Built between 1761 and 1880, it was designed by the architect Vicente San Martín in 1758. The bullfighting museum is housed inside.

The bullring is almost circular in plan, covering the high seats with a roof that rests on semicircular arches on marble columns.



The bullring of the bullring of Seville is not completely circular, it has an axis of 63 meters and another of 58 meters and its surface is covered with sand. The barrier is 1.40 meters high and there are six burladeros. Inside are the boxes of the Prince, the box of the Presidency of the celebrations, boxes of invitation, box of the Prince and the balcony of the clock.

There are fourteen access doors and among the rooms there are a chapel, three stables, two corrals, twenty-one pens, an infirmary and a slaughterhouse.

It was built in 1221 by the last Almohad governor Abu-l-Ula. It had defensive character because from its foot and until the other bank of the river a chain that closed the entrance of the port was arranged.

It presents three bodies, of dodecagonal plant the inferior one, hexagonal the intermediate one and circular the superior one that was added by Sebastián Vander Borcht in 1760. In its entrance portal two bronze cannons.

Its name is due to the external coating of golden tiles that it had or to the storage of riches that were kept in its interior coming from the ships that returned from America.

In the sixteenth century due to its poor condition it was remodeled and in the seventeenth century was affected by the Lisbon earthquake of 1755 and the damage caused was repaired in 1760, when the upper body was added.

At present it is converted into a Naval Museum and its interior houses models, engravings, navigational instruments, sea charts and historical curiosities.

Abd al Rahman III begins the construction of the Alcazar, enclosure of quadrangular form, of stony walls and located in an end of the city.

In the 16th century, on the occasion of the wedding of Carlos V with Isabel of Portugal, a series of reforms took place, including the replacement of the pillars supporting the lobed arches of the Patio de las Doncellas with pairs of marble columns, the introduction of Renaissance decorative elements, the reconstruction of the upper part, the design of a new ceiling in the "Salón de Carlos V", the remodeling of the Gothic palace of Alfonso X and works in the Gardens.

To the Patio de las Doncellas open the three main rooms: the halls of Ambassadors, of Charles V and Bedrooms of the Moorish Kings.

Of Gothic style, its construction began in 1433 by the architects Ysambret and Carlín on the old Almohad mosque, its construction lasted 65 years being finished in 1507. It was financed by private donations from canons, prelates and some laymen, also establishing a tax on the meat trade, the amount of which was destined to the aforementioned work.

The cathedral has a hall plan with five naves and chapels between the buttresses. It is 116 meters long by 76 meters wide and has 93 stained glass windows.

In 1660 the first Sevillian Academy of Fine Arts was founded in the building.

To the Cloister of the Cathedral, known as Patio de los Naranjos, the access to Puerta del Perdón is made through the so-called Puerta del Perdón, formed by a pointed horseshoe arch and decorated with plasterwork made in 1522 by Bartolomé López, sculptural group on the sides, formed by "San Pedro and San Pablo", and on these, "la Virgen y el Arcángel San Gabriel" and relief of the "Expulsion of the Merchants" located on the arch of the door. The works of this courtyard began in 1172 C. and were concluded in 1196 C. It has been later reformed although it has kept part of its original structure.

Among the sculptural works of interest we will mention; "Virgen de los Reyes" (XIII century, anonymous work of Gothic style), "Virgen de la Sede" (XIII century, anonymous of Gothic style), "Sepulcro del Cardenal Cervantes" (XV century, Gothic work of Lorenzo Mercadante), "Cristo de la Clemencia" (17th century, Baroque work by Martínez Montañés), "San Fernando" (17th century, by Pedro Roldán), "Santas Justa y Rufina" (18th century, Baroque work by Duque Cornejo).

Of the pictorial works we will emphasize; "Virgen de la Antigua" (XVI century, anonymous work of Renaissance style), "San Cristóbal" (XVI century, of Pérez de Alesio), "Inmaculada Concepción" (XVII century, work of Zurbarán of baroque style) and "Visión de San Antonio" (XVII century, of Murillo).
Remains of Christopher Columbus: The image belongs to the funeral monument that collects the supposed remains of Christopher Columbus. On a podium, four kings carry the coffin on their shoulders. These characters represent the kingdoms of Navarre, Valencia, Leon, Castile and Granada.

The initiative of its construction (1572), arises as a result of the problem between the merchants of Seville and the Chapter. The former used to carry out their commercial transactions on the steps of the Cathedral, but on some occasions they even took place inside the temple, which forced the Chapter to take measures due to the lack of respect that these activities entailed.

The first measure to be taken was the expropriation of the land occupied by the King's blacksmiths, part of the Mint, the hospital of Las Tablas and some houses belonging to the Chapter.

Its construction was carried out between 1583 and 1598 by Juan de Minjares and Alonso de Vandelvira.

In 1660 the first Sevillian Academy of Fine Arts was founded in the building. At the end of the 18th century, during the reign of Carlos III, it became the General Archive of the Indies.