Seville Cathedral has three covers on the façade of the feet, one on each arm of the transept and two at the head, it also presents another door that leads to the patio de los naranjos, called the lizard and another that communicates with the church of the tabernacle and finally the Puerta of the forgiveness that is the gateway to the Patio de los Naranjos from the street of the Germans:

West façade
Cover of the Baptism, it is the one located to the left, it was built in the XV century, the tympanum is decorated with the representation of the relief of the Baptism of Christ, work carried out by the workshop of Lorenzo Mercadante of Brittany, it is Gothic with pointed archivolts adorned with tracery, there are also sculptures of the bishops of Seville, San Leandro and San Isidoro, of Santa Justa and Rufina, direct works of Lorenzo Mercadante and a series of angels and prophets due to Pedro Millán.

Main or Assumption cover, is the one located in the center of the façade and remained unfinished until the 19th century, when Cardinal Cienfuegos y Jovellanos commissioned its sculptural decoration, among which the figures of the apostles, executed by Ricardo Bellver, stand out. between 1877 and 1898.

Cover of San Miguel or the Nativity, so called since the representation of the Birth of Christ is included on the cover. It was built in the 15th century and is decorated with terracotta sculptures, among which those of San Laureano, San Hermengildo and the four evangelists stand out, executed by Lorenzo Mercadante of Brittany and his disciple Pedro Millán. This is the route through which the Holy Week processions access the cathedral temple on their journey through the official race.

South facade
Puerta de San Cristóbal or del Príncipe (1887-1895), is the one that coincides with the southern transept, was designed by Adolfo Fernández Casanova and completed in 1917, although its first design was made by the architect Demetrio de los Ríos in 1866. Front of this door, a replica of the «Giraldillo» is located.

North facade
Puerta de la Concepción (1895-1927), is located in the northern part of the transept that opens onto the patio de los Naranjos, also the design was made by Demetrio de los Ríos and projected and completed by Adolfo Fernández Casanova in 1895, it was built imitating the Gothic style to harmonize with the rest of the building.

Puerta del Lagarto, communicates with the covered part of the patio de los Naranjos, whose gallery also receives the same name for a lizard hanging from the ceiling on the occasion of an old votive offering, is the most simply decorated.

Puerta del Sagrario, gives access from inside the cathedral to the Sagrario church, made by Pedro Sánchez Falconete in the last third of the 17th century. It is framed by columns of the Corinthian order and in the upper part there is a sculpture representing San Fernando, on one side Santa Justa with San Isidoro and on the other side Santa Rufina with San Leandro.

Puerta del Perdón, with this name the access door to the Patio de los Naranjos is known from Calle de los Alemanes and therefore it is not properly a door of the cathedral, but it had belonged to the old mosque and preserves of that time a pointed horseshoe arch. At the beginning of the 16th century, works were carried out, decorating it with terracotta sculptures by the sculptor Miguel Perrin, highlighting the large relief of the Expulsion of the merchants on the entrance arch. The plaster ornaments were made by Bartolomé López.

East façade
Puerta de Palos, also called Puerta de la Adoración de los Magos, because of the relief with this theme found on its tympanum, modeled by Miguel Perrin around 1520. The name “Palos” is more popular, and is due to the bars of wood that separate it from old dependencies of the cathedral chapter.

Puerta de Campanillas, so named because at the time of its construction it was from where the bells were tolled to call the workers. The Renaissance sculptures, as well as the relief of the tympanum that represents the entrance of Christ to Jerusalem, were made by Miguel Perrin in the early sixteenth century.

Assumption Gate
It is located in the center of the “west” or main façade, with a greater proportion and solemnity than the adjoining façades that flank it.

It is dedicated to the Assumption of the Virgin, a theme of the eardrum and from which its name derives. It remained unfinished for centuries until in 1827 Cardinal Cienfuegos y Jovellanos decided to end it.

