Real Alcázar of Seville: Casa de Contratación (House of Trade)

Situated on the eastern side of the Patio de la Montería and next to the glamorous Pedro I Palace in the Real Alcázar complex, Casa de Contratación is an unremarkable Renaissance-style building. By its appearance, it is hard to imagine that the decisions made here changed the course of history. It was here many famous and infamous seafarers got approval and funding for their expeditions and brought back the looted riches from the New World. Many European countries who followed in the footsteps of Casa de Contratación to create their trade organizations – such as the East India companies – eventually ended up colonizing a large part of the world, to the detriment of indigenous people and their culture all over the world.
The original building that housed the Casa de Contratación had three halls, two of which have been well-preserved. These are the Admiral’s Hall and the Hall of Audiences. This page describes them with images of their interior and the paintings on display on their walls.

A building of great historical significance

Situated on the eastern side of the Patio de la Montería and next to the glamorous Pedro I Palace is a building that is of great historical significance to the entire world. The decisions made in this unremarkable building changed the course of history. It was home to the first headquarters of the Casa de Contratación (House of Trade), an organization established in Seville to control trade in the Americas. It was here many famous and infamous seafarers got approval and funding for their expeditions and brought back the looted riches from the New World. Many European nations who followed in the footsteps of Casa de Contratación to create their own trade organizations – such as the East India companies – eventually ended up colonizing a large part of the world, to the detriment of indigenous peoples and their cultures all over the world.

The Casa de Contratación building is part of Real Alcázar of Seville, a large complex consisting of palaces, administrative buildings, and gardens built/rebuilt by different cultures from the middle ages to the modern era. Designated in 1987 by UNESCO as a World Heritage Site – along with the Seville Cathedral and the General Archive of the Indies – the Real Alcázar is one of the most visited attractions in the world.

A bit of history

The need for an organization to control the voyages arose because of the problems arising from the success of Columbus’s first voyage to the Americas in 1492. It opened the floodgates of expeditions, and chaos ensued due to the uncontrollable conquests by the navigators, resulting in mutinies and rebellion in the New World.

Because there was no entity controlling the traffic to and from the Americas, the Crown had little knowledge of what was happening in the New World. Another important reason was that there was no accounting of the goods that arrived in Spain, and therefore no taxes were paid to the Crown.

To fix these problems, Queen Isabella I of Castile established the Casa de Contratación in 1503, with a mandate to regulate the trade in the Americas. Although it was a commercial organization, somewhat similar to the more notorious East India companies of the later yeas, it had broader powers that extended beyond trade. Besides approving the expeditions and training and licensing navigators, it collected taxes and acted as a court of law to settle trade disputes.

It was also a scientific organization responsible for creating maps of the trade routes and newly discovered territories and maintaining their secrecy. Many famous cartographers of the 16th century worked here. For example, Juan de la Cosa, who was working as a cartographer here, created his famous first world map, which included the New World. Note that he was also a navigator who accompanied Columbus in the first three voyages.

The Spanish Crown chose Seville as the first headquarters of Casa de Contratación because of its strategic location, which provided many advantages. After the discovery of the New World, Seville became the hub of international trade. It was an inland port on the banks of the Guadalquivir River, about 50 miles from the ocean. While the high navigability of this river made it easier to access the ocean, Seville’s distance from the ocean provided security from attacks by the sea, especially from pirates. Its location also made it easier to access inland areas for distributing goods from the New World.

The Casa de Contratación remained in this building until 1598 and was moved to the current location of the Archive of the Indies (Used to be known as Lonja de Mercaderes). After Seville lost its importance, primarily because the Guadalquivir River became less navigable due to silting, the Casa de Contratación was transferred in 1717 to the port city of Cádiz. It remained there until King Charles IV abolished in 1790.

As a side note, Spain’s rival Portugal also had its own house of trade known as the Casa da Índia (House of Índia), established in 1500 in Lisbon by King Manuel I of Portugal. It funded the voyages of Vasco da Gama, who discovered the sea route to India via the Cape of Good Hope.

Old building with a new appearance

The original building that housed Casa de Contratación was built over existing Moorish structures. In the next two centuries after its inceptuin, the building endured many calamities, such as fires and earthquakes, and fell into disrepair. It was reconstructed in 1805 with a new facade and remodeled in 1973 with its current appearance.

The Casa de Contratación occupied three halls, two of which have been well-preserved. These are the Admiral’s Hall and the Hall of Audiences.

Admiral’s Hall

Although this hall was part of Casa de Contratación, it got its name for a different reason. It was the headquarters of the Tribunal del Almirantazgo de Castilla (Admiralty of Court of Castile).

When this hall was part of the Casa de Contratación headquarters, many famous (and infamous) explorers from Spain and the neighboring countries visited this hall for a variety of reasons. Here are some examples:

Christopher Columbus met Queen Isabella met after his second voyage to the Americas in the hope of getting funding for his future expeditions.
Ferdinand Magellan, an explorer from the rival Portugal who changed his allegiance to Spain, visited this hall to convince the head of Casa de Contratación to approve his expedition to the Moluccas.
Amerigo Vespucci, an explorer from Italy responsible for naming America, worked here as the chief pilot to train the navigators and was also involved in licensing them before they went on voyages to the New World.

Admiral's Room in the Real Alcázar - Casa de Contratación (House of Contracting) section of the Real Alcazar of Seville, Spain — Admiral’s Room

The above image shows part of the Admiral’s Hall, which is still in active use; Occasionally, it hosts small conferences. As you can see, it has a stage and seating arrangement for the attendees. Decorating its walls are exquisite paintings, most of which are portraits of famous figures.

Here is a brief description of the paintings that are visible in the image:

Center – The inauguration of the Ibero-American Exposition of 1929 by Alfonso Grosso
Left – Queen María Cristina de Borbón-Dos Sicilias painted by Carlos Blanco in 19th century
Right – Antonio de Orleans – Duke of Montpensier by painted Franz Xaver Winterhalter in the 19th century.

A large oil painting on canvas and beautiful portraits of kings, queens, and nobility covers the other part of the hall. Listed below are these paintings.

