Beyond the Giralda and the Royal Alcázar, Seville Cathedral holds an artistic heritage that often goes unnoticed: its grilles. A journey through the evolution of Andalusian grilles from Gothic to Baroque.
Those who visit Seville Cathedral usually focus on the height of its vaults, the main altarpiece, or the Giralda. But there is one element that, quietly, has defined the space and light of the temple for centuries: the grilles. This collection of wrought iron closures, which protects chapels and altars, constitutes one of the most unique collections of grille art in Andalusia.
Far from being mere barriers, these pierced screens filter the light entering the building and create an atmosphere of contemplation. The visitor who ignores them misses a lesson in art history that spans from the Gothic to the 20th century.
Andalusian grilles reached their peak in the 16th century, when they transformed from a purely functional craft to a first-rate artistic expression. The sinuous curves and slender bars of Renaissance and Baroque grilles transformed the religious architecture of the region.
Iron from the North
The grilles of the Cathedral were funded by the Chapter and by individuals who owned chaplaincies. The design was the responsibility of the Master Builder of the cathedral, who often provided the drawings. The material, iron, was not sourced from the surroundings of Seville, but imported from the deposits of the Basque Country, through the Biscayan and Guipuzcoan merchants who traded in the city.
The master grille makers set up their workshops near the temple, such as in the Corral de San Miguel or the Postigo del Carbón. When a piece was large, like the grille of the Main Altar, they had to move to the Alcázar's premises to work on it.
Two names stand out in the introduction of technical innovations in the diocese during the 16th century: Sancho Muñoz and Fray Francisco de Salamanca. Along with their collaborators, they created several of the grilles that can still be seen today. Most altars from the 16th century retain their original grilles and railings. The one from the altar of Piety is attributed to these masters, while the others follow designs by other architects, such as Miguel de Zumárraga.
From Baroque to Neo-Gothic
From the 17th century, the monumental grille of the chapel of the Conception stands out, crafted by Pedro Muñoz and polychromed by Juan de Valdés in 1654. This piece served as inspiration in 1778 for the one created by Fray José Cordero in the chapel of San Pedro. The chapels of San Laureano, del Pilar, San Leandro, and San Isidoro showcase grilles from the 18th century, while the neo-Gothic ones from San Andrés and Evangelists belong to the 20th century.
The art of iron in the Guadalquivir valley experienced a significant boost thanks to the economic upturn that followed the discovery of America. Historians distinguish three major stages: the Gothic, with twisted bars and inverted hearts; the Renaissance, the golden age of the 16th century, with masters like Bartolomé de Jaén and Fray Francisco de Salamanca; and the Baroque, which in the 17th and 18th centuries brought dynamism and more elaborate ornamentation.
The grilles of Seville Cathedral, along with those of the Royal Chapel of Granada, are among the most prominent in Spain. For the visitor, taking a moment to observe them is to discover an essential chapter of Seville's art history that, for being discreet, is no less valuable.
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