The Plenary Session of the Parliament of Andalusia

On February 28, 1992, to commemorate Andalusia Day, a plenary meeting was held for the first time in the plenary hall of the Andalusian Parliament, located in the former main chapel of the Hospital de las Cinco Llagas. Previously, in 1987, this space was desecrated, and all the liturgical pieces inside were removed. These pieces were made available to the Archbishopric of Seville, which installed them in churches and chapels throughout the diocese. Some works were donated to the Congregation of the Sisters of Saint Vincent de Paul, who had served as nurses in the hospital, and others, primarily pictorial in nature, remained on deposit at the Provincial Council of Seville, an institution that now displays them in the monumental complex of San Luis de los Franceses. Only the main altarpiece remained in its original location, representing the use of this space throughout history. Once the interior of the chapel was cleared, it was transformed for use as the plenary hall of the Andalusian Parliament. The new parliamentary chamber was designed by architects Alfonso Jiménez and Pedro Rodríguez, who had visited other legislative assemblies, such as the Congress of Deputies, the Senate, and the Basque Parliament, in the course of their work. Individualized seats for members of parliament have been installed in the nave and transept of the old church, while the space designated for the Andalusian Parliament's Bureau is now located in the presbytery. In compliance with Article 16.3 of the Spanish Constitution, a mechanism has been installed to conceal the main altarpiece during plenary sessions. All representatives of the Andalusian people gathered to make decisions constitute the Plenary Session of the Parliament of Andalusia, which is, therefore, the highest deliberative body that exercises the legislative power of the Parliament of Andalusia, as it represents the culmination of the legislative work carried out in the parliamentary committees and political groups. The Parliament of Andalusia represents the people of Andalusia. The 109 members who make up its plenary session are elected every four years by universal, equal, free, direct, and secret suffrage, using a proportional electoral system adjusted for territorial reasons so that no province has more than twice as many representatives as another. The first elections to the Parliament of Andalusia took place on May 23, 1982. The Plenary Session of Parliament exercises legislative power, promotes and controls the action of the Governing Council, approves the budgets of the Community, elects the president of the Governing Council of the Regional Government of Andalusia and performs those other functions established in the Statute of Autonomy and its laws. The members of the Governing Council, whether or not they are deputies, also attend the Plenary sessions. The Plenary Session is directed by the Board of the Parliament of Andalusia.

Sacristy

Behind the presbytery of the main chapel is the former sacristy. It has a rectangular floor plan and is smaller in scale than the rest of the religious complex. This space is enclosed by very low groin vaults of two types: straight and corner, with geometric decoration applied to the interior spaces. The sacristy is accessed from the presbytery through two doors carved in pink Estremoz marble, which appears among the engravings in Hernán Ruiz's Book of Architecture (folio 80). Beyond the access are the stairs leading up to the galleries and roofs, as well as others leading down to the chapel's crypt, made using a Mallorcan spiral staircase. Today the room is used for meetings for the people who make up the Plenary Session of the Parliament of Andalusia.

Press Room

The Communications Service of the Parliament of Andalusia is the department responsible for the Chamber's relations with the media, facilitating their work at the Parliamentary headquarters. This service acts as a bridge or link between Parliament and the public, with the aim of bringing the institution closer to citizens and improving their awareness of the Parliament of Andalusia. It is located in the west gallery of the old transept of the female infirmary of the Hospital of the Five Wounds, which, after the creation of the Central Hospital in 1837, began to house the patients of the San Hermenegildo hospital and adopted the name of this healthcare center. The room is divided into three spaces. The closest one is used for organizing press conferences held in Parliament by the parliamentary groups; the central one is used by the media covering parliamentary activities; and the last space is the workspace for the staff assigned to the Service.

