This morning, we are headed to La Giralda and the Catedral de Santa Maria de la Sede to see its famed flying buttresses in the early light. Unlike yesterday when we headed northwest, today we are going southwest.
On the Calle de San José we chance on the Iglesia del Señor San Jose, which features several blue and white tile panels. Between St Peter (holding the key) and St Paul (with sword and book) is an unexpected panel showing 'Father and Child', and in Latin: "SANCTUS JOSEPH, PATER ET DOMINUS".
We further discover the Convento Madre de Dios, which is under restoration - so we have Father and Mother on the same street. The workers are attending to the floor, which is probably stone or a mosaic, checking their work with an iPhone. Another worker is on a small lift, dealing with the carved wooden frieze. We can also catch two beautiful chapels and a glimpse of the painted altar space – should look amazing when they are done, just hope the guy on the lift doesn't drop anything.
From there, we connect to the famous Calle Mateo Gago, full of cafes, bars, and shops. At the western end of the Calle is the Fuente de la Farola, 'fountain of the lantern', a combination street-lamp, fountain, pillory-looking thing, topped with a cross. And behind that, of course, is La Giralda, another history 'layer cake': the old minaret dates from the twelfth century, and the Renaissance belfry dates from the fifteenth century.
A dash around the Catedral, and we realize that the buttresses are not easily seen from the street, especially on the north and west sides. The north facade includes the Puerta del Perdón (door of forgiveness, early sixteenth century), which fronts the Patio de los Naranjos, outside the north transept, and now serves as the tourist exit. It also combines Almohad and Renaissance features. Above the dense carvings of the horseshoe arch is an engaging, true-perspective relief of Christ (the only figure in the round) expelling the money-changers from the Temple. Incongruously, hawkers, pushing their tours, are gathered underneath.
The west side is the front facade, and now sits in the morning shadows. Perhaps the best view of the Catedral is from the southwest, on the the Avenida de la Constitución, but we must wait for the other tourists, the cyclists, the trams, and the horse buggies.
At the south transept is a model or copy of the Giradillo (weather vane). The portal to the transept is particularly white and clean, providing contrast for the statue – a young woman holding a sheaf of wheat, a cross and banner, and, attached to the staff of the cross, an enormous, semi-elliptical 'sail'.
Turning, we find ourselves in the Plaza del Triunfo. Neatly parked at the far side are the buggy drivers. Near us to the right is a group of uniformed students taking a group selfie at the Templete del Triunfo de Nuestra Señora del Patrocinio, a embellished column holding a Madonna and Child (eighteenth century).
Beyond that is a taller, square-columned statue set in a formal parklet. From this park we can read the citation near the top of La Giralda, "PROVERB18", which might refer to this passage:
The name of the LORD is a strong tower:the righteous runneth into it, and is safe.
Next door is the Real Alcázar, with its own orangery and the famous Puerta de León. But the crowd is pressing in, and we decide to head towards the river via the Calle Doña María de Padilla – even the street markers are amazing.
We drift towards the Plaza de España, on the way there is a courtyard with figures wearing capirotes. With Semana Santa approaching, we see these figures in souvenir shop and pastry displays all over town, The Agencia Tributaria de Andalicía (tax office), is installed at an old (early twentieth century) theater building (Teatro Coliseo) with a series of glazed ceramic panels.
We cross the campus of the Universidad de Sevilla (early twentieth century), and on the other side, find the Teatro Lope de Vega (early twentieth century) under restoration. Everything in this area dates from the early twentieth century as it was re-urbanized during the preparation for the Exposición Iberoamericana de 1929,
The Plaza de España is, of course, another relic from that time. Though parts of the building are used for a military museum, government offices and a bank, the pavilions serve almost exclusively as a place for people to take selfies or do fashion shoots (as we witness).
The Plaza is semi-circular, with towers to the north and south, a substantial central pavilion, and smaller pavilions at the quarter-marks. There is a shallow 'canal' with boats to rent, but the D-shape is broken at the entry, so it's not possible to row a lap.
The provinces of Spain are represented at the four bridges: two at the central pavilion (Castile, León), and two at the smaller pavilions (Aragon, Navarre) – the four quadrants of Spain's Royal Coat of Arms. The 'graphic themes' (castles, lions, pallets, and chains) of each region are beautifully displayed on the seals in front of the bridges, on the tilework on the stair risers, and in the details of each pavilion (the one pavilion open to the upper level is Aragon; note the small red-yellow 'pallets' shields on the stairs and in the frieze).
Los Bancos de las Provincias Españolas further display regional symbols and stories inside delightfully decorated seating areas. Small lanterns or towers frame each Banco, though recently they have been used to share books. The whole complex is a Spanish history primer.
Before dinner we stop at the Plaza del Salvador, a charming and busy square between the Iglesia Colegial del Divino Salvador (seventeenth century) and the Hospital de Nuestra Señora de la Paz (sixteenth century). It's lined with orange trees, cafes, and bars; around every corner in Sevilla, there is a courtyard or pedestrian way crowded with a cheerful mix of people.
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