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Sacristies
Lower Sacristy
This sacristy has a rectangular floor plan. It is covered with a ribbed vault decorated with angels’ heads and, in the center, a dove representing the Holy Spirit. It is presided over by the great pictorial altarpiece of the Transfiguration of Jesus.
This enclosure has a special interest, within the history of the temple, since it is the only thing that has remained of the old mosque-collegiate. It dates from the early 16th century and belonged to the old Sagrario Chapel, which was built in the south-west corner of the orange tree courtyard. During the construction of the new baroque building, it was used as a place of worship for the collegiate chapter. At the same time, it served as a storehouse for altarpieces, sculptures and liturgical furnishings. That is why this area was saved from collapse and has endured through the centuries as an archaeological and artistic testimony of the early stages of the Collegiate.
The upper molding of brightly colored ceramic, also dates from the sixteenth century. It has pairs of angels holding, alternately, a Eucharistic monstrance and the emblem of the Collegiate.
The great altarpiece that presides over this sacristy was made in 1631 as the main altarpiece of the old collegiate church, until it was replaced by the present one in the second half of the 18th century. The canvas of the Transfiguration is the work of Pablo Legot, a notable painter of the Sevillian school of the 17th century.
The painting on the right represents Mary Magdalene and is the work of Pedro de Camprobín Passano, painted between 1632 and 1634. It is an excellent pictorial work. Mary Magdalene appears in a meditative and melancholic attitude, resting her face, with reddened cheeks, on her left hand.
Next to it is the canvas of the Coronation of the Virgin. It is a baroque copy of the original canvas painted by Guido Reni, preserved in the National Gallery in London.
The masonry on both sides of the sacristy. They belong to the old choir of the Collegiate carved in the late eighteenth century.
This sculpture is considered an important work from the end of the 16th century. It is somewhat smaller than the natural size and was located in the chapter house of the collegiate. It retains traits of medieval dramatism as can be seen in the displacement of the legs to the right side, while the face appears tilted to the left side.
These are important Sevillian baroque canvases painted by Sebastián de Llanos Valdés in 1670. The one on the left corresponds to St. John the Baptist and the one on the right to St. Paul. This pictorial theme was deeply rooted in Sevillian popular devotion: the cult of the severed heads of the martyrs.
The work shows great pathos and realism in the severed heads of these two saints. Note the whitish color of the faces and the open mouths revealing the teeth. It is a clear sign of an agonizing death that contrasts with the dark background of the work, painted in black and ochre tones.
This large canvas, more than three meters high, is also the work of Sebastián Llanos Valdés. It represents San Millán de la Cogolla as matamoros in the battle of Simancas. It is an important work of perspective and remoteness. In the foreground appears the saint; in the background, the Christian troops with their flags and spears; and in the background of the composition we see a landscape.
Upper Sacristy
Relief made by the sculptor Juan de Oviedo y de la Bandera, in the first third of the 17th century. The relief of the Resurrection, which you can see behind you, was part of the main altarpiece of the old collegiate mosque.
In the foreground are the Virgin, St. Joseph and the Child in the manger. Next to them appears a shepherd who kneels down and gives an offering. The work done with the cloths and the faces should be highlighted. These moved away from Renaissance idealism in favor of greater naturalism and more popular compositions.
This painting was made by Maese Pedro in the 16th century. The central image is occupied by a whitish body of Jesus, tied by the hands, with the purple mantle open and knotted at the waist, and the crown of thorns. Behind him we see a soldier with classical features and another male figure, with a turban and long beard, who brings forward his hand to place a rod, like a scepter, in the hands of Jesus.
It is an anonymous painting of the late eighteenth century depicting the Apostle St. Peter with his attributes. He appears as an older man, with little hair and a trimmed beard, with a curious dimple on his chin. It can be considered as a model of the numerous apostolates that the great painters of the time made for different churches.
This is an interesting sculpture, of small size, of the Immaculate Conception. made in the second half of the 17th century. The Virgin appears with her hands joined in an attitude of prayer. She is dressed in a golden tunic with rich vegetal decoration and a blue mantle dotted with stars. His head tilts down slightly to lose his gaze in the distance. It rests on a pedestal of angels’ heads with the moon at its feet. Below, a fierce dragon opens its jaws. This work has a clear influence of the Immaculate Conception of the sculptor Juan Martínez Montañés, popularly known as “la cieguecita”, which is located in the Cathedral of Seville.
It is a relief from the second half of the 18th century. It was part of the fabulous silver altar of the Sacramental Chapel.
The scene of the Annunciation of the Virgin is represented. In the foreground appear the Virgin and the Archangel Gabriel, facing each other and with a silver kneeler separating them. The Virgin, with her hands clasped on her chest, is dressed in a richly stewed tunic and mantle.
In the upper part of the composition there are two rows of angels, following the symmetrical character of the relief, flanking a kindly Eternal Father under which appears a silver dove representing the Holy Spirit.
It is a work of Sebastián de Llanos Valdés from the first half of the 18th century. It has a great quality of brushstrokes with bold chromatic tonalities. These range from the vivid reds of Abraham’s garments to the golden hues of the angel and Isaac. It is considered one of the artist’s best works.
The angel holds the right arm of old Abraham who is about to fulfill God’s command and sacrifice his young son Isaac. The latter, with his hands tied and his back turned, awaits his progenitor’s mortal blow. Next to it the sacrificial pyre and a lamb.
Work of Juan de Oviedo and made in 1620. It is a sculptural relief in which the scene of the Resurrection of Christ triumphant is represented. He is dressed in a very intense red tunic that highlights the volume of his body. The elongation of the body stands out, still participating in the Renaissance canon. With one hand he holds the Resurrection flag and with the other he blesses. The figure of Christ is placed on the tomb, next to him are three Roman centurions asleep, oblivious to what is happening.
It is said to contain inside the temple a fragment of the distal end of the humerus of the saint. It is the “arm” that appears in the documentation as having been brought from Rome and was presented in chapter as a venerable relic on June 15, 1703. It is made of crystal and silver-plated metal, topped by the emblem of the Collegiate.