Table Room

This is the regular meeting room of the Board of the Parliament of Andalusia, located in the former quarters of the patrons of the Hospital de las Cinco Llagas, a space that in the 19th century housed the Free School of Medicine and Surgery after its creation in 1868. The Bureau is the governing body of the Chamber and represents Parliament at the events it attends. It is composed of the Speaker of Parliament, three Vice-Speakers, and three Secretaries. The Rules of Procedure (Articles 33, 34, 35, and 36) establish how the members of the Bureau are elected. This election will take place during the constitutive session of Parliament, bearing in mind that all parties, federations, and coalitions that participated in the elections and obtained sufficient representation to constitute a parliamentary group will have the right to be present on the Bureau. Therefore, the number of members may be increased to comply with this provision, as has occurred in several legislatures. The Bureau organizes the work of Parliament and decides on the processing of initiatives. Within the first aspect, it is responsible for preparing the budget of the Parliament of Andalusia, directing and monitoring its implementation, allocating expenditures, and various personnel-related responsibilities. Regarding the organization of parliamentary work, it is responsible for programming the general lines of action of the Chamber, coordinating the work of its various bodies, assessing parliamentary writings and documents, deciding on their admissibility and processing procedures, and other functions provided for in the Rules of Procedure. The Bureau is assisted and advised by the Secretary General.

Spokespersons' Boardroom

This is the room where the Board of Spokespersons of the Andalusian Parliament regularly meets. Located in the former administrator's and steward's quarters of the Hospital de las Cinco Llagas, it housed the Free School of Medicine and Surgery in the 19th century, following its creation in 1868. The Board of Spokespersons is the body through which parliamentary groups participate in the organization of Parliament's work. It is composed of the Speaker of Parliament, who acts as its chair, and the spokespersons of all parliamentary groups, who have complete autonomy to designate their representative. Its meetings are also attended by a representative of the Government of Andalusia, the members of the Bureau of the Parliament of Andalusia, and the Secretary General of the Chamber. The main function of this body is to set the agenda for plenary sessions. Furthermore, it must be consulted on various occasions, such as in the preparation of the calendar and organization of work, the determination of the number of committee members, the allocation of seats in the plenary chamber, and the organization of debates, among others.

Committee Room 1

In addition to working in plenary sessions, the members of the Andalusian Parliament act through committees. Committees are composed of members designated by the parliamentary groups, in the number indicated for each group by the Parliamentary Bureau, after hearing the Board of Spokespersons, and in proportion to the numerical importance of the groups in the Chamber. Each parliamentary group is entitled to at least one member on each committee. Committees elect from among their members a committee, composed of three members who serve as chair, vice-chair, and secretary. Their mission is to coordinate the work of the committee and convene and direct its meetings. In the Andalusian Parliament, there are permanent legislative committees that study and approve bills and remain active throughout the legislative period. Other committees, which are not legislative in nature but are also permanent, are responsible for administrative tasks and processing petitions, without intervening in the legislative function of the Chamber. Other committees are created for a specific purpose of study or research and, therefore, are not permanent and are dissolved once the work assigned to them has been completed. The members of the committees have four rooms located on the upper floors of the former nursing wards at their disposal for their work. Committee Room 1 is decorated in ochre and red tones and is located in the east wing of the main floor of the Cardinal's courtyard. It is the only room not arranged in seats, but rather structured around a large central table. It was originally part of the women's infirmary of the Hospital of the Five Wounds, and since the 19th century it has housed the so-called San Cosme and San Damián ward, dedicated to general medicine at the Central Hospital.

Committee Room 2

In addition to working in plenary sessions, the deputies of the Andalusian Parliament act through committees. Committees are composed of members designated by the parliamentary groups, in the number indicated for each group by the Parliamentary Bureau, after hearing the Board of Spokespersons, and in proportion to the numerical importance of the groups in the Chamber. Each parliamentary group is entitled to at least one member on each committee. Committees elect from among their members a committee, composed of three members who serve as chair, vice-chair, and secretary. Their mission is to coordinate the work of the committee and convene and direct its meetings. In the Andalusian Parliament, there are permanent legislative committees that study and approve bills and remain active throughout the legislative period. Other committees, which are not legislative in nature but are also permanent, are responsible for administrative tasks and processing petitions, without intervening in the legislative function of the Chamber. Other committees are created for a specific purpose of study or research and, therefore, are not permanent and are dissolved once the work assigned to them has been completed. The members of the committees have four rooms located on the upper floors of the former nursing wards at their disposal for their work. Committee Room 2 is decorated in ochre and yellow tones and is located in the east wing of the main floor of the Cardinal's courtyard. It houses seats for the deputies, as well as the space for the committee table and seats for those who may appear before this body in the course of its work. It was originally part of the women's infirmary of the Hospital of the Five Wounds, and since the 19th century it has housed the so-called San Cosme and San Damián ward, dedicated to general medicine at the Central Hospital.