Portraits of famous figures

King Ferdinand VII of Spain - A painting in the Admiral's room of the Casa de Contratación (House of Contracting) section in the Real Alcazar, Seville, Spain — King Ferdinand VII of Spain

King Louis Philippe I of France - A painting in the Admiral's room of Real Alcázar of Seville, Spain — King Ferdinand VII of Spain

Portraits on display at the Admirals Hall

The portrait in the left-most image shows King Ferdinand VII of Spain painted by Carlos Blanco in the 19th century. King Ferdinand VII was the king of Spain twice. His first reign was in 1808, which lasted a few months, and the second in 1813, which lasted until he died in 1833.

The middle image depicts King Louis Philippe I of France painted by Franz Xaver Winterhalter sometime in the 19th century. Louis Philippe I (1773 – 1850) was the last king of France. He reigned from 1830 to 1848. In 1809, he married Princess Maria Amalia of Naples and Sicily, daughter of King Ferdinand IV of Naples and Maria Carolina of Austria, and also the niece of Marie Antoinette. The right-most image is her portrait painted by Franz Xaver Winterhalter in 1842. She is known as Queen Maria Amelia de Borbón-Dos Sicilias.

Las postrimerías de Fernando III el Santo (Last Moments of Ferdinand III the Saint)

This masterpiece is an oil painting on canvas (size 400 cm x 750 cm). Painted by Virgilio Mattoni, it depicts the last moments of Ferdinand III, the king of Castile, who captured Seville in 1248 from the Almohads. He died in Seville on May 30, 1252, and was later canonized in the 17th century.

Last Days of Fernando III the Saint - A painting by Virgilio Mattoni mounted in the Admiral's room of Real Alcázar of Seville, Spain — Last Moments of Fernando III the Saint, a masterpiece by Virgilio Mattoni

Virgilio Mattoni, a native son of Seville, painted this work for the National Exhibition of 1887 to show his special connection to the city of Seville. This acclaimed work secured the second position in the exhibition.

The inspiration for the painting came from a passage described in the Chronicle of Spain, a compilation of historical accounts commissioned by Alfonso X the Wise, the son and successor to King Ferdinand III.

The mood of the scene in the painting is somber. Dressed in a white gown, King Ferdinand III has his head lowered and is falling on his knees as two monks are holding his arms up to form a cross. As he is about to die, the Archbishop standing in front of him is holding up the Eucharist with his hands as kings courtiers are anxiously watching the spectacle. Also seen is his queen, Joan of Dammartin, who collapsed on a cushion.

Hall of Audiences

It is much more ornate than the Admiral’s Hall. As you can see from the image below, the ceiling is covered with Mudéjar-style decoration. This hall used to serve as a chapel.

On display in this hall is the altarpiece installed to make this hall a chapel so that the visitors, especially the navigators who were about to embark on a voyage, could attend a religious service or pray.

Virgin of the Navigators

In the central panel of the altarpiece is La Virgen de los Navegantes (Virgin of the Navigators), a masterpiece painted by the Spanish painter Alejo Fernández sometime between 1531 and 1536. As you can see, the Virgin Mary is up in the clouds looking down at the ships floating in the sea. Her mantle covers many famous seafarers, including Christopher Columbus and Amerigo Vespucci, and indigenous people of the Americas. Flanking the central painting are the portraits of St. Sebastian, St. James the Great, St. Elmo, and St. John the Evangelist.

Replica of La Santa Maria

On display to the left side of the altarpiece is a model of La Santa Maria, one of the three ships that sailed from Seville as part of Christopher Columbus’s first voyage across the Atlantic Ocean in 1492.

Model of La Santa Maria in the Hall of Audiences in the Casa de Contratación section of the Real Alcázar of Seville, Spain — Model of La Santa Maria

La Santa Maria was the flagship for the expedition and the largest of the three, the other two being La Niña and La Pinta. It had a crew of 40 sailors when they set sail from Seville. After reaching the Americas, it hit a reef and was shipwrecked somewhere near Haiti on the Christmas day of 1492. Because the ship suffered considerable damage, Columbus ordered his crew salvaged its timber then abandoned it. Its remains has not been discovered yet. Columbus and his crew returned to Spain on La Niña.

There is no record of the exact measurements and capacity of La Santa Maria. Its size was estimated based on the anecdotal evidence provided by Columbus’s crew. Based on this estimate, the Santa Maria was about 58 ft long and had three masts. The replica of Santa Maria shown in the image was built at the Museo Maritimo de Barcelona, Spain, under the supervision of the museum director.

The wall behind the model carries a banner with the insignia of the crown of Castile y León and similar banners cover the rest of the wall.

Seville Pages and Posts
– Real Alcázar of Seville: Pedro I Palace – A masterpiece of Mudéjar art and architecture
– Seville Cathedral: An awe-inspiring architectural marvel
— Sala Capitular – The Chapter House of the Seville Cathedral
— Sacristía Mayor – The Main Sacristy of the Seville Cathedral
– La Giralda: A harmonious blend of Moorish and Renaissance architectural styles
– Las Setas of Seville – A modern artistic structure in a historical city

Real Alcázar of Seville: Pedro I Palace

A masterpiece of Mudéjar art and architecture

The palace of Pedro I is considered a masterpiece of Mudéjar art and architecture and is a testament to Spain’s multicultural roots. It owes its name to King Don Pedro (1350 – 1369), an eccentric ruler of Castile and Leon known for his cruelty and also known for his open-mindedness toward different cultures. Christian, Jewish, and Islamic cultures flourished, and a harmonious relationship existed between these cultures during his reign.

King Don Pedro was a great admirer of Moorish culture and architecture. He built this magnificent palace using Mudéjar artisans from Seville, Toledo, and the Moorish kingdom of Granada. Mudéjar art and architecture, which emerged in Andalusia, Spain, in the 12th century, is a fusion of Islamic and Christian styles, best characterized by horseshoe arches, afarje ceilings decorated with interlaced star-like polygons, decorative motifs on plaster with linear and curvilinear patterns, glazed ceramic tiles with geometrical patterns, beehive ceilings, and stalactites.

The Pedro I Palace is part of Real Alcázar of Seville, a large complex consisting of palaces, administrative buildings, and gardens built/rebuilt by different cultures from the middle ages to the modern era. A part of this palace is still being used as the royal residence. Designated in 1987 by UNESCO as a World Heritage Site – along with the Seville Cathedral and the General Archive of the Indies – the Real Alcázar is one of the most visited attractions in the world.

Path to the Real Alcázar Complex

To arrive at the Real Alcázar complex, visitors enter the Puerta del León (Lion Gate) and walk through the Patio del León and pass the arched doors of the ancient Moorish wall.

