Church of Omnium Sanctórum

Built in 1249, it is probably the oldest temple in the city and those that best preserve the initial medieval appearance of the religious buildings of that time, although only the walls and the main facade at the foot of the building are preserved from that period.

It had several restoration processes during the fourteenth and fifteenth centuries, as a result of the damage suffered by the earthquake of 1356 constituting another example of the churches of that year, a time that was used to provide a very deep Gothic presbytery, constituted by two first rectangular sections and one final pentagonal plan. The church appears to the outside as a very slender apse, with buttresses on the edges, tall Gothic windows between them, and auction based on pyramidal battlements.

The historical events of the church indicates that it was burned down and sacked in 1936, disappearing then the altarpiece that was made around 1630 Diego López Bueno with paintings by Francisco Varela, later being the subject of a remarkable restoration, replacing its covers again in 1993.

Exterior

Its shape makes it one of the best known of the Sevillian medieval Mudejar style churches. It has a very interesting main façade, with the usual front stone doorway with respect to the rest of the wall and pointed arches in the center with flared archivolts. Above it has a unique Mudejar window of small dimensions and with abundant decoration, and a Gothic rosette for the lighting of the central nave that is the hallmark of identity, as well as two smaller ones for the side aisles.

Account this church with other two good lateral covers of Gothic structure of similar composition, located in the lateral ships.

The Tower, square base and located at the foot of the gospel nave is made of brick like any Mudejar church and retains some of the original holes, with the characteristic polylobed arches under the alfiz. It is thought that it was built at the end of the 14th century or the beginning of the 15th century. It has an interesting Sebbka decoration similar to those of La Giralda, where it is inspired, with small interlocking blind arches and similar to other Sevillian Mudejar towers. The tower that was later reformed, has an upper top of square base and attached pilasters, with gaps in the four fronts and a high spire of polygonal base.

APSE

In the Altar Mayor, there is a temple made by D. José Paz Campano (1940), which shelters Our Lady Queen of All Saints, whose top is topped by a graceful image of San Miguel Arcángel. It is inspired by the baldachin of St. Peter’s Basilica in Rome. Riveting said temple in its lower part, we can see San Joaquin and Santa Ana, located on the sides of it.

INSIDE

The church is built on a square plan, formed by three naves with five sections each. It has a very pronounced head, which is organized in three sections and another pentagonal covered by a ribbed vault and fastened to the outside by powerful buttresses. This is in the Gothic style of the 14th century.

The building is supported by quadrangular pillars, on which are supported half-point arches, which support a modern wooden roof, imitation Mudejar style to replace the burned in 1936. The cover of the central nave is in a trough way, while the sides are hanging.

In the nave of the Epistle (right as we enter) we find the Altar of the Holy Christ of the Good Death, a sculpture attributed to Andrés de Ocampo in 1495. This altar is from 1690 and the Crucified comes from the Parish of Santa Ana de Triana. At the foot of the Holy Christ are the statues of San Juan and the Virgin (eighteenth century) of academic size.

Then we will find a Baroque altar, from the town of Osuna, where the image of San José is venerated. Both the image and the altarpiece are from the 17th century.
Then we have the altarpiece of San Antonio that carries a child in his arms and is an unknown author.

The Altar also comes from Osuna and is from the XVII. Under the stature of San Antonio, there is a small glass niche with an image of Saint Teresa of Jesus inside. The guardian Santa Rita and the Archangel San Miguel.

The ship of the Epistle is completed by the Altar of the Brotherhood of the Dolorous Carmen located at the foot of it, composed of three parts where the Our Father Jesus of Peace, Our Lady of Carmen in his Sorrowful Mysteries and Saint John the Evangelist.

In the nave of the Gospel (left as we enter), we can distinguish the Altar of the Immaculate Conception, holder of the Brotherhood of the Javieres. The size of the Virgin attributed to Alonso Cano.

On your left we find the Chapel of the Cervantes or Baptismal Chapel, where the titular images of the Brotherhood of the Javieres, in particular, the Most Holy Christ of the Souls, Most Holy Mary of Grace and Amparo and Saint Francis Xavier, are worshiped.

Later we will find the Chapel of Animas, built at the beginning of the XVII century and covered by a ribbed vault. The Chapel is presided over by an 18th century painting of the Blessed Souls.

This ship concludes with a baroque altarpiece (seventeenth century) from Herrera, with the Sacred Heart of Jesus (1950) made in plaster; and another Neoclassical altarpiece (XVIII century) where the Virgin of Fatima is venerated (1950). This last altar is completed with two small sizes located on the sides of the niche with Santa Rita and San Antonio.

At the foot of the presbytery there is an arcosolium constituted by two arches decorated with tiles of the XVI, XVIII and XX, with recumbent terracotta sculptures attributed to Mercadante de Bretaña for the tombs of the Duques de Sánchez-Dalp. The glazed pottery pieces have different decorative motifs, among which are typical laceries, floral ornaments, heraldic shields, figures of saints (Santo Domingo and San Ramón Nonato) and angels.

It is the seat of three brotherhoods:
• Sacramental Brotherhood of the Queen of All Saints.
• Brotherhood of Christ of Souls.
• Brotherhood of Carmen.