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seville cathedral
Nisa Nur AVCI l Nihan Berceste KÜÇÜK
city’s history
Ancient Period:
During Roman times, the
city was known as Hispalis
and served as an important
trade center.
Muslim Period (712-1248):
Renamed Ishbiliya, it became a
cultural hub under the Almohads.
Iconic structures like the Giralda
Tower and Torre del Oro were
built.
Christian Period:
Conquered in 1248, Seville
experienced its Golden Age
in the 15th-16th centuries
due to trade with the
Americas.
*
*Carried out in fired clay. the saint figures form part
of the decoration of the temple's retrochoir.
Social:
Demonstrates the shift from
Islamic to Christian dominance in
southern Spain
Architectural:
The cathedral is mainly Gothic,
with tall spires and detailed stained
glass. Over time, Renaissance and
Baroque styles were added,
bringing new decorative features
and changes. The combination of
styles shows both continuity and
change in architectural design.
Political:
Built during the 15th century when
Sevilla was a key trade hub in postReconquista Spain, reflecting the
Catholic Monarchs' desire to assert
Christianity.
Economic:
Sevilla's prosperity from trade with
the Americas funded monumental
architecture.
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cathedral’s history
Originally a Muslim mosque, it was converted into a church in
1248, and construction of the Gothic cathedral began in 1401.
Architectural Features:
-One of the largest Gothic cathedrals in Europe.
-Giralda Tower: Transformed from a minaret into a bell tower.
Houses the tomb of Christopher Columbus.
Renaissance and Baroque elements were added between the 16th
and 18th centuries.
architects
Mosque built 1172-1198,
Christian structure begun 1402,
with additions and modifications over centuries
Muslim Period
Christian Period
Gothic
Renaissance & Baroque
Ahmad ibn Basu
Alonso Martínez
Hernán Ruiz I, II, III
Islamic, active end of 12th century
Early contributions to the foundational
structure and Gothic detailing.
Three generations of architects who worked
on the Giralda’s Renaissance additions.
Ali al-Gomari
Juan Gil de Hontñón
Asensio de Maeda
Islamic, active end of 12th century
Introduced advanced vaulting techniques,
influencing later Spanish Gothic designs.
Contributed to detailed ornamentation and
later phases of construction.
Juan de Castillo
Diego de Riaño
Focused on external facades and sculptural
details.
Integrated Renaissance elements into parts
of the structure.
plan
2
1. Patio de los Naranjos (Orange Courtyard)
2. Giralda (Giralda Tower)
3. Chevet
4
1
Naves (Central Nave)
4. Transept
Chapels
Crossing
Cross plan
Choir
Giralda Tower
3
elevation
Rose Window
Door Decorations
Flying Buttres
structure & roof
Roof Plan and Axonometric
Cross (Groin) Vault
Section
Ribs
west facade
The side overlooking the Avenida de la Constitucion holds the entrance to the Church
of the Tabernacle and the cathedral's main facade, consisting of three portals that
correspond to the central and lateral naves.
Holy Father
Saint Justa
There is a rich iconographic
progamme on the main
facade with special attention
paid to the monumental
sculptures on the doorways,
dedicated to major figures in
the Christian world.
Tabernacle
Church Doorway
Of classical influence. it is
framed by two pairs of
columns of Tuscan order,
an entablature with a
carved frieze and a
triangular
pediment
adorned wrth the insignia
of the church.
south facade
Opposite the General Archive of the Indies, the south side of the temple boasts the
Door of the Prince, reserved for Kings and Heads of State that cross to the cathedral
from the Alcazar.
Pinnacles
They top the architectonic
structures at the sides of the Door
of the Prince.
A close up of a capital
Giraldillo
On the door’s atrium there is a
replica of the emblematic bronze
weather vane topping the Giralda.
Renaissance medallion
Decorative cartouche
Tracery railing
east facade
Built in the mid-sixteenth century, the walls enclosing the capitular rooms and the royal
chapel determined the monumental profile of the temple's chevet, where the Door of
the Bell and the Door of the Sticks are located.
Door Of The Bell
The Door of the Bell, named
for the bell calling workers,
features a tympanum of
Christ entering Jerusalem by
Miguel Perrin (16th century).
Perrin also decorated the
Door of Sticks, near the
Giralda, named after the
wooden bars once enclosing
the Chapter's meeting area.
The Renaissance Style Walls
Designed by Diego de Riaño, the chapter house facade
reflects a restrained Renaissance style with Composite
columns, a relief-adorned frieze, and a balustrade with
pinnacles. Renaissance influence also appears in the royal
chapel apse, featuring royal coats of arms between Ionic
columns, highlighting its role as a royal mausoleum.
Almohad Door
On the exterior wall of the
Orange Tree Courtyard
there are several doors of
sober design that were
cons tructed duri ng the
Muslim period.
north facade
The ancient main facade of the Almohad mosque is focused around the Door of
Forgiveness, which conserves vestiges of its muslim past.
The Oldest Entrance
The Door of Forgiveness, from the 12th century, features a horseshoe
arch and bronze doors with Koranic motifs. In 1520-1522, Bartolome
López added plateresque stuccowork, and Miguel Perrin created a
relief and statues of saints. A mannerist belfry was added in 1578-1580.
Saint Paul
Saint Peter
The Orange Tree Courtyard
Presided over by a large fountain, this
rectangular courtyard was originally the 'shan'
of the Almohad mosque, where Muslim
worshippers carried out purification rituals
before going to prayer.
Evolution of the tower
Almohad ending
Belltower
Giraldillo
Ceramic Tiles
Graldillo
The figure whicr since 1568
has crowned the tower
symbolises the triumph of
Christianity.
Ionic Order Pillar
Inscription
It refers to chapter 18 of the biblical book of
Proverbs. which contains the phrase "The
name of the Lord is a strong tower".
Renaissance Style Busts
95 metres is the approximate height that the
tower reaches. Including the arrangement
crowned by the Giraldillo figure.
“Construyamos una iglesia tan hermosa y tan grandiosa que
aquellos que la vean terminada pensarán que estamos locos.”
"Let us build a church so beautiful and so grand that
those who see it finished will think we are mad."
Bibliography
Dosde, Catedral de Sevilla & UNESCO, Seville Cathedral: The Cathedral of Saint Mary of the See, (DOS DE Arte
Ediciones, 2018)
Begona Alonso Ruiz & Alfonso Jimenez Martin, A Fifteenth-Century Plan of the Cathedral of Seville, (SAHGB Publications
Limited, 2012), pp. 57-77
"Sevilla Cathedral Official Website," Catedral de Sevilla, https://www.catedraldesevilla.es/en/, (Accessed: December 5, 2024).
Antonio Almagro Gorbea, “Half a Century Documenting the Architectural Heritage with Photogrammetry”, EGE Revista de Expresión Gráfica en la Edificación, 11 (2019), pp. 10-17