Puerta del León (Lion’s Gate)

The main entrance to the Real Alcázar is the Puerta del León, a gate built during the Almohad times, located on the Plaza del Triunfo and is close to the eastern end of the Seville Cathedral.

The image below shows the front facade of Puerta del León. Embedded into its wall above the door is a beautiful emblem of a lion carrying the cross, which is responsible for the name Puerta del León, which means Lion’s Gate in Spanish. Although the wall of this gate is from Almohad times, the emblem is recent, made in 1892 of Triana Ceramic tiles in a local factory named Mensaque.

The Puerta del León is not the only entrance to the Real Alcázar; There is another located at the intersection of Calle Menendez Pelayo and Calle San Fernando, used mostly for special occasions.

Puerta del León (Lion Gate) - Main entrance to the Real Alcázar of Seville, Spain — Puerta del León – Main entrance to the Real Alcázar

Patio del León - Courtyard of the Lion at the Real Alcázar of Seville in Spain — Puerta del León – Main entrance to the Real Alcázar

The Peurta del León opens into the Patio del León, a small courtyard with a path in the middle flanked by several rectangle-shaped hedges of neatly-trimmed myrtle bushes, which enclose tall trees, including cypress, and a variety of plants. The other end of the patio is the ancient Moorish wall. See the image below.

The view of the Patio del León shown in the image is from the Moorish wall. At the far end is the rear side of the Peurta del León.

Ancient Moorish wall

Visitors walk through ancient Moorish wall before entering into the Real Alcázar complex. The three arched doors were carved out of the defensive fortification to allow entry to the newly built Pedro I Palace. As you can see, there is a difference in construction methods. The brick-based archways were from the King Pedro era, whereas the stone-based rest of the wall was from the Almohad era.

Majestic exterior

King Pedro I Palace and Patio de la Montería - Real Alcázar of Seville, Spain — Pedro I Palace and Patio de la Montería (Courtyard of Hunting)

The building at the far end of the image is King Pedro I Palace, and the courtyard in front of it is known as Patio de la Montería (Courtyard of Hunting), i.e., the courtyard with the white crisscrossed lines. To the right of King Pedro I Palace is Casa de Contratación (House of Trade). This view is captured from the middle arched door of the ancient Moorish wall, which separates the Patio de la Montería and Patio del León (Courtyard of the Lion).

Entrance to the King Don Pedro Palace at the Real Alcázar of Seville in Spain — Entrance to the Pedro I Palace

The Pedro I Palace has a beautifully-designed Mudéjar-style facade and entrance. Mathematics played a vital role in creating beautiful art in the decoration of the facade. As you can see, the design is symmetrical about the vertical axis. The beam above the door has several voussoirs (wedge-shaped blocks) that are placed at regular intervals and slanted outwards. Flanking the door are the blind stilted arches with the space above them decorated with beautiful sebka decorative motifs.

This view was captured from the Patio de la Montería. You can see visitors entering into a narrow hall known as the vestibule, which has passageways at the ends leading to the other rooms.

Glamorous interior

Decorated by the Mudéjar artisans from Seville, Toledo and Granada, the interior is filled stunningly beautiful artwork containing mesmerizing geometrical patterns on the walls, ceilings and arches.

Layout of the Palace

Layout of the Pedro I Palace at Real Alcázar in Seville, Spain — Layout of the Pedro I Palace

The diagram shows the ground plan of the Pedro I Palace Note: This diagram is neither accurate nor drawn to scale. The purpose of this diagram is to show different halls and rooms and their locations within the palace.

Here is the list of the halls and rooms:

1. Vestibulo (Vestibule)
2. Alcoba Real (Royal Bedroom)
3. Patio de las Doncellas (Courtyard of the Maidens) – Corridor
4. Patio de las Doncellas – Sunken Garden
5. Salón de Embajadores (Ambassadors’ Room)
6. Salón de los Sevillanos (Hall of the Sevillians)
7. Salón de los Toledanos (Hall of the Toledans)
8. Patio de las Muñecas (Patio of the Dolls)
9. Sala de los Infantes (Infants Room)
10. Sala de los Pasos Perdidos – Hall of the Lost Steps
11. Salón de los Reyes Católicos (Hall of the Catholic Monarchs)
12. Cuarto del Príncipe (Prince’s Room)
13. Salón del Techo de Felipe II (Philip II Ceiling Room)
14. Salón del Techo de Carlos V (Charles V Ceiling Room)

King Don Pedro lived in this palace and conducted his official here. As the name suggests, his bedroom is Alcoba Real (2). The halls he used for the official business are centered around Patio de las Doncellas (4). The queen and children used Patio de las Muñecas (8). The Salón de Embajadores (5) was the throne room, and this was where King Don Pedro received emissaries and prominent people of his time.

Vestibulo (Vestibule)

The Vestibule (Section 1 in the layout) is the hall where visitors enter the Pedro I Palace. It is a narrow hall with passageways at the ends leading to the other rooms. The left passageway leads to the Patio de las Doncellas, which is the official section of the palace. The right passageway leads to the Patio de las Muñecas, which is the private section of the palace.

Mudéjar art on the ceiling of the entrance hall in the Real Alcázar of Seville in Spain — Mudéjar art on the ceiling of the entrance hall

The beautiful piece of work in wood shown in the image is on the ceiling of the vestibule. It is classic Mudéjar art. As you can see, enclosed within the central rectangle of the wooden panel is exquisitely decorated artwork containing gold inlaid shapes (medallions and polygons), with beautiful geometrical patterns interlaced around them.

Alcoba Real (Royal Bedroom)

Situated next to the vestibule, the Alcoba Real was King Pedro’s bedroom, which has two rooms, outer and inner. Check section 2 in the layout. As you can see, the inner room has only one door, which opens into the outer room.

Arched door of the Alcoba Real (Royal Bedroom) opening into Patio de las Doncellas at the Pedro I Palace of the Real Alcázar, Seville Spain

Outer hall of the Alcoba Real (Royal Bedroom) at the Pedro I Palace of Real Alcázar, Seville Spain

All the three images shown above portray the beauty of Mudéjar art. The floor and lower part of walls is ornate with tile work covered with eye-catching geometrical patterns. It appears as though these patterns follow some mathematical equations. The arched door of the outer room opens into Patio de las Doncellas, and the wall surrounding it is embellished with arabesques and Islamic calligraphy. Covering the ceiling is a beautiful piece of artwork in wood. As you can see, this exquisitely decorated artwork contains gold inlaid shapes (medallions and polygons), with beautiful geometrical patterns interlaced around them.

