Aihole Durga Temple

A masterpiece of Chalukya temple architecture

Undoubtedly, the Durga Temple at Aihole is an architectural masterpiece and a testament to the ingenuity and engineering skills of the Badami Chalukyas. With its unusual shape and structure, it stands out from the rest of the temples in this area. It could even be mistaken for a Greek or Roman monument because of its curved shape and massive columns that have beautifully-carved corbels at their capitals. It is generally believed that the inspiration for the architecture of the Parliament House in New Delhi came from this temple.

Although it is called Durga Temple, Goddess Durga is not its principal deity. It got its name for an unusual reason. In Kannada, durga means fort. Because the Durga Temple used to be part of a fort complex, people started calling it a temple at the durga, and the name eventually stuck.

Located in Aihole, about 22 miles from Badami and 6 miles from Pattadakal, the Durga Temple was built by the Badami Chalukyas sometime in the 7th or 8th century, although some experts dispute the dating. It is contemporaneous with the rock-cut caves of Badami, and they have a lot in common, especially the carvings. This page describes some of the similarities.

Harmonious blend of architecture styles

Rear view of the Durga Temple in Aihole, Karnataka, India — Rear view of the Durga Temple

Although architecturally classified as the Gajaprastha style – a subclass under the Dravida style – it is a fusion of many architectural styles, including the northern nagara and southern mantapa. In Kannada, Gajaprastha refers to the back-side of an elephant. The round rear-side of this temple does indeed resemble that. If a temple is curved at the back, then its architecture style is identified as Gajaprastha. However, such temples are rare in Southern India.

As you can see from the image, above the garbhagriha is the shikhara (a.k.a. vimana), a tower-like structure that appears to be of northern nagara-style design. Notice the round ridged object fallen on the ground next to the temple. Known as amalaka, it used to be part of the shikhara placed just below the kalasa (pinnacle).

East side view and entrance to the Durga Temple in Aihole, Karnataka, India — East side view and entrance to the Durga Temple

Just like the majority of Hindu temples, this temple faces east, but with an unusual entrance. Instead of a single flight of steps facing front, it has two staircases facing sideways (one facing south and the other north) that join at the top. Check the mukhamantapa image.

As you can see from the image, the temple is on an elevated platform with massive stone columns built at the periphery to support the roof.

Mukhamantapa

South side view of the Durga Temple in Aihole, Karnataka, India — South side view of the Durga Temple

The two side-staircases join at the center and lead to the mukhamantapa (porch), which is a pillared hall with four pillars inside and several pillars at the periphery. The mukhamantapa design conforms to the Dravida-style architecture.

Richly decorated internal pillars are carved with exquisite stone artwork and sculptural reliefs on all four sides. All the pillars have finely-carved sculptures depicting mostly romantic couples, some of which can be described as mildly erotic, and are known as the mithuna shilpa.

At the center of the mukhamantapa is a flight of steps that leads to the sabhamantapa (congregation hall) and garbhagriha (inner sanctum). Surrounding them is a corridor used as the pradakshina patha (clockwise circumambulatory path), which starts from the left side of the mukhamantapa and ends on its right side. The outer edge of this corridor consists of columns that support the slightly slanted roof. Its inner side is a wall that surrounds the sabhamantapa and garbhagriha and has built-in dēvakōshtas (niches) and jālandharas (perforated stone windows).

Ardhamantapa

Interior of the mukhamantapa (porch) of the Durga Temple at Aihole in Karnataka, India — Interior of the mukhamantapa (porch)

The floor space covered by the four internal pillars is elevated and is accessed through a flight of steps on the east end. Check the front view of the temple. The area covered by the internal pillars forms a small mantapa (hall) within the mukhamantapa. At the other end of this internal mantapa is the Dvārabandha, i.e., the entrance to the sabhamantapa and garbhagriha.

As you can see from the image, massive stone beams connect the internal pillars resulting in two deeply recessed square-shaped blocks on the ceiling. Carved into these blocks are the two beautiful bas-reliefs, Matsya Chakra and Coiled Nagaraja. Attached to the beam separating these blocks are the slightly-curved buttresses. The bottom part of these buttresses are the faces of Makara, a dragon-like mythical creature, projecting out of the capitals of the pillars. The roof above the recessed blocks is at a higher level than the rest of the mukhamantapa.

Matsya Chakra – A beautiful relief representing a cosmic pond

Matsya Chakra (Fish Wheel) carved into the the ceiling of the mukhamantapa of the Durga Temple at Aihole, Karnataka, India — Matsya Chakra (Fish Wheel)

Known as the Matsya Chakra (Fish Wheel), this intricately-carved relief covers a recessed block of the ceiling near the dvārabandha. As you can see, it is a wheel consisting of a hub at the center and 16 spokes of fish enclosed by a rim carved with beautiful patterns of flowers and leaves. The hub of the wheel is a medallion with a lotus flower pattern. The Matsya Chakra relief likely represents the cosmic pond.

This relief was likely inspired by the Matsya Chakra relief found on the mukhamantapa ceiling of Cave -3, the third of the four rock-cut caves of Badami.

Coiled Nagaraja – An exquisitely-carved relief depicting king of serpents.

Coiled Nagaraja carved into the ceiling of the Durga Temple at Aihole in Karnataka, India — Coiled Nagaraja

Carved into the other recessed block on the ceiling is another beautiful relief that depicts Nagaraja, the mythical king of serpents. As you can see, Nagaraja has multiple serpent heads, and at the center, there is a human head with the torso that extends into a spiraling serpent body forming a coil.

In this highly-detailed relief, Nagaraja is wearing a beautiful mukuta (headgear) and a variety of jewelry, including earrings, necklaces, bangles, and armbands. He is also wearing the yajnopavita, a looped thread sacred to Hindus worn across the chest from the left shoulder to the waist. He is holding a garland with his right hand and a bowl with his left hand.

This relief was likely inspired by the Coiled Nagaraja carving found on the ceiling of Cave -1, the first of the four rock-cut caves of Badami.

Pillars embellished with erotic art

An ornate pillar in the mukhamantapa (porch) of the Durga Temple at Aihole in Karnataka, India — An ornate pillar in the mukhamantapa

Mithuna Shilpa - Sculpture of a romantic couple on a side of a pillar supporting the porch of the Durga Temple at Aihole in Karnataka, India — An ornate pillar in the mukhamantapa

As you can see, the pillar shown in the left image is ornate with a variety of bas-reliefs. The topmost carving is a mithuna shilpa, i.e., an erotic art form depicting a romantic couple. Below that is a carving depicting a series of male musicians playing different instruments. The frieze below that contains Kirthimuka, a decoration commonly seen in Indian and Southeast Asian temples.

Just above the bottom-most frieze is a Vidyadhara couple carved inside a circular frame. The bottom-most frieze contains a series of male figures, likely wrestlers.

Bas-relief of a romantic couple carved into a mukhamantapa pillar of the Durga Temple at Aihole in Karnataka, India — A romantic couple carved into a pillar .

Dvārabandha – An elaborate entrance to the sabhamantapa

Entrance to the sabhamantapa of the Durga Temple at Aihole in Karnataka, India — Entrance to the sabhamantapa

The facade of the entrance to the sabhamantapa (congregation hall) is ornate with an ensemble of decorations. At the center is the door that opens int to the main hall and leads to the garbhagriha (inner sanctum). Carved into the lintel is a beautiful relief depicting an imposing figure of Garuda, an eagle-like bird used by Vishnu as his vehicle, clasping nāgas (serpents) who have human heads. Surrounding the door frame are the finely-carved pilasters and vertical stone beams. Carved into the beams on the outer edge is a series of beautiful female figures, likely representing apsaras.

The stone pediment above the lintel consists of gods and demigods in the niches separated by geometrical patterns.

Garuda subduing the nagas

Garuda clasping snakes carved into the lintel of the sabhamanta door in the Durga Temple at Aihole in Karnataka, India — Garuda with nagas

This intricately carved relief is on the lintel of the dvārabandha depicts Vishnu’s vehicle Garuda, a mythical eagle-like bird with a human-like body with wings, holding nāgas, who have human heads and serpent bodies. As you can see, there are three nāgas on each side with their tails tightly held by Garuda’s hands. Notice the middle nāga on the left. He has seven serpent heads, indicating that he is the Nagaraja, the king of serpents.

Sabhamantapa and Garbhagriha

Sabhamantapa and the garbhagriha of the Durga Temple at Aihole in Karnataka, India — Sabhamantapa and the garbhagriha

Garbhagriha of the Durga Temple at Aihole in Karnataka, India — Sabhamantapa and the garbhagriha

The door at the far end of the left image opens into the garbhagriha (inner sanctum) of the Durga Temple. The right image shows the interior of the garbhagriha. As you can see from this image, there is just a pedestal on which the principal idol of the temple once stood. Because this idol is missing, nobody is sure to whom this temple was dedicated. Historians believe that it was likely a Surya or Vishnu temple.

There are eight pillars, four on each side, in the main hall that is in front of the garbhagriha, virtually dividing the hall into a grid of three longitudinal aisles and five transverse sections.

In a typical Dravida-style architecture, the mantapa in front of the garbhagriha has two halls: antarala (ante-chamber) and sabhamantapa (congregation hall). In this temple, the first transverse section in front of the garbhagriha is narrower than the other four. So, it can be considered as the antarala. The rest of the main hall is the sabhamantapa.

An oblong-shaped wall, one side of which is semi-circular, surrounds the garbhagriha and the main hall. The semi-circular part appears like an apsidal structure, and this design resembles a Christian Church (sans transepts). Experts believe that it was influenced by the architecture of Buddhist Chaitra halls.

The surrounding wall was built with large perfectly-fitting stones, some of which were cut with precise curvature. It is amazing how the builders achieved this high level of precision without the aid of sophisticated machinery.

