The castle of Alan\u00eds, built after the Castilian conquest in the 13th century, was key to the border defence against Portugal during the 14th and 15th centuries, thanks to its strategic position. In the 15th century it played a prominent role in the struggles between the duchies of Arcos and Medina-Sidonia. Although it lost its military function in the 16th century, it was briefly reused during the War of Independence and is now owned by Alan\u00eds Town Council.<\/p>","comments":"
Alan\u00eds Castle was built between the 14th and 15th centuries, when the conflicts that arose with the neighbouring kingdom of Portugal forced the Council of Seville to reinforce the northern border of its district by building numerous fortifications along the so-called \u2018Banda Gallega\u2019, a defensive belt that constituted the northern border of the Kingdom of Seville during these centuries.<\/p>
The purpose of these enclaves was to safeguard the roads, protect the new settlers and consolidate the Crown of Castile in an area claimed by the Portuguese kingdom.<\/p>
In this context, the importance of Alan\u00eds, in relation to the other fortresses, lies in its strategic position and visual control of the territory, which allowed it to control a large part of the sierra.<\/p>
During the 15th century it played an important role in the noble struggles between the houses of Arcos and Medina-Sidonia, being occupied alternately by these dukedoms. Possibly as a result of the damage caused by these conflicts, reforms and new constructions were carried out that gave the building the formal characteristics with which we know it today.<\/p>
From the next century onwards, having lost its military function, it entered an inexorable period of deterioration, falling into a state of ruin at the end of the 18th century.\u00a0<\/p>
However, the fortress was the scene of a final episode of war, since at the beginning of the 19th century, during the War of Independence, it was rebuilt by the French, who established a garrison there.<\/p>
The castle was the property of the Seville Town Council until it was ceded to the Town Council of Alan\u00eds at the end of the 20th century, the institution that owns it today.<\/p>
The defensive complex consists of a small, irregular hexagonal-shaped enclosure that occupies an area of 2,200 m2. The only gateway to the inside of the enclosure is located in the centre of the north wall, facing the village. Its outer arch, now very deteriorated, would have been formed by a carved sandstone doorway with a semicircular arch. It still preserves the quiciarelas and open boxes in the wall for the bar that would have held the large wooden door closed.\u00a0<\/p>
At the top of the doorway was a machicolation supported by four double-lobed corbels, which is another defensive element.\u00a0<\/p>
A barrel-vaulted corridor leads to the parade ground from where we can see the inner doorway, a Mudejar brickwork consisting of a pointed arch framed by an alfiz.\u00a0<\/p>
The sturdy walls that make up the fortress were built using masonry and carved ashlars at the corners, which made the construction more solid.<\/p>
On the north wall, centred on the north wall and the gateway to the castle, is the double staircase that provides access to the patrol path. This path completely encircled the enclosure, thus allowing the control of all its flanks.\u00a0<\/p>
Standing outwards, on the corner formed by the north and northwest walls, is the only keep. It is built on a semicircular massif that rises in a gentle slope to the height of the promenade, taking on an irregular nonagonal shape from this point onwards. Access to the tower is through a doorway located at the level of the promenade that leads to a rectangular chamber covered by a vaulted ceiling on trumpets.\u00a0<\/p>
Attached to the west wall and on the same side as the doorway is the staircase, covered by a barrel vault, which leads to the last part of the tower: the roof or terrace. This section, nowadays very deteriorated, would have been crowned by a continuous balcony.<\/p>
In the parade ground, also with a hexagonal floor plan, there were a series of rooms attached to the walls that were used to organise the life of the castle's inhabitants. Inside one of them was a bread oven that served to supply the garrison housed there, while other buildings were used as dwellings, storerooms, kitchens and stables.\u00a0<\/p>
A paved path surrounded these buildings, thus facilitating the internal circulation of carts and animals, leaving an unpaved area in the centre where the rock was found.<\/p>
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DAZA PASTRANA, F. Intervenci\u00f3n arqueol\u00f3gica puntual. Seguimiento arqueol\u00f3gico de demoliciones y control de movimientos de tierras en el Castillo de Alan\u00eds de la Sierra (Sevilla). Anuario Arqueol\u00f3gico de Andaluc\u00eda<\/em>. 2010.<\/p> RODR\u00cdGUEZ ACHUTEGUI, C. N., LATORRE ENSELLEM, A. M. y FERN\u00c1NDEZ NAVAS, P. Excavaciones arqueol\u00f3gicas en el Castillo de Alan\u00eds de la Sierra (Sevilla). Campa\u00f1a de 1988. Anuario Arqueol\u00f3gico de Andaluc\u00eda<\/em>. 1988.<\/p> RODR\u00cdGUEZ ACHUTEGUI, C. N. y POZO BL\u00c1ZQUEZ, F. Excavaciones arqueol\u00f3gicas en el Castillo de Alan\u00eds de la Sierra. Anuario Arqueol\u00f3gico de Andaluc\u00eda<\/em>. 1987.<\/p> The Hermitage of San Juan, located on the hill of the castle of Alan\u00eds, was probably the first parish church in the town, with architecture dating from the 14th or 15th century. This Mudejar building with a single nave and decorated doorways housed sculptures and a mural of the Baptism of Christ, although many pieces disappeared in 1936. After its deterioration at the end of the 20th century, it was refurbished and is now used for civilian purposes.<\/p>","comments":" The municipality of Alan\u00eds, located in the foothills of the Sierra Morena mountain range in Seville, has been known since ancient times for its profound religiousness. Proof of this is the large number of hermitages scattered around the town. These hermitages, the fruit of popular fervour, were erected thanks to funding and the pious donations of the faithful, playing an important role in the articulation of a rugged territory with scattered populations.\u00a0\u00a0<\/p> In 1699, the Libro de Visitas Pastorales (Book of Pastoral Visits) mentions five chapels scattered around the town of Alan\u00eds: Nuestra Se\u00f1ora de las Angustias, Vera Cruz, La Caridad y la Encarnaci\u00f3n and San Juan Bautista, while in the following century these visits included those of Jes\u00fas Nazareno and the Hospitales de la Caridad y la Sangre, which shows the large number of chapels that existed during the modern period, in response to both the great devotion and the growing population.<\/p> In the 19th century, different historical events had a negative effect on these hermitages, either through the loss of their heritage due to the confiscations or the loss of popular devotion due to the secularising ideas of the time. As a result, many of them were left in a ruinous state. However, in the following century, repair work was undertaken that made it possible to rebuild these churches, as was the case with the church of San Juan in 1907.<\/p> Located halfway up the slope of the hill on which the castle stands, San Juan has traditionally been considered the first parish church in the town, as it served as a place of worship when the population was concentrated around the castle hill. It is accessed by a path that, from the church of Santa M\u00aa de las Nieves and along Calle Jes\u00fas, climbs gently up to this unique enclave built in the shade and shelter of the castle.<\/p> Its date of construction has been established as the first half of the 14th century, due to its Gothic architectural characteristics, although an inscription inside it, which has now unfortunately disappeared, dates it to the 15th century. It mentions the twenty-fourth knight of Seville, Don Crist\u00f3bal de Mosquera, as the founder of the church.\u00a0<\/p> On the outside, the building is sober, with a rectangular floor plan and a singular semicircular apse that is more typical of the Romanesque style than the Gothic.