The cathedral has 80 chapels and altars. The altars of the cathedral of Seville are an extraordinary set to observe the stylistic evolution of the art of gridwork in Andalusia. These closures protect the enclosures, they are openwork screens through which light penetrates and produce an atmosphere of mystery that modifies, enhances and transforms the spaces of worship and prayer.
Most of the 16th century altars still have contemporary railings and railings. The lack of nearby deposits forced the import of iron. The monumental grille of the Chapel of the Conception stands out from the seventeenth century.
North side altars
Chapel of San Antonio
It is the Baptismal Chapel of the cathedral, in the center is a magnificent Renaissance baptismal font from the 16th century made of white marble. In the background framed by a carved molding by Bernardo Simón de Pineda, is the painting The Vision of San Antonio. This large-scale work dates from 1656 and is one of Murillo’s greatest creations. In the lower part of the painting, Saint Anthony in the half-light with his arms outstretched turns his gaze to the upper part of the canvas where the Child Jesus is represented in the center of an intense light and surrounded by clouds and numerous angels.
This painting has suffered various ups and downs throughout history, in 1810 it was about to be stolen by Marshal Soult from Napoleon’s army, the cathedral chapter managed to make him desist by giving him in exchange the Birth of the Virgin, also by Murillo, which is currently in the Louvre Museum. On November 4, 1874, unknown persons mutilated the work to seize the figure of Saint Anthony, fortunately a New York antique dealer took the fragment and returned it to the Seville Cathedral. After a restoration process, it was exposed again in 1875.
In the upper part of the altarpiece there is another work by Murillo, The Baptism of Christ that was carried out in 1668. The following paintings are also found in this chapel, among others: The Imposition of the canopy on San Isidoro by Lucas Valdés, four paintings that make up a cycle on the creation of the painter Simón de Vos, The Creation of the World, The creation of animals, The separation of the light from the darkness and The separation of the waters from the earth.
Scalas Chapel
It owes its name to Baltasar del Río, who was canon of the cathedral and during one of his trips to Rome he got Pope Leo X to appoint him bishop of the modest diocese of Scalas in the Kingdom of Naples.In 1517 the Sevillian council gave him a chapel free of patronage so that he could build his mausoleum, which was completed during his life as it is still contemplated today. In 1531 he instituted a literary contest in Seville to encourage young people to study oratory and poetry. In 1540 in his will he specified his wish to be buried there, unfortunately he died shortly afterwards in Rome on January 1, 1541 and the tomb was empty forever.
Behind the tomb is a marble altarpiece representing the coming of the Holy Spirit framed by two Corinthian columns. On the bench various carved scenes, the miracle of the multiplication of the loaves and the fishes, the bishop in prayer and his coat of arms. The ensemble was made around 1539 and is attributed to the workshop of the Italian sculptor Gagini de Bissone. Another important work preserved in this chapel is the relief of the Virgin of Granada that is attributed to Andrea della Robbia (XV century), in it the Virgin with the child is represented accompanied by Saint Sebastian, Saint Francis, Saint Casilda and Saint Sunday. Among the canvases, the Adoration of the Shepherds stands out, the only work signed by its author, the painterFrancisco Antolínez.
Chapel of Santiago
The first thing that catches the attention of this chapel is a large painting painted by Juan de Roelas in 1609 in which Santiago is represented fighting against the Muslims in the Battle of Clavijo, where according to tradition his support was essential for the Christian troops will achieve victory. The canvas is framed in an altarpiece made by Bernardo Simón de Pineda in 1663. At the top of it is a painting dedicated to the martyrdom of San Bartolomé, the work of Juan de Valdés Leal dated 1663.
There is also the gothic sepulcher sculpted in alabaster in 1401 by Archbishop Gonzalo de Mena. Above the tomb, a precious relief made of glazed clay of the Virgin with the child known as La Virgen del Cojín, since the child was supported on a cushion, is a work by Florentine Andrea della Robbia from the 15th century.
Chapel of San Francisco
The 1657 painting by Francisco Herrera el Mozo, La apotheosis de San Francisco stands out in the altarpiece and at the auction the painting by Valdés Leal from 1661 that represents the imposition of the chasuble on San Ildefonso.
Altar of Our Lady of Bethlehem
Of particular note is the altarpiece by Jerónimo Franco dated in 1622, which contains a painting of the Virgin of Bethlehem by Alonso Cano in 1631.