Patio de las Doncellas (Courtyard of the Maidens)

Patio de las Doncellas in the Royal Alcázar of Seville, Spain

Sunken garden of the Patio de las Doncellas in the Real Alcázar of Seville, Spain

The Patio de las Doncellas (Courtyard of the Maidens) is a rectangular courtyard with ornate corridors on all four sides. In the middle of the courtyard is a pool flanked by sunken garden with trees that include the famous orange trees of Seville.

Legend has it that the sultan of Cordoba demanded 100 virgins every year as a tribute from the Christian kings of the Iberian Peninsula. This courtyard owns its name to the maidens in the legend.

Ceiling of a corridor of the Patio de las Doncellas in the Real Alcázar of Seville, Spain — Patio de las Doncellas – Corridor

The courtyard was built by King Don Pedro and the upper gallery was a later addition built by Charles V.

This courtyard resembles many open courtyards in the Alhambra and Generalife in Granada. For example, Court of the Myrtles in the Nasrid Palaces, Patio de la Acequia (Court of the Irrigation Canal) in the Generalife. This is because King Pedro I loved Moorish architecture and decoration and had a cordial relationship with the Nasrids of Granada, who sent master craftsmen to help build and decorate the palace.

As you can see, the alfarje ( i.e., wooden panel on the ceiling) is exquisitely decorated with artwork containing gold inlaid shapes (medallions and polygons), with beautiful geometrical patterns interlaced around them. This beautiful piece of work is another excellent example of Mudéjar art. Check the Mudéjar art on the ceiling of the entrance hall.

Salón de Embajadores (Ambassadors’ Hall)

The Salón de Embajadores (Room 5 in the layout) was King Don Pedro’s throne room, and this was where he received emissaries and prominent people of his time. It is the most elaborately decorated room in the Pedro I Palace. Adding to its beauty is the perfect symmetry with which it was built and decorated. The square-shaped room is symmetrical about both the principal axis.

Salón de Embajadores (Hall of Ambassadors) in the Real Alcázar of Seville, Spain — Magnificent Ceiling

A lateral wall with horseshoe arches of Hall of Ambassadors in the Real Alcázar of Seville, Spain — Magnificent Ceiling

The exquisitely decorated ceiling is an excellent example of geometrical artwork using Mudéjar-style design. As you can see from the image, the view is dazzling and delightful to watch. Enclosing the perfectly circular shape is an octagram, a star-shaped polygon with eight angles, also a hexadecagon (a polygon with 16 sides).

The recessed circular panel is filled with small colorful polygons arranged in a geometrical pattern that radiates outwards from the star-like shape in the center. It gives an impression of the sky with a multitude of twinkling stars. The designers intended to make the people experience cosmic space in this room. It is believed that the artwork on the ceiling represents the cosmos, and the square room below represents the earth.

Each side of the square room looks similar, with a balcony made of wrought iron projecting out just below the ceiling. Below each balcony is a richly decorated arched door opening into another room. These balconies were added later, sometime in the 19th century.

Richly decorated rooms dedicated to the artisans

The Salón de Embajadores opens into Salón de los Sevillanos (Hall of the Sevillians) and Salón de los Toledanos (Hall of the Toledans) on two of its sides. See the sections 6 and 7 of the layout. The Salón de los Sevillanos is dedicated the artisans from Seville who decorated this hall. Likewise, Salón de los Toledanos owes its name to the artisans from Toledo.

Salón de los Sevillanos in the Real Alcázar of Seville, Spain — Salón de los Sevillanos

Salón de los Toledanos in the Real Alcázar of Seville, Spain — Salón de los Sevillanos

As you can see from the images, the triple horse shoe arches supported by marble pillars separate the adjacent halls from the Salón de Embajadores.

Patio de las Muñecas (Patio of the Dolls)

Patio de las Muñecas (Room 8 in the layout) got its name because of the dolls carved into the arches. The image on the left has dolls carved into the arch near its bottom. It is believed that there are nine dolls carved into arches of the Patio de las Muñecas.

Arch with doll faces in the Patio de las Muñecas of Real Alcazar of Seville, Spain — Arch with doll faces

Upper galleries of the Patio de las Muñecas of Real Alcazar of Seville, Spain — Arch with doll faces

During Don Pedro’s time, the queen and the children used this room. The space above the arch is ornate with beautiful sebka decorative motifs. The upper two floors are the newer and built in the nineteenth century.

Notes

Note 1: Mudéjars were highly skilled craftsmen of Moorish origin who remained in the Christian areas and worked as masons, carpenters, potters, glass-makers, etc. Their skills were highly sought after to build palaces and luxury homes for the nobility in the Christian and Islamic areas.

Note 2: Arabesque is a repetitive pattern of foliage or geometrical designs found in decorations of Islamic architecture.

Note 3: Alfarje is a wooden painted ceiling decorated with decoration based interlacing star-shaped polygons.

Seville Pages and Posts
– Real Alcázar of Seville: Casa de Contratación (House of Trade)
– Seville Cathedral: An awe-inspiring architectural marvel
— Sala Capitular – The Chapter House of the Seville Cathedral
— Sacristía Mayor – The Main Sacristy of the Seville Cathedral
– La Giralda: A harmonious blend of Moorish and Renaissance architectural styles
– Las Setas of Seville – A modern artistic structure in a historical city
Alhambra Pages
– Discover the Magic of Alhambra
— Palacios Nazaríes – Nasrid Palaces – A Shining Example of Moorish Art and Architecture
— Los Jardines del Partal — The Gardens of the Partal
— Alcazaba – A Formidable Fortress of the Nasrids
— Medina, the Bustling City
— Alhambra – Christian-Era Monuments
— Alhambra – Outer Monuments
– Generalife – Heavenly Gardens of the Nasrids

La Giralda: A harmonious blend of Moorish and Renaissance architectural styles

The magnificent campanile of the Seville Cathedral

When you look at the Giralda, it is hard to imagine that it is a product of two entirely different cultures. The lower half is part of the minaret built in the 13th century by the Almohads – a Moorish dynasty originated from North Africa. The upper half is a Renaissance style bell tower built in the 16th century by the Christians, who took controls of Seville after the Reconquista. Despite the differences in architectural styles and religious traditions, the bell tower appears to be a seamlessly integrated harmonious structure, and is reflective of the multi-cultural aspects of Spain.