Committee Room 3

In addition to working in plenary sessions, the members of the Andalusian Parliament act through committees. Committees are composed of members designated by the parliamentary groups, in the number indicated for each group by the Parliamentary Bureau, after hearing the Board of Spokespersons, and in proportion to the numerical importance of the groups in the Chamber. Each parliamentary group is entitled to at least one member on each committee. Committees elect from among their members a committee, composed of three members who serve as chair, vice-chair, and secretary. Their mission is to coordinate the work of the committee and convene and direct its meetings. In the Andalusian Parliament, there are permanent legislative committees that study and approve bills and remain active throughout the legislative period. Other committees, which are not legislative in nature but are also permanent, are responsible for administrative tasks and processing petitions, without intervening in the legislative function of the Chamber. Other committees are created for a specific purpose of study or research and, therefore, are not permanent and are dissolved once the work assigned to them has been completed. The members of the committees have four rooms located on the upper floors of the former nursing wards at their disposal for their work. Committee Room 3 is decorated in ochre and blue tones and is located in the west wing of the main floor of the Prisoners' Courtyard. It houses seats for members of parliament, as well as a space for the committee table and seats for those who may appear before this body in the course of its work. It was originally part of the male infirmary of the Hospital de las Cinco Llagas, and since the 19th century it has housed the so-called San Vicente ward, dedicated to general medicine at the Central Hospital.

Committee Room 4

In addition to working in plenary sessions, the members of the Andalusian Parliament act through committees. Committees are composed of members designated by the parliamentary groups, in the number indicated for each group by the Parliamentary Bureau, after hearing the Board of Spokespersons, and in proportion to the numerical importance of the groups in the Chamber. Each parliamentary group is entitled to at least one member on each committee. Committees elect from among their members a committee, composed of three members who serve as chair, vice-chair, and secretary. Their mission is to coordinate the work of the committee and convene and direct its meetings. In the Andalusian Parliament, there are permanent legislative committees that study and approve bills and remain active throughout the legislative period. Other committees, which are not legislative in nature but are also permanent, are responsible for administrative tasks and processing petitions, without intervening in the legislative function of the Chamber. Other committees are created for a specific purpose of study or research and, therefore, are not permanent and are dissolved once the work assigned to them has been completed. The members of the committees have four rooms located on the upper floors of the former nursing wards at their disposal for their work. Committee Room 4 is decorated in ochre and green tones, is located in the west wing of the main floor of the Prisoners' Courtyard and has seats for the deputies, in addition to the space for the committee table and seats for people who may appear before this body in the course of its work. It was originally part of the male infirmary of the Hospital de las Cinco Llagas, and since the 19th century it has housed the so-called San Vicente ward, dedicated to general medicine at the Central Hospital.

The Parliament of Andalusia

The Parliament of Andalusia represents the people of Andalusia and is the center of debate and dialogue in the political life of the Autonomous Community. Its 109 members are elected by universal, equal, free, direct, and secret suffrage by Spanish citizens of legal age residing in Andalusia. The Andalusian Parliament is the center of fundamental political decisions in our region. Its activity would be incomprehensible without taking into account the leading role of political parties, which, through parliamentary groups, guide and direct the actions of deputies who share the same ideology. Parliament exercises legislative power in the Autonomous Community, through which its political autonomy is made effective, as its laws are subject only to the Constitution and the Statute of Autonomy. Parliament is also responsible for approving the Autonomous Community's annual budget. The functions of the Parliament of Andalusia include electing the President of the Government of Andalusia from among its members, following its constitution following the elections, in the investiture session. It also exercises permanent oversight over the Government's actions, which it carries out through questions addressed to the Government, interpellations on general policy issues, requests for information, and requests to appear, through which parliamentary groups may request the presence of members of the Governing Council to hold a briefing on a specific matter. The Government may also request to appear for the same purpose. Furthermore, Parliament may express its position on matters of interest by expressing its opinion, thereby guiding and driving government action. This is known as "drive work," and may be carried out through resolutions, which are usually adopted after a debate on general policy or matters of general interest; motions, which arise from an interpellation and must be consistent with its purpose; and non-legislative proposals, which are autonomous, meaning they do not arise from any prior debate, but rather their initial formulation triggers the debate; and they may address any issue or subject matter.