Corridor used as the Pradakshina Patha

South corridor - West facing view — South corridor – West facing view

South corridor - East facing view — South corridor – West facing view

The Durga Temple has a covered Pradakshina Patha (clockwise circumambulation path). As you can see from the images, the corridor used for performing the circumambulation has a slightly slanted roof supported by the stone pillars at the periphery. The other side of this corridor is a wall that surrounds the garbhagriha and the mantapa (covered hall) in front of it. The upper half of this wall alternate between dēvakōshtas (niches) and jālandharas (perforated windows). Occupying the dēvakōshtas are beautifully carved sculptures, each depicting a god or goddess. The jālandharas provide light and ventilation into the interior.

Because the Durga Temple is apsidal, the corridor is bent at the far end, which in other words means its rear side covering the garbhagriha is round.

Dēvakōshtas – Niches with finely-carved sculptures

There are six dēvakōshtas built into the inner wall of the corridor. The jālandharas occupy the space between the dēvakōshtas.

Dēvakōshta	Location	Description
Shiva with his vehicle Nandi	South – East	Calm and serene Shiva leaning against Nandi, his vehicle
Narasimhavatara, the fourth avatar of Vishnu	South – Middle	Vishu’s incarnation as lion
Vishnu riding Garuda	South – West	Vishnu with his consort Lakshmi and vehicle Garuda
Varahavatara, the third avatar of Vishnu	North – West	Narrative sculpture depicting boar faced Vishu’s incarnation slaying Hiranyaksha, an evil demon
Durga as Mahishasuramardini	North – Middle	Narrative sculpture depicting Goddess Durga slaying Mahishasura
Harihara	North – East	Fusion of Shiva and Vishnu

Sculptures in the dēvakōshtas

As you can see, each sculpture is installed between kudyastambhas (pilasters).

Shiva with Nandi installed inside the devakoshta of the Durga Temple in Aihole, Karnataka, India — Shiva with his vehicle Nandi

Narasimhavatara installed in a devakoshta of the Durga Temple located in Aihole, Karnataka, India — Shiva with his vehicle Nandi

Jālandharas – Beautifully designed perforated windows

The purpose of the jālandharas is to provide ventilation and light into the interior. They also improve the aesthetics when the perforations are cut into the stone to create beautiful patterns.

In the Durga Temple, they are carved with perforations forming a variety of patterns, some of which depict sacred religious symbols and the others aesthetically pleasing patterns. Here is a list of the jālandharas installed in the clock-wise direction:

Jālandhara	Location	Description
Swastika and lotus flower patterns	South – East	Sacred symbol shared by Hindu, Buddhist and Jain religions.
Rhombus-shaped perforations	South – Middle	Aesthetically pleasing pattern
Dharmachakra with eight spokes	South – West	Sacred symbol shared by Hindu, Buddhist and Jain religions. Built into circular part of the wall. Curved and fits perfectly.
Dharmachakra with 12 spokes	North – West	Sacred symbol shared by Hindu, Buddhist and Jain religions. Built into circular part of the wall. Curved and fits perfectly.
Square-shaped perforations	North – Middle	Aesthetically pleasing pattern

Jālandhara installed in a wall surrounding sabhamantapa and garbhagriha of the Durga Temple at Aihole, Karnataka, India — Jālandhara carved with the swastika and lotus flower patterns

Jālandhara with rhombus patterns installed in a wall surrounding the sabhamantapa and garbhagriha of the Durga Temple at Aihole, Karnataka, India — Jālandhara carved with the swastika and lotus flower patterns

Jālandhara with square perforations installed in a wall surrounding sabhamantapa and garbhagriha of the Durga Temple at Aihole, Karnataka, India — Dharmachakra carved in a jālandhara

The jālandhara is a unique element of the Dravida-style architecture and is a common feature in many Chalukya and Hoysala temples.

Prambanan Bas-Reliefs

Exquisitely carved bas-reliefs

Prambanan is a massive Hindu temple complex (also known as Rara Jonggrang complex) located 11 miles northeast of Yogyakarta in Indonesia. Built around 900 CE, this complex contains multiple temples dedicated to Hindu gods and goddesses. Carved into the walls of these temples are the beautiful bas-reliefs that depict scenes narrated in the Indian epics, Ramayana and Mahabharata, and the Puranas. Most of the bas-reliefs are very detailed, and because of that, the stories they represent are easily identifiable.

Ramayana bas-reliefs

The bas-reliefs depicting stories from Ramayana are carved into the inner walls of the balustrade of the corridor surrounding the inner sanctum of the Shiva and Brahma Temples. Not all bas-reliefs are in the right order, and in some cases, wrong bas-reliefs are in place, a result of improper restoration. Here are some of them that are easily identifiable.

Rama’s exile

Rama was one of the four sons of Dasharatha, the king of Ayodhya. Being the eldest son, Rama was the legitimate heir to the throne of Ayodhya. Kaikeye, one of his three wives, wanted her son Bharata to be the future king of Ayodhya.

When Dasharatha became ready to hand-over his reign to Rama, Kaikeye invokes two varas (boons) that Dasharatha had given to her when she saved his life during a battle. She asks Dasharatha to make Bharata the crown prince and banish Rama to the forest for 14 years. King Dasharatha reluctantly agrees because he could not go back on his promises. Rama respects his father’s wishes and leaves Ayodhya for the forest along with his wife Sita and brother Lakshmana.

The bas-relief shown in the image is a narrative depiction of Rama, his wife Sita and brother Lakshmana leaving Ayodhya for the exile in the forest. Seated in front of the chariot are Rama and his wife Sita, and in the back is his brother Lakshmana. The people in the back chariot are the courtiers from King Dasharatha’s court bidding farewell to their popular princes.

King Dasharatha’s funeral

Rama's father King Dasaratha's funeral — Rama’s father King Dasaratha’s funeral

Once Rama, Sita and Lakshmana left for exile, King Dasharatha became grief-stricken and died soon after. The bas-relief depicts the funeral ceremony of Dasharatha.

Bharata’s inauguration as the King of Ayodhya

Bharata is a half-brother of Rama, the eldest son of Dasharatha and the legal heir to the throne. As mentioned earlier, Bharata’s mother Kaikeyi convinces Dasharatha to make Bharatha the king of Ayodhya and banish Rama to the forest for fourteen years.

The image depicts dancing at the inauguration of Bharata as the king of Ayodhya.

Rama’s time in exile

As mentioned earlier, Rama along with his wife Sita and brother Lakshmana went into exile in the forest for fourteen years. Some of the bas-reliefs depict events that happened during his exile.

Killing Viradha

Rama spent 13 of the 14 years of exile in Dandakaranya, a forest that was home to many noble rishis (sages) as well as evil rakshasas (demons). Viradha was one of the rakshasas attacking the rishis and animals and destroying vegetation in Dandakaranya. No weapons could kill Viradha as he possessed a supernatural power from a vara (boon) he received from Brahma. Because of this vara, he was fearless. As Rama was wandering in Dandakaranya with his wife Sita and brother Lakshmana, Viradha arrogantly confronts Rama and tries to snatch Sita. Enraged by this act, Rama kills Viradha by burying him since weapons could not kill him. As he lay dying, he morphs into a gandharva, which was his original form, and thanks Rama for releasing him from the curse that made him a rakshasa. Note: Gandarvas are a type of demigods who are celestial musicians.

Kidnapping of Rama’s wife Sita

This famous episode in Ramayana happens in the 13th year of Rama’s exile. In this episode, Mareecha, a rakshasa (demon) and maternal uncle of Ravana, assumes the form of a golden deer to distract Rama in order to enable Ravana to kidnap Rama’s wife Sita (Shinta in Java).

Bas-relief in the Shiva Temle depicting Rama slaying Mareecha who assumed the form of a golden deer — Rama slaying Mareecha who assumed the form of a golden deer

The image shows Rama killing the golden deer with his arrow and the body of Mareecha springing out of the golden deer as it starts dying.

According to the story, before Mareecha dies, he imitates Rama’s voice and screams “Oh! Sita, Oh! Lakshmana.” Troubled by this voice, Sita pleads with Rama’s brother Laksmana to help Rama. Lakshmana reluctantly agrees, but before he leaves, he draws a line, famously known as the Lakshmana Rekha, around the hermitage and asks Sita not to cross it under any circumstances.

Ravana kidnapping Sita, an episode from the Hindu epic Ramayana — Ravana kidnapping Sita

Once Lakshmana leaves the hermitage, Ravana disguised as a sadhu (ascetic) comes there and chants “Bhavati Biksham Dehi” (Oh! mother, give me some alms). Seeing the sadhu, Sita goes inside to fetch alms. Ravana tries to follow her into the hermitage but was unable to cross the Lakshmana Rekha. Once Sita returns, he convinces Sita to come out of it to give Ravana the alms. As soon as she crosses the Lakshmana Rekha, Ravana kidnaps her.

Rama killing Kabandha

Kabandha is another rakshasa, Rama and Lakshmana killed during their exile. With the eyes and mouth in his belly, he is a rakshasa with an enormous appetite. The image below shows the bas-relief depicting Rama killing Kabandha.

This episode happens after Ravan abducts Sita. According to the story, Kabandha finds Rama and Lakshmana wandering in the forest looking for Sita. He tries to catch them with the intention of eating them, but Rama and Lakshmana fight him off and were about to kill him by severing his hands. Realizing that they are not ordinary human beings, he asks for their identity. When he comes to know who they are, he pleads with them to release him from his curse by killing him.

Just like Viradha, Kabandha too was born a gandharva but cursed by Indra to become a carnivorous rakshasa. Once Rama and Lakshmana kill him, he regains his original gandharva body and advises Rama how to find Sita. He suggests Rama befriend Sugriva, a vanara (monkey) who is in power struggle with his brother Vali, and help him to become the King of Kishkindha.

