Footprint of the Sacred

El Salvador: footprint of the sacred, is a new cultural offer for this unique temple, with the aim of bringing and disseminating the religious, artistic, heritage and historical values treasured by the Collegiate Church of El Salvador.

This project aims to highlight the historical value of the building and bring visitors closer to its unique sacred imprint — a living vestige of our shared history. It also seeks to showcase areas of the temple that are not normally accessible to the public, through guided tours led by qualified personnel.

For just over an hour and a half, visitors will explore the Patio de los Naranjos, the Crypts, the Camarín de la Virgen de las Aguas, and the Rooftops (Cubiertas) of El Salvador. This experience offers a perfect communion between past and present through an exciting journey through the different cultures that have coexisted in Seville, of which the Collegiate Church remains a living trace.

These visits are designed for a maximum of 25 people per group and are divided into three thematic blocks:

The Salvador Rooftops

Tribune

The route through the upper tribunes that surround the church—except on the eastern side—offers a zenithal view of the building, revealing new and intriguing details. From this vantage point, it is easy to observe the recurring use of castles and lions, symbols of the royal foundation of the former Collegiate Church, as well as the orb and cross, symbols of the Saviour of the World. The stained glass windows, which are not original but date from 1870, were commissioned by the Duke of Montpensier, Antonio de Orleans, and also display the emblem of the Saviour.

Located above the main door is the church organ, one of the finest examples of Spanish organ-building. When the choir was situated in the central nave, the organ was positioned on one of its sides; however, in the mid-19th century, it was moved to its current location.

Covers

A walk across the rooftops of El Salvador provides first-hand insight into the restoration work carried out on this site, which was crucial for preserving the building in optimal condition. As a space previously unknown to the general public, the views of both the architectural elements of El Salvador and other iconic buildings in Seville make this a privileged setting for the epilogue of the visit to the Church of the Saviour.

From Rome to Baroque

Orange Tree Courtyard

Over the centuries, this space has evolved significantly. When it was used as an ablutions courtyard in the Ibn-Adabbas mosque, it had a surface area 70% larger than the current one, so we can see that its character as a large courtyard has been completely altered.

In 1602 Vermondo Resta transformed the aesthetics of the courtyard by installing a new arcade with new architectural elements for the area. We will be able to discover how this arcade is at a too low level, due to the fact that the elevation has varied over time due to changes in the soil of the city, almost always to defend against floods, so common centuries ago.

The octagonal Renaissance-style fountain is possibly the one that originally stood at a lower level and was later relocated to its current position, although this remains uncertain. Despite undergoing several interventions, it can be said that since the 18th century, when the small Chapel of the Desamparados was built, the courtyard has retained its unaltered character

Crypts

Site recovered after the complete restoration of the building. We can understand once in it the differentiation of the height of the temple, because we are three meters below the current floor of the church. In some parts of the surface we can find tiles from the medieval period, with animal, vegetable and decorative forms. On the sides there are burial places, crypt of the upper chapels.

Baroque Spirituality

CHAPEL OF THE VIRGEN DE LAS AGUAS

Built during the period of greatest devotion to this sacred image, the Chapel of the Virgen de las Aguas consists of three rooms, centralised by the camarín itself. This intimate space was designed for religious acts before the Virgin, who is placed on a rotating panel that allows the carving to face either the interior of the church or the interior of the chapel. Each of the three rooms is of high decorative interest: the first features a mural painting of the Presentation of the Virgin to Saint Ferdinand, and the third is notable for its oratory character. The central room is adorned with extensive plasterwork depicting scenes from the life of the Virgin, including her Birth, Presentation, and Betrothal.

Visiting hours

FRIDAYS AND SATURDAYS

17:00h

Closed

1 January
6 January
Corpus Christi
15 August
8 December
25 December

NOTE: these schedules and visiting days may be subject to change due to the celebration of special events.

Online sales

Save time and avoid queues. Bring your printed ticket and enter the venue directly. Same price as at the box office.

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