Other parts of the Alcazar had no such luck; the once charming Courtyard of the Dolls, for instance, suffered a series of nineteenth-century restorations that robbed it of its original appeal. Nonetheless, the ancient columns and capitals that form part of the original design of the courtyard were preserved.
Renaissance artists contributed magnificent pieces to the Alcazar's artistic treasures. The splendid tiled altar that stands in the chapel of the Catholic Monarchs, for example, made by Francisco Niculoso Pisano in ; or the pictorial altarpiece preserved in the Admiral's Quarters, dedicated to the Virgin of the Seafarers. The splendour of the Renaissance also shines through the so-called Halls of Charles V, whose monumental entrance was built after the earthquake that hit Seville in by the architect van der Borch.
This portico reflects the increasingly classical tastes that followed the Baroque period around the middle of the eighteenth century. The inside halls are filled with magnificent collections of Flemish-style eighteenth-century tapestries telling the story of the conquest of Tunis. Like the patio, the palace was seriously destroyed by the earthquake. Later works were carried on to restore it, hence the Baroque details. The Tapestry Room had to be built from scratch after the earthquake but the tapestries are Flemish, from the 16th century.
The Chapel and Gothic Room have beautiful tiles that cover part of the walls. At the Patio del Yeso, take a closer look at the decoration of the arches… magnificent! I love it! The ceramic tiles of the Gothic Room. The Royal Alcazar — Seville Sights. The Crossroads Courtyard in spring. Download it! This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.
The gallery with lobed arches and the sebka plot, and the larger central are the most notable Almohad example in the history of the Alcazar. The Gothic building product of the new dominant culture prevailed, over past constructions. Alfonso X quite reformed the Almohad palace area. Four towers were built in the corners with spiral stairs, which have given rise to the name of Palacio del Caracol. It is a square room with a Mudejar wooden armor, and its walls are decorated with atauriques and plaster shields.
It was under the reign of Pedrp I that the Alcazar regained its splendor, building a Mudejar building that is used as a clear example of this style in Art History. Its construction was quick compared to the times of religious architecture of the same period. It was built in just ten years, between and , by Mudejar alarifes from Toledo, Granada and Seville.
It was the private residence of the ruler, as opposed to the marked public character of the Gothic Palace. Although its appearance has been modified today, one of the most significant elements of the Mudejar palace, its large monumental facade, is still visible. This is divided into two levels. In the lower one you can see on the sides some arches that surely had continuity on the other three sides of the patio; and on them a structure of seven semicircular arches, a wider and longer central one, and a tripartite composition formed by as many arcs of less light on both sides.
In the core of the facade is a monumental cover, divided into three vertical streets, separated into two levels by means of an impost. In the central we find, at the bottom, the access cover with a cobbled lintel, and, on both sides, a polylobulated arch that rests on two marble columns, and on it, sebqa decoration. It has a perimeter porch with polylobulated arches attached on double columns and a recessed garden that is divided into two by means of a longitudinal pool, which ends in a T-shape.
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