Building Rama Setu (Bridge to Lanka)

Vanara Sene Building Rama Setu - Ramyana bas-relied carved in Prambanan — Vanara Sene Building Rama Setu

After killing Kabandha, Rama continues his journey in search of Sita. As per Kadambha’s advice, he goes southwards to the Rishyamuka Mountain to meet Sugriva, who agrees to help him, provided Rama help him topple his elder brother Vali, the King of Kishkindha.

Rama and Sugriva devise a plan to defeat Vali. As per this plan, Sugriva invites Vali for a duel, and during the fight, Rama waiting on the sidelines kills Vali with an arrow. See the beautifully carved Vali-Sugriva Fight bas-relief on the Banteay Srei Temple that illustrates this fight.

After the death of Vali, Sugriva becomes the King of Kishkindha. Sugriva’s friend Hanuman goes to Lanka and finds the exact location of Sita.

Eventually, Sugriva builds a vanara sene (army of monkeys) to invade Lanka to get back Sita. Because Lanka is an island, Sugriva builds a bridge to Lanka to ferry the monkey troops. The image below shows the bas-relief depicting the vanara sene led by Sugriva building the bridge to Lanka (Rama Setu).

Other Ramayana bas-reliefs

The bas-reliefs shown in the images below are not easily identifiable.

A section of the Ramayana story bas-relief carved in the Shiva Temple — Ramayana story bas-relief

Bas-relief depicting a story from Ramayana in the Shiva Temple located in Yogyakarta, Indonesia — Ramayana story bas-relief

Bas-reliefs of Ramayana tales

Krishnayana bas-reliefs

Krishna, an avatar of Vishnu, is the principal character in the Mahabharata, Bhagavata Purana, and Bhagavata Githa. The Krishnayana reliefs depict stories of Krishna’s childhood and youth, mainly taken from the Bhagavata Purana and are carved in the Vishnu Temple.

Krishna and his stepbrother Balarama lived with his foster parents which is because Krishna’s parents, Vasudeva and Devaki, were jailed by Kamsa, his maternal uncle and the King of Mathura. Having killed Krishna’s six elder siblings, Kamsa was intent on killing Krishna because of a prophecy that foretold the death of Kamsa at the hands of Devaki’s eighth child, Kamsa feared Krishna would kill him.

Krishna’s foster parents, Nanda and Yashoda, lived a simple life in a place named Gokula. Nanda was the head of cowherds, so both Krishna and Balarama spent their childhood herding cows.

The image shows the bas-relief depicting the life of Krishna during his childhood.

Krishna and Balarama played together and often go to a wooded place named Vrindavana to play with their friends.

Krishna and Balarama killing demons

The image below shows a section of the Krishnayana bas-reliefs with two different stories.

Bas-relief depicting exploits of Krishna and Balarama — Exploits of Krishna and Balarama

The left section depicts Krishna taming Kaliya, a vicious serpent who lived in the Yamuna River and roamed on its banks. According to the legend, Kaliya was poisoning the Yamuna River and creating havoc among the people living in Vrindavana. One day, when Krishna was playing in Vrindavana, the ball falls into Yamuna River. As Krishna dives into the river to retrieve a ball, Kaliya swoops on Krishna and tries to bite him. Krishna overpowers Kaliya and is about to tear apart his jaws to kill him, Kaliya’s wives come begging to Krishna to spare his life. Krishna listens to their pleas and forgives Kaliya, but banishes him and his family to Ramanaka Dweepa, an island far away from Vrindavana.

The story in the right section is about Balarama killing Dhenukasura, an asura (demon) who assumed the form of a donkey. When Dhenukasura attacks Krishna and Balarama for eating fruits in the Talavana Forest, Balarama wheels Dhenukasura’s body around by holding his hind legs and then swings it on the top of trees to kill him.

Krishna killing Vyomasura

The bas-relief depicts Krishna killing Vyomasura, a demon who could fly like a bat. According to a legend, Vyomasura disguises as a cowherd with an intention to kidnap Krishna’s cowherd friends. When Krishna notices an unusual face among his friends, he confronts Vyomasura, who then shows his true self. As can be seen from the image, Krishna lifts Vyomasura up by grabbing his legs, smashes him to the ground and kills him.

.As you can see from the image, there are two story panels (likely restored incorrectly because there is no continued carving between the two). The left panel depicts Balarama, Krishna’s stepbrother, carrying his signature weapon, a plow, and the right panel Krishna killing an unidentified rakshasa.

Other bas-reliefs

The Prambanan temples have other bas-reliefs that are not directly related to either Ramayana or Krishnayana. Some of them depict devatas and apsaras. There are also reliefs of Lokapala, which could be Indra or the likeness of King Lokapala.

Lokapala

Lokapala in Sanskrit literally means guardian of the world. Loka means world and pala means guardian. In Hinduism, there is also a notion of guardian of a cardinal direction. A Lokapala may also be the guardian of a direction.

The Shiva Temple has numerous bas-relief frames with Lokapala sculptures. The other temples also have similar bas-reliefs but not as beautiful and expressive.

The Lokapala statues are in the sitting position but with different hand gestures (i.e., mudras) and facial expressions representing moods. The thrones on which Lokapala sits are similar.

The Lokapala statues have similar types of jewelry carved almost in the same position on the body. These include the necklace, thread around the belly, and thread on the left shoulder going over the navel (similar to the yajnopavita, a sacred thread worn by Hindus). Some experts believe that the Lokapala statues portray King Balitung Maha Sambu himself.

Lokapala reliefs in the Shiva Temple

The images below show the Lokapala statues placed in different directions.

Bas-relief of Lokhapala with the Vara Mudra hand gesture carved in the Shiva Temple in Prambanan, Yogyakarta — Lokapala

Bas-relief of Lokapala with the Bhumisparsha Mudra (Hand Gesture) in the Shiva Temple in Prambanan, Yogyakarta — Bas-relief of Lokapala with the Bhumisparsha Mudra (Hand Gesture) in the Shiva Temple

Lokapala in the Shiva Temple in Prambanan, Yogyakarta, Indonesia — Bas-relief of Lokapala with the Bhumisparsha Mudra (Hand Gesture) in the Shiva Temple

Lokapala reliefs in the Vishnu Temple

The images below show Lokapala flanked by the apsaras.

A sculptural relief of Balarama in the Vishnu Temple at Prambanan, Yoogyakarta, Indonesia — Devata flanked by Apsaras

Rishis (Sages)

Saptarishis carved in the Shiva Temple located in Prambanan, Yoogyakarta, Indonesia — Saptarishis carved in the Shiva Temple

The bas-relief depicting different rishis are carved on the outer walls of the temples. The sculptural relief shown below is carved on three frames in the Shiva Temple depicts the seven great sages of ancient India known as saptarishis. Here are the names of these rishis from the Brihadaranyaka Upanishad:
1. Vishwamitra 2. Vasistha 3. Jamadagni 4. Kashyapa 5. Atri 6. Bharadwaja. 7. Gautama Maharishi. The other Puranic texts have a different set of names.

Astronomically, saptarishis represent seven stars of the constellation of Ursa Major, commonly known as the Big Dipper. The legend of seven great sages exists in many ancient cultures, including the Greek, Chinese, and Egyptian cultures.

The sage at the center is most-likely Vishwamitra. As you can see from the image, Vishwamitra and some of the sage are holding japamalas with their right hands. A trishula (trident) is behind Vishwamitra with a kamandala (water jug) hung on its prong. It appears they are engaged in a debate.

Here are the reliefs of the other rishis:

A Rishi (Sage) with the Vitāraka Mudra Gesture

A rishi flanked by apsaras — A Rishi (Sage) with the Vitāraka Mudra Gesture

Lion flanked by Kinnaras

Most visitors to Prambanan notice the beautiful and a detailed carving as shown in the image. There are similar carvings on the outer walls of many temples.

At the center of this carving is the statue of a lion in the niche, and on either side of the lion is a kinnara couple (male and female) standing under the Kalpavriksha (a.k.a Kalphataru), the divine tree that fulfills wishes. Kinnara female is known as kinnaree. The significance and meaning of this unusual but beautiful and detailed carving are not well understood.

Kinnara

In Southeast Asian Hindu mythology, a kinnara is half-human and half-bird, whereas, in Indian Hindu mythology, a kinnara is a half-human and half-horse. Kinnaras are celestial musicians and live as a couple.

According to Mahabharata, a kinnara couple is a husband and wife forever, and their love is everlasting. No third person or creature can ever share their love. Because of this reason, they can never become parents, therefore, cannot have offspring.

Kalpavriksha

According to Hindu mythology, Kalpavrisksha is a divine tree that fulfills the desires of people. It is a by-product of the Samudra Manthana (Churning of the Ocean of Milk). See the Samudra Manthana bas-relief in the Angkor Wat Temple. Indra, who was in the middle of the Samudra Manthana, took this tree and planted in his garden.

Other lion carvings

In some of the lion carvings, the kinnaras are replaced by animals such as rabbits. See the images below.

Lion flanked by animals under Kalpavriksha

Related Pages
– Prambanan, Borobudur, Bali, Indonesia
– Angkor Wat, Angkor Wat Bas-Reliefs, Banteay Srei, Cambodia

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.

Seville Posts and Pages
– 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: Casa de Contratación (House of Trade)
– Real Alcázar of Seville: Pedro I Palace – A masterpiece of Mudéjar art and architecture

Sacristía Mayor: The Main Sacristy of the Seville Cathedral

A magnificent building that houses valuable art treasures

Attached to the south side of the Seville Cathedral, the Sacristía Mayor (Main Sacristy) is a Greek cross-shaped building crowned by a circular dome at the crossing. Surmounting the dome is a beautiful roof lantern built to provide daylight to the hall below. The work on this building was started by the architect Diego de Riaño, and after he died in 1534, Martín de Gainza continued the work and completed it in 1543.

