The main sacristy of the cathedral of Seville is attached to the eighth chapel of the nave of the epistle. The Sacristía mayor is a Renaissance construction that was made in the 16th century according to the project of the architect Diego de Riaño, with rich Plateresque ornamentation and novel technical solutions for its time. It consists of a plant with a Greek cross with short arms. On which a dome supported by four pillars with pendentives was built, where the Last Judgment is represented in a sculptural way in three circular rings. It is topped by a lantern where the exterior light that illuminates the room enters along with the elliptical windows of the fanned vaults located in the brushwood that forms the Greek cross of the plant. It houses some of the best works of art in the cathedral.
History
The design of the sacristy was attributed to Diego de Riaño, who would have started work on this project in 1528. According to this hypothesis, the construction would have been completed in 1547. However, more recent investigations refer to the fact that it was designed by Diego de Siloé and built by Martin de Gainza between 1535 and 1543.
Between 1611 and 1612 the cathedral’s senior teacher, Miguel de Zumárraga, carried out a major intervention on the roof, in which tiles were placed on the roof of the lantern instead of the original tiles. However, in 1699 another intervention was made in the lantern to replace the tiles with tiles.
Description
Entrance
The cover has a semicircular arch. Inside, on both sides, the portal is flanked by two columns on pedestals. The columns are divided into three sectors: the first two are in a grotesque style and are decorated with reliefs of masks, cherubs, Atlanteans, reliquaries and garlands; the upper sector begins with a clump of acanthuses and the this is decorated with garlands. Above the door there is a frieze with reliefs of little angels. Above the frieze is a frontispiece with two mythological characters flanking a vase with lilies. The two gates are decorated with reliefs of the four evangelists, Saint Leander, Saint Isidore, the holy Justas and Rufina, and grotesque motifs.
After the cover there is a gallery with a vault. The vault is decorated with 68 boxes with reliefs of plates with fruits, other viands and a bag with money. These ornamental motifs were repeated in the decoration of the convents of Acolman, Actopan and Yuririanpúndaro, in Mexico.
Interior
The interior of the Greater Sacristy is a solemn space conceived on the central floor that forms a Greek cross with very small arms. Its space is covered with a dome that rests on pendentives.
The elevation is made with pillars to which are attached half columns and pilasters with their richly carved profile with plateresque carving; on the capitals there is a fine decoration with grotesques and garlands. The arms of the cross are covered with fanned vaults that rest on chamfers decorated with scallops.
On both sides of the entrance there are two columns decorated with grotesque reliefs. Vegetables, human figures, birds, fruit bowls, monstrances, mermaids, reliquaries, medallions, trophies, masks and cherubs are represented in the reliefs. At the top of each column there is a relief of the saints Justa and Rufina flanking the Giralda, which is presented without the top added by Hernán Ruiz. On the capitals of both columns there are signs with the inscriptions “SOLI DEO” and “HONOR ET GLORIA”. Above the semicircular arch of the entrance there are three coats of arms with royal crowns: in the center there is a vase with lilies and on the sides the Giralda without the Renaissance upper part. These are the first representations of this tower without the rest of the cathedral. Above each of the two columns there is a box with sculptures of Saint Hermenegildo and Saint Fernando respectively. Above the coats of arms there is a frieze that presents couples of saints on their knees worshiping Eucharistic symbols that are held by angels.
On the opposite side of the room is a large portico flanked by two smaller porticos. These three entrances communicate with a rectangular floor area. The entrances have semicircular arches and the jambs and intrados are decorated with fruit reliefs, trophies and other grotesque motifs. The two columns that flank the central entrance are decorated with reliefs similar to those on the opposite side: Atlanteans, angels, monstrances, cornucopias, garlands, monsters, allegories of virtues and saints. In one of these columns there is a poster with the date “1534”.
In the center of the back wall of the rectangular room there is a semicircular arch supported by two columns with grotesque reliefs that present monsters, cornucopias, angels and medallions. On the stem of the left column, on a gusset, is the date “1535”. Formerly in this space there was an altar for the relics, although today a picture has been placed with the descent of Jesus from the cross. In the center of the rectangular room there is a vault with reliefs of the Assumption and the twelve apostles. On the sides, the roof consists of two lower domes with casetones.
In front of the central chapel is the great painting of Pedro de Campaña, the descent of Christ . On the walls of the enclosure there is a wide pictorial collection of which we highlight San Isidoro and San Leandro de Murillo made in 1655, highlighting the solemnity of the saints who appear respectively represented in attitudes in which they stood out. It should be noted that many other pictorial works of excellent quality are hung on these walls.
Dome
The dome is adorned with reliefs arranged in three rings, representing the Last Judgment and a staging of the Celestial Court; in the lower ring, the Damned. Representations of apostles and bishops appear in the vaults. On the wall of the head of the Sacristy, the foundations of the three altars that were in each of the chapels are preserved, dismantled in the nineteenth century. In these foundations there are small sculptural pieces and some reliquaries.
On the ceiling there is a cupola with reliefs finished in lantern. The reliefs on the dome represent the Last Judgment in three rows: Hell, Purgatory and Heaven. On the ceiling of the lantern there is a relief of God the Father.
Collection
At the top of the room there are four pointed windows, one on each front, although the one on the front side was boarded up. Above these windows are vaults with carved character sculptures. The four fan-shaped vaults surround the central dome and leave four pendentives between them. The fan-shaped vaults and pendentives have reliefs of bishops, apostles, and Old Testament characters.
The variety of sculptures that are exhibit in this Sacristy, the most important being the San Fernando that appears next to one of the pillars of the head and that was commissioned by the Cabildo on the occasion of the canonization of this King. On the opposite pillar is the Immaculate .