The headquarters of the Parliament of Andalusia

Since its establishment on June 21, 1982, the Andalusian Parliament had three temporary headquarters until arriving at this building in the Cinco Llagas district in 1992. These temporary spaces were the Tapestry Hall of the Royal Alcázar of Seville, where it remained until January 1983; the San Fernando Savings Bank (formerly the Royal Court Palace and now the headquarters of the Cajasol Foundation), where it remained until November 1985; and the old church of the San Hermenegildo school in the Plaza de la Gavidia until February 27, 1992. During this decade, the Parliament's administrative services were located, first, in the Cristina Gardens and, from February 1986, on Reyes Católicos Street. The permanent headquarters in the old Hospital de las Cinco Llagas will be inaugurated on February 28, 1992. This building was donated by the Provincial Council of Seville. In 1987, restoration work began, involving the restoration of the Botica, San Carlos, Recepcion, Alcohol, and Cobalto courtyards. The church was also adapted as a plenary hall, and the surrounding infirmary rooms were transformed into the library, the multipurpose room, and the four committee rooms that make up the Parliament. Later, the works moved to the Cardinal, Fountain, and Flower Courtyards, until the entire building was restored, covering a surface area of 67,238 m2. The new space was inaugurated by Their Majesties the King and Queen of Spain on February 20, 2003.

Seats of the deputies

A seat is the seat occupied by each of the deputies in the Andalusian legislative chamber. In the plenary chamber, each member is assigned a seat as a personal workspace based on their affiliation with a parliamentary group, so they will always occupy this same seat. On the front of the seat, each deputy has the necessary instruments for the proper development of his or her work: microphone, speaker, connectors and voting system. The electronic voting system allows for quick and easy identification of the vote and its subsequent reflection on the voting panel. It consists of four buttons: white, green, red, and yellow. The colors green, red, and yellow correspond to the vote: affirmative, negative, or abstention, respectively. The white button must be pressed before voting in order to activate the system and serve as an indicator of the presence of the Member in the plenary session at the time of the vote.

Bank of the Governing Council

The Governing Council of the Regional Government of Andalusia is the collegiate body that, within the scope of its powers, exercises political direction over the Autonomous Community of Andalusia, directs the Administration, and carries out the executive and administrative functions of the Regional Government of Andalusia. It is composed of the presidents, vice presidents, where applicable, and each of the ministries. The person who holds the presidency is elected by the Plenary Session of Parliament from among its members, while the holders of the vice presidency and the councillorships are elected by the president of the Governing Council. The Governing Council attends the plenary sessions of the Parliament of Andalusia and its members occupy the green bench, in the first row of the room, in the order of precedence, starting from the left or right depending on the political party of the Executive.

Speakers' platform

The representative may speak publicly from his or her seat or from the speaker's platform, which is the most common approach during debates on various initiatives. This platform, raised above the rest of the hall and located in front of the Parliament's Table, is used during debates either to present a matter or to argue for or against one of the topics addressed in the agenda. The agenda for the Plenary Session is set by the President, after hearing the Bureau, and in agreement with the Board of Spokespersons. No member of the House may speak from the rostrum without having requested and received the floor from the Speaker. No one may be interrupted while speaking, except by the Speaker of the House to warn them that time has expired, to call them to a question or to order, to withdraw their right to speak, or to call the House, some of its members, or the public to order.