\u00a0<\/p> It is accessed through two Mudejar-style doorways. The doors open through pointed stone arches, which are backed by others decorated with diamonds or nail heads and framed by an alfiz framed by columns, the doorways are similar in style to those that give access to the parish church. Over the door of the main fa\u00e7ade, a porthole was opened to illuminate the interior, topped by a small belfry with a bell.\u00a0<\/p> Inside, the building has a single rectangular nave topped by a semicircular apse and divided into four bays by pointed brick arches - a model widely used in the medieval architecture of the Sierras of C\u00f3rdoba, Seville and Huelva.\u00a0<\/p> According to a letter from the parish priest in charge of the hermitage dated 1853, there were sculptures of Saint John the Baptist, Saint John the Evangelist, Saint Anthony the Abbot, Saint Anne and Saint Bridget on some of the supports, and there is also news of the existence of mural paintings with the theme of the baptism of Christ by Saint John.\u00a0<\/p> Despite the work carried out at the beginning of the century, by the end of the 20th century the roof of the church had collapsed and its walls had been damaged by the elements. Various refurbishment works have managed to save this monument, which is now used for civilian purposes.\u00a0<\/p>","visitableComments":" ANGULO \u00cd\u00d1IGUEZ, D. Arquitectura mud\u00e9jar sevillana de los siglos XIII, XIV y XV. Bolet\u00edn de la Sociedad Espa\u00f1ola de Excursiones<\/em>. 1932.<\/p> HERN\u00c1NDEZ GONZ\u00c1LEZ, S. Las ermitas de Alan\u00eds. Revista de Alan\u00eds<\/em>. 1997.<\/p> P\u00c9REZ, A. Ermitas, monasterios y conventos de Alan\u00eds. Difundiendo Alan\u00eds<\/em>. 2018.<\/p> VVAA. El g\u00f3tico-mud\u00e9jar por la provincia de Sevilla. 2015.<\/p> The castle of Almad\u00e9n de la Plata, built in the 14th century on the site of a Roman fort from the 1st century AD, had defensive functions on the Silver Route and against Portugal as part of the Galician Band. Although much of it was lost in the 18th and 20th centuries, in 1997 it was partially rebuilt to house the current Town Hall. Nearby, the Clock Tower, erected in 1905 on the site of the old Hospital de los Angeles, still marks the hours in the Plaza del Reloj.<\/p>","comments":" Within the urban area of Almad\u00e9n de la Plata, two distinctive buildings stand out, bearing witness to the antiquity and history of this municipality: the castle and the so-called \u201cClock Tower.\u201d<\/p> The Almad\u00e9n castle dates back to the 14th century, and its construction served a threefold purpose: to protect the Silver Route, one of the region\u2019s main communication routes, to ensure the peace and security of the populations settled there, and to defend the Castilian border against the Portuguese threat.<\/p> After the Castilian conquest of the Sierra Morena in Seville by King Ferdinand III \"The Saint\" in the mid-13th century, the territory of Almad\u00e9n de la Plata was ceded, along with other municipalities, to the Council of Seville. This institution took on the responsibility of maintaining the stability of the territory, whose repopulation was crucial for the consolidation of Castilian power.<\/p> As a result, a series of castles were built, including that of Almad\u00e9n de la Plata, whose aim was to ensure the free movement of people, livestock, and goods along the mountain paths, as well as supply the city of Seville, while organising the dispersed settlement of the territory under the protection of a fortress.<\/p> This fortification was also part of the defensive network known as the Galician or Portuguese Band, created in response to the attacks from Portugal that, during the 14th and 15th centuries, kept the border between the two kingdoms in a state of constant tension. This band extended across the northwestern part of the lands of the Kingdom of Seville, covering parts of the current provinces of Seville, Huelva, and Badajoz. Given its position along the Silver Route, the castle of Almad\u00e9n de la Plata would have been part of the fortified sites protecting the roads from the Portuguese threat.<\/p> It was precisely the need to protect this route that determined the location of the castle. Unlike most fortresses, which were built at the highest point of their surroundings, Almad\u00e9n de la Plata is situated in a valley, at the foot of two elevations: the hill of Los Covachos and the hill of El Calvario.<\/p> The castle was a military enclosure, of small size and a quadrangular layout, covering an approximate area of 2,000 m\u00b2. Over time, new buildings were constructed on its grounds, eventually absorbing and concealing its walls, so today only part of it remains visible.<\/p> The best-preserved architectural elements are found on the northern wall. These include a square tower built with small masonry stones, which houses the stepped entrance to the old fortress, and its original door, constructed with a pointed brick arch.<\/p> It is unclear exactly when the castle ceased its military function, but by the late 15th century, and especially during the following century, with the pacification of the territory, these structures lost their defensive role. The loss of their original purpose led to a period of abandonment and deterioration, which often resulted in ruin.<\/p> In the case of the castle of Almad\u00e9n de la Plata, historical sources tell us that by the late 18th century, it was in a marked state of disrepair, with its \"foundations\" still visible. It was during this century that the standing remains of the northern section were used for the construction of a municipal granary for storing grain.<\/p> To adapt the old fortress into a granary, an arcade was built facing the wall, allowing for the creation of a raised structure whose purpose was to preserve the grain by isolating it from moisture. The building continued to serve as a warehouse until the late 20th century, with the last renovations dated to 1960.<\/p> In 1997, the former granary was rehabilitated to become the Town Hall, allowing the preserved remains of the castle to be recovered, showcasing the original masonry and restoring the most distinctive elements of the 18th-century granary, such as the arcade.<\/p> A few metres from the castle is the Plaza del Reloj, where another of Almad\u00e9n de la Plata's most iconic buildings can be found: the \"Clock Tower.\" The building housing the tower was originally the old Hospital of Los \u00c1ngeles, which dates back to the 15th century and later became a chapel in the 17th century. In contemporary times, it served as the Town Hall until it was moved to the old castle and granary.<\/p> The tower, with a square plan and a height of 27 metres, was erected in 1905 on the fa\u00e7ade of the former hospital and chapel. This brick construction has several levels, accessed by a staircase inside. On the ground floor is the door for entry, above which still remains the old tile indicating that the Town Hall was located there. A second level leads to a balcony from which the square can be seen. At the uppermost section is the famous clock, which faces two sides and still marks the hours today. Finally, the tower is crowned with a small rooftop with a parapet, upon which the bell tower stands.<\/p> This building is one of the most recognisable in the town: its slender profile, the original Neo-Mudejar style, and its characteristic colours\u2014red on the walls and white on the details\u2014make it stand out from the other buildings in the area as a symbol of Almad\u00e9n de la Plata.<\/p>","visitableComments":" MENDEZ IZQUIERDO, E., GIL GUTI\u00c9RREZ, R. M. y L\u00d3PEZ SERENA, M. R. Seguimiento arqueol\u00f3gico en plaza de la constituci\u00f3n de Almad\u00e9n de la Plata. Sevilla. Anuario Arqueol\u00f3gico de Andaluc\u00eda.<\/em> 2020.<\/p> VARGAS DUR\u00c1N, M. A. Intervenci\u00f3n en el p\u00f3sito del trigo de Almad\u00e9n de la Plata (Sevilla). Anuario Arqueol\u00f3gico de Andaluc\u00eda<\/em>. 1989.<\/p> VVAA. Castillo (Almad\u00e9n de la Plata). Ficha T\u00e9cnica Junta de Andaluc\u00eda.<\/em><\/p> The parish church of Santa Mar\u00eda de Gracia is located in the heart of the historic center of Almad\u00e9n de la Plata, very close to what was once the medieval castle and is now the seat of the Town Hall. In front of its main fa\u00e7ade, a wide square opens up, allowing for a full view of the church, with its slender tower standing out.