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Sacramental Chapel

This is one of the most moving Spanish baroque creations, impressing all those who come to admire its artistic and religious content.

Its author was Vicente Bengoechea, and it dates back to 1750-1756. However, a fire in the chapel in 1905 resulted in the loss of part of the original furnishings and decorations, including the gilded wooden altarpiece made by Cayetano de Acosta, of which no pieces remain.

The Chapel occupies a rectangular space framed by 16 paired pilasters, decorated with cherub heads and the Eucharistic symbols of bunches of grapes and ears of wheat. These pilasters are topped with gilded capitals.

On the left wall, there is a large painting dedicated to the Immaculate Conception.

On the right, you can see another painting, of similar dimensions to the previous one, representing St. Charles Borromeo giving communion to the plague-stricken of Milan, also painted by José Tova Villalba in the same year of 1911.

In the center of the chapel is the extraordinary and magnificent silver altarpiece of Nuestro Padre Jesús de Pasión, the work of Tomás Sánchez Reciente, dated 1753 and closely linked to the Jesuits.

The altarpiece was used as a portable altar, according to the needs of worship, until it was definitively placed in this chapel in 1957, since an altarpiece was needed to replace the one made by Cayetano de Acosta and destroyed in the fire of 1905.

The multiple niches in this marvelous work of art not only make it an exaltation of the Eucharist, but also a great reliquary.

In the central part of the altarpiece, and presiding over the whole set, is one of the most important works of religious sculpture of the Spanish Baroque, and one of the sacred images with more devotion among the Sevillian people, we refer to a Nuestro Padre Jesús de Pasión, work of the sculptor Juan Martínez Montañés.

The image of Nuestro Padre Jesús de Pasión is dated between 1610 and 1615. It is a portentous image, characterized by great realism. An image that invites us to contemplate the mystery of Christ’s passion.

“Prodigious of this workmanship”, “distinguished master”, words that reflect the degree of admiration that caused in the city, the works of this sculptor.

This carving, made of wood and polychromed by Francisco de Pacheco, the father-in-law of the painter Diego Velázquez, stands at 1.64 meters tall. It depicts a robed figure, adorned in a velvet tunic with a golden belt. Sculpted with meticulous detail, the figure conveys an expression of sweetness, sensitivity, and tenderness. Despite subtle indications of martyrdom, such as delicate blood streaks on her face and neck, the sculpture eschews the pathos often seen in contemporary depictions.

It is a beautiful and noble face of impressive realism. It is not surprising that his own colleagues called Martínez Montañés “the God of wood”.

San Miguel Chapel

It is presided over by a stone altarpiece that belonged to the choir of the collegiate church when it was located between the four central columns. It was carved by the stonemason Julián del Villar in 1781. It is an altarpiece in the form of a classical portal.

Two Doric columns, in red and black marble, support an entablature with triglyphs on which a curved split pediment winds. In the center of the cover is the symbol of the collegiate church, the ball of the world and the cross. Dominating the central niche is a statue of Archangel St. Michael, an 18th-century masterpiece of unknown authorship, renowned for its exceptional artistic quality

Dressed in the Roman military style, he has armor, a helmet and in his right hand he carries a sword. Under his feet appears the defeated dragon as a symbolic representation of the triumph over evil.

San Cristobal Chapel

The San Cristóbal Chapel is home to the image of St. Christopher, whose name in Greek meansChrist-bearer‘. He is revered as the patron saint of travelers and motorists. The iconographic antecedents of this sculpture are in the mural painting of the Italian Mateo Pérez de Alesio in the Cathedral of Seville in 1584. The image of the Saint was carved by Martínez Montañés in 1597 by order of the Brotherhood of guanteros and is the first documented work of its author.

A masterpiece of Andalusian imagery, Canon Vega de la Colegiata defined it as “the best in the world”. Influenced by Michelangelo and characterized by great naturalism, it shows the powerful strength of the Saint in contrast with the delicacy of how he carries the Child, and the mystical rapture of his gaze.