The Parliament's Bureau

The Bureau of the Andalusian Parliament is the governing body of the Chamber and represents the Parliament collegiately. It is composed of seven members who serve as the President, the three Vice Presidents, and the three Secretaries of the body. All of them are elected by the members of Parliament at the constitutive session. The Rules of Procedure of the Andalusian Parliament establish that all parties, federations, and coalitions that, having participated in the elections, have obtained sufficient representation to constitute a parliamentary group shall have the right to be present on the Bureau. Therefore, the number of its members may be increased to comply with this provision, as has been the case in some legislatures, for which the position of Bureau member has been created. In the plenary hall, the members of the Board occupy their presidency in the highest seat in the former presbytery of the old chapel. The president directs the debates and maintains the order of the Plenary sessions.

Presidency of the Plenary Session

The Presidency of the Parliament of Andalusia uses several elements that reflect the symbolism of the Autonomous Community. The plenary hall is presided over by the coat of arms of Andalusia, made in 1996 on a large tapestry from the Royal Tapestry Factory that covers, during the session, the altarpiece of the main altar of the presbytery of the old main chapel of the Hospital de las Cinco Llagas. Other symbols found in this space during the plenary session are the flags of Andalusia, Spain and the European Union in that order.

Guest tribune

Article 69 of the Rules of Procedure of the Andalusian Parliament establishes that Plenary sessions are public; therefore, anyone may attend the Chamber to observe or follow the proceedings, requiring prior authorization from the Speaker. To process the access permit, individuals must submit a digital application through the Andalusian Parliament website, after providing personal identification. The request must be received by the President's Office by the Friday prior to the session in question in order to be processed. Spaces will be assigned in strict order of arrival until capacity is reached. The public space may also be occupied by the authorities attending the plenary session, as well as by people covering the sessions from the various media accredited to the Parliament of Andalusia. Those unable to attend the debates from the plenary hall can do so through the Andalusian Parliament's website, where all sessions are broadcast in real time. In addition, the Parliament's media library offers access to all plenary sessions since the founding session in June 1982.

Hall of Authorities

The Protocol Service of the Andalusian Parliament uses this room to host official delegations visiting the Chamber, as well as individuals attending official meetings, parliamentary events, meetings, and appearances before working bodies in Parliament. The room is located on the main floor of the building, in the west wing of the Reception courtyard, next to the monumental access staircase and close to the protocol room, the Board room and the committee rooms. Its interior is decorated with eight pictorial works with poems from the Four Seasons series, created by the poet and artist Rafael Alberti Merello (El Puerto de Santa María, 1902-1999). Historically, this space was occupied by the patrons of the Hospital de las Cinco Llagas during the Modern Age; and in the 19th century, it housed the dormitories of the boarding students of the Free School of Medicine linked to the Central Hospital, which depended on the Provincial Council of Seville.

Library reading room

The library's reading room has been relocated to a former hospital infirmary. To achieve this, architects Alfonso Jiménez and Pedro Rodríguez restored the entire space, eliminating the partitions that had been introduced in the 19th and 20th centuries. They also equipped it with the classic wooden furniture it displays today, reflecting libraries in other parliamentary chambers such as the Spanish Senate. This room had been built since 1637, almost a century after the construction of the old Hospital of the Five Wounds began, and was to be used as a convalescent hospital thanks to the legacy donated by Diego de Yanguas to the hospital's board of trustees. The construction work was overseen by the master builder Juan de Segarra. During the building's civil phase, it housed a medical ward known as the Holy Spirit ward. The reading room is one of the services offered by the Library, Documentation, and Archive Service of the Parliament of Andalusia. This department's functions include the organization, conservation, control, and processing of the Chamber's bibliographic and documentary collection, as well as providing bibliographic and documentary information to members of parliament, parliamentary groups, parliamentary bodies, Chamber services, and other users. The bibliographic collection primarily covers the social sciences. Constitutional, parliamentary, and political topics are represented in all their aspects, as well as economic, legal, social, and historical topics. Furthermore, as the library of a regional parliament, it has a good representation of regional law, especially all subjects that can support the legislative development of regional powers. The rules for accessing the library can be consulted on the website of the Parliament of Andalusia.