Giralda means ‘one that turns’ in Spanish. The decorative bronze sculpture placed at the top, which rotates with the wind and acts as a weather vane, is responsible for the name. It depicts a young woman holding a cross, symbolizing the victory of Faith.

Islamic Section – Highly ornate Moorish minaret

The minaret part of the tower appears to use two types of construction: Ashlar stone in the base and brick exterior in the rest. Richly decorated arched windows and balconies adorn the brick exterior on all four sides of the tower. They allow light and air into the interior.

Mounted on top of the original minaret was a hemispherical dome, and placed above it was a stack of three bronze spheres of decreasing size, crowning it with a crescent moon. The dome and spheres remained in place until an earthquake destroyed them in 1365.

Each side of the tower measures 45 ft at the street level. The foundation below the street level is a bit wider and is about 20 ft deep. Most of the stones used on the foundation and the base came from the existing Roman structures, including a wall nearby. The minaret segment of the tower is about 165 ft high.

The interior of the minaret consists of chambers at the center and ramps around them built with enough space to allow people and horseback riders to climb the tower. There are a total of 35 ramp segments, starting at the entrance and ending near the Christian part of the Giralda. The image below shows a segment (i.e., number 23) with the original flooring. As you can see, the ramp is big enough for people to walk comfortably, and the path is lit by the light that passes through the window situated on the right side.

A ramp segment of the Giralda, the bell tower of the Seville Cathedral — A segment of the ramp

Christian Section – Bell tower with Victory of Faith at the top

In the 16th century, Seville was flourishing, thanks to the trade with the New World conquered by the Conquistadors. With an enormous wealth in hand, the cathedral chapter entrusted the work of building a magnificent bell tower for the Seville Cathedral to Hernan Ruiz II in 1558. He was an ingenious architect who had already built other structures in the Seville cathedral. It took him ten years to complete the addition to the bell tower.

Overlaid on top of the original minaret are the four stories built with the Renaissance style architecture. The transition to the new addition is smooth, and onlookers hardly notice the difference. The size (includes width and height) of the stories decreases with height. The bottom two floors are square-shaped, and the top two are circular.

The first story sits perfectly on top of the minaret and appears as though it is a continuation of it. Built with bricks, stones, and ceramics, it serves as a bell-chamber housing 24 bells, eight on each side. The exterior is highly ornate with columns, round windows, and an arch in the middle of each side. The bells hang between the pillars. Mounted above the corners are the bronze flower vases with lilies.

Interior of the belfry of the Giralda — Interior of the belfry

The second story has two levels. In 1765, a Franciscan Friar named José Cordero installed a beautiful bell in the upper level of this story, and it became the 25th bell of Giralda. The third story is circular, and the fourth looks like a jar and is named “La Tinaja” (The Jar).

El Giradillo

Sitting above the fourth floor is a dome that acts as a pedestal for a magnificent bronze sculpture of a young woman holding a cross, symbolizing the victory of Faith. This sculpture is known as El Giradillo because it rotates with the wind and acts like a weather vane.

The woman in the statue is holding the cross with the right hand and the foliage with the left. The semi-oval plate attached to the lower part of the cross helps to point El Giradillo in the direction of the wind. As mentioned before, this rotating behavior is responsible for Giralda’s name, which means ‘one that turns’ in Spanish.

El Giradillo is about 13 ft high and rests on a pedestal that is 10 ft high. It was cast in bronze by Bartolomé Morel in 1568 using a model most likely built by Juan Bautista Vázquez el Viejo, who was also responsible for the reliefs on the Chapter house dome. The model for the cast was based on a painting by Luis de Vargas. A duplicate of El Giradillo is in front of the Puerta del Principe.

Panoramic views

If you take the Seville Cathedral tour, it culminates with the climbing of the Giralda, first walking on the ramps of the minaret and then taking the flight of steps to the belfry, the last stop. As you climb the minaret part, you can stop at the balconies to view the surroundings. Once you reach the belfry, you can go around all the four sides and get a 360 view of the historic city of Seville. One of the spectacular views you see is of the Seville Cathedral itself.

Patio de los Naranjos (Courtyard of the Orange Trees) located on the north side of the Seville Cathedral — Patio de los Naranjos – Courtyard of the Orange Trees

The image shows an aerial view of the Patio de los Naranjos, a garden of orange trees, enclosed by the structures belonging to the Seville Cathedral complex, which are, the northern facade of the Seville Cathedral on the left, Iglesia del Sagrario in the middle, and a gallery on the right.

The small tower in the middle of the right side (i.e., north) gallery belongs to the Puerta del Perdón (Door of Forgiveness), a gate through which visitors enter the Patio de los Naranjos from the Calle Alemanes. The gallery on the east side (not visible) houses La Bibliotheca Colombina, a library that holds the private book collection of Fernando Colón, the second son of Christopher Columbus. Both Fernando Colón and Christopher Columbus were interred in the Seville Cathedral.

The Patio de los Naranjos used to be the courtyard of the Almohad mosque once stood in this space. The only thing that remains of the courtyard from that era is the fountain where the worshipers performed ritual ablutions, i.e., washing of feet and hands before entering the mosque.

The Patio de los Naranjos is now used by the visitors to gather and relax before and after the tour of the Seville Cathedral.

A panoramic view from the belfry of the Giralda in Seville, Andlusia, Spain — A panoramic view from the belfry of the Giralda

The image shows the eastern end of the Seville Cathedral. The dome with the roof lantern is above the Capilla Real. Below the cathedral is the La Plaza de la Virgen de Los Reyes, and behind it is the Real Alcázar and the adjoining gardens. The Guadalquivir River is in the far end of the image.

Alhambra: Medina

Medina – The Bustling Nasrid City

The Alhambra was a self contained citadel in the Nasrid period. The city, known as the Medina, served the daily needs of the palace and the people working there. It was a bustling city with shops, industrial houses, public baths, mosques, and residential quarters. The residential quarters provided housing for the common people, including artisans and civil servants, and the nobility. The ruins of the original Medina are on the eastern end of the Alhambra.