<\/p>","comments":" In the heart of the historic centre of Almad\u00e9n de la Plata is the parish church of Santa Mar\u00eda de Gracia, very close to what was once the medieval castle, which is currently the seat of the Town Hall. In front of its main fa\u00e7ade there is a large square that allows you to contemplate the whole temple.<\/p> The origin of its construction dates back to the end of the 16th century and beginning of the 17th century, identifying itself with the Renaissance and Baroque styles. The church, as it has come down to us today, is the result of different construction phases in which highly prestigious architects such as Vermondo Resta, Hern\u00e1n Ruiz II, Pedro S\u00e1nchez Falconete and Esteban Garc\u00eda were involved. In a second phase, corresponding to the 18th century, remodelling works were carried out by the architects Jos\u00e9 Tirado, Jos\u00e9 Bonilla, Francisco Mu\u00f1oz and Pedro de Silva. Between 1750 and 1760, works were carried out by Francisco Jim\u00e9nez Bonilla who, among other parts of the temple, seems to have intervened in the tower.<\/p> Outside, at the foot of the church, the main entrance and its slender tower stand out. The entrance, in Renaissance style, is made of marble from the local quarries. It consists of a semicircular arch between Tuscan pilasters and an entablature decorated with grotesques in the central area and cherub heads on the sides. The bell tower is made up of three bodies, delimited by projecting cornices. It has a single body of bells structured by pilasters and topped with a simple octagonal spire covered with white and cobalt blue tiles. Its construction dates back to the 17th century and is the work of the architect Esteban Garc\u00eda, although in the following century the master Francisco Jim\u00e9nez Bonilla intervened on it.<\/p> The temple consists of a single nave divided into four sections with side chapels and a high choir at the foot. The nave is covered by a barrel vault with transverse arches and lunettes. In the background, behind the triumphal arch, is the main chapel, with a square floor plan and a half-orange vault on pendentives, where we can see a profuse polychrome mural decoration.<\/p> On January 4, 1953, the church of Santa Mar\u00eda de Gracia suffered a serious fire that destroyed part of its artistic treasures, such as the main altarpiece in baroque style, which was reduced to ashes along with the sculptures it housed: the primitive image of the patron saint, Our Lady of Grace, and a valuable carving of a crucified Christ, the work of Roque Balduque, which occupied the attic of the old altarpiece and is now preserved in the sacristy.<\/p> The main altarpiece that we can see today comes from the Church of San Felipe de Carmona (Seville). It is a splendid work of Sevillian baroque made of carved and gilded wood, in which its rich decoration stands out. In the centre, presiding over the altarpiece, is the Cristo del Crucero, an anonymous sculpture from the beginning of the 16th century, the patron saint of Almad\u00e9n de la Plata and an image of great veneration. The sculptural ensemble contains valuable baroque sculptures from the 17th and 18th centuries:<\/p> On the side streets, on both sides of the Cristo del Crucero and on high corbels, we can see the images of Saint John the Evangelist and Mary Magdalene. In the upper part, in the attic and under a semicircular arch, is the sculpture of the Immaculate Conception. In the lower part, above the tabernacle, a niche formed by a large semicircular arch houses a sculpture of the Child Jesus, from the Seville school. On the sides of the altarpiece are the sculptures of Saint Joseph and Saint Anthony of Padua. <\/p> Another admirable element of the main chapel is the beautiful doorway that leads to the sacristy, made by the master builder Esteban Garc\u00eda in 1676. The doorway is flanked by Solomonic columns, on which stands a split pediment whose central space is occupied by a cross on a pedestal. Next to the Main Chapel, on the Epistle wall, is the altarpiece with the Virgin of Grace, an image of glory by the local sculptor Jaime Mate, which replaced the one affected by the fire in 1953. Opposite it, on the Gospel wall, we can see a beautiful, profusely decorated 18th-century Baroque altarpiece, also from the Church of San Felipe de Carmona, which houses an image of the Divine Shepherdess of Souls, a work by the sculptor and religious image maker Francisco Buiza, dated 1955.<\/p> Also located on the Gospel wall are the Chapel of the Virgin of Sorrows and the Chapel of Jesus of Nazareth. The first shows an exuberant decoration made with mural painting. It venerates the Virgin of Sorrows, a Baroque carving by an unknown artist, and the Recumbent Christ, a round sculpture from the 18th century that must have originally belonged to a descendant. In the chapel of Jesus of Nazareth we find this image of great devotion of Christ carrying the cross, a baroque carving from the Andalusian school.<\/p> ANGULO \u00cd\u00d1IGUEZ, D. Arquitectura mud\u00e9jar sevillana de los siglos XIII, XIV y XV. Bolet\u00edn de la Sociedad Espa\u00f1ola de Excursiones<\/em>. 1932.<\/p> CRUZ ISIDORO, F. Pedro S\u00e1nchez Falconete (ca. 1586\/1587-1666).<\/p> FERN\u00c1NDEZ CACHO, Y. Una personalidad in\u00e9dita de la arquitectura sevillana del setecientos: Francisco Jim\u00e9nez Bonilla.<\/p> HERN\u00c1NDEZ N\u00da\u00d1EZ, J. C. Algunas reflexiones sobre las ermitas de la provincia de Sevilla y sus bienes muebles.<\/p> HERN\u00c1NDEZ GONZ\u00c1LEZ, S. Las ermitas de Alan\u00eds. Revista de Alan\u00eds<\/em>. 1997.<\/p> P\u00c9REZ, A. Ermitas, monasterios y conventos de Alan\u00eds. Difundiendo Alan\u00eds<\/em>. 2018.<\/p> VALDIVIESO, E. Gu\u00eda art\u00edstica de Sevilla y su provincia.<\/p> VVAA. Iglesia de Nuestra Se\u00f1ora de Gracia. Ficha T\u00e9cnica Junta de Andaluc\u00eda<\/em>.<\/p> VVAA. El g\u00f3tico-mud\u00e9jar por la provincia de Sevilla. 2015.<\/p> The current Cuatrovitas chapel, located in Seville, contains one of the best-preserved rural mosques of Al-Andalus, built around 1180 during the Almohad period.<\/p>","comments":" Slightly hidden in the current hermitage of Cuatrovitas, one of the best preserved rural mosques of Al-Andalus is preserved. Built around 1180, the Almohad mosque of the Muslim village of Cuatrovitas remained standing after the Castilian conquest and, although the village ended up disappearing, the old Islamic place of prayer continued to function as a Christian church under the patronage of Santa Mar\u00eda de Cuatrovitas.<\/p> Architectural studies and recent archaeological excavations allow us to get closer to the Almohad building and the village today.<\/p> The mosque of Cuatrovitas was surrounded by a low wall or wall that closed the complex formed by the prayer room or haram, the minaret or minaret and the ablutions courtyard or sahn. <\/p> Of the complex, the minaret stands out, preserved practically intact, since only the upper body has disappeared through which the muezzin accessed the terrace to make the call to prayer. This element is characterised by the massive use of brick and the subdivision into bodies through the arrangement of windows through which the spiral staircase that ascends the interior was illuminated. On each side, double openings were placed at different heights, some of them framed in simple alfices and topped with a double horseshoe arch or a double lobed arch. These arches, in their origin, would have been supported by columns that acted as mullion and that have disappeared. Thanks to an engraving dated in the 17th-18th centuries, we know that the upper body would have been topped with a three-sphere mast or yamur, similar to the one that the Giralda had, which was probably lost as a consequence of the Lisbon earthquake in 1775.<\/p> The patio is located before the prayer room. According to the Islamic rite, before praying the faithful must purify themselves by performing a washing or ablution. The presence of a water well in this open space could be proof of its use for this ritual, storing the purifying liquid in an ablution basin. Once purified, believers could enter the prayer room, the main entrance of which was to the northeast. Through a door topped by a horseshoe arch, they entered a rectangular room made up of three naves divided into the five sections that are preserved today. The central nave was separated from the side naves by horseshoe arches on square brick pillars. These arches were re-cut, but they are the ones that still support the central naves.