Protocol Hall

The Protocol Service of the Parliament of Andalusia is responsible for organizing and coordinating official visits, parliamentary events, and Parliamentary meetings. Much of the Chamber's institutional protocol is carried out in this spacious hall, where the Speaker or the members of the Board of the Parliament of Andalusia receive institutional visitors to the legislative headquarters. The space is located next to the office of the Speaker of the Parliament of Andalusia. The hall is located on the ground floor of the main façade of the parliamentary headquarters, above the entrance hall to the building. This space, like the former, features a columned entrance portico formed by seven semicircular arches supported by six pairs of columns and two corbels at the end. This hall was occupied by the management of the Central Hospital, as well as by the so-called "distinguished" areas in the 19th century. Its interior has been decorated since 1995 with the series Mirrors for Andalusia, created by Manuel Rivera Hernández (Granada, 1927–Madrid, 1995). These works were executed in 1984 using mixed media on panel and are dedicated to each of the Andalusian provinces.

Online Library Catalog

[Link to the library's online catalog](https://parlamentodeandalucia.absys.cloud/cgi-bin/opac)

The Andalusian Ideal. Blas Infante Pérez

This work is a copy of the first edition of Ideal andaluz. Various studies about the Renaissance of Andalusia, published in Seville by Joaquín L. Arévalo in 1915. It features a paperback cover. The copy was donated to the Andalusian Parliament in 2015 by bibliophile Pablo Morterero, on the occasion of the centenary of its publication. In this work, the first he published, the intellectual offers the keys to his thinking, since, to a large extent, it includes many of the political and social postulates that he developed and defended throughout his life. [Link to the Andalusian Ideal](https://bdh.bne.es/bnesearch/detalle/bdh0000201893)

The Seven Partidas of King Alfonso X the Wise

The Seven Partitions is the first legislative code drafted in Castile. It was drafted during the reign of Alfonso X (1252-1284), with the aim of achieving a certain legal uniformity throughout the kingdom. This book covers all the legal knowledge of the period. It deals with, among other subjects, constitutional, commercial, and procedural law, both civil and criminal. It is written in Spanish, in a literary style, and inspired by a theological worldview. It has a prologue, which outlines the subject of the work, and seven parts or books called partidas. Each partida is divided into titles, and these into laws (2,683 in total). For this reason, in the 14th century, it received its current name of Las siete partidas (The Seven Partitions), after the sections into which it was divided. The edition acquired by the Parliament of Andalusia corresponds to the one produced in the city of Salamanca in 1555, in four volumes, and glossed by Gregorio López de Valenzuela, who had been a judge at the Chancellery of Valladolid, a prosecutor at the Council of Castile, and a counselor of the Indies. His work consisted of refining, summarizing, and glossing Alfonsine's text. The care and diligence that López put into amending and editing the text of Las siete partidas is attested to by the Royal Decree of September 7, 1555, which granted license and authority to the counselor and his heirs to print it, thus acquiring official recognition. [Link to the Seven Games](https://digibug.ugr.es/handle/10481/3561)

Testament of Isabel I of Castile

The Testament of Isabella I of Castile is one of the most important documents in the history of Spain, largely constituting the political legacy of the Queen of Castile and León, Queen consort of Aragon, Majorca, Valencia, Sicily, Naples, and Countess consort of Barcelona. It consists of 46 clauses dictated in Castilian, written on 10-page parchment in courtly Gothic script, and was signed by the Queen in Medina del Campo on October 12, 1504. The edition that appears here is a facsimile reproduction, published by the Junta de Castilla y León in 1999. The original document is kept in the General Archive of Simancas, and also includes an authorized copy of the original will, dated in Madrid on January 6, 1511.

Political Constitution of the Spanish Monarchy of 1812

The library has a facsimile of the handwritten copy of the 1812 Political Constitution of the Spanish monarchy, which is preserved in the Archive of the Congress of Deputies. This work was published in 1985 by Editora Internacional de Libros Antiguos, S.A., and printed by Artes Gráficas Marabal of Madrid. The Political Constitution of the Spanish monarchy, better known as the Constitution of 1812 or the Constitution of Cadiz, was promulgated by the Spanish Cortes Generales, made up of deputies from America, Asia and the Peninsula who met in extraordinary session in Cadiz on March 19, 1812. Officially it was in force for only two years, from its promulgation until its repeal in Valencia on May 4, 1814, following the return to Spain of King Ferdinand VII. It was subsequently applied again from March 8, 1820, when Ferdinand VII was forced to swear in Madrid to the Spanish Constitution of 1812, and was in force during the Liberal Triennium (1820-1823), as well as for a brief period in 1836-1837, under the progressive government that was preparing the Constitution of 1837. The Constitution established in its article 321 that the town councils should be the institutions that have to take care of the hospitals, hospices, foundling homes and other charitable establishments, and this will lead to the end of the Patronage of the Five Wounds and the creation of the Municipal Charity Board for the care of the hospital.

