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The Real Alcázar is situated near the Cathedral and the [[General Archive of the Indies]] in one of [[Andalusia]]'s most emblematic areas. The Umayyads were the first to build a palace, called ''Al-Muwarak'', on the site of the modern-day Alcázar. During the mid-14th century [[Peter of Castile|King Peter of Castile]] rebuilt the Alcázar as his personal palace in the [[Moorish architecture|Moorish architectural]] style, which thus continued from the Muslim period to the late [[Middle Ages]] [[Mudéjar]] period, then on through the [[Renaissance]], the [[Baroque era]], and the 19th century. Subsequent monarchs have made their own additions to the Alcázar.
The Real Alcázar is situated near the Cathedral and the [[General Archive of the Indies]] in one of [[Andalusia]]'s most emblematic areas. This plot was occupied from the 8th century BC. In the 1st century DC the College of Olearians was built. The early [[Visigoth]]ic Christian basilica of Saint Vincent was built on its ruins. For the construction of the Palace of Peter of Castile some shafts and capitals of this building were reused, the only Visigothic vestige that has survived to this day.<ref name="reales">{{cite | author = Miguel Ángel Tabales Rodríguez |La transformación palatina del Alcázar de Sevilla, 914-1366|url=http://helvia.uco.es/xmlui/bitstream/handle/10396/3559/12.12.pdf?sequence=1 | work = Anales de Arqueología Cordobesa | number = 12 | year = 2001 | pages = 195-213}}{{ISSN|1130-9741}}</ref>

Seville was conquered by the Umayyad caliphate in the year 712. At that time the basilica was demolished to build the first military work. It seems that it was a quadrangular enclosure, fortified, and annexed to the walls. During the period of the first Taifa kingdoms, various constructions were carried out, such as stables and warehouses, which should not have altered the building as a whole. The citadel began to gain importance in the first half of the 12th century, under the [[Abbadid dynasty]], when the space doubled due to the construction of a large palace called ''Al-Muwarak'', under the current Patio de la Monteria, of which only some archaeological remains are preserved.<ref name="reales"/>

Under the Almohads, the caliphate of [[Abu Yusuf Yaqub al-Mansur]] new buildings were erected for the residence of the Caliph and his court. With the exception of the walls, the previous buildings were demolished, and were carried out up to a total of twelve palaces. In the place where the Patio de la Montería is located, on the foundations of the Abbadid palace, a large building was built, which seems to be organized around a patio that followed the same scheme of the courtyard of the [[Aljafería]] of Zaragoza. Remains a sabat or private passage next to the south facade of the cathedral, which coincides with the Quibla wall of the mosque, the access could allow the caliph to reach the Macsura avoiding any danger. That palace had its royal room. The Patio del Yeso in spite of several restorations it is the most significant preserved space of the Almohad alcázar.<ref name="reales"/>

The rest of the architecture of the palace, which has been the most flamboyant, and covers almost the whole set was built by [[Alfonso X of Castile]] and [[Peter of Castile]], with [[Mudéjar]], [[Gothic]] and [[Mannerist]] halls and courtyards.

Some gardens have Renaissance statues. After a damage by the [[1755 Lisbon earthquake]] that facade of the Gothic palace overlooking the patio del Crucero was completely renovated in Baroque style.


The palace was the birthplace of [[Infanta Maria Antonietta of Spain]] (1729-1785), daughter of [[Philip V of Spain]] and [[Elisabeth Farnese]], when the king was in the city to oversee the signing of the [[Treaty of Seville (1729)]] which ended the [[Anglo-Spanish War (1727)]].
The palace was the birthplace of [[Infanta Maria Antonietta of Spain]] (1729-1785), daughter of [[Philip V of Spain]] and [[Elisabeth Farnese]], when the king was in the city to oversee the signing of the [[Treaty of Seville (1729)]] which ended the [[Anglo-Spanish War (1727)]].

Revision as of 01:51, 5 April 2018

See also: Alcazar (disambiguation)
Alcázar of Seville
UNESCO World Heritage Site
Patio de la Montería courtyard
LocationSeville, Spain
Part ofCathedral, Alcázar and General Archive of the Indies in Seville
CriteriaCultural: i, ii, iii, vi
Reference383-002
Inscription1987 (11th Session)
Coordinates37°23′02″N 5°59′29″W / 37.38389°N 5.99139°W / 37.38389; -5.99139
Alcázar of Seville is located in Spain
Alcázar of Seville
Location of Alcázar of Seville in Spain

The Alcázar of Seville (pronounced [alˈkaθar]; Spanish: Reales Alcázares de Sevilla or "Royal Alcazars of Seville") is a royal palace in Seville, Spain, built for the Christian king Peter of Castile.[1] It was built by Castilian Christians on the site of an Abbadid Muslim residential fortress[2][3] destroyed after the Christian conquest of Seville.[4] Although several elements of other civilizations are remain. The palace, a preeminent example of Mudéjar architecture in the Iberian Peninsula, is renowned as one of the most beautiful. The upper levels of the Alcázar are still used by the royal family as their official residence in Seville, and are administered by the Patrimonio Nacional. It is the oldest royal palace still in use in Europe, and was registered in 1987 by UNESCO as a World Heritage Site, along with the adjoining Seville Cathedral and the General Archive of the Indies.[5]