Altar of the Assumption
The altar of the Assumption or of the Conception, is presided over by an altarpiece provided by Juan Cristóbal de la Puebla in the 16th century and where there is a relief with the main theme of The Assumption of the Virgin, by an anonymous author. In the bank of the same there are portraits on each side, one of don Juan Cristóbal de la Puebla with his son and the other of his wife with her daughter. In the overall of the altarpiece there are small paintings of the Baptism of Jesus, Saint Catherine, Angelic Musicians, Allegories of Virtues and The Eternal Father, all by Alonso Vázquez.
Chapel of the Maidens
This chapel, also called Las Vírgenes, was the headquarters of a brotherhood dedicated to helping maidens without financial resources to marry. It was founded by Micer García de Gibraleon in 1535.
It is illuminated by a stained glass window by Arnao de Vergara made in 1543, which represents the Assumption of the Virgin in its upper part and the Virgin of Mercy in the lower part, protecting the maidens, an iconography similar to that of the Virgin of the Dizzy with not to be confused.
Inside the chapel there is an altarpiece made by José Rivera in 1771, in the central niche of it the Annunciation of the Virgin is represented, flanked by paintings of San Bartolomé, San Pedro, Santo Tomás and Santiago el Menor. A representation of Calvary flanked by Saint Ambrose and Saint Augustine is portrayed in the attic of the altarpiece. On the outside, a high-quality gate dated 1579 protects the entrance.
Chapel of the Evangelists
The main element of this funeral chapel is the central altarpiece that contains interesting paintings by the artist of Dutch origin, a resident of Seville since 1539, Hernando de Esturmio.
It is a set of 9 tables arranged as follows: In the Santa Catalina bank with Santa Bárbara, San Sebastián with San Juan Bautista and San Antonio and Santas Justa and Rufina. At the bottom of this last table, among other details, you can see La Giralda as it was before its last reform.
In the first body the mass of San Gregorio flanked by San Marcos and San Lucas.
In the second body The Resurrection of Christ in the center and on its sides Saint John and Saint Matthew.
Chapel of the Virgen del Pilar
This chapel originally belonged to the Aragonese knights who accompanied King San Fernando in the conquest of Seville. From the beginning of the 16th century it was provided by the Genoese merchant resident in Seville Francisco Pinelo, serving as a burial for his family.
This chapel has two altars. The main one, in baroque style, dated at the end of the 17th century, has a sculpture of exceptional value that represents the Virgen del Pilar, it was made by Pedro Millán around 1500. The second altarpiece was also from the end of the 17th century. It has in its center a sculpture of San Antonio Abad flanked by the images of Santa Inés and San Antonio de Padua.
This chapel is added to the Basilica di Santa Maria Maggiore in Rome since 1626.
Seville Cathedral
The Cathedral of Saint Mary of the See is located in Seville. It is Gothic in style. It is the largest cathedral in the world. The Unesco declared in 1987, with the Real Alcázar and the Archivo de Indias, Heritage and, on July 25, 2010, Good of outstanding universal value. According to tradition, the construction began in 1401, although there is no documentary evidence of the beginning of the works until 1433. The construction was carried out on the site that was left after the demolition of the old aljama mosque in Seville, whose minaret (La Giralda) and patio (patio de los Naranjos) are still preserved.
One of the first masters of works was Master Carlin (Charles Galter), from Normandy (France), who had previously worked in other great European Gothic cathedrals and arrived in Spain believed to be fleeing the Hundred Years War. On October 10, 1506, the last stone was placed in the highest part of the dome, with which symbolically the cathedral was completed, although in fact work continued uninterruptedly throughout the centuries, both for the interior decoration, such as to add new rooms or to consolidate and restore the damage caused by the passage of time, or extraordinary circumstances, among which it is worth noting the Lisbon earthquake of 1755 that produced only minor damage despite its intensity. The architects Diego de Riaño, Martín de Gainza and Asensio de Maeda intervened in these works. Also at this stageHernán Ruiz built the last body of the Giralda. The cathedral and its outbuildings were completed in 1593.
The Metropolitan Cabildo maintains the daily liturgy and the celebration of the Corpus, Immaculate and Virgin of the Kings festivities. This last day, August 15, is also the titular festival of the temple, Santa María de la Asunción or de la Sede, and is celebrated with a solemn third and pontifical procession.
The temple houses the mortal remains of Christopher Columbus and several kings of Castile: Pedro I el Cruel, Fernando III el Santo and his son, Alfonso X el Sabio.
One of the last important works carried out took place in 2008 and consisted of replacing 576 ashlars that made up one of the great pillars that support the temple, with new stone blocks of similar characteristics but with much greater resistance. This difficult work was possible thanks to the use of innovative technological systems that showed that the building suffered oscillations of 2 cm daily as a consequence of the expansion of its materials.