<\/p> On the east side, an auxiliary door also allowed access to the interior of the building from the courtyard. At the back of the central nave was the mihrab, a niche located in the center of the qibla wall, which marks the canonical direction of prayer. This is the most important space in the mosque, since it is where the faithful must direct their gaze and next to it the imam is placed to lead the prayer. Although only the foundations of the mihrab have been documented, the data extracted from the excavations, as well as the information obtained from other rural mosques, have allowed a hypothetical reconstruction of its elevation and interior decoration to be carried out.<\/p> The mosque would have been maintained with few reforms in the moments after the Castilian conquest, the earliest of which was perhaps the demolition of the enclosing wall. Later, and already in the transition between the Middle Ages and the Renaissance, two naves were added to the sides and, later, another one to the qibla wall. Despite the reforms carried out, the naves and the Almohad minaret of the original building are preserved; the gradual abandonment of the town, of which the Cuatrovitas estate remains as the only testimony today, is not unrelated to the preservation of this complex. However, geophysical surveys and the excavation of some houses allow us to get closer to the urban layout and the morphology of the buildings of the Almohad period.<\/p> The village served by the mosque was located on the left bank of the Norieta stream. The landscape showed a gentle relief dominated by areas of orchards, vineyards and pastures around the town centre and wheat fields, olive groves and scrubland in more distant areas. The buildings were arranged in streets that form square blocks, giving rise to a fairly regular checkerboard grid with a slightly less ordered area around the mosque. Perhaps the reason is that the buildings grouped around the mosque were the oldest and, the furthest away, the result of a planned expansion of the village.<\/p> The houses documented in the archaeological excavations seem to respond to the same typology: simple rectangular or quadrangular constructions with a large interior garden courtyard, where the well is located, and open rooms around the courtyard. Following the dominant pattern in the Islamic world, the houses are conceived as a space closed to the outside where the openings to the street are the minimum necessary, offering privacy to the inhabitants, in contrast to the interior space articulated around the courtyard onto which the different rooms open.<\/p>","visitableComments":" GUARRIAR\u00c1N DAZA, P. Acerca del alminar almohade de Cuatrovitas en Bollullos de la Mitaci\u00f3n (Sevilla). Caetaria<\/em>. 3. 2000.<\/p> HEINDEREICH, A. Cuatrovitas (Bollullos de la Mitaci\u00f3n. Sevilla). Nuevas investigaciones sobre el asentamiento abandonado y la mezquita almohade. 2017.<\/p> The hill of Santa Br\u00edgida is the highest viewpoint in the area. A Muslim marabout was erected here and a chapel dedicated to Santa Br\u00edgida was built on top of it.<\/p>","comments":" The hill of Santa Br\u00edgida is the highest viewpoint in the area. A Muslim marabout was erected on it and on top of it a chapel dedicated to Santa Br\u00edgida, which was maintained until the Napoleonic invasion, during which it housed a battery for the defence of the city of Seville. It was a strategic location not only because it controlled the main natural resources and communication routes, in this case the Guadalquivir, but also because from these heights it was possible to control the surrounding territories up to several kilometres away, thus providing a great defence for the city.<\/p> The hermitage of Santa Br\u00edgida was a place of worship that played an important role during the War of Independence, when it was destroyed. No remains of it are preserved to this day. An ancient image of the Virgen de la Candelaria was venerated in the chapel, which was worshipped by monks who belonged to the rule of San Antonio Abad. This image of the Virgin was clothed and held the image of the Child Jesus in one arm and a candle in the opposite hand. It seems to have come from the old Chapel of the Patrocinio de Triana, after being ceded to replace a previous image that was in very poor condition.<\/p> The hermitage had a single nave. To the left of the main entrance was a room that served as the hermits' quarters, while to the right was the altar of the Virgen de la Candelaria. This monastery was supported by popular charity and, due to its poverty, had neither a missal nor a chalice for worship, so they had to borrow them from the church of Camas in order to be able to celebrate mass. This also affected the upkeep of the building, to such an extent that in the 18th century the chapel was completely demolished. It was at this time that the Order of San Ant\u00f3n Abad took charge of the chapel and undertook the restoration of the building.<\/p> In 1804 a new rebuilding began but was never completed due to the Napoleonic invasion, during which it was used as a military enclave, as the French used it as a strategic enclave for the control of Seville. After these events, the building was completely destroyed and its place was occupied by a farmhouse and later by a dwelling until well into the 20th century.<\/p> The images of the Virgen de la Candelaria and Santa Br\u00edgida are still preserved today in the church of Santa Mar\u00eda de Gracia in Camas, where they are worshipped. Since 1993, on the first Sunday in October, the Santa Br\u00edgida pilgrimage has been held, in which the image of the saint is carried from the church to the hill.<\/p>","visitableComments":" ALONSO MORGADO, J. (2022). Sevilla Mariana. Rese\u00f1as hist\u00f3rico-descriptivas sobre las diferentes devociones marianas en la Archidi\u00f3cesis de Sevilla<\/em>. Universidad de Sevilla (Colecci\u00f3n Bibliofilia, n.\u00ba 13).\u00a0<\/p> ANTEQUERA LUENGO, J.J. (1981). Noticias y documentos para la Historia de Camas (hasta finales del XIX). Tartessos.<\/p> SERRANO ORTEGA, M (2006). Monumentos de los pueblos de la provincia de Sevilla<\/em>. Universidad de Sevilla.<\/p>","credits":" Iron Age sanctuary located on the Cerro de El Carambolo.<\/p>","comments":" On the right bank of the lower stretch of the Vega del Guadalquivir, in the municipality of Camas, we find the Cerro de El Carambolo, 84 m. high, on which lie the archaeological remains of a protohistoric sanctuary of the Orient, located opposite the ancient city of Spal (present-day Seville) from which it was separated by the tail of an arm of the sea, the Guadalquivir paleo-sanctuary.<\/p> El Carambolo is one of the most important sites in research on Tartessos during the 20th and 21st centuries. Although at first the site was interpreted as a settlement of huts inhabited by indigenous people that became more complex after contact with the Phoenicians, the latest excavations carried out at the site uncovered a large building that can be interpreted as a place of worship like those existing in the Near East during the early Iron Age.<\/p> The sanctuary was founded at the end of the 9th century BC or the beginning of the 8th century BC, coinciding with the Phoenician colonisation, and was probably a dual sanctuary, dedicated to Astarte and Baal or Melkart. Due to its location, on a promontory in the Guadalquivir estuary, in addition to its sacred character, it would have served as a guide for ships sailing up the tongue of sea that went as far as Seville, as well as a place for economic and commercial transactions under the protection of the deities.<\/p> The sanctuary has been occupied for some two hundred years, during which time it was rebuilt on several occasions, always maintaining its sacred character. The initial construction, which was quite simple, became more monumentalised and complex as time went by, and was rebuilt in up to five construction phases:<\/p> ** Carambolo V, first phase of construction. Late 9th century BC to late 8th century BC. BC to the end of the 8th century BC.<\/strong><\/p> The entrance leads to a large rectangular room, 12 m long and 8 m wide, with a continuous bench around the perimeter. This room would have served as a distributor and access to the other rooms of the sanctuary. This room would have been an open-air multifunctional courtyard where offerings and sacrifices were possibly prepared. The latter would take place on a stepped platform at the back of the courtyard. On either side of the platform there would be two openings that would serve as access to two rectangular rooms that are interpreted as the cult chapels.