The Museum of Fine Arts and its ghosts

Another building that could be considered susceptible to paranormal phenomenology, is a building that is now the headquarters of the second pinacoteca of Spain, the Museum of Fine Arts of Seville. Although also the abode of some very special ghosts.

The building was initially a convent of the Order of Mercy founded in the thirteenth century, shortly after the conquest of Seville by the Christian troops of Fernando III. Like many other buildings of religious type in the city of Seville, over the years had a series of reforms in the different styles that were throughout its history.

As we have indicated in the Route of Murillo, the building was the embryo of a museum since many works of Baroque painters including the brilliant Sevillian painter were under the power of the Church, until the confiscation of Mendizábal occurred in the nineteenth century, although the paintings passed to the power of state, they remained in the museum as headquarters. After the disentailment, the monks of the Order of Mercy, after six centuries, left the building in appearance.

We say that in appearance, because eyewitnesses speak of the presence of these monks who walk through the cloister and which are said to have been seen. The main church of the complex, was desacralizada, however although today it houses the collections of Roelas, Murillo or Velázquez, they tell that also the monks continue appearing to their wide ones. It is a repetitive phenomenon in desacralized religious buildings.

Another phenomenon that occurs here is similar to that which occurs in a country as far away as Japan technologically very advanced but very traditional in the belief of spirits and entities of other dimensions. In Japan there are phenomena that interact with technological elements such as televisions, mobile phones, alarms, etc.

In this case, phenomenology that begins from the thirteenth century, we must not forget that a convent is also a resting place for deceased monks, interacting with technological elements added a posteriori. The most flagrant case is the automatic operation of elevators added a posteriori or the detection of the security cameras of those monks from a distant and dark age that today interact with technological elements of the 21st century.