The Sacristía Mayor, just like the Sala Capitular, is a Renaissance-style addition to the Gothic-style Seville Cathedral. Both were built in the 16th century and attached to the southern part of the cathedral, separated by an anteroom called Antecabildo. Unlike the Sala Capitular, which was built with an unconventional elliptical design, the Sacristía Mayor was traditionally designed and was built with a grand circular dome and roof lantern, a trend at that time in Renaissance-style architecture. Also, they were built for different purposes. The Sala Capitular was the meeting room of the cathedral’s chapter, whereas the Sacristía Mayor was a repository for the liturgical items.

Preserved in the sacristy are the art treasures that provide a glimpse of the glorious era when religious art flourished in Seville. On display are finely crafted liturgical items, including monstrances, reliquaries, custodias, and crosses, mostly made of precious metals like gold and silver. Besides, adorning the walls of the sacristy are the masterpieces painted by famous painters, including Goya, Murillo, Campaña, and Zurbarán.

Dome

The dome of the Sacristía Mayor is relatively large and stands out when viewed from outside. As you can see from the image, it is a beautiful structure surmounted by a roof lantern supported by the flying buttresses.

On the right side of the image is La Giralda, which is on the other side of the cathedral. Notice the small roof lantern in front of it. It belongs to the dome of the Sala Capitular. This goes to show that the Sacristía Mayor is bigger and taller than the Sala Capitular.

The image below shows the ceiling of the dome. As you can see, there are three concentric panels ornate with bas-reliefs depicting scenes related to the Last Judgement (the Second Coming of Christ). Click the image and view the full size for a view of the reliefs.

Reliefs depicting the Last Judgement carved on the ceiling of the dome of the Sacristía Mayor attached to the Seville Cathedral in Andalusia, Spain — Reliefs depicting the Last Judgement carved on the ceiling of the dome

Here is a brief explanation of the reliefs:

Top layer: Depicts Jesus seated on a bow with his feet resting on a globe representing the earth. His right hand is up, and the left is down. He is holding a lily with his right hand, and there is a sword above his left shoulder. These two symbolize mercy and justice, respectively. Flanking Jesus on the left is the Virgin Mary, and on the right is St. John the Evangelist.
Middle layer: Depicts the saved ones, who with folded hands looking up to Jesus
Bottom layer: Depicts the damned ones who are being herded to hell by beast-like demons

Interior

The image shows a view of the interior of the Sacristía Mayor you see as you enter this room. In the middle is the Custodia de Arfe, a processional custodia made by Juan de Arfe y Villafañe, a master sculptor born into a prominent family of goldsmiths/silversmiths.

On the left is the silver statue of San Fernando attributed to Pedro Roldán, who made it in 1671. On the right is the statue of La Inmaculada Concepción (Immaculate Conception of Mary) made by Alonso Martínez of Seville in 1650.

Descent from the Cross by Pedro de Campaña in the side enclosure of the Sacristía Mayor attached to Seville Cathedral, Spain — Descent from the Cross by Pedro de Campaña in a side enclosure

Behind the Custodia de Arfe are the three richly decorated enclosures, each with a famous painting.

The image shows the enclosure at the opposite end of the entrance. As you can see, it has highly ornate arched doors and vaulted ceiling richly decorated with sculptural reliefs. In the center within an oval-shaped frame is the relief of Virgin Mary, and surrounding her are the twelve apostles.

The main attraction of this enclosure, however, is the brilliant oil painting, Descent from the Cross, mounted on the back wall.

Art treasures

When you are in the Sacristía Mayor, it feels as though you in an art museum because its space is filled with valuable art treasure. On display at the sacristy are the finely-crafted liturgical items and numerous paintings. The liturgical items include monstrances, reliquaries, custodias, and crosses, mostly made of precious metals like gold and silver. Here are some of the art treasures:

Custodia de Arfe

The magnificent silver sculpture, known as the Custodia de Arfe (Arfe’s Custodia), bears the name of its builder, Juan de Arfe y Villafañe, a master sculptor born into a prominent family of goldsmiths/silversmiths.

With a height of over 12 ft and weight of over 1000 pounds, the Custodia de Arfe, which was made between 1580 and 1587, is massive and was intended for the processional use.

As you can see, the tower-shaped custodia has four circular floors, and crowning the top floor is a sculpture representing Faith. Influenced by the Greco-Roman architecture, each floor of the custodia appears like a miniaturized Greek/Roman building.

The floors are similar in design, but their size, including the height and diameter, decreases proportionally as the tower rises from the bottom to the top. In the center of the floor is the cella, and surrounding it are two concentric rings, each made of 12 Greek-style columns.The outer ring columns are on the edge of the floor. The proportionality applies to the size of the columns and the sculptures.

The custodia rests on a circular base made later by a different silversmith. Mounted on this base are 12 cups, each of which aligns with a column.

Floor – 1 (Bottom floor) : The circular part of each column rests on a square base. Engraved on this column are the grapevines that criss-cross to the top from their roots at the bottom. Figures of angels and birds eating grapes are in between the vines. Carved on the three sides of the square base are bas-reliefs depicting scenes from Old and New Testaments. Standing in the center of the cella is a beautifully carved silver sculpture depicting the Immaculate Conception made by Juan de Segura in 1668. It replaced the figure of Faith that was part of the custodia when Jaun de Arfe built it. Flanking the Immaculate Conception are the statues of Peter and Paul.
Floor – 2: The columns of this floor are of the Corinthian order. Placed in the cella is the holder that hosts the Blessed Sacrament during the procession.
Floor – 3: The columns of this floor are of the Ionic order. The cella holds the statue of the Mystic Lamb opening the Book with Seven Seals, an apocalyptic scene envisioned by John of Patmos and narrated by him in the Book of Revelation.
Floor – 4: The columns of this floor are of the Corinthian order. The cella houses the sculpture depicting the Holy Trinity, i.e., the Father, the Son, and the Holy Spirit.

Custodia de Arfe in the Sacristía Mayor of the Seville Cathedral — Custodia de Arfe

The image shows the location of the Custodia de Arfe. As you can see, it is in the middle of the sacristy and behind it are two famous paintings mounted on the wall.

Right: The Vision of San Fransciso – A masterpiece by Juan Sánchez Cotán (1560 – 1627), a Baroque painter and a pioneer of realism in Spain.

Left: Virgin of Mercy – A great work attributed to Juan de Roelas (17th century).

Descent from the Cross – A masterpiece by Pedro de Campaña

Descent from the Cross by Pedro de Campaña in the Sacristía Mayor of the Seville Cathedral — Descent from the Cross by Pedro de Campaña

The image shows an oil painting, Descent from the Cross, mounted on the back wall of the enclosure behind Custodia de Arfe. This masterpiece was painted in 1547 by Pedro de Campaña (1503 – 1580), a noted Flemish painter born in Brussels and trained in Italy. He painted numerous religious masterpieces, some of which are on display in the Seville Cathedral and various churches in Spain. Descent from the Cross is believed to be his best work.

As you can see from the painting, the motionless body of Christ is being lowered with reverence by three men in red robes. According to the accounts in the Gospels, the men on the ladders are Joseph of Arimathea and Nicodemus, and the man holding Jesus’ legs is St. John the Evangelist. Waiting at the bottom are four grief-stricken women that include Mary, the mother of Jesus, and Mary Magdalene.

Immaculate Conception of the Virgin Mary

A sculpture depicting La Inmaculada Concepción ((Immaculate Conception) in the Sacristía Mayor of the Seville Cathedral in Andalusia, Spain — La Inmaculada Concepción (Immaculate Conception)

Sculpted by Alonso Martínez of Seville in 1650, this beautiful silver work represents the Immaculate Conception of the Virgin Mary. The doctrine of the Immaculate Conception states that Mary, the mother of Jesus, was born without the stain of the original sin.

Seville was famous for its mastery in silversmithing, and the sculpture representing the Immaculate Conception is a fine example of that mastery. As you can see, it is a stunningly beautiful work with great attention paid to details.

Clad in a beautiful cloak, the Virgin Mary is standing on a crescent moon up and is among angels. With her hands folded, she is looking downwards with grace. The crescent moon conveys important symbolism, i.e., conquering sin. Adorning her head is a finely crafted crown, and surrounding it is a halo with rays.

The Immaculate Conception is a popular theme in the art presented in the Seville Cathedral. For example, La Inmaculada Concepción is a masterpiece painted on the dome of the Chapter House by the noted Spanish painter Bartolomé Esteban Murillo.

Bust-reliquary of Santa Rosalía

This impressive work of art in silver was made by Lorenzo Castelli, an Italian silversmith, in 1688. Santa Rosalía (St. Rosalia) is a saint invoked by the Catholics during a pandemic. As the COVID-19 pandemic is devastating our planet, St. Rosalia is becoming popular internationally because of the belief that she can us from the pandemic.

Here is the story of St. Rosalia:

Born in 1130 into a wealthy family in Palermo, Italy, St. Rosalia led a strange life. Early in her youth, she left home and lived like a hermit in a cave nearby. She is believed to have written these words on the walls of the cave;

I, Rosalia, daughter of Sinibald, Lord of Roses and Quisquina, have taken the resolution to live in this cave for the love of my Lord, Jesus Christ.

She spent her entire life there and died in 1166, unbeknown to the rest of the world. Her body remained in the cave until a hunter discovered them in 1624. As the story goes, she appeared to that hunter and asked him to recover her remains from the cave and bring them to the city in a procession. At that time, Palermo was beset by a Plague pandemic, which disappeared after her remains were carried in procession three times through the city. In gratitude, the people of Palermo declared her the patron saint of Palermo.

When Jaime de Palafox y Cardona, the bishop of Palermo, became the archbishop of Seville, he decided to promote St. Rosalia in Seville and donated the bust-reliquary St. Rosalia to the Seville Cathedral.