<\/p> On the left we find a room measuring 7 m. long and 3 m. wide, in the outermost part of which a series of hearths are documented and in the centre a circular altar. At the back of the room is a small room that can be interpreted as an adyton (a special area where only the priests in charge of the cult could enter).<\/p> The room on the right is structured as a rectangular room that is supposed to have the same configuration as the previous one. Next to the access step to the room, a stone was documented that can be interpreted as a betilo or sacred stone consecrated to the divinity.<\/p> ** Carambolo IV, the first reform and extension of the sanctuary. Between the end of the 8th century and the transition between the 8th and 7th centuries BC.<\/strong><\/p> It is divided into four areas:<\/p> Area 1: This is configured as a large open space, delimited to the southwest by the sanctuary buildings. This space acts as an antechamber to the sanctuary, articulating the accesses to the different spaces. Its paving is made of a gravel and pebble bed for drainage, on top of which there is a reddish clay-tinged earth pavement.<\/p> Area 2: The southeast area of the building is occupied by a series of quadrangular and rectangular rooms that can be interpreted as living areas. Access to these rooms is from the large courtyard, just in front of which is a rectangular room paved in red and with skirting boards in the same finish. To the right of this room is a small quadrangular room with floors finished in reddish clay.<\/p> Area 3: Located to the west, this is a series of rectangular rooms arranged around a central courtyard. Just to the left and right of this courtyard there are two rooms that may have been related to food preparation due to the presence of hearths, animal remains and ceramic remains. On either side of these rooms are two rooms that have been interpreted as worship areas due to the care taken with their finish and the presence of steps. This area can be interpreted as a religious building with two rooms for worship and, in the centre, a logistical area for the preparation of ritual offerings to the gods.<\/p> In the room on the right, we find a rectangular room measuring 5'80 x 6'60m. The remains of benches and floors are very well preserved, and in the central area a rectangular structure has been documented which has been interpreted as an altar.<\/p> The room on the left is a room measuring 8 m x 15 m with perimeter steps decorated in red, as is the floor. In the central area an altar was found in the shape of a bull skin dyed red and with traces of burning.<\/p> Area 4: This area, located to the west of the complex, is quite affected due to the buildings that took place during the 20th century. Despite this, a couple of rectangular rooms can be made out, which seem to be an area where the sacrificial offerings from the sanctuary were dumped.<\/p> ** Carambolo III, second reform and extension of the sanctuary. Between the 8th century and the first half of the 7th century BC.<\/strong><\/p> The buildings are arranged around the central courtyard:<\/p> Area 1: This is a rectangular space measuring 20 x 14 m., with an east-west orientation, around which the entire sacred area is articulated. This area is paved with a beaten earth floor stained red and along the enclosing wall there is a continuous bench. Access to the building was via a rectangular porticoed transit area paved with seashells.<\/p> Area 2: During this phase, the southeast area of the building has a series of rectangular and quadrangular rooms that are connected to each other through a series of openings. Their floors are very well preserved and almost all of them have hearths located in their central area. The function of these rooms was presumably that of the sanctuary servants' quarters.<\/p> Area 3: One of the two worship rooms was renovated to create a rectangular room measuring 21 m x 9 m. The tier was decorated with a red and black chequered motif. The tier was decorated with a checkerboard motif in red and black. In the centre of the room there is an altar in the shape of a bull skin with traces of burning in its central area.<\/p> The other worship room is also quite carefully decorated. It is a room measuring 9'80 x 6'60 m. with two steps attached to the side walls decorated with red and white stripes. The floor was made of red-dyed clay and in the central area there is the same quadrangular altar as in the previous phase.<\/p> The central rooms, which are accessed through the porticoed area, continue to be used to prepare food for offerings, as shown by the presence of hearths, ovens and the remains of pottery and animals.<\/p> Area 4: This area, located to the west of the complex, is quite affected due to the buildings that took place during the 20th century. The remains that have been documented in this area are pits filled with ash deposits, organic and ceramic elements, with a similar functionality to that of the previous phase.<\/p> ** Carambolo II, third reform of the sanctuary. Second half of the 7th century BC.<\/strong><\/p> The organisation of the sanctuary remains unchanged with respect to the previous period:<\/p> Area 1: Its configuration does not change, but the rise in ground level causes a resurfacing of both the courtyard and the porticoed area with red-dyed clay slurry.<\/p> Area\u00a02:\u00a0In\u00a0this\u00a0area,\u00a0some\u00a0rooms\u00a0are\u00a0compartmentalized\u00a0and\u00a0others\u00a0are\u00a0resurfaced.<\/p> Area\u00a03:\u00a0At\u00a0this\u00a0time,\u00a0the\u00a0subdivision\u00a0of\u00a0spaces occurs. The\u00a0rooms\u00a0continue\u00a0to\u00a0be\u00a0articulated\u00a0around\u00a0the\u00a0central\u00a0courtyard,\u00a0with\u00a0rectangular\u00a0rooms\u00a0on\u00a0both\u00a0sides. One of the two large rooms used for worship is divided longitudinally, giving rise to two new rectangular rooms by means of a wall that rests on the old altar. The function of these new rooms is unknown at the moment.<\/p> Area 4: This phase is quite poorly documented in this set. Everything suggests that the area is basically maintained as an open space of secondary character.<\/p> ** Carambolo I, last documented reform of the sanctuary. The end of the 7th century B.C.<\/strong><\/p> In this phase differ at least 3 of the 4 previous domains:<\/p> Area 1: in this phase there is a rise in the height of the large courtyard of the complex as a result of a series of spills of domestic origin that occur over a long period. The great ritual esplanade is compartmentalized and in front of the access there are some stands in the form of or inverse.<\/p> Area 2: This zone displays the same configuration as the previous phase. The reforms that are documented here consist of reinforcing the walls and the rise of the levels of the rooms that encompass it.<\/p> Area 3: This third area will be the most changed with the reforms of this phase. These changes focus on the compartmentalization and subdivision of some rooms and the union of others. The central courtyard will be the most affected since it will be divided into 4 rooms, two of rectangular plan and two of quadrangular plan. The result of these reforms will be the presence of a battery of six parallel rectangular rooms with northeast-southwest orientation and another battery of three rooms with southeast-northwest orientation.<\/p>","visitableComments":" The sanctuary \"El Carambolo\" is not visible today. The archaeological remains were covered after the excavation was completed in order to preserve them.<\/p>","accessibilityComments":" DE LA BANDERA ROMERO, M. L. y FERRER ALBELDA, E. (Corrd.) (2010). El Carambolo. 50 a\u00f1os de un tesoro<\/em>. Universidad de Sevilla.<\/p> ESCACENA CARRASCO, J.L. (2008). Arqueoastronom\u00eda en el Carambolo. Una nueva explicaci\u00f3n para el mito del dios que muere y resucita. Andaluc\u00eda en la Historia <\/em>(22), 34-37.<\/p> ESCACENA CARRASCO, J.L., FERN\u00c1NDEZ FLORES, A. y RODR\u00cdGUEZ AZOGUE, A. (2007).Sobre el Carambolo: Un h\u00edppos sagrado del Santuario IV y su contexto arqueol\u00f3gico. Archivo espa\u00f1ol de arqueolog\u00eda, 80, 5-28<\/em>.