The works were directed by the architect Fernando Rosales, who maintained the Gothic style in the configuration of the constructive elements, culminating his work in 1833.

The sculptural decoration was made years later, entrusting itself to Ricardo Bellver, who made the images of saints that decorate it in artificial stone, also placing the relief of the Assumption of the Virgin on the tympanum of the door as we have already mentioned.

Door of Forgiveness
It is one of the basic elements of the mosque and through which the interior of the Almohad compound was accessed at that time and from where its central nave and the mihrab were lined up.

Its entrance arch still preserves its original appearance with a pointed horseshoe arch; the decoration of plateresque plasterwork that covers it, was made in 1522 by Bartolomé López.

The front of this door was renovated in 1520, decorating itself with a sculptural ensemble made of fired clay by the sculptor Miguel Florentín who made the images of Saint Peter and Saint Paul that appear on the sides, the Virgin and the Archangel Saint Gabriel that are found on the previous ones and the great relief of the Expulsion of the Merchants that is just above the arch of the door.

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Currently corresponds to the departure of the cultural and artistic visit of the temple.

Conception Gate
Cover located on the north front of the transept and opens to the patio de los naranjos. It is a work that was unfinished in the initial process of construction of the temple, remaining so until 1887, the year in which it was completed with a design by the architect Adolfo Fernández Casanova.

In it, the author adjusted to the Gothic style of the rest of the building, so that, despite its late date, it harmonizes perfectly with what was built in previous centuries. The facade of the door is crowned with the image of Jesus as priest, accompanied by his apostles. The large lateral apilastrados are from the early sixteenth century.

Popularly it was called red because of the polychromy that covered it inside as a pictorial decoration.

Door of the Bluebells
Located at the head of the Cathedral on the left side of the projection of the Royal Chapel, it is a Gothic style doorway adorned with Renaissance sculptures.

It is dedicated, according to the decoration of its tympanum, to the entrance of Christ into Jerusalem, corresponding to a sculptural group made of fired clay carved around 1520 by Master Miguel, who also made the sculptures of prophets that appear on the jambs.

This cover is popularly called the door of the bells, because during the construction of the Cathedral the bells that called the workers at the time of starting work were located there.

San Miguel gate
The cover on the right of the main façade is dedicated to the Birth of Christ and is also the work of Lorenzo Mercadante from Brittany. In the jambs, and also executed in clay fired by the same artist, the four Evangelists appear plus San Laureano and San Hermenegildo. The small sculptures located in the archivolts are the work of Pedro Millán.

Prince’s Gate
Cover located in the south arm of the transept, where the cultural and artistic visit of the temple is currently accessed individually. Its construction is relatively recent, although, in its realization, the architect Fernández Casanova stuck to the Gothic style of the rest of the building. Two large apilastrados from the 16th century flank this cover.

Giralda tower
Giralda is the tower and bell tower of Seville Cathedral. It stands out for its height of 104 m, which makes it visible from much of the city. Its square base is located at 7.12 m above sea level, having a side of 13.61 m. It was built in the likeness of the minaret of the Kutubia mosque in Marrakech (Morocco), although the upper and beautiful bell tower that elevates and stylizes its structure is Renaissance.

The works began in 1184 under the direction of the architect Ahmad Ben Baso. The tower had a height of 82 m. According to the chronicler Ibn Sahib al-Salá, the works were completed on March 10, 1198, with the placement of four gilded bronze balls in the upper part of the tower.

As a result of an earthquake in 1365, the original old copper sphere that crowned it was lost. In the 16th century, the body of bells was added by the architect Hernán Ruiz, who was also commissioned by the cathedral chapter, so that the new body had a statue-shaped finish representing La Fe. The statue was installed in 1568. The word giralda comes from “rotate” and means “tower vane that has a human or animal figure”. With the passage of time, that name came to name the tower as a whole, and the figure that crowns it as “the Giraldillo” began to be known.

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.

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