Related Pages
Seville Posts and Pages
– 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: Casa de Contratación (House of Trade)
– Real Alcázar of Seville: Pedro I Palace – A masterpiece of Mudéjar art and architecture

Sala Capitular: The Chapter House of the Seville Cathedral

A magnificent building unique in design and rich in decoration

No visit to the Seville Cathedral is complete without seeing to the incredibly beautiful Sala Capitular (Chapter House), an ellipse-shaped hall attached to the southeast corner of the building. It is a highly ornate hall crowned by a magnificent dome that is elliptical in shape – a novel idea at the time of its inception and considered a great engineering feat. Surmounting the dome is a beautiful roof lantern, also ellipse-shaped, built to provide daylight to the hall below.

Added more than 50 years after the completion of the Gothic-style Seville Cathedral, the Sala Capitular is a Renaissance-style building, and despite the difference in architectural styles, it blends harmoniously with the main building. The architects responsible for this perfectly-designed building were Hernán Ruiz II, who started in 1561, and Alonso de Maeda, who completed in 1592. It was the first building with the elliptical dome in Spain. The elliptical design of the hall lends itself to better acoustics and visibility.

Exquisitely designed interior

The Sala Capitular used to serve as the meeting room of the cathedral’s chapter, a college of clergymen set up to advise the archbishop to run its religious and administrative affairs. The chapter members, referred to as canons, would sit on the benches placed along the wall during the meetings, typically chaired by the archbishop. Because of the oval design, they would have had perfect visibility of the hall and clear acoustics.

Archbishop's Chair in the Chapter House of the Seville Cathedral, Andalusia, Spain — Interior with the Archbishop’s Chair on display

The image shows a section of the oval-shaped wall with its upper part covered by beautifully engraved friezes. Even the floor of this hall is exquisitely designed. As you can see, it is a marble floor covered with tantalizing patterns, the design of which was inspired by the Piazza del Campidoglio, a beautiful square in Rome designed by Michelangelo.

On display at this hall is an ornate chair, known as Archbishop’s Chair, built by Diego de Velasco in 1592. This elegantly designed mahogany chair was used by the archbishop during the meetings of the cathedral chapter.

Spectacular elliptical dome

Dome of the Chapter House of the Seville Cathedral, Seville, Andalusicaa, Spain — Dome of the Chapter House

The richly decorated elliptical dome presents a stunning sight to the visitors. The paneled ceiling of the dome is ornate with an ensemble of paintings, reliefs, stain glass windows, and artwork. Francisco Pacheco, a canon of the chapter, designed the decoration of the vaulted ceiling.

As you can see from the image, in the center is the interior of the elliptical lantern roof decorated with artwork. Covering the dome ceiling below the lantern are a number of ellipse-shaped concentric panels. The radial segments that flow from the top intersect these panels and divide them into trapezoidal-shaped curved blocks, which are smaller at the top and bigger at the bottom. Each of these blocks contain decoration ranging from simple artwork to intricately-carved bas-reliefs.

The blocks in the top two panels contain flowery artwork and geometrical patterns, and the blocks in the panel below, i.e., third from the top, consist of paintings and circular stained glass windows. Carved on the fourth panel from the top are the narrative bas-reliefs inspired by the episodes described in the New Testament.

The images below show different parts of the dome ceiling.

South section of the dome of the Chapter House attached to the Seville Cathedral, Andalusia, Spain — South section of the dome

West section of the dome of the Chapter House attached to the Seville Cathedral, Andalusia, Spain — South section of the dome

Paintings and Stained glass windows

The third panel from the top is the most remarkable one consisting of a famous painting and eight portraits painted by Murillo. Sandwiched between the portraits are the circular stained glass windows brightly lit by the outside light.

Immaculate Conception – A masterpiece by Bartolomé Esteban Murillo

In the center of the third panel is the La Inmaculada Concepción (Immaculata or Immaculate Consumption), a masterpiece by Bartolomé Esteban Murillo, a Baroque-style painter from Spain known for religious masterpieces.

This painting is one of the twenty-four Murillo painted in his lifetime on the theme of Immaculate Conception. In this painting, he presents the Virgin Mary up in heaven with a bright light behind her. Clad in a white robe and blue cloak, she is standing on a crescent moon and is among the angels. With her hands folded, she is looking downwards with grace.

The crescent moon conveys important symbolism, i.e., conquering sin. Note that the Immaculate Conception is a doctrine of the Roman Catholic Church that states that the Virgin Mary is born without the stain of original sin.

A highly decorative frame with beautiful artwork encloses La Inmaculada. Above the frame is an inscription in Latin describing the painting.

Portraits of the Spanish and Sevillian Saints

Besides La Inmaculada, Murillo painted eight circular portraits of saints that adorn the rest of the third panel. Surrounding each painting is a decorative frame with the name of the saint inscribed in Latin at the top.

The saints in the portraits have connections to Seville, either born or martyred in Seville. Here is the list of eight saints in the counter clock-wise direction starting from La Inmaculada:

Name	Description
1. San Fernando	St. Ferdinand (1199-1252). Patron saint of Seville. He was King Ferdinand III of Castile.
2. San Leandro	St. Leander (534 -600). Bishop of Seville
3. San Laureano	St. Laurian(? – 546). Bishop of Seville from 522 to 539
4. Santa Rufina	St. Rufina (270 – 287). Martyred in Seville
5. Santa Justa	St. Justa (268 – 287). Martyred in Seville
6. San Pio	?
7. San Isidoro	St. Isidore (560 – 636). Bishop of Seville (600 – 636)
8. San Hermenegildo	St. Hermenegild (? – 585). Martyred in Seville.

List of Saints in the third panel

Santa Justa and Santa Rufina

Paintings of Santa Rufina and Santa Justa on the dome of the Chapter House attached to the Seville Cathedral — Portraits of Santa Justa and Santa Rufina painted by Murillo

Saints Justa and Rufina were sisters who lived and martyred in Seville in the 3rd century. They are considered the protectors of La Giralda and the Seville Cathedral.

In the center is a circular stained glass window flanked by two circular paintings depicting St. Justa on the right and St. Rufina on the left. A trapezoidal frame encloses each painting with the name of the saint inscribed at the top in Latin.

Inspirational Bas-Reliefs

Carved on the fourth panel (from the top) of the vaulted ceiling of the dome are the narrative bas-reliefs. There are sixteen of them – eight in the vertical (portrait) format and the other eight in the horizontal (landscape) format. The vertical format bas-reliefs were made by Juan Bautista Vázquez el Viejo (nicknamed “the Elder”) and Diego de Velasco around 1582 – 1584. The horizontal format bas-reliefs were made by Marcos Cabrera in 1590.

The carvings of bas-reliefs alternate between the horizontal and vertical formats, which are separated by the Ionic order pilasters. A border that looks like the arched door encloses the vertical bas-reliefs.

List of Bas-reliefs

Portrait	Landscape	Location
1. The Assumption of the Virgin	2. Jesus with Apostles	South, below La Inmaculada and San Fernando
3. Miracles of St. John the Evangelist	4. Daniel in lion’s den	West, below San Leandro
5. A son of man with sharp sickle and gathering of grapes	6. Baptism of Jesus	West, below San Laureano
7. Angels with trumpets	8. Parable of the sower	West, below Santa Rufina
9. Mystic Lamb opening the scroll	10. Jesus calming the storm	North, below Santa Justa
11. Mighty angel with legs like pillars on fire	12. Jesus praying in the Garden of Gethsemane	East, below San Pio
13. Jesus driving the money changers from the temple	14. Vision of St. Peter – Angels lowering a large sheet carrying animals	East, below San Isidoro
15. Unidentified	16. Jesus washing the feet of Apostles	East, below San Hermenegildo

List of Bas-reliefs

Assumption of Mary and Jesus with Apostles

Inspirational bas-reliefs on the ceiling of the Chapter House dome — Inspirational bas-reliefs on the ceiling of the dome

The section of ceiling shown in the image is located just below La Inmaculada. As you can see, there are three beautifully carved bas-reliefs. The vertical format bas-relief in the middle depicts the Assumption of the Virgin Mary, and the horizontal format reliefs to its left and right depict Jesus with his 12 Apostles. In the left bas-relief, Jesus washing their feet and in the right bas-relief, Jesus standing on a pedestal and preaching them.

The horizontal bas-reliefs are smaller and covering the space above and below them are the inscriptions in Latin. The vertical bas-reliefs cover the entire panel and its inscriptions are in the panel below.

The Vision of St. Peter – Angels lowering a large sheet carrying animals

Chapter House - Bas-relief depicting the Vision of St. Peter narrated in the Acts of the Apostles — Angels lowering a large sheet carrying animals – The vision of St. Peter narrated in the Acts of the Apostles

This bas-relief depicts the Vision of St. Peter, a scene narrated in the Acts of the Apostles.

Here is a summary of the scene from Acts 10: 9-14:
Peter was traveling to the city along with other Apostles. As others were preparing the meal, Peter went up to a terrace to pray. There, he became hungry and wanted to eat, then fell into a trance. In his vision, Peter saw heaven opened up, and a large sheet, held by its four corners and carrying four-legged animals reptiles, and birds, was being lowered to the ground. A voice asked him to kill the animals and eat. Peter refused because he had never eaten any unclean animals before.

The image shows two angels lowering a large sheet carrying animals, while St. Peter, presumably in a trance, is lying down with his left hand holding his face.

Apocalyptic visions of John of Patmos

While the horizontal bas-reliefs depict the life of Jesus as described in the Gospels, six of the vertical bas-reliefs depict the apocalyptic visions of John of Patmos described by him in the Book of Revelation, the last book in the New Testament written in a symbolic form about the apocalypse and prophecy. A vast majority of Christians believe that John of Patmos is the same person as St. John the Apostle and St. John the Evangelist, the author of the Gospel according to John. However, many modern scholars have disputed this belief.