Statute of Autonomy for Andalusia, 2007

The Statute of Autonomy of Andalusia is the basic institutional norm of the Autonomous Community of Andalusia. Under the protection of the Spanish Constitution of 1978, the Andalusian Statute recognizes the Community as a historical nationality and legislates on the rights and duties of all Andalusian citizens. Consequently, it acts as a legal framework for the autonomous institutions and their powers. The first statute came into force on January 11, 1982. It was revised in 2006. The new proposal was approved by referendum on February 18, 2007, and subsequently sanctioned by Organic Law 2/2007, of March 19, the text of which appears in this publication. The Statute is set out in the fourth title, on the institutional organisation of the Autonomous Community, with reference to the Andalusian Government, made up of the Parliament of Andalusia, the Presidency of the Government and the Governing Council. This original edition was published by the Parliament of Andalusia on the occasion of the 25th anniversary of the founding of the Parliament of Andalusia. It was designed and bound in green chagren leather, with gilt and embossed decoration, in the Galván workshop, Encuadernación de Arte, in Cádiz, on June 21, 2007.

Theatrum illustriores Hispaniae urbes

This is copy 130/980 of the facsimile edition produced in 1996 by Lunwerg Editores, based on the original work Theatrum in quo visuntur ilustriores hispaniae urbes (Theatre of the most illustrious cities of Spain and Portugal), preserved in the National Library of Spain. Contains a study by Elena Santiago Páez, as well as a translation of the original Latin text into Spanish by Mauricio Wacquez. It is displayed on the page corresponding to the panoramic color view of the city of Seville in 1588. At the top appear the coat of arms of King Philip II (center), the coat of arms of the Kingdom of Seville (right), and the arms of the 8th Duke of Medina Sidonia (left). The streets, squares, and most important buildings in the city are numbered in the lower margin. With the discovery of the New World and the new routes to the East, a great curiosity about geography was awakened in Europe, which led to a significant supply of books. Among these works, this book, published in 1657 by the Dutch cartographer Johannes Janssonius, stands out. Janssonius had bought the original plates of the great work Civitates orbis terrarum, which had been produced by the Cologne canon Georg Braun and the engraver Franz Hogenberg and published in six volumes between 1572 and 1618. It contains some five hundred plans and views of the most important cities of the known world in 16th-century Europe, including this one of the city of Seville from 1588. The new owner of the plates decided to publish a new volume with views of Spanish and Portuguese cities in 1567.

Sculptural group of Hercules

Author: José López García Seguiri This sculptural group, the work of the Malaga painter and sculptor José López-García Seguiri (1959), was installed at the headquarters of the Parliament of Andalusia on August 30, 2007 to celebrate the 25th anniversary of its constitution. Initially, this sculpture presided over the entrance to the Andalusian Pavilion at the Universal Exposition in Seville, where it was installed in March 1992. Later, the RTVA, owner of the building, ceded the work to Parliament so that it could be seen in its headquarters. The sculptural group, five meters long and four meters high, recreates the scene of Hercules flanked by two lions while lifting a column, an allegorical reference to the coat of arms of Andalusia. The sculpture is cast in bronze and weighs approximately two thousand kilograms. This work, as is usual with its author, a specialist in mythological themes, is characterized by its rounded shapes.