Etymology

The term Alcázar comes from the Arabic al-qaṣr, ("the castle" or "the palace", اَلْقَصْر), itself derived from the Latin castrum ("castle").[6][7][8][9]

History

Seville 1588 (Site of Alcazar is to right of Cathedral)
Plan of the Alcázar of Seville
  • 1-Puerta del León
  • 2-Sala de la Justicia y patio del Yeso (cyan)
  • 3-Patio de la Montería (pink)
  • 4-Cuarto del Almirante y Casa de Contratación (cream)
  • 5-Palacio mudéjar o de Pedro I (red)
  • 6-Palacio gótico (blue)
  • 7-Estanque de Mercurio
  • 8-Jardines (green)
  • 9-Apeadero
  • 10-Patio de Banderas

The Real Alcázar is situated near the Cathedral and the General Archive of the Indies in one of Andalusia's most emblematic areas. This plot was occupied from the 8th century BC. In the 1st century DC the College of Olearians was built. The early Visigothic Christian basilica of Saint Vincent was built on its ruins. For the construction of the Palace of Peter of Castile some shafts and capitals of this building were reused, the only Visigothic vestige that has survived to this day.[10]

Seville was conquered by the Umayyad caliphate in the year 712. At that time the basilica was demolished to build the first military work. It seems that it was a quadrangular enclosure, fortified, and annexed to the walls. During the period of the first Taifa kingdoms, various constructions were carried out, such as stables and warehouses, which should not have altered the building as a whole. The citadel began to gain importance in the first half of the 12th century, under the Abbadid dynasty, when the space doubled due to the construction of a large palace called Al-Muwarak, under the current Patio de la Monteria, of which only some archaeological remains are preserved.[10]

Under the Almohads, the caliphate of Abu Yusuf Yaqub al-Mansur new buildings were erected for the residence of the Caliph and his court. With the exception of the walls, the previous buildings were demolished, and were carried out up to a total of twelve palaces. In the place where the Patio de la Montería is located, on the foundations of the Abbadid palace, a large building was built, which seems to be organized around a patio that followed the same scheme of the courtyard of the Aljafería of Zaragoza. Remains a sabat or private passage next to the south facade of the cathedral, which coincides with the Quibla wall of the mosque, the access could allow the caliph to reach the Macsura avoiding any danger. That palace had its royal room. The Patio del Yeso in spite of several restorations it is the most significant preserved space of the Almohad alcázar.[10]

The rest of the architecture of the palace, which has been the most flamboyant, and covers almost the whole set was built by Alfonso X of Castile and Peter of Castile, with Mudéjar, Gothic and Mannerist halls and courtyards.

Some gardens have Renaissance statues. After a damage by the 1755 Lisbon earthquake that facade of the Gothic palace overlooking the patio del Crucero was completely renovated in Baroque style.

The palace was the birthplace of Infanta Maria Antonietta of Spain (1729-1785), daughter of Philip V of Spain and Elisabeth Farnese, when the king was in the city to oversee the signing of the Treaty of Seville (1729) which ended the Anglo-Spanish War (1727).

The Palace

Puerta del León (Gate of the Lion)

Puerta del León

The main entrance to the Alcázar takes its name from the 19th century tile-work inlaid above it, a crowned lion holding a cross in its claws and bearing a Gothic script.

Patio de las Doncellas

The name, meaning "The Courtyard of the Maidens", refers to the legend that the Moors demanded 100 virgins every year as tribute from Christian kingdoms in Iberia.

The lower level of the Patio was built for King Peter of Castile and includes inscriptions describing Peter as a "sultan". Various lavish reception rooms are located on the sides of the Patio. In the center is a large, rectangular reflecting pool with sunken gardens on either side. For many years, the courtyard was entirely paved in marble with a fountain in the center. However, historical evidence showed the gardens and the reflecting pool were the original design and this arrangement was restored. However, soon after this restoration, the courtyard was temporarily paved with marble once again at the request of movie director Ridley Scott. Scott used the paved courtyard as the set for the court of the King of Jerusalem in his movie Kingdom of Heaven. The courtyard arrangement was converted once more after the movie's production.

The upper story of the Patio was an addition made by Charles V. The addition was designed by Luis de Vega in the style of the Italian Renaissance although he did include both Renaissance and mudéjar plaster work in the decorations. Construction of the addition began in 1540 and ended in 1572.

Los Baños de Doña María de Padilla

The "Baths of Lady María de Padilla" are rainwater tanks beneath the Patio del Crucero. The tanks are named after María de Padilla, the mistress of Peter the Cruel.