The main street of the city, known as Calle Real (Royal Street), ran from the east end of the Alhambra to west side near Puerta del Vino (Wine Gate). A part of that trail still exists and other Christian era structures were built.

Most of the original Nasrid structures in the Medina are now gone. The Christian kings who took over the Alhambra built structures over them. Napoleon, who occupied the Alhambra from 1808 to 1812, blasted many of them while retreating. What remains now are the foundations of some structures and some restored buildings.

Here are some the monuments that existed along Calle Real:

Puerta del Vino (Wine Gate)

Built during the reign of Muhammed III (1302 – 1309), the third ruler of the Nasrid dynasty, the Puerta del Vino (Wine Gate) is a gateway inside the walls of the Alhambra and served as the entrance to the city. Although it is one of the oldest buildings in the Alhambra, it did not undergo a lot of restoration. So, it still retains its original characteristics.

The Wine Gate has two similar facades, east facing, and west-facing. The decorations on these were updated during different periods. The image on the left shows the east-facing facade, i.e., facing the Carlos V Palace, and the image on the right shows the west facade, i.e., facing the Alcazaba.

As you can see from the images, the door has a horseshoe shaped point arch. As with the other decorations in the Alhambra, mathematics played a vital role in creating beautiful art in the decoration of the Wine Gate facade. The design of the facade is symmetrical about the vertical axis. The beam above the arch has several parallelogram-shaped bricks that are placed at regular intervals and slanted outwards, creating an illusion that this funnel-shaped structure is holding the balcony above in the east facade.

Both the facades have twin windows on the upper floor. The friezes of Islamic calligraphy surround these windows on the eastern one. The rectangular frames decorated with arabesques and Islamic calligraphy are on either side of these windows.

The middle brick in the beam above the arch on the west facade has the figure of a key engraved in it. It is an Islamic symbol whose meaning is not fully understood. It could mean that the key is a symbol of power that opens and closes the gates of heaven. The panel above the beam has an inscription in Arabic, and above it is a balcony with twin windows

Archaeological site of the Abencerrajes Palace

The image shows the archaeological site of the Abencerrajes Palace located in the upper area of the Alhambra. According to historians, a beautiful palace with the characteristics of Nasrid architecture and art once existed in this place.

As mentioned before, Napoleon was responsible for the destruction of buildings in this site. Upon his defeat in 1812, he ordered his retreating troops blew up the palace, including the Torre de Abencerrajes (Abencerrajes Tower).

The site was abandoned after the destruction. However, this changed in the 1930s when the restoration of the Alhambra started. After the discovery of artifacts of the Nasrid era around this area, the archaeologists took a keen interest in this site and started excavating different parts of the palace. The significant excavations took place in 1957, 1990, and 1991. The ruins you see are the results of the excavation and some restoration.

Before the destruction, the palace was known as the Palacio de la Contaduría (Accounting Palace) because the Christian kings gave this area to the senior accountant of the Royal Council in 1501.

The Abencerrajes Palace was attached to the Alhambra wall on the south side and had multiple rooms on the east-side. Next to them and parallel to the wall, there was a court with a pool. Calle Real, the main road of the Medina, ran in front of the palace.

Torre de los Abencerrajes (Abencerrajes Tower)

Ruins of the Abencerrajes Tower in the Alhambra, Granada, Spain — Ruins of the Abencerrajes Tower

The image shows the ruins of the Abencerrajes Tower.

As mentioned before, Napoleon was responsible for the destruction of this tower. The ruins you see are what remained after this destruction.

The tower is on the thick defensive wall that surrounds the Alhambra. As you can see from the image, there are steps to the adarve (the path on the flat top of the wall), which connects it to other towers on the wall.

Puerta de los Siete Suelos – Door of the Seven Floors Tower

Just like the Puerta de la Justicia, this used to be an external entrance to the Alhambra in the Nasrid period. However, the original gate was also destroyed by the retreating Napoleon’s troops in 1812. The structure shown in the image is the restored gate based on the pictures drawn by people, including Washington Irving. It is built on the south side of the wall that surrounds the Alhambra and is located east of the ruins of the Abencerrajes Palace.

The gate got its name because of the belief that it had seven floors below the ground. However, the excavation of this site led to the discovery of only two underground floors.

The gate also has an interesting legend associated with it. According to this legend, Boabdil, the last Nasrid ruler of Granada, left the Alhambra through this gate after his surrender to the Christian kings. Before surrendering, he made a deal with the Christian kings to close the gate forever.

Parador de San Francisco – A Former Nasrid Palace and Franciscan Monastery

Located near the eastern end of the Alhambra, this building used to be part of a Nasrid palace built in the 14th century. After the Christian kings took over the Alhambra, it was converted sometime in the 16th century into a Franciscan convent to fulfill a promise Queen Isabella made to build a shrine for St. Francis of Assisi, the founder of the Franciscan Orders. In the ensuing years, many Christian kings were interred in the chapel of the monastery.

After a considerable remodeling of the interiors, it was converted into a Parador, a luxury hotel run by the Government of Spain. The architecture and decoration of its interiors are now a mixture of Nasrid, Christian, and modern styles. The hotel is also called the Parador de Granada.

Related Pages
Alhambra
—Palacios Nazaríes – Nasrid Palaces – A Shining Example of Moorish Art and Architecture
—Los Jardines del Partal – The Gardens of the Partal
—Alcazaba – A Formidable Fortress of the Nasrids
—Alhambra – Christian-Era Monuments
—Alhambra – Outer Monuments
Generalife – Heavenly Gardens of the Nasrids

Alhambra: Outer Monuments

Pedestrian Path to the Alhambra Entrance

A site map of the Alhambra located near the city of Granada in Spain — A site map of the Alhambra and Generalife

The Alhambra monuments are on top of the Sabika Hill, and there are two pedestrian paths to the main entrance from the foot of this hill. The path explained here is via the Puerta de Las Granadas (Gate of the Pomegranates). If you are walking there from the city center, take the Cuesta de Gomérez Street from the Plaza Nueva to arrive at this gate.

Note that another entry point is via Cuesta del Rey Chico, but the entry via the Puerta de Las Granadas is more interesting because of the monuments along this path. The distance from the Plaza Nueva to the Alhambra monuments via this gate is about 3/4 of a mile.

The image shows a site map of the Alhambra and Generalife placed near this gate.

