The building, with its grandeur, was built to demonstrate the well-being of the city, after becoming an important commercial center. The works began in 1402 and continued until 1506.
The Catedral Metropolitana de Santa María de la Sede de Sevilla, is built in Gothic style and covers over 11 thousand square meters, which makes it the third largest church in the world. Since 1987, part of the UNESCO list of World Heritage sites together with the Alcazar and the Archivo de Indias, is one of the largest and most beautiful religious buildings in the world.
The clerical members of the parish gave half their salaries to pay architects, artists, craftsmen and others. Over the years there were problems only with the dome, which collapsed more than once years later. The site on which the Cathedral was built was that of the ancient Seville mosque. Of the latter still remains the minaret, which was converted into a bell tower, known as La Giralda, which today is an undisputed symbol of the city of Seville.
Presides the presbytery of the Greater Chapel that is located in the central ship occupying the most solemn section of the enclosure where the crossing of the main ships of the Cathedral takes place. It is considered to be the largest in Christendom and one of the most spectacular polychrome wood structures of its time. It is a work made in successive phases over almost a century, beginning with traces of the Flemish sculptor Pieter Dancart, who in 1482 achieved an altarpiece almost 30 meters high by almost 20 wide, with four bodies of height plus a bench, in horizontal and seven streets.
In 1497, another teacher appears at the head of the work, also of flamenco origin, which was taken care of until 1505. From this moment, the intervention of the sculptor Pedro Millán is recorded, who in turn was replaced by Jorge Fernández Alemán to whom his brother Alejo helps, occupying both of the work until 1529, year in which it can be said that the first constructive phase of the altarpiece ends. A second phase began in 1550, when deciding in Cabildo to add two lateral streets forming a right angle with the main front. In these works Roque Balduque, Juan Bautista Vázquez and Pedro de Heredia intervened, completing the whole in 1564.
It occupies a section of the central nave of the temple, just in front of the Main Chapel in the Crucero area. It is decorated with stone walls, except on its front, where it does so with an exceptional Renaissance grille, the work of Fray Francisco de Salamanca, made between 1518 and 1523; It is topped with a crester whose central motif represents the Geese tree.
In the interior of the choir there is the ashlar composed of two bodies, in which there are 117 seats carved in wood; They are made in Mudejar Gothic style and represent sculptures of saints and reliefs with scenes from the Old and New Testaments. Of great interest is the decorative set located in the misericordiaswhere it appears a wide allegorical repertoire of vices, personified in monstrous figures.
Door of the Assumption
It is located in the center of the "west" or main façade, with greater proportion and solemnity than the adjoining portals that flank it.
It is dedicated to the Assumption of the Virgin, theme of the tympanum and from which derives its name. It remained unfinished for centuries until in 1827 Cardinal Cienfuegos and Jovellanos decided to end it.
The works were directed by the architect Fernando Rosales, who maintained the Gothic style in the configuration of the construction elements, culminating his work in 1833.
Door of the Forgiveness
It is one of the basic elements of the mosque and where it was accessed at that time inside the Almohad enclosure and from where its central nave and the mihrab were lined up.
Its entrance arch still retains its original appearance with a pointed horseshoe arch; the plateresque plaster decoration that covers it, was made in 1522 by Bartolomé López.
The front of this door was reformed in 1520, decorated with a sculptural set made of clay cooked by the sculptor Miguel Florentín who made the images of San Pedro and San Pablo that appear on the sides, the Virgin and the Archangel San Gabriel who meet on the previous ones and the great relief of the Expulsion of the Merchants that is just over the arch of the door.
Door of the Conception
Cover located on the north front of the transept and opens to the patio of the orange trees. This work was left unfinished in the initial process of construction of the temple, remaining so until 1887, the year in which it was completed with the design of the architect Adolfo Fernández Casanova.
In it, the author adjusted to the Gothic style of the rest of the building, so, despite its late date, harmonizes perfectly with what was built in previous centuries. The facade of the door receives a crowning where presides the image of Jesus as a priest, accompanied by his apostles. The large lateral apilastrados are from the beginning of the XVI century.
Gate of the Bells
Located at the head of the Cathedral on the left side of the Royal Chapel, it is a Gothic façade adorned with Renaissance sculptures.
It is dedicated, according to the decoration of its tympanum, to the entrance of Christ in Jerusalem , corresponding to a sculptural group made of baked clay carved around 1520 by the master Miguel, who also made the sculptures of prophets that appear on the jambs.
Door of San Miguel
The cover of the right of the main facade is dedicated to the Birth of Christ and is also the work of Lorenzo Mercadante of Brittany. On the jambs, and also executed in clay cooked by the same artist, appear the four Evangelistas plus San Laureano and San Hermenegildo . The small sculptures located in the archivolts are the work of Pedro Millán.
Gate of the Prince
Cover located on the south arm of the transept, where the temple's cultural and artistic visit is currently accessed individually. Its construction is relatively recent, although, in its realization, the architect Fernández Casanova stuck in his trace to the Gothic style of the rest of the building. Flanking this cover two large apilastrados of the sixteenth century.