\u00a0<\/p> FERN\u00c1NDEZ FLORES, A. y RODR\u00cdGUEZ AZOGUE, A. (2022). Tartessos Desvelado. La colonizaci\u00f3n fenicia y el origen y ocaso de Tartessos<\/em>. Ed. Almuzara.<\/p> FERN\u00c1NDEZ FLORES, A. (2005). El Carambolo. Revisi\u00f3n e interpretaci\u00f3n del yacimiento a partir de los nuevos datos arqueol\u00f3gicos<\/em>. Memoria de Licenciatura in\u00e9dita. Universidad de Sevilla.<\/p>","credits":" Third-party video or image resources:<\/strong><\/p> Courtesy of \u00c1lvaro Fern\u00e1ndez Flores.<\/p>","virtualTourURL":null,"augmentedRealityURL":null,"interactiveSceneURL":null,"has3dObjects":true,"attachments":[{"id":1922,"originalName":"carambolo-foto8.jpg","filename":"38af2cd624bf9102025492fdc0388a23.jpg","subdirectory":"\/interest-points\/0197209e-f8d8-7a4c-9cda-60ea4cda966a","extension":"jpg","mimeType":"image\/jpeg","type":"image","visorType":null,"minZoom":0.57,"maxZoom":1.14,"audioLanguage":null,"attachmentOrder":1,"creationDate":{"date":"2025-05-30 10:57:09.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-05-30 10:58:09.000000","timezone_type":3,"timezone":"UTC"},"title":"Construction phases (Carambolo I and 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11:56:21.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-05-30 12:02:10.000000","timezone_type":3,"timezone":"UTC"},"title":"Carambolo Treasure Bracelet","comments":null},{"id":1985,"originalName":"tesoro21.jpg","filename":"9b8ceee26322a744258b87e767200113.jpg","subdirectory":"\/interest-points\/0197210a-b697-71d8-9081-53d8917bde1b","extension":"jpg","mimeType":"image\/jpeg","type":"image","visorType":null,"minZoom":0.57,"maxZoom":1.14,"audioLanguage":null,"attachmentOrder":21,"creationDate":{"date":"2025-05-30 12:01:25.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-05-30 12:02:50.000000","timezone_type":3,"timezone":"UTC"},"title":"Pectoral Treasure of the Carambolo","comments":null},{"id":1986,"originalName":"tesoro20.jpg","filename":"8be0b35802ac14cb4d681e20061d4206.jpg","subdirectory":"\/interest-points\/0197210a-b697-71d8-9081-53d8917bde1b","extension":"jpg","mimeType":"image\/jpeg","type":"image","visorType":null,"minZoom":0.57,"maxZoom":1.14,"audioLanguage":null,"attachmentOrder":22,"creationDate":{"date":"2025-05-30 12:01:25.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-05-30 12:02:45.000000","timezone_type":3,"timezone":"UTC"},"title":"Pectoral Treasure of the Carambolo","comments":null}],"name":"Tesoro de El Carambolo","shortDescription":" A set of 21 pieces of protohistoric jewellery found inside a large ceramic vessel at Cerro de El Carambolo.<\/p>","comments":" On 30 September 1958, during construction work in the so-called Tiro de Pich\u00f3n, on the Carambolo hill, a set of jewellery was found inside a large ceramic vase known as The Carambolo Treasure. At first, the pieces were distributed among the workers who found them, but they were soon handed over to the authorities.<\/p> The set consists of 21 gold pieces weighing a total of 2'950 kg: a necklace, two 'bull's skin' pendants, two cylindrical bracelets and sixteen rectangular plaquettes.<\/p> - Necklace of pseudo-seal pendants. This consists of a braided chain divided into two strands that are inserted into a pin from which seven oval-based seal pendants are threaded onto thinner chains. The decoration is a combination of floral and geometric motifs characteristic of Eastern cultures.<\/p> \u00a0- Bull skin\" pendants. These are two pendants that are similar but different in decoration and size. The first has decorative motifs based on rosettes and its measurements are: maximum external height 15.5 cm; minimum internal height 10.2 cm; maximum external width 14 cm; minimum internal width 5.8 cm. The second pendant is decorated with recessed spheres and its measurements are: maximum outer height 16.0 cm, minimum inner height 13.8 cm; maximum outer width 11.0 cm; minimum inner width 11.0 cm; weight 198.32 g.<\/p> \u00a0- Cylindrical bracelets. The decoration of these bracelets consists of horizontal bands of alternating decorative motifs of rosettes and hemispheres. These jewels have no close parallels and are considered to be an indigenous production that evolved from earlier forms from the Atlantic Final Bronze Age. The measurements of these pieces are 10.5 cm. inside diameter and 11.4 cm. high. In the first bracelet; and inner diameter 10.0 cm. and height 10.9 cm. in the second.<\/p> \u00a0- Plates with rosettes. These make up a set of eight rectangular plates with alternating decoration of hemispheres and eleven-petal rosettes. They have perforations on the long sides for passing cords. They are differentiated into two sets of four by their sizes. Sub-set A measures 11 x 6 cm, while sub-set B measures 11 x 4'4 cm.<\/p> \u00a0- Plates with a recessed hemisphere. This is a set of eight rectangular plates decorated with rows of recessed hemispheres alternating with rows of small circles. The long sides of the plates have perforations for joining them together with through cords. They all have the same dimensions, which are 9 x 5 cm.<\/p> The Carambolo Treasure has had and still has several interpretative hypotheses about its possible use. The first interpretative hypothesis about the functionality of the treasure was that of Professor Carriazo. According to him, the pieces belonged to the trousseau of a Tartessian monarch, where the so-called pectorals would function as such, one set of plates would function as a tiara and another as a belt.<\/p> Another interpretative hypothesis is the one put forward by Professors Escacena and Amores, where part of the Treasure is interpreted as liturgical trousseau destined for the pre-sacrificial procession of a bull and a cow immolated for Baal and Astarte. In this case, the so-called pectorals would be frontiles for the adornment of these animals, as would the two sets of plaques, the set adorned with rosettes being destined for Astarte's cow and the one with hemispherical elements for Baal's bull. The remaining pieces of the Treasury, a necklace of seals and bracelets, would consist of the liturgical trousseau of the priest who would carry out the sacrifice.<\/p> Another hypothesis to take into account is the one proposed by Professor de la Bandera, who states that the bracelets should be associated with the platelets and the bull skin pectorals, while the necklace should have been part of a different set, unknown today, due to its stylistic difference. This hypothesis highlights the use of pectorals as such, but attached to the torso by means of cords, unlike Carriazo's hypothesis, but does not rule out their possible use as frontiles. On the other hand, in the case of the plaques, it highlights their possible multiple function as belts, diadems and crowns, and even bracelets-bracelets due to the parallels found in the oriental representations.<\/p>","visitableComments":" DE LA BANDERA ROMERO, M. L., G\u00d3MEZ TUB\u00cdO, B., ONTALBA SALAMANCA, M. A., RESPALDIZA, M. A. y ORTEGA FELIU, I. (2010). El Tesoro de El Carambolo: T\u00e9cnica, simbolog\u00eda y poder. En de la Bandera Romero, M. L., Ferrer Albelda E., El Carambolo. 50 a\u00f1os de un tesoro. <\/em>Universidad de Sevilla, 297-334.<\/p> ESCACENA CARRASCO, J. L. Diis Tauris Sacrum. Las joyas del Carambolos como atuendo lit\u00fargico (2017). En RODR\u00cdGUEZ D\u00cdAZ, A., PAV\u00d3N SOLDEVILA, I. y DUQUE ESPINO, D.M. (Eds.), Historias de Tesoros. Tesoros con Historia<\/em>. Universidad de Extremadura, 201-240.<\/p> ESCACENA CARRASCO, J. L. y AMORES CARREDANO, F. (2011). Revestidos como Dios manda. El tesoro del Carambolo como ajuar de consagraci\u00f3n. Spal, 20<\/em>, Universidad de Sevilla, 107-141.<\/p> Third-party video or image resources:<\/strong><\/p> Copyright: JUNTA DE ANDALUC\u00cdA. Department of Tourism, Culture and Sport. Belonging to the collection of the Archaeological Museum of Seville.<\/p> Ownership: Junta de Andaluc\u00eda.<\/p> Author: Pepe Mor\u00f3n.<\/p>","virtualTourURL":null,"augmentedRealityURL":null,"interactiveSceneURL":null,"has3dObjects":true,"hasVideos":false,"clickCounter":651},{"id":"01924e14-cec9-70ff-812f-2a0c34395bb9","location":null,"lng":"-5.6368033050501145","lat":"37.47332733428219","creationDate":{"date":"2024-10-02 16:33:59.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-11-11 17:25:32.000000","timezone_type":3,"timezone":"UTC"},"active":true,"visitable":true,"accessibility":true,"deleted":false,"highlighted":true,"zones":[{"id":"0187b720-cf63-7bde-9ab5-d7a37d63bf0f","name":"Patrici@"}],"municipality":{"id":"01920ee8-7038-73f2-bb79-9bce5293142e","name":"Carmona"},"age":{"id":6,"creationDate":{"date":"2023-11-27 11:58:58.