User:Adyachuk/Alcázar of Seville

The palace is a preeminent example of Mudéjar architecture in the Iberian Peninsula but features Gothic, Renaissance and Romanesque design elements from previous stages of construction.

During the five hundred years of construction, styles succeeded one another. The are no remnants of the initial design, but the structure was likely refurbished with elements of Islamic ornaments and patterns. Several major gardens were also built. With the start of the Spanish Reconquista in the 13th century, the palace was remodeled with Gothic and Romanesque elements. The 16th century saw major additions of Renaissance tradition. Alongside these designs, Islamic decoration and ornamentation was widely used. After damage by the 1755 Lisbon earthquake, that façade of the Palacio Gótico overlooking the Patio del Crucero was completely renovated using Baroque elements. The palace now presents itself as a unique blend of styles.

The Ambassadors Hall is the ancient throne room built during the reign of Al-Mu'tamid in the 11th century. In the 14th century, Pedro I of Castile remodeled the hall to make it a centerpiece of his royal palace. Plant motifs in plasterwork were added in the corners of the room and spandrels of the arches. Windows were traced with geometric elements. Walls were covered with tiled panels. The orientation of the hall was also changed from facing Mecca to northeast. The doorway now led to the Patio of the Maidens (Patio de las Doncellas). In 1526, Emperor Charles V and Isabella of Portugal celebrated their marriage in this room.

The Real Alcázar is situated near the Seville Cathedral and the General Archive of the Indies in one of Andalusia's most emblematic areas. In the year 712, Seville was conquered by the Umayyad Caliphate. In the year 913, after a revolt against Cordoba’s government, the first caliph of Andalusia Abd al-Rahman III built a fortified construction in place of a Visigothic Christian basilica. It was a quadrangular enclosure, fortified, and annexed to the walls. In the 11th century, the second king, Al-Mu'tamid, expanded the structure to the west with a new palace ‘Al Mubarak’. Various additions to the construction such as stables and warehouses were also carried out. As Seville was established as the capital of Al-Andalus, the Almohade caliphs made the Alcazar their main residence. With the exception of the walls, the previous buildings were demolished, and were carried out up to a total of twelve palaces. There are few remnants of constructions of that period. Archaeological remains of the Al Mubarak palace are currently preserved under Patio de la Monteria. Several wall painting fragments were found that are now exhibited in the Palacio del Yeso.

With the start of the Christian era in Seville, the Alcazar was converted into the residence of the Christian monarchs. Changes were made to the constructions to fit the needs of the monarchs and the court life. In the years 1364-1366, king Pedro I built the Mudéjar Palace, an example of the Andalusian Mudejar style. Under the Catholic rulers Isabella and Fernando, the upperfloor was extended and transformed into the main residence of the monarchs.

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).

In the 1st century AD the collegium (College of Olearians) was built. The early of Saint Vincent was built on its ruins.

At that time the basilica was demolished to build the first military work. 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.

Under the Almohads, during the caliphate of Abu Yusuf Yaqub al-Mansur, new buildings for the residence of the Caliph and his court were erected. 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. Today, a sabat, or private passage, remains next to the south façade of the cathedral, which coincides with the Quibla wall of the mosque; this access allowed the caliph to reach the Macsura to avoid any danger. That palace had its royal room. A small courtyard, the Patio del Yeso, served as the residence of Pedro I in 1358 before the construction of his new palace; in spite of several restorations it is the most significant preserved space of the Almohad alcázar.

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

Some gardens have Renaissance statues.

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. The tombstone of the bishop Honorato, which was probably in this church, is currently in the cathedral.

https://www.jstor.org/stable/25067097?pq-origsite=summon&seq=1#metadata_info_tab_contents

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The palace is known for its tile decoration. The two tile types used majolica and arista tiles. In the arista technique, the green body is stamped and each tile segment had raised ridges. This technique produces tiles with transparent glazes that are not flat. The art of majolica ceramics was developed later in the 15th-16th centuries. The innovation made it possible to “paint” directly on ceramics covered with white opaque glazes. Being a trade center, Seville had access to large scale production of these tiles. They were mainly of geometric design inspired by the arabesque ornament.

In the 16th century, the Catholic Monarchs commissioned Nicola Pisano to make two majolica tile Altarpieces in the Palace. One still exists in the oratory of the Royal apartments, the other one is missing. Later, the artist Cristóbal de Augusta created a tile-work in the Palacio Gotico. It features animals, cherubs and floral designs and gives the palace a bright tapestry look.