John of Patmos wrote the Book of Revelation while in exile on the Greek island of Patmos. He was banished to Patmos by the Roman authorities during the reign of Emperor Domitian (81-96 CE) because of his evangelization activities in Ephesus, where he preached Gospel in the Great Theater. After the death of Domitian, John was released from exile and reported to have returned to Ephesus. He is believed to have died there at the ripe age of 92.

Here are some of the bas-reliefs inspired by the apocalyptic visions of John of Patmos:

Mystic Lamb opening the book with the seven seals

Located above the entrance, this bas-relief captures John’s vision that marks the beginning of the apocalypse. Here are the verses that inspired the bas-relief:

Revelation 6: 1-2 – The Lamb opening the book/scroll with seven seals

1. And I saw when the Lamb opened one of the seals, and I heard, as it were the noise of thunder, one of the four beasts saying, Come and see.
2. And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer.

Bas-relief depicting the Mystic Lamb opening the book with the seven seals — Mystic Lamb opening the book with seven seals – An apocalyptic vision of John of Patmos

In this vision, John sees God holding a scroll with his right hand. Locked by seven seals, this scroll contains the judgment of God on sin and evil. Then an angel appears and asks the question – who is worthy of opening the seals. One of the 24 elders replies – only the Lion of Judah (implies Jesus) is worthy of opening it. Then a mysterious Lamb, a symbolic representation of Jesus, appears and opens the seal one by one. Every time the Lamb opens a seal, it triggers an apocalyptic event.

As you can see from the bas-relief, God is holding a book with his right hand, and the Mystic Lamb is opening the seal. Surrounding God and the Mystic Lamb are the angels and elders.

Angels with trumpets

This bas-relief captures the symbolism behind the apocalyptic nature of John’s visions. Here are the verses that inspired the bas-relief:

Revelation 8: 1-6 – Angels with Trumpets

1. When he broke open the seventh seal, there was silence in heaven for about half an hour.
2. And I saw the seven angels which stood before God; and to them were given seven trumpets.
3. Another angel, who had a golden censer, came and stood at the altar. He was given much incense to offer, with the prayers of all God's people, on the golden altar in front of the throne.
4. The smoke of the incense, together with the prayers of God's people, went up before God from the angel's hand.
5. Then the angel took the censer, filled it with fire from the altar, and hurled it on the earth; and there came peals of thunder, rumblings, flashes of lightning and an earthquake.
6. Then the seven angels who had the seven trumpets prepared to sound them.

Angels with Trumpets - Bas-relief on the Chapter House dome in the Seville Cathedral, Andalusia, Spain — Angels with Trumpets – An apocalyptic vision of John of Patmos

John sees this vision when the Mystic Lamb opens the seventh seal. In this vision, there is a silence for half an hour, and then seven angels are given trumpets. An angel with a golden censer comes and stands in front of the altar in front of the throne. He fills the censer with incense, and smoke rises from the burning incense as people start praying. The angel fills the censer with fire and throws it on to the earth. Then the angels with trumpets started sounding the trumpet one by one, each time triggering catastrophic events.

As you can see from the image, God is at the center holding the globe surrounded by angels, most carrying the trumpets and one at the bottom holding the censer (a container for burning incense) with his left hand and fire with his right hand.

Mighty angel with legs like pillars of fire

This is one of the most beautiful and expressive bas-reliefs in the Sala Capitular. It captures the essence of a mysterious verse in the Book of Revelation. Here are the verses that inspired the bas-relief:

Revelation 10: 1-8 – The Angel and the Little Scroll

1. Then I saw another mighty angel coming down from heaven, wrapped in a cloud, with a rainbow over his head. His face was like the sun, his legs were like pillars of fire.
2. He was holding a little scroll, which lay open in his hand. He planted his right foot on the sea and his left foot on the land
3. And he gave a loud shout like the roar of a lion. When he shouted, the voices of the seven thunders spoke.
4. And when the seven thunders spoke, I was about to write, but I heard a voice from heaven say, 'Seal up what the seven thunders have said and do not write it down'
5.Then the angel I had seen standing on the sea and on the land raised his right hand to heaven.
6. And he swore by him who lives for ever and ever, who created the heavens and all that is in them, the earth and all that is in it, and the sea and all that is in it, and said, 'There will be no more delay'
7. But in the days when the seventh angel is about to sound his trumpet, the mystery of God will be accomplished, just as he announced to his servants the prophets.'
8. Then the voice that I had heard from heaven spoke to me once more: 'Go, take the scroll that lies open in the hand of the angel who is standing on the sea and on the land

Mighty angel with legs like pillars of fire - Bas-relief on the Chapter House dome in the Seville Cathedral, Andalusia, Spain — Mighty angel with legs like pillars of fire – An apocalyptic vision of John of Patmos

The bas-relief perfectly captures the essence of the verses 1 to 8 from chapter 10 of the Book of Revelation. It depicts the mighty angel with legs like pillars of fire wrapped in a cloud. As you can see, his left foot is on the land, the right foot is on the sea, and the right hand raised (to heaven). He is holding an open book (little scroll) with his left hand and John appears to receive that book. Unlike many of his other visions, John himself is a participant in this vision. Many Bible experts believe that the mighty angel is Christ.

Seville Cathedral – An awe-inspiring architectural marvel

Hagamos una iglesia tan hermosa y tan grandiosa que los que la vieren labrada nos tengan por locos. (Let us build a church so beautiful and so magnificent that those who see it finished will think we were mad).

So said the church elders before embarking upon the monumental effort of building this cathedral at Seville. Visiting this church is a fascinating experience. When you enter this immense and stunningly beautiful edifice, you will realize that the church elders indeed kept their promise.

While not as imposing as some of the famous religious monuments (such as Angkor Wat and Borobudur ) when viewed from outside, the sprawling interior of the cathedral presents an awe-inspiring sight with its immensity, grandeur, and beauty. The towering and massive columns elegantly arch over to the ceiling to support the ribbed vaults. Exquisitely designed geometrical patterns cover part of its roof, and numerous multicolored stained-glass windows cover the walls in different part of the cathedral.

An ensemble of art treasures preserved in the cathedral provides a glimpse of the opulence of the bygone era in which Seville enriched itself from the expeditions to the New World. These treasures include masterpieces from well-known painters and golden and plateresque-style liturgical items.

Officially known as La Catedral de Santa María de la Sede de Sevilla (Cathedral of St. Mary of the See of Seville), the Seville Cathedral is the largest Gothic cathedral and the third-largest church in the world. St. Mary of the See – one of the numerous titles of Mary, the mother of Jesus – is the patron saint of this cathedral. Note that the term See refers to the region typically covered under a Roman Catholic bishop, which, in this case, is Seville. Designated in 1987 by UNESCO as a World Heritage Site – along with the adjoining Alcázar Palace complex and the General Archive of the Indies – the Seville Cathedral is indeed one of the architectural marvels of the world.

A quick journey through the history

Seville was under the rule of the Almohads – a Moorish dynasty from North Africa – until the Reconquista headed by the Christian King Ferdinand III of Castile and León captured it in 1248. The Christians converted the grand mosque built in 1198 by Almohads into a cathedral by making minor changes, such as changing the orientation and covering the walls with Christian paintings. However, as Seville, a major trading hub in those days, became prosperous after the looted riches, including a massive amount of gold, from the New World passed through it, the city decided to build a Christian cathedral by demolishing the existing mosque.

The Seville Cathedral we see today was built exactly on the site where the Almohad mosque once stood, although only a few vestiges of the original mosque remain. By any stretch of imagination, building a monument of this magnitude is a massive undertaking, so it took more than 100 years to build. The construction began in 1401 and completed in 1506. The names of the architects and builders of this masterpiece are long forgotten, but their lasting legacy remains.

Gothic architecture at its finest

Considered an architectural masterpiece, the Seville Cathedral has a spectacular interior and a magnificent exterior. Although the architecture style of is Gothic, it has its own unique characteristics. Because of the cathedral was built on the foundation of the Almohad mosque, the design of the cathedral was constrained, especially the ground plan. However, the architect(s) did an ingenious job by utilizing the existing space to build a tall and sprawling structure.

Just like any church, the Seville Cathedral is cross-shaped, i.e., long main body with an attachment of two shorter wings, which are known as transepts, on either side built at right angles to the main body. The main body of the cathedral has columns placed in a grid-like fashion to create five longitudinal naves and nine transversal sections. In other words, the interior of the church is a 9 x 5 virtual grid created by the columns placed at the corners of the grid blocks. The central nave, which rises to 138 ft, is the tallest. The height of the columns tapers down as you go towards the sides.

A view of the Seville Cathedral from the Girlada — A view of the Seville Cathedral from the Giralda

Captured from the belfry of the Giralda, the outer view of the Seville Cathedral shown above reveals its Gothic characteristics that include its tall structures, flying buttresses, and stained glass windows. As you can see, the flying buttresses, which run in the longitudinal as well as the transversal directions, intersect, resulting in grid-like formations. Rising above these intersecting joints are the beautifully carved tower-like structures. Besides being aesthetically pleasing, the flying buttresses help distribute the structural load laterally, which allowed the architects to design very tall structures.

Interestingly, the Seville Cathedral – unlike many famous cathedrals- does not have any tall tower (s) built above its main body. However, as you can see, there is a short squarish structure that is above the crossing, i.e., at the intersection of the central nave and transepts.

Although the Seville Cathedral is known as a Gothic cathedral, it is a harmonious blend of many architectural styles, including Renaissance architecture. The Renaissance-style additions include the side chapels – some of which are as big as an ordinary church – built on either side of the cathedral. The other Renaissance-style additions are the two prominent buildings attached to the south side of the building, Sala Capitular (Chapter House) and Sacristia Mayor (Main Sacristy), separated by an anteroom, Antecabildo.

