The Story of Seville

by Walter M. Gallichan

Omnium Sanctorum is in the Plaza de la Feria. This church stands on the former site of a Roman temple, and it was built by Pedro the Cruel in 1356. It exhibits a mingling of Gothic and Mudéjar architecture. There are three naves and three doors. On the tower are some noteworthy frescoes. Francisco de Rioja, the poet, lived in this parish.

Santa Catalina is situated in the calle of that name. This church was also built on the ground once occupied by a Roman fane, and afterwards by a Mohommedan mosque. The façade is another instance of the survival of Moorish art, while the principal chapel is Gothic. Within are three remarkable paintings by Pedro de Campaña, a Flemish artist, who is claimed as one of the Sevillian school. These masterpieces of early Andalusian art are described in the chapter on the painters of Seville.

The inspection of these churches would fill a long day. But there are several more fine parroquias to be visited, for it must be remembered that the churches are the art museums of Spain, and no one can gain knowledge of the development of architecture, sculpture and painting in the country without spending a considerable portion of one's time in the dim, perfumed naves and chapels. The stranger will be impressed by the garish decoration of the interiors of many of the churches of Seville. Gilt is spread lavishly, and the effect is often tawdry. Some of the images are poor, especially in the modern churches, and one's taste is often shocked by their incongruity. The figures of the Virgin often lack dignity and beauty. But, as Mr. Henry James points out in his sketch 'From Normandy to the Pyrenees,' in Portraits of Places, those images of the Holy Mother are 'the sentiment of Spanish Catholicism' of modern times. They are, therefore, instructive from that point of view.

But from a devotional, as well as an æsthetic, standpoint, one is disposed to ask whether the sacred idols would not gain in nobility, pathos and stateliness if the Virgin were represented in the realistic garb of a Jewish woman of the people, instead of in modern dress, with trappings of lace and jewellery. It is with no disrespect towards Catholic prejudices in this matter that one expresses this view. The mediæval conception of the Madonna in painting appeals to the imagination, because in the works of the great masters there is beauty, simplicity and convincingness.

In the northern district of the city, beyond the Convento de Santa Paula, we may, in a few minutes, reach—

Santa Lucia.—This church is now used for profane purposes; but its splendid Gothic portal remains. The Morisco tower is also notable.

San Roque is in the Barrio de San Roque, not far from Santa Lucia. The church was destroyed by fire in 1759, and rebuilt in 1769. It is not of great interest, though the arches of the naves are graceful, and the small tower is worthy of note. In times of flood, the Guadalquivir inundates this suburb, and the water flows into the church.

San Bartolomé may be reached from the last-mentioned church by the Recared ó Industria and the Calle Tinte. The church was built on the site of a Jewish synagogue, after the expulsion of the Jews by the Catholic Kings of Spain. The retablo and the sculpture of our Lady of Joy is antique and interesting.

Santa Maria de las Nieves, or la Blanca, is close to San Bartolomé. Until the year 1391 this church was a synagogue. It has three small naves, marble columns, and plateresque ornamentation. The two doors are Gothic. There is a painting attributed to Murillo, and one of our Lady of the Augustias, with the dead Christ in her arms, by Luis de Vargas, the famous fresco painter.

San Salvador is in the centre of the city, behind the Audencia, and may be reached from Sierpes by the Calle de Gallegos. This church is not of much importance from its age; but it contains effigies by Montañez, the most celebrated being the figure of San Cristobal.