The paved road from the gate to the main entrance goes uphill, and as you walk up, you encounter the Alhambra forest on both sides. After walking a few hundred feet from the gate, the roads fork into two; The right path goes to the Crimson Towers, the Manuel de Falla Auditorium, and the left path leads to the Alhambra. As you walk further, you arrive at the Washington Irving monument. A few feet from there, you climb the flight of steps to reach the Pillar of Carlos V. Then you go via the Puerta de la Justicia (Gate of Justice) to arrive at the Alhambra.

Once you are at the top, you can see monuments belonging to both the Nasrid and Christian eras. The Nasrid era monuments include Puerta del Vino (Wine Gate), Alcazaba, and Palacios Nazaríes (Nasrid Palaces). The Christian era monuments include Palacio de Carlos V (Charles V Palace) Santa Maria de Alhambra and Church of St. Mary of the Alhambra.

Monuments along the Pedestrian Path

As mentioned before, there are several interesting monuments along the pedestrian path to the Alhambra entrance. Here is a brief description of these monuments.

Puerta de Las Granadas (Gate of the Pomegranates)

The first monument you see is the Gate of the Pomegranates, and as mentioned before, it is an entry point located at the foot of the Sabika Hill. It is a Roman-style arched gate built in 1526 to commemorate the visit of Carlos V (1500 – 1558), Holy Roman Emperor, and also King of Spain, Germany, and Italy. The architect of this gate is Pedro Machuca, who also built the Palacio Carlos V (Charles V Palace), one of the famous Christian-era buildings at the Alhambra.

As you can see from the image, the door has a lintel and pediment. Situated above the lintel is a sculpture of a two-headed eagle covering the coat of arms of Carlos V, and on top of the pediment are the sculptures of three opened pomegranates, the reason why the gate got its name. This gate replaced the one existed from the Nasrid era, some remnants of which are visible on the right side, i.e., a small arch.

The image on the right side shows the back facade of this gate. Embedded on the wall on the left side is a small tombstone etched with words that pays touching tribute to Alhamar, the founder of the Alhambra. It was installed in 1932 as part of the ceremonies commemorating the 7th centenary of the founding of the Emirate of Granada. The author of these beautiful poetic words is Francisco Villaespesa Martín (1877 – 1936), a famous Spanish poet and writer, who had close ties to Granada.

Tombstone that pays tributes to Alahmar, the founder of the Alhambra mouted on a wall near the Gate of the Pomegranates in Granada, Spain — Tombstone that pays tributes to Alahmar and glorifies the Alhambra

Here is a rough English translation of these poetic words written on the plaque:
“To Alahmar, the most distinguished man of the house of NASAR, the founder of the Alhambra. Because you surpassed the limits of Time and space by making all the beauties of nature pale when by creating the wonders of this citadel to gird the glory and immortality of the divine temples of the distinguished and unique city, you receive the moving tribute from Granada and with it the admiration and respect of the world.

The cry of your banished children who, even in the solitude of the desert, in the light of the stars, dream of the paradise of your enchanted halls.

Do not fear the ravages of time or the fickleness of fortune, because your overflowing zeal was eternalized in the marvel of these enclosures.

Even though the shadows of these walls may not last, their memory, which will always be everlasting, will remain as the only possible refuge of dreams and art.

And then the last nightingale, who flutters over the world, will make its nest and sing chants of farewell amongst the glorious ruins of the Alhamabra.”

Statue of Washington Irving

The next important monument you see on the path is the bronze statue of Washington Irving (1783–1859), a celebrated American author and a great admirer of the Alhambra.

Statue of of Washington Irving installed by the side of the pathway leading to the Alhambra in Granada, Spain — Statue of Washington Irving

He visited Granada in 1829 and lived on the premises of the Nasrid Palaces located inside the Alhambra. He authored one of his famous books, Tales of the Alhambra, which is a collection of essays, stories, and sketches related to the Alhambra, some of which were inspired by the legends and stories passed down through generations of families residing in Granada. Beside being an author, he was an American ambassador to Spain from 1842 to 1846.

This statue was installed in 2009 to commemorate Washington Irving’s 150th death anniversary. The plaque at the bottom says “Washington Irving 1783 – 1859” and the pedestal says “Hijo de la Alhambra” (Son of the Alhambra) as he wanted to call himself. The Alhambra forest is behind the statue. The following is one of his famous quotes on the Alhambra:

 “Perhaps there never was a monument more characteristic of an age and  people than the Alhambra; a rugged fortress without, a voluptuous palace  within; war frowning from its battlements; poetry breathing throughout  the fairy architecture of its halls.”

Carlos V Pillar

The image shows a beautifully decorated wall located next to the Puerta de la Justicia and below the artillery pieces in front of the Palacio Carlos. As you can see, the wall has three distinct levels of carvings. The bottom level is about Granada. The middle and top levels are about Carlos V, Holy Roman Emperor, who commissioned this wall.

Carved at the bottom level are the three masks, which, according to experts, represent the three rivers of Granada, Darro, Beiro, and Genil. Representing Granada is a pomegranate growing on a tree branch carved on each of the two pilasters in the middle. Note that Granada means pomegranate in Spanish.

At the center of the middle level is an inscription in Latin about Carlos V. The semi-circular block on the top level has his coat of arms enclosed by a double-headed eagle, which represents the Hapsburg Empire. The four medallions carved on sides of this circular block have reliefs depicting scenes from Greek mythology.

Puerta de la Justicia – Gate of Justice

Commissioned by Yusuf I (1333-1353), the seventh Nasrid ruler of the Emirate of Granada, and completed in 1348, the Gate of Justice is a tower built as an entrance to the Alhambra.

As you can see from the image, there are two doors, one behind the other. The outer door leads to the inner one, which is much smaller. Both of them have a horseshoe type of arches above the doors.

At the center of the circular frieze above the outer door is a marble figure of a hand inset into the frieze. The lintel of the inner door has an inscription written in Arabic. Above the inscription is a niche with the statue of the Virgin Mary with Infant Jesus, which is a duplicate of the original installed in 1501, which is currently on display at the Museo de Bellas Artes (Museum of Fine Arts) in the Palacio Carlos V – Charles V Palace.