Spectacular interior

The interior of the Seville Cathedral is stunning and breathtaking. When you enter the cathedral, it overwhelms you with its vastness, grandeur, and lavishness of decoration. The tall and massive columns, colorful stained glass windows, mesmerizing patterns on the ceiling present an awe-inspiring sight to the onlookers. Despite its grand scale, the interior of the Seville Cathedral gives an impression of harmonious architecture with its open spaces and the proportionality of the architectural elements.

Central part that includes Crossing, Coro, Capilla Mayor, and Silver Altar of the Seville Cathedral — Central part of the Seville Cathedral

Just like any church, occupying the central part of the cathedral are its core components, i.e., the main altar, choir, and retro choir. Known as the crossing, the block where the transepts intersect the central nave is the center of the cathedral. As you can see from the image, it is the block with pews where people gather to view the Coro (Choir) on the left, the Capilla Mayor (Main Chapel), which contains the main altar, on the right. Inside the main chapel is a beautifully carved wooden altarpiece coated with a copious amount of gold believed to be the largest in the world. Behind the crossing is the plateresque-style altar, known as the Silver Altar, which occupies the north transept and lies in front of the inner wall of the Puerta de la Concepción (Door of the Conception), an ornate door through which visitors enter the cathedral.

Vaulted ceiling covered with mesmerizing patterns

A view of the ceiling of the Seville Cathedral, Spain — Vaulted ceiling above main chapel

A view of ceiling of the Seville Cathedral, Spain — Vaulted ceiling above main chapel

The images above show a part of the ceiling above the crossing. The image on the left is reflection of the ceiling by a mirror placed on floor near the Tomb of Columbus.

As you can see, covering the ceiling are the beautiful geometrical patterns that are symmetrical about both the principal axes. The symmetry and curved nature of these patterns make them aesthetically pleasing. The vaulted ceiling rests on tall and massive columns that are lined up along the naves. Just below this ceiling are the stained glass windows.

Retablo Mayor – The largest altarpiece in the world

Altarpiece at the main chapel of the Seville Cathedral in Spain — Retablo Mayor – Altarpiece at the main chapel

The Retablo Mayor (Great Altarpiece) is an amazing altarpiece like no other. This massive and intricately-carved wooden structure covered with gold is 66 ft high and 60 ft wide and is part of the altar inside the Capilla Mayor (Main Chapel).

The construction of this altarpiece started in 1482 by Pieter Dancart, a sculptor from present-day Belgium, and continued by several skilled sculptors before the completion of the first phase in 1528.

As you can see from the image, the Retablo Mayor is a recessed structure held by tall pillars on either side. The front-facing portion is a grid of compartments, each housing a narrative relief carved in wood and coated with a copious amount of gold.

The structure above the base consists of seven columns and five rows of compartments. Not all the compartments are of equal size. The compartments are separated vertically by pilasters, which are ornate with carvings of historical figures from the Bible or Church. Each compartment contains a narrative sculptural reliefs mostly depicting the scenes from the life of Jesus Christ.

Check the Retablo Mayor – Altarpiece at the main chapel page for a list and description of the reliefs in the compartments of the altarpiece.

The side sections are perpendicular to the front portion and are attached to the pillars. These were part of the second phase of the altarpiece construction, which started in 1550 and completed in 1564.

At the top of the Retablo Mayor is a canopy with three rows of octagonal niches.

Main Chapel - Canopy of the Altarpiece in the Seville Cathedral — Canopy of the Altarpiece

The image shows the canopy above the massive Retablo Mayor of the Capilla Mayor (Main Chapel). As you can see, the canopy is ornate with geometrical patterns containing carvings of 30 identical recessed hexagons arranged in three rows.

Above the canopy, there is a row of 13 compartments, each containing a relief. The relief at the center of this row depicts Mary holding the body of Jesus on her lap, and flanking this relief are the reliefs of the 12 Apostles, six on each side.

Virgin of the See – The patron saint of the Seville Cathedral

Statue of Virgen de la Sede (Virgin of the See) in the Retablo Mayor at the Capilla Mayor of the Seville Cathedral — Statue of Virgen de la Sede (Virgin of the See) in the main chapel

Just above the base of the altarpiece and at the center of the bottom row is a beautifully carved sculpture of Mary holding baby Jesus, known as the La Virgen de la Sede (Virgin of the See). Carved in wood and coated with silver, this sculpture was made in the 13th century. As mentioned before, La Virgen de la Sede is the patron saint of the Seville Cathedral and is also responsible for its official name, Catedral de Santa María de la Sede.

Coro and Trascoro

Interior of the Coro (Choir) of the Seville Cathedral — Interior of the Coro (Choir)

The Coro (Choir) is where the church choir congregates and sings during the mass in a church. In the Seville Cathedral, it is a box-like structure occupying a block in the central nave located a section west of the main chapel. It is closed on three sides and opened on the east side, i.e., the side facing the main chapel. Attached to the walls are rows of seats. The Trascoro is on the west-facing wall.

Trascoro (Retrochoir) of the Seville Cathedral — Trascoro

The area behind the Coro (Choir), known as the Trascoro (Retro choir), presents one of the beautiful sights in the Seville Cathedral. Built by Miguel de Zumárraga in the 17th century, this retro choir was constructed with precious materials like jasper, and is an excellent evidence of the opulence of that era.

The upper part of the image shows the magnificent ceiling above the Coro and Capilla Mayor, and the lower part shows the richly decorated the west-side wall of the Coro ornate with many pieces of art, including paintings, bas-reliefs, and bronze busts. At the center is a beautiful painting depicting the Virgen de los Remedios (Virgin of the Remedies), and flanking it are the two doors that open to the Coro. Above the doors are the bronze busts, and next to them are the bas-reliefs.

The Virgen de los Remedios is one of the numerous titles of the Virgin Mary and was popular with the Spanish conquistadors and Reconquista, and still being worshiped in Spain and parts of Latin America.

Silver Altar – A shining example of mastery of Sevillian silversmithing

Occupying the northern arm of the transept and situated behind the Puerta de la Concepción (Door of the Conception) is a magnificent altar, known as the Silver Altar, mostly made of silver by the famous silversmiths of Seville. It owes its name to the abundant use of silver in the altar.

Silver Altar in the north transept of the Seville Cathedral in Spain — Silver Altar situated in the north transept of the Seville Cathedral

In the center of the altar is the statue of the Virgin Mary with the Child Jesus flanked by the sculptures of San Isidoro and San Leandro. Behind it is the large and exquisitely-crafted silver monstrance shaped like the sun. Mounted on top of the monstrance is a beautifully designed silver crown.

A large canvas hangs behind the altar to prevent its exposure to the Puerta de la Concepción, where the visitors enter the cathedral. The silhouette of the altar on the canvas can be seen from outside.

The inner side of the Puerta de la Concepción wall is visible behind the altar. Mounted on this wall just above the silver altar is a beautiful painting depicting the Ascension of the Virgin Mary. Above this painting is a circular stained-glass window depicting the Ascension of Jesus made by Carlos de Brujas in 1588.

Giant San Cristóbal – A fresco by Mateo Pérez de Alesio

San Cristóbal fresco by Mateo Pérez de Alesio sitauted on a wall next to the tomb of Columbus in the Seville Cathedral — San Cristóbal Fresco

The fresco shown in the image depicts a giant San Cristóbal (St. Christopher) carrying a child, who happens to be Jesus in disguise, on his shoulder and crossing the river. It is on the wall next to the tomb of Columbus.

It is an impressive work by Mateo Pérez de Alesio, who painted it in 1583. He was an Italian painter born in Lecce, and as a student of Michelangelo, he worked with him in the Sistine Chapel.

Mausoleo de Cristóbal Colón – The final resting place of Christopher Columbus

Tomb of Christopher Columbus situated in the south transept of the Seville Cathedral n Spain — Tomb of Christopher Columbus situated in the south transept

Situated in the south transept, the Mausoleo de Cristóbal Colón (Christopher Columbus Mausoleum or Tomb of Christopher Columbus) is one of the popular attractions in the Seville Cathedral. As you can see from the image, the Sarcophagus of Columbus is raised above the ground by four bearers, who symbolically represent the four kingdoms, Castile, Aragon, Navara, and Leon, of erstwhile Spain. Queen Isabella I (along with her husband Ferdinand), who funded Columbus’s famous 1492 journey to the New World, united them into one nation, i.e., modern Spain.

Sarcophagus of Columbus situated in the south transept of the Seville Cathedral — Sarcophagus of Columbus – Bottom View

The rectangular bottom of the sarcophagus is a bronze plate inscribed with the coat-of-arms of Spain surrounded by an inscription in Spanish, which reads:
Aqui jacen los restos de Cristobal Colon desde 1796 los guardo la Habana y este sepulcro por R.D.to de 26 de febrero de 1891
(Here lies the remains of Cristobal Colon kept in Havana since 1796 and this sepulcher by R.D.to of February 26, 1891)

Christopher Columbus was a controversial figure, even in death. After he died in 1506, his body traveled to many countries before it found its final resting place in the Seville Cathedral. But not everyone believes that his tomb here contains his remains.

The saga of Columbus’ remains traveling to many countries is as intriguing as his life. He was first buried in Valladolid, Spain. Soon after, his brother Diego moved it to a monastery in Seville. In 1542, his body was moved to the Caribbean island of Hispaniola, a Spanish territory founded by Columbus. He was interred in the newly constructed Cathedral of Santa Maria la Menor in Santo Domingo, the capital of the present-day Dominican Republic.

As fate would have it, France took over the island of Hispaniola in 1795. Not wanting his remains to fall into the French hands, the Spanish moved them to Havana, Cuba, where they built a mausoleum to house his remains. This mausoleum remained there for about 100 years before the Spanish transported it to Seville, where he embarked upon his famous expeditions.

Installed in the south transept of Seville Cathedral in 1899, Columbus’s mausoleum has remained here ever since. But the controversy about his remains lingers on.