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-01-21 13:09:36.000000","timezone_type":3,"timezone":"UTC"},"active":true,"name":"Contemporary Age"},"typology":{"id":8,"creationDate":{"date":"2023-06-22 08:47:13.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-01-22 10:24:00.000000","timezone_type":3,"timezone":"UTC"},"active":true,"markerType":"interest_point","name":"Cultural space"},"interestPointClickCounters":[{"id":84,"clickCounter":537,"userAgent":"GuzzleHttp\/7","creationDate":{"date":"2024-10-03 12:09:57.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2026-05-04 19:19:49.000000","timezone_type":3,"timezone":"UTC"}},{"id":107,"clickCounter":1,"userAgent":"PostmanRuntime\/7.42.0","creationDate":{"date":"2024-11-13 16:37:29.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":null},{"id":108,"clickCounter":101,"userAgent":"Dart\/3.4 (dart:io)","creationDate":{"date":"2024-11-13 18:09:40.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2025-03-10 10:52:29.000000","timezone_type":3,"timezone":"UTC"}},{"id":141,"clickCounter":126,"userAgent":"Dart\/3.6 (dart:io)","creationDate":{"date":"2025-01-10 13:11:13.000000","timezone_type":3,"timezone":"UTC"},"lastUpdateDate":{"date":"2026-04-07 10:23:01.000000","timezone_type":3,"timezone":"UTC"}},{"id":159,"clickCounter":1,"userAgent":"Mozilla\/5.0 (Windows NT 10.0; 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Housed in the Casa Palacio del Marqu\u00e9s de las Torres, the building is an example of 16th and 18th century Sevillian architecture.<\/p>","comments":" The Museum of the City of Carmona, located in the Casa Palacio of the Marquis of las Torres, offers a journey through the city's history, from the origins of civilisation to the present day. Visitors can immerse themselves in a trip through the most important periods of Carmona\u2019s history, thanks to its extensive collection of archaeological remains. The most outstanding pieces include objects from the Paleolithic, Chalcolithic, and the Tartessian and Roman periods, with the famous Saltillo Vases being highlights of Tartessian culture.<\/p> The building itself is an architectural gem. Built in the 16th century and renovated in the 18th century, the palace reflects the splendour of Seville\u2019s architecture from that period. Its imposing main facade, with two levels, is adorned with Doric and Ionic columns, highlighting the Quintanilla family crest and an elegant balcony crowned with a mixed-line pediment, elements which give it significant monumental presence. Inside, the spacious vestibule and central courtyard, with its semicircular arches and marble columns, organise the different rooms of the building, including the summer and winter houses, which complete the noble residence.<\/p> The museum\u2019s exhibition not only stands out for its valuable archaeological content but also for its collection of paintings by artists such as Jos\u00e9 Arpa, Rodr\u00edguez Jald\u00f3n, and Valverde Lasarte, providing a more modern perspective on the artistic heritage of Carmona. The museum's rooms are organised to offer a chronological view of the city's evolution and its inhabitants. The room dedicated to the Paleolithic shows how the Guadalquivir Valley was first populated half a million years ago, through stone tools used by the first inhabitants of the area.<\/p> As time passed, the city grew and transformed. During the Copper Age, around 4,500 years ago, the first human settlements were established in the area now occupied by Carmona. These settlements consisted of circular huts, the remains of which can also be seen in the museum, alongside tools and ceramic items from that period. The Bronze Age marked a period of expansion, with a population increase and the construction of the first defensive walls to protect the settlement.<\/p> The museum also takes us back to the Tartessian and Turdetanian periods when Carmona became an important city within the context of Mediterranean civilisations. With the arrival of the Phoenicians, the city experienced significant technological and urban advancements, such as iron metallurgy and the introduction of the potter\u2019s wheel. This period is particularly important in the history of Carmona, as it was during this time that the urban core of the city was established.<\/p> The room dedicated to Roman Carmona is one of the most striking in the museum, as it features a scale model of the city during that period, showing in detail the baths, forum, theatre, and amphitheatre, as well as the residential areas and family homes, called domus. These homes, organised around a central courtyard with a pond to collect rainwater, are an example of the advanced social and urban organisation of Roman civilisation.<\/p> Finally, the museum also houses collections that reflect Carmona's medieval history, both during its Islamic and Christian periods. The Muslim city of Qarmuna, although with few archaeological remains, is represented by a reconstruction of an Islamic kitchen discovered during excavations in 1991. In the room dedicated to Christian Carmona, the works of embellishment carried out by Pedro I and the Catholic Monarchs are highlighted, as they constructed new buildings and fortifications that shaped the city as it is known today.<\/p>","visitableComments":" The bastion we know today as the Alc\u00e1zar de la Puerta de Sevilla in Carmona formed part of the city's defensive enclosure and allowed access to the city from the west.<\/p>","comments":" The bastion we know today as the Alc\u00e1zar of the Puerta de Sevilla in Carmona was part of the city's defensive enclosure and provided access to the town from the west. The structures we can see are the result of over 2,000 years of history, reflecting the evolution of military engineering, or the art of defence, from the Punic period to the Modern Age. Over these centuries, a simple bastion transformed into a complex defensive system that still evokes awe when passing beneath its imposing walls.<\/p> The first enclosure protecting the access to the city of Carmo from the west was a fortified stronghold with a square-shaped plan, which, taking advantage of the pre-existing topography, extended outward from the city walls. The bastion featured a small advanced tower that facilitated the defence of the gate, located to its side, in the event of an attack.<\/p> This structure is commonly dated to the Punic period, although some researchers date it to the early Roman era, linking it to Hannibal's presence in southern Iberia and the military events of the 3rd century BC during the Second Punic War between Carthage and Rome. However, remnants have been found that seem to indicate that this fortification was already superimposed over an earlier defensive enclosure dating back to the 8th century BC.<\/p> During the Roman Republican period, in the context of the Roman civil wars, the gate was reformed and monumentalised. The access was reinforced with a trapezoidal courtyard or intervallum, surrounded by walls with two openings covered by barrel vaults at the ends. The intervallum allowed for the defence of the second gate from above, should attackers manage to breach the first. The Puerta de Sevilla, along with the Puerta de C\u00f3rdoba, marked the ends of the cardo maximus<\/em>, the east-west artery that structured Roman Carmo.<\/p> Furthermore, in the second half of the 1st century BC, the Punic bastion was further elevated, and on the upper terrace, a powerful base was constructed, upon which a tetrastyle temple was built. The temple would have been accessible from the city by means of a system of stairs and terraces, with several design hypotheses, including the one presented in the early scientific studies of the Puerta de Sevilla.<\/p> The next significant phase of reconstruction occurred during the Islamic Lower Medieval period, with works dating from the 9th to the 13th centuries. For nearly a thousand years, the gate continued to be in use with its Roman configuration, and the city's defences were renewed after the fall of the Umayyad Caliphate with military architectural advances from the Almoravids and Almohads.