Salon de Embajadores

The Salon de Embajadores, meaning The Ambassadors Reception Room", was the main room that King Peter of Castile used for his stay at the Alcazar. This room was the most richly decorated within the entire Alcazar Palace, which was in keeping with its role of power. In 1526, Emperor Charles V and Isabella of Portugal celebrated their marriage in this room.[11]

Other sections

One of access-gates (b. 14th century) to Salón de los Embajadores in Palace of Peter of Castile
Sala de las Bóvedas in Gothic Palace. the Gothic Palace was made between 1254-1578.
Patio de las Doncellas courtyard
  • Patio de las Muñecas
  • Patio de la Monteria
  • Dormitorio de los Reyes Moros
  • Sala de Justicia
  • Patio del Yeso
  • Cuarto del Almirante
  • Casa de Contratación
  • Patio del Crucero
  • Palacio Mudéjar or of Peter of Castile
    • Patio de las Muñecas
    • Cuarto del Príncipe
    • Patio de las Doncellas
    • Alcoba Real
    • Salón del Techo de Carlos V
    • Salón de Embajadores
    • Salón del Techo de Felipe II
    • Primera planta
  • Palacio Gótico
    • Capilla
    • Gran Salón
    • Salón de los Tapices
    • Sala de las Bóvedas
  • Gardens
    • Estanque de Mercurio
    • Galería de Grutesco
    • Jardín de la Danza
    • Jardín de Troya
    • Jardín de la Galera
    • Jardín de las Flores
    • Jardín del Príncipe
    • Jardín de las Damas
    • Pabellón de Carlos V
    • Cenador del León
    • Jardín Inglés
    • Jardín del Marqués de la Vega-Inclán
    • Jardín de los Poetas
  • Apeadero
  • Patio de Banderas

The Gardens

All the palaces of Al Andalus had garden orchards with fruit trees, horticultural produce and a wide variety of fragrant flowers. The garden-orchards not only supplied food for the palace residents but had the aesthetic function of bringing pleasure. Water was ever present in the form of irrigation channels, runnels, jets, ponds and pools.

The gardens adjoining the Alcázar of Seville have undergone many changes. In the 16th century during the reign of Philip III the Italian designer Vermondo Resta introduced the Italian Mannerist style. Resta was responsible for the Galeria de Grutesco (Grotto Gallery) transforming the old Muslim wall into a loggia from which to admire the view of the palace gardens.

The Alcázar Gardens viewed from Galeria de Grutescos

See also

References

  1. ^ Joseph F. O'Callaghan (15 April 2013). A History of Medieval Spain. Cornell University Press. p. 692. ISBN 978-0-8014-6871-1.
  2. ^ Frederick Alfred De Armas (1996). Heavenly Bodies: The Realms of La Estrella de Sevilla. Bucknell University Press. p. 107. ISBN 978-0-8387-5308-8.
  3. ^ Titus Burckhardt (1997). Moorish Culture in Spain. Suhail Academy. p. 104.
  4. ^ Antonio Urquízar-Herrera (11 May 2017). Admiration and Awe: Morisco Buildings and Identity Negotiations in Early Modern Spanish Historiography. Oxford University Press. p. 17. ISBN 978-0-19-879745-6.
  5. ^ "Cathedral, Alcázar and Archivo de Indias in Seville". UNESCO. Retrieved 2009-06-01.
  6. ^ The Islamic Review. Woking Muslim Mission and Literary Trust. 1960. p. 2.
  7. ^ T.W. Haig (1993). E. J. Brill's First Encyclopaedia of Islam, 1913-1936. Vol. IV (Reprint of 1913 ed.). BRILL. p. 802. ISBN 90-04-09790-2. {{cite book}}: Unknown parameter |editors= ignored (|editor= suggested) (help)
  8. ^ Muḥammad ibn ʻUmar Ibn al-Qūṭīyah; David James (2009). Early Islamic Spain: The History of Ibn Al-Qūṭīya : a Study of the Unique Arabic Manuscript in the Bibliothèque Nationale de France, Paris, with a Translation, Notes, and Comments. Taylor & Francis. p. 55. ISBN 978-0-415-47552-5.
  9. ^ Jonathan Bloom; Sheila Blair (14 May 2009). Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set. OUP USA. p. 198. ISBN 978-0-19-530991-1.
  10. ^ a b c Miguel Ángel Tabales Rodríguez (2001), Anales de Arqueología Cordobesa, no. 12, pp. 195–213 http://helvia.uco.es/xmlui/bitstream/handle/10396/3559/12.12.pdf?sequence=1 {{citation}}: Missing or empty |title= (help); Text "La transformación palatina del Alcázar de Sevilla, 914-1366" ignored (help)ISSN 1130-9741
  11. ^ 1971-, Giordano, Carlos (2016). Real Alcázar de Sevilla : más de mil años de arte y arquitectura. Palmisano, Nicolás 1970-, Caruncho, Daniel R. 1983-, Dos de Arte Ediciones (1ª ed ed.). Barcelona: Dos de Arte Ediciones. ISBN 9788491030423. OCLC 946119342. {{cite book}}: |edition= has extra text (help); |last= has numeric name (help)CS1 maint: multiple names: authors list (link)
  12. ^ Internet, Unidad Editorial. "El día que Lawrence de Arabia cambió el desierto por Sevilla". www.elmundo.es. Retrieved 2018-02-22.
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