The silverwork ensemble on display in the venue is of great importance, highlighting the Custodia grande de Arfe, a wonderful piece representative of Seville’s Plateresque. We will conclude that this space, along with many others from a similar construction period, historically contributed to the progressive transformation of the cathedral building into a set of exhibition spaces, since it has been dedicated to this function for almost two hundred years.
Seville cathedral treasure
The treasure of the cathedral of Seville is considered one of the best preserved artistic treasures in the ecclesiastical environment of Spain. Its funds are comparable to those collected in the National Library and El Escorial.
It is composed of pieces of all sizes and materials (gold, silver, pearl, rhinestones, velvet, etc.), among them are sacred vessels, reliquaries, custodians, processional crosses, books, choir books (approximately 300), ornaments and dresses for the liturgy (approximately 2000) in addition to all works of art (approximately 550 paintings dated between the 15th and 20th centuries, signed by Pedro de Campaña, Francisco Pacheco, Francisco Herrera, Zurbarán, Murillo, Valdés Leal, Matías de Arteaga, among others), sculptures (exterior and interior, some sepulchral in marble, wood or alabaster) and altarpieces (dated between the XV and XVIII centuries), etc., distributed among the different chapels of which the Cathedral is composed.
Of the treasure, the elements that are related to the conquest of the city by King San Fernando stand out, such as his sword, the banner and other relics, as well as the keys to the city. The Alphonse tables are also preserved, made by King Alfonso X the Wise.
Other pieces correspond to dates after the discovery of America and linked to this new world, such as a paten (used in the first mass celebrated in Mexico), the silver vizarrones (huge candelabra that hold candles).
Among the large items, a bronze candelabra (Tenebrario) stands over seven meters high and the Custody of Corpus Christi, made of silver, dating from the 16th century.
Most of the pieces are exposed in the room known as the “House of Accounts” of the cathedral, although another good part is found in the “Sacristía Mayor” and in the “Sacristía de los Cálices”. However, other pieces of it are found in other spaces of the temple, such as the ” Royal Chapel ” and the “Greater Chapel”.
Works of art
Among the treasures of the temple stand out numerous paintings, many of them belonging to artists of the Seville school of painting from different periods, including several by Murillo, such as the portraits of San Isidoro or San Leandro; Zurbarán’s paintings such as that of Santa Teresa, works by Luis de Morales and Francisco Herrera el Mozo. In sculpture and among others, those of Pedro Roldán, Juan de Mesa and Alonso Martínez. The tomb of Christopher Columbus, work of Arturo Mélidalocated on the right arm of the transept, where the remains of the famous discoverer of America lie. Goldsmith works such as the reliquary busts of Juan Laureano de Pina and the processional custody of Juan de Arfe. The 13th-century Alfonsí Tables are remarkable, a gift from Alfonso X the Wise.
Inside the sacristy a number stored artwork cathedral, among which may be cited:
San Isidoro (1655). Picture. Bartolomé Esteban Murillo. It is located in a niche with two columns, a frontispiece with a medallion and a support in the lower part.
San Leandro (1655). Picture. Bartolomé Esteban Murillo (1655). It is located in a niche with two columns, a frontispiece with a medallion and a support in the lower part.
Seat custody (1580-1587). Juan de Arfe.
San Fernando (1671). Sculpture. Pedro Roldán.
Immaculate (c. 1650). Sculpture. Alonso Martínez.
The Descent of Christ (1547). Picture. Pedro de Campaña. It was made for the parish of Santa Cruz. He moved to the cathedral in 1814.
Shaped reliquary triptych belonged to Alfonso X.
Bust-reliquary of Santa Rosalía (1687). Antonino Lorenzo Castro.
Bust-reliquary of Saint Pius (17th century). Attributed to Juan Laureano de Pina.
Reliquary bust of Saint Laureano (17th century). Attributed to Juan Laureano de Pina.
Custody of Arfe
The great custody of five bodies crowned by the statue of Faith, is a creation of the silversmith from Valladolid Juan de Arfe who made it between 1580 and 1587 in the Renaissance style. The same artist considered that it was his best work and explained the complex iconography of the set in a brochure entitled Description of the trace and decoration of the silver custody of the Holy Church of Seville. It measures 3.25 m high, contains about 350 kg of silver, innumerable figures of saints and numerous reliefs with Eucharistic scenes from the Old and New Testaments.
In the first body the militant Church is represented, in the center is the image of the Immaculate surrounded by Saint Peter, Saint Paul, Wisdom and Understanding. Externally there are the figures of the doctors of the Church: Saint Ambrose, Saint Gregory, Saint Jerome, Saint Augustine, Saint Thomas and Saint Damasus. Below is a set of 36 reliefs from the Old and New Testaments. At the top of the temple, the sacraments placed in small niches are represented.
The second body located above the previous one is dedicated to the Eucharist. It contains in the center the space for the virile where the consecrated Host is placed, surrounded by the four evangelists. On the outside the figures of the patron saints of the city of Seville in groups of two: Saint Florentius and Saint Clement, Saint Justa and Rufina, Saint Isidore and Saint Leandro, Saint Hermenegildo and Saint Sebastian, Saint Servando and Saint Germán, Saint Carpophorus and Saint Laureano.
The third body is dedicated to the Triumphant Church and in its center the scene of the Mystic Lamb reclined on the book of the seven seals is represented, as related in The Apocalypse of Saint John.
The fourth body represents the Trinity and contains the figures of Father, Son and Holy Spirit. On it is a small fifth body and the Statue of Fe that crowns
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.