<\/p> Thus, during the Andalusian period, the defensive system around the gate became much more complex. In this phase, a rectangular structure was added to the Roman-era access system, featuring two openings framed by pointed horseshoe arches, allowing for the addition of a \"buhedera\" (a small fortified room) and a \"ladronera\" (a space for defending against thieves). These openings allowed for vertical defence against attackers attempting to access the gate. Between the access points, the open space or intervallum still remained. As for the area previously occupied by the temple, a cistern was now built to supply water in case of an attack on the defensive complex.<\/p> With some subsequent, less significant reforms, the Puerta de Sevilla today offers a kaleidoscopic view through which we can approach the various historical events that have shaped the imposing bastion of Carmona.<\/p>","visitableComments":" Opening hours:<\/p> Tuesday to Friday from 9:00 am to 6:00 pm.<\/p> Saturdays, Sundays and public holidays: from 9:00 to 21:00<\/p> Monday closed<\/p>","accessibilityComments":" HERRERA, H. Puerta de Sevilla en Carmona. Bolet\u00edn de la Real Academia de la Historia<\/em>. 1906.<\/p> JIM\u00c9NEZ, A. La Puerta de Sevilla en Carmona. 1989.<\/p> LINEROS ROMERO, R. Urbanismo romano de Carmona. CAREL<\/em>. 3. 2005.<\/p> RODR\u00cdGUEZ RODR\u00cdGUEZ, I. La Puerta de Sevilla. Monumento Nacional desde hace 100 a\u00f1os. CAREL<\/em>. 5. 2007.<\/p> SCHATTNER, T. La Puerta de Sevilla en Carmona y otras puertas romanas en la Pen\u00ednsula Ib\u00e9rica. R\u00f3mula<\/em>. 4. 2005.<\/p> VVAA. Alc\u00e1zar y Puerta de Sevilla. Ficha T\u00e9cnica Junta de Andaluc\u00eda<\/em>.<\/p> The Montelirio Dolmen is a prehistoric funerary monument consisting of a long underground corridor and two circular chambers linked by a short corridor. Twenty-six burials have been found there.<\/p>","comments":" The tholos of Montelirio was built on a natural promontory between the 29th and 28th centuries BC. The construction comprises a long underground corridor and two circular chambers connected by a short corridor. Twenty-six burials have been found at Montelirio: three in the corridor, one in the tumulus, two in the Small Chamber (male and female) and 20 in the Large Chamber.<\/p> The corridor, 40 m long, was divided into three sections by lintels of red-coloured slate and represents a symbolic transition between two worlds: that of the living and that of the dead. Part of the funerary ritual took place in the central section. On two cylindrical altars made of clay and dyed red, aromatic herbs such as lavender and heather were burnt to purify the place, while knives, arrowheads and symbolic vessels made of clay were placed on the floor and walls.\u00a0These offerings are flanked by two secondary burials, i.e. pits containing previously selected parts of the skeleton. In the transition between the second and third sections there is another primary exhumation on the pavement.<\/p> The corridor leads to a circular chamber lined with slate slabs painted in rust red with abundant splashes of cinnabar. Around 20 bodies were found in this large chamber, accompanied by a trousseau. Experts have raised the possibility that all 20 people were buried simultaneously or within a relatively short period of time. These women, arranged around a stele, were surrounded by a trousseau consisting of extraordinary objects made of gold, rock crystal, ivory or amber, as well as plates and pots for the afterlife. They were dressed in robes, some of them made of hundreds of thousands of beads, all covered with large quantities of red cinnabar-based pigment, around an altar and inside a megalithic monument. The archaeological evidence clearly demonstrates that a funerary ritual took place at Montelirio sometime in the 29th to 28th centuries BC, which was a special event for the inhabitants of the large settlement of Valencina and the surrounding region. The type of artefacts associated with these women, as well as the arrangement of their bodies and their particular physical conditions suggest that they were priestesses, people whose status was linked to the ideological or religious sphere of this community. All the material evidence points to the fact that the women who were buried in this tholos had a prominent role in this community.<\/p> The main chamber, smaller in size and connected by a small corridor to the previous one, is the eternal resting place of the protagonists of the funerary rite: a man and a woman. The chamber, although plundered, preserves a rich trousseau made up of objects such as an elephant tusk, ivory piglets, acorns, gold and arrowheads.<\/p>","visitableComments":" The tholos cannot be visited, as it is buried under the surface of the ground.<\/p>","accessibilityComments":" FERN\u00c1NDEZ FLORES, A., GARC\u00cdA SANJU\u00c1N, L. Y D\u00cdAZ-ZORITA BONILLA, M. (Eds.) (2016). Montelirio. Un gran monumento megal\u00edtico de la Edad del Cobre<\/em>. Arqueolog\u00eda Monograf\u00edas, Consejer\u00eda de Cultura, Junta de Andaluc\u00eda.\u00a0<\/p> FERN\u00c1NDEZ FLORES, A. y AYCAR LUENGO, V. (2013). Memoria cient\u00edfica: Intervenci\u00f3n arqueol\u00f3gica puntual en el dolmen de Montelirio (Castilleja de Guzm\u00e1n, Sevilla)<\/em>. Memoria Final. Delegaci\u00f3n Provincial de Cultura de Sevilla. In\u00e9dito.\u00a0<\/p> LUCIA\u00d1EZ TRIVI\u00d1O, M., CINTAS PE\u00d1A, M. y GARC\u00cdA SANJU\u00c1N, L. (2019). Mujeres en blanco y rojo. El ritual funerario en el tholos de Montelirio. Andaluc\u00eda en la historia<\/em>, n\u00ba 65., 44-49.\u00a0<\/p> FERN\u00c1NDEZ FLORES, A. y AYCAR LUENGO, V. (2013). Montelirio. Un sepulcro clave para la comprensi\u00f3n del registro de los grandes monumentos megal\u00edticos de Valencina de la Concepci\u00f3n-Castilleja de Guzm\u00e1n.\u00a0En GARC\u00cdA SANJU\u00c1N, L., VARGAS JIM\u00c9NEZ, J.M., HURTADO P\u00c9REZ, V., CRUZ-AU\u00d1\u00d3N BRIONES, R. y RUIZ MORENO, T. (Coord.). El asentamiento prehist\u00f3rico de Valencina de la Concepci\u00f3n (Sevilla): investigaci\u00f3n y tutela en el 150 aniversario del Descubrimiento de La Pastora<\/em>, 233-260.<\/p> MEDEROS MART\u00cdN, A. (2013). La cronolog\u00eda del dolmen de Montelirio (Castilleja de Guzm\u00e1n, Sevilla). En JIM\u00c9NEZ \u00c1VILA, J., BUSTAMANTE \u00c1LVAREZ, M.DE LOS Y GARC\u00cdA CABEZAS, M. (Coord.). VI Encuentro de Arqueolog\u00eda del Suroeste Peninsular, 2597-2611.<\/p>","credits":" Third-party video or image resources:<\/strong><\/p> Copyright: JUNTA DE ANDALUC\u00cdA. Department of Tourism, Culture and Sport. 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In the layout of his gardens, water plays an important role, omnipresent in all his works, as well as constructive elements that he cleverly arranged as pergolas, terraces, staircases, in order to give movement to the terrain. Between 1911 and 1923 he made frequent visits to Seville and Barcelona, where he worked on the development of the Parque de Mar\u00eda Luisa and the Ibero-American Exposition, and in the Catalan city on the development of the Montjuic mountain.<\/p> The gardens of Castilleja de Guzm\u00e1n, with 26,000 m2 and 61 plant species, are the last gardens created by Forestier outside France. They follow the style created by the French landscape designer known as the neo-Mudejar or neo-Sevillian garden. A garden was planned in which the landscape became the main protagonist. To this end, the terrain was divided into three large terraces, dividing the gardens into a high garden, a middle garden and a low garden.<\/p> In 1930, the complex passed into the hands of the firm \"Lissen Hermanos\", who offered it to the \"Junta de Utilizaci\u00f3n de Inmuebles\", who in turn handed it over to Seville City Council. In 1943 it passed into the hands of the Ministry of National Education, who adapted it, through a series of works carried out by Juan de Talavera, as a Colegio Mayor Masculino, the Colegio Mayor de Santa Mar\u00eda del Buen Aire, where the writer Antonio Gala studied. This student residence depended on the University of Seville, which is the current owner of the facilities and has used them as a hall of residence until 2014.<\/p>","visitableComments":" Not visitable<\/p>","accessibilityComments":" VIGIL-ESCALERA PACHECO, M. (1992). El jard\u00edn del Colegio Mayor \"Santa Mar\u00eda del Buen Aire\". Una obra olvidada de J.C.N. Forestier. Temas de Est\u00e9tica y Arte<\/em>, n\u00ba8.<\/p> Palacio de los Guzm\u00e1n y Jardines de Forestier<\/a><\/p>
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