Related Pages
– Alhambra
— Palacios Nazaríes – Nasrid Palaces – A Shining Example of Moorish Art and Architecture
— Los Jardines del Partal – The Gardens of the Partal
— Alcazaba – A Formidable Fortress of the Nasrids
–- Medina, the Bustling City
— Alhambra – Christian-Era Monuments
— Alhambra – Outer Monuments
– Generalife – Heavenly Gardens of the Nasrids

Generalife

Heavenly Gardens of the Nasrids

Located on Cerro del Sol (Sun Hill), a hill adjoining the Alhambra, the Generalife is a complex consisting of beautiful gardens, orchards, and a palace used by the Nasrid kings as a leisure residence, especially during summer. Derived from the Arabic word Jannat al-‘Arīf, Generalife means an architect’s garden. Inspired by the Persian gardens of the medieval period, Muhammed II (1273 – 1302), the second king of the Nasrid dynasty, built the Generalife complex as his summer residence. Muhammed III (1302 – 1309), the second king, and Ismail I (1314- 1325), the fourth king, extended and improved the palaces and gardens.

The Generalife provides a panoramic view of the Alhambra and Granada area. Although the palaces in Generalife are not as ornate as the Nasrid Palaces of the Alhambra, they still retain the charm of Moorish art. The courtyards have pools with fountains and water canals.

The palaces and gardens underwent significant restorations in the 20th century. The walkways, which were built as part of these restorations, are paved with beautiful mosaics created with black and white pebbles. The black ones are from the River Genil, and the white ones are from the River Darro. It became a UNESCO World Heritage Site in 1984 along with the Alhambra and Albaicín district.

Visiting the Generalife

As mentioned before, the Generalife complex is on a hill next to the Alhambra, and separating them is a ravine, which has a bridge that provides access to the Generalife. It takes about an hour to visit the gardens and courtyards of the Generalife. You can combine the Alhambra visit with the Generalife because it is at a walkable distance.

There is a path that leads to the Generalife from the Alhambra. Once you visit the Nasrid Palaces, you come out via the Gardens of Partal, which has signs directing to the Paseo de las Torres (Tower’s walk). Follow these signs, and as you walk, you will see several Nasrid era towers. You then cross the bridge over the ravine and reach the Auditorium at the Generalife. A walkway leads to the lower gardens area, and you start the Generalife visit there.

Lower Gardens

A view of the gardens of the Generalife in Granada, Spain — A view of the lower gardens

The image shows an area known as the Lower Gardens the Generalife located on the slope of a hill next to the Alhambara in Granada, Spain. It is Area K in the map of the Alhambra and Generalife.

At the center of the image is a pebbled walkway that leads to the Generalife Palace and the upper gardens. The Generalife complex has many similar walkways paved with beautiful mosaics created with black and white pebbles. The black ones are from the River Genil, and the white ones are from the River Darro. The walkways are a 20th-century creation built as part of the restoration of the Generalife.

The area on the right side of the walkway is an arable land used by the Nasrids to grow vegetables and fruits. It serves the same purpose even today. As you can see, the agricultural terrace on the right has orchards and vegetable patches.

The area on the left side is used for decorative purposes and has beautifully-trimmed cypress trees. It is a delightful experience to walk under the arches of the cypress trees. See the image below. Although these gardens make a great impression with visitors, they are also a modern creation built as part of the renovation of the Generalife, and nobody is sure how they looked in the Nasrid era.

Cypress tree arches in the lower gardens of the Generalife in Granada, Spain — Cypress tree arches

An octagonal basin in the lower gardens of the Generalife in Granada,Spain — Cypress tree arches

Generalife Palace

The walkway from the lower gardens leads to the Generalife Palace, which has two important courts, which are:

Patio de la Acequia (Court of the Irrigation Channel
Patio de la Sultana (Sultana’s Court or Courtyard of the Cypress).

Patio de la Acequia – Court of the Irrigation Canal

The Patio de la Acequia is a rectangular court with pavilions on all four sides. The image below is captured from the northern pavilion. On the far end of the image is the southern pavilion with two floors. The pavilion on the right (i.e., west side) is ornate and provides a beautiful view of the Generalife gardens and the Alhambra.

As the name suggests, the court has an irrigation canal, which runs through its center. Built in the Nasrid period, it provided water for the exotic plants in the court. On its sides are the narrow terraces with water sprouts spurting water into the canal, creating a beautiful display of semi oval-shaped water jets crossing each other.

The hedges of myrtle bushes run along the outer edges of the terraces. The beds used for cultivating flower plants, bushes, and fruit trees are on both sides of the canal. The Nasrids imported some of these plants, including a variety of rose bushes and jasmine creepers, from different parts of the world, choosing them for the colorfulness and fragrance of their flowers. The plants with their colorful flowers and a pleasant aroma created a delightful atmosphere in the court.

A building of great historical significance

A bit of history

Old building with a new appearance

Admiral’s Hall

Portraits of famous figures

Las postrimerías de Fernando III el Santo (Last Moments of Ferdinand III the Saint)

Hall of Audiences

Virgin of the Navigators

Replica of La Santa Maria

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A masterpiece of Mudéjar art and architecture

Path to the Real Alcázar Complex

Puerta del León (Lion’s Gate)

Ancient Moorish wall

Majestic exterior

Glamorous interior

Layout of the Palace

Vestibulo (Vestibule)

Alcoba Real (Royal Bedroom)

Patio de las Doncellas (Courtyard of the Maidens)

Salón de Embajadores (Ambassadors’ Hall)

Richly decorated rooms dedicated to the artisans

Patio de las Muñecas (Patio of the Dolls)

Notes

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The magnificent campanile of the Seville Cathedral

Islamic Section – Highly ornate Moorish minaret

Christian Section – Bell tower with Victory of Faith at the top

El Giradillo

Panoramic views

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Medina – The Bustling Nasrid City

Puerta del Vino (Wine Gate)

Archaeological site of the Abencerrajes Palace

Torre de los Abencerrajes (Abencerrajes Tower)

Puerta de los Siete Suelos – Door of the Seven Floors Tower

Parador de San Francisco – A Former Nasrid Palace and Franciscan Monastery

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Pedestrian Path to the Alhambra Entrance

Monuments along the Pedestrian Path

Puerta de Las Granadas (Gate of the Pomegranates)

Statue of Washington Irving

Carlos V Pillar

Puerta de la Justicia – Gate of Justice

Related Pages

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Heavenly Gardens of the Nasrids

Visiting the Generalife

Lower Gardens

Generalife Palace

Patio de la Acequia – Court of the Irrigation Canal