The DNA test carried out in 2006 verified that the remains from the tomb do indeed belong to Christopher Columbus. However, the Dominican Republic still claims that the remains of Columbus never left the country.

Tomb of Fernando Colón, the second son of Christopher Columbus

Just like his father, Fernando Colón (also known as Ferdinand Columbus, Fernando Colombo, Hernando Colon), the second son of Christopher Columbus was also buried in the Seville Cathedral. The image shows his tombstone etched on the floor of the central nave near the west entrance.

The inscription at the center reads:
A CASTILA y a COLON MUNDO NUEVO DIO COLON – To Castile and to Leon, Columbus gave the new world.

Fernando Colón is known for the biography of his father titled The life of the Admiral Christopher Columbus by his son Ferdinand.

Upon is return from his voyage to the new world, he started to collect books and created a private library known as La Bibliotheca Colombina, which is now located on the north side gallery surrounding the Patio de Los Naranjos.

Elegant exterior

The Seville Cathedral has 15 doors/gates (puertas), including three major entrances, which are: 1. Main entrance facing west 2. North transept entrance 3. South transepts entrance. Only the north transept entrance is open for the visitors. The most of the doors are later additions and add to the elegance of this majestic cathedral.

Patio de los Naranjos – The Courtyard of Orange Trees

The small tower in the middle of the right side (i.e., north side) 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. See below the front and rear facades of the Puerta del Perdón.

The gallery on the east side (not visible) houses La Bibliotheca Colombina, a library that holds the private book collection of Fernando Colón.

Moorish fountain used of ritual purification situated in the Patio de los Naranjos of the Seville Cathedral — Moorish fountain used for ritual purification

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

Puerta del Perdón – The Door of Forgiveness

The Puerta del Perdón – which used to be the main entrance to the Almohad mosque in Moorish times – acts as the visitor’s entrance to the Seville Cathedral complex. It got its name because the faithful believed that sinners entered the cathedral through this door to seek forgiveness.

Puerta del Perdón in Seville Cathedral — Front facade of the Puerta del Perdón

Rear facade of the Puerta del Perdón (Door of Forgiveness) — Front facade of the Puerta del Perdón

As you can see from the image on the left, the facade of the Puerta del Perdón is a fusion of Christian and Islamic art. The horseshoe-shaped arch is from the Almohad era. However, the surrounding plaster work – although it looks like Islamic art – is not. In fact, it is the work of Bartolomé López, a Spanish sculptor who made it in 1522. As you can see, the artwork consists of beautiful flowery designs and the coat of arms of the Kingdom of Castile and León (Castle with three towers and crowned lion) on either side of the arch.

Flanking the arch are four beautiful clay statues made by Miguel Florentin. The statues of Archangel Gabriel and St.Peter are on the left side, and the Virgin Mary and St. Paul are on the right side. Above the arch is a narrative bas-relief depicting Jesus expelling merchants from the temple, an episode described in the New Testament.

The image on the right shows the rear facade of the Puerta del Perdón that faces the Patio de los Naranjos.

Puerta de la Concepción – The Door of the Conception

North Facade - Door of Conception on the North Facade of the Seville Cathedral — Puerta de la Concepción (Door of the Conception)

Tympanum of the Door of the Conception on the North Facade of the Seville Cathedral in Spain — Puerta de la Concepción (Door of the Conception)

The Puerta de la Concepción (Door of the Conception) is an ornate door at the entrance to the north transept of the Seville Cathedral.

This richly decorated neo-Gothic style door is the brainchild of the architect Joaquín Fernández Casanova, who also built the Puerta del Príncipe, a similar door at the entrance to the south transept. Built between 1895 and 1917, it is the most recent door of the cathedral.

The theme of the relief on the tympanum of this door is the Immaculate Conception of Mary. As you can see from the image, the Virgin Mary is in the middle, flanked by St. Michael and St. John the Evangelist.

Puerta del Príncipe – The Door of the Prince

Puerta del Príncipe (Prince's Gate) of the Seville Cathedral — Puerta del Príncipe (Prince’s Door)

Located on the south transept of the Seville Cathedral, the Puerta del Príncipe (also known as Puerta de San Cristóbal) is similar to the Puerta de la Concepción and was built by the same architect, Joaquín Fernández Casanova, who built it between 1887 and 1895.

The bronze sculpture of a young woman standing in front of the door symbolizes the victory of Faith and is a replica of El Giraldillo mounted atop the Giralda. Unlike El Giraldillo, it does not rotate and therefore does not serve as a weather vane.

Puerta de Palos – The Door of Sticks

Puerta de Palos (Door of Sticks) in the Seville Cathedral — Puerta de Palos (Door of Sticks)

Located next to the Giralda, it was built in the 16th century by Juan de Hoces and Pedro Sánchez of Toledo. This door is also known as the Puerta de la Adoración de los Magos (Door of the Adoration of the Magi) because of the relief in its tympanum depicts the three kings from the east, known as the Magi, presenting the Child Jesus with gifts of gold, frankincense, and myrrh. This beautifully carved relief was made in 1520 by Miguel Perrin, a French sculptor living in Seville.

Seated on the right is the Virgin Mary with the Baby Jesus on her lap receiving gifts from one of the Magi.

The lasting legacy

Visited by millions every year, the Seville Cathedral is an iconic landmark of Seville. It is unique, immense, and awe-inspiring, and even after 600 years, the building is robust as ever and will continue to be so for a long time to come. The people who built this incredible monument are long gone, but their remarkable legacy remains.

Seville Posts and Pages
– 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: Casa de Contratación (House of Trade)
– Real Alcázar of Seville: Pedro I Palace – A masterpiece of Mudéjar art and architecture

Kappe Chennigaraya Temple

Kappe Chennigaraya is a smaller temple situated in the south side of the Belur Chennakeshava Temple complex in Karnataka, India. Commissioned by Shantala Devi, the pattada rani (principal queen consort) of King Vishnuvardana, the builder of the main Chennakeshava Temple, the construction of the Kappe Chennigaraya Temple began at the same time as the main temple, i.e., in 1117 CE. She took great interest in this temple and even oversaw its construction.

There is an interesting legend regarding how Kappe, which means frog in Kannada, became a part of this temple’s name. It involves Jakanachari, the legendary architect and sculptor of the Hoysala era. Here is a summary of this legend.

Legend of Jakanachari

Jakanachari was a master sculptor and a genius. He hailed from a village called Kridapura (became Kaidala because of him) in the present-day Tumkur district in Karnataka. Because of marital discord, he left his wife Manjari, and moved to the capital of the Hoysala Empire and worked as a master sculptor for King Vishnuvardana.

Unbeknown to Jakanachari, his son Dakanachari, who was also a talented sculptor, came to Belur and started working for him. As Jakanachari was carving the statue of Chennakeshava for the Chennigaraya Temple, his son discovered a flaw, i.e., a frog was inside the belly of the sculpture. When confronted by his son about this flaw, Jakanachari felt humiliated and challenged him to prove it, and if he was proved right, he would cut off his right hand.

Dakanachari was proved right, and a frog jumped out when they drilled a hole in the sculpture. Jakanachari kept his word and cut off his right hand. He also came to know that Dakanachari was his son.

Legend has it that Vishnu restored his right-hand once he built a temple dedicated to Vishnu in his hometown, which became known as Kaidala. In Kannada, kai means hand. Both Jakanachari and Dakanachari collaborated to carve a new Chennakeshava idol, and it was consecrated by none other than the Pattada Rani Shantala Devi. However, Kapp

A masterpiece of Chalukya temple architecture

Harmonious blend of architecture styles

Mukhamantapa

Ardhamantapa

Matsya Chakra – A beautiful relief representing a cosmic pond

Coiled Nagaraja – An exquisitely-carved relief depicting king of serpents.

Pillars embellished with erotic art

Dvārabandha – An elaborate entrance to the sabhamantapa

Garuda subduing the nagas

Sabhamantapa and Garbhagriha

Corridor used as the Pradakshina Patha

Dēvakōshtas – Niches with finely-carved sculptures

Sculptures in the dēvakōshtas

Jālandharas – Beautifully designed perforated windows

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Exquisitely carved bas-reliefs

Ramayana bas-reliefs

Rama’s exile

King Dasharatha’s funeral

Bharata’s inauguration as the King of Ayodhya

Rama’s time in exile

Killing Viradha

Kidnapping of Rama’s wife Sita

Rama killing Kabandha

Building Rama Setu (Bridge to Lanka)

Other Ramayana bas-reliefs

Krishnayana bas-reliefs

Krishna and Balarama killing demons

Krishna killing Vyomasura

Other bas-reliefs

Lokapala

Lokapala reliefs in the Shiva Temple

Lokapala reliefs in the Vishnu Temple

Rishis (Sages)

Lion flanked by Kinnaras

Kinnara

Kalpavriksha

Other lion carvings

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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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A magnificent building that houses valuable art treasures

Dome

Interior

Art treasures

Custodia de Arfe

Descent from the Cross – A masterpiece by Pedro de Campaña

Immaculate Conception of the Virgin Mary

Bust-reliquary of Santa Rosalía

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A magnificent building unique in design and rich in decoration

Exquisitely designed interior

Spectacular elliptical dome

Paintings and Stained glass windows

Immaculate Conception – A masterpiece by Bartolomé Esteban Murillo

Portraits of the Spanish and Sevillian Saints

Santa Justa and Santa Rufina

Inspirational Bas-Reliefs

List of Bas-reliefs

Assumption of Mary and Jesus with Apostles

The Vision of St. Peter – Angels lowering a large sheet carrying animals

Apocalyptic visions of John of Patmos

Mystic Lamb opening the book with the seven seals

Angels with trumpets

Mighty angel with legs like pillars of fire

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A quick journey through the history

Gothic architecture at its finest

Spectacular interior

Vaulted ceiling covered with mesmerizing patterns

Retablo Mayor – The largest altarpiece in the world