These scenes may be inspired by the Book of Montería, written by Alfonso González finished it in December 1350, when Alfonso XI had already been succeeded by Pedro I.[120].
It is accessed through an entrance in the Ambassadors' lounge. That entrance is known as the Pavones arch, for having bird decoration.[121] It is a rectangular room with a mullioned window that overlooks the Prince's garden.[15].
The first floor of the Mudéjar palace was built in the century by Pedro I, although it was renovated by the Catholic Monarchs[122] in the century and by Isabel II in the century.[122].
It is known as the Royal High Room.[122] There are various rooms for the use of the monarchs. In the room that served as a dining room in the century there is a painting by Murillo, The miracle of San Francisco Solano and the bull.[122].
Among these rooms located on the upper floor of the palace, the Oratory of the Catholic Monarchs stands out, where the altar and tiled altarpiece of The Visitation of the Virgin made in 1504 by the Italian ceramist Francisco Niculoso Pisano is located.[123].