Bust of Blas Infante

Author: Juan Bernabé Brito Blas Infante Pérez de Vargas (Casares, 1885-Seville, 1936) was an Andalusian essayist, notary, lawyer and politician known for his role as an ideologist of Andalusianism and recognized as Father of the Andalusian Homeland since 1983 by the Parliament of Andalusia, a recognition that has been included in the preamble to the Statute of Autonomy for Andalusia of 2007. This bronze was donated to the Parliament of Andalusia by the City Council of Casares, his hometown, and was made by the Sevillian sculptor and painter, from Las Cabezas de San Juan, Juan Bernabé Britto (Las Cabezas de San Juan, 1928-Seville, 2016) in 1986. In its representation it follows the traditional model of the Father of the Andalusian Homeland, arranged half-length and holding his work Andalusian Ideal in his hands. The bust is located in the flowerbed on the left side of the Reception courtyard, under the shadow of its imposing magnolia and the tall Washingtonia palm trees. Every year, coinciding with the date of Blas Infante's birth, the Parliament of Andalusia, together with the Blas Infante Foundation and the Government of the Junta de Andalucía, holds an act of homage to the creator of the flag, the coat of arms and the lyrics of the anthem of Andalusia.

Bust of Manuel Clavero Arévalo

Author: Pedro Fernández Roales This bust was donated to the Andalusian Parliament by the Center for Andalusian Studies and installed on the main staircase of the Reception courtyard in June 2024. It is a work by the sculptor Pedro Fernández Roales (Zamora, 1980), whose works exist in many towns in Andalusia. It is made of cast bronze with an old-fashioned patina, with a Corten steel base and the inclusion of the name of the politician and jurist in openwork letters, embedded in the pedestal. The bust was erected in memory of Manuel Clavero Arévalo (Seville, 1926-2021), a member of parliament for Seville after the first general elections of the restored democracy in Spain in 1979. He was appointed Minister of the Assistant Ministry for the Regions in July 1977 by the President of the Government Adolfo Suárez, a position in which he played a prominent role in the new territorial configuration of the State. Manuel Clavero Arévalo participated in the recognition of autonomy for Andalusia with the establishment of the pre-autonomous regime through the royal decree, promulgated on April 27, 1978, which established the Andalusian Regional Government as the governing body of Andalusia, as well as with the election of the first president of the Andalusian Regional Government, Plácido Fernández Viagas. He would cease to be part of the Government of Spain when he supported the referendum for Andalusian autonomy under Article 151 of the 1978 Constitution, something not foreseen by President Suárez.

Bust Placido Fernandez Viagas

Author: Manuel Patricio Toro This bust was donated to the Parliament of Andalusia by the Antequera City Council in 1998 to commemorate the 20th anniversary of the signing of the Pact of Antequera, the political agreement reached by the majority of Andalusian parties to achieve the "fastest and most effective" autonomy for Andalusia, which materialized in that city on December 6, 1978. There is another one like it in the city of Malaga, in the square dedicated to the person honored. It is a work by the sculptor José Manuel Patricio Toro (Antequera, 1970), and is made of cast bronze on a marble pedestal. The bust was erected in memory of Plácido Fernández Viagas (Tangier, 1924-Madrid, 1982), senator for Seville after the first general elections of the restored democracy in 1977. He was elected as the first pre-autonomous president of the Junta de Andalucía, a position he held between 1978 and 1979. During his term, the referendum of February 28, 1980 was promoted to achieve full autonomy for Andalusia through Article 151 of the Spanish Constitution of 1978. After leaving politics in 1980, he was elected to the Constitutional Court of Spain, a position he held until his death on December 8, 1982.

Sculpture 1 - Author: Tomás Cordero

In 1995, the Andalusian Parliament held an event known as "Five Artistic Proposals," a series of cultural initiatives to promote Andalusian talent and the integration of the Parliament into the region's public life. The result is these works by several artists that showcase their unique vision of the old hospitals that were housed in the building, and its new role as the representative chamber of the Andalusian people. The facade of the building taken and interpreted as a metaphysical and solid structure by Tomás Cordero (sculpture 1)

Sculpture 2 - Author: Javier Flores

In 1995, the Andalusian Parliament held an event known as "Five Artistic Proposals," a series of cultural initiatives to promote Andalusian talent and the integration of the Parliament into the region's public life. The result is these works by several artists that showcase their unique vision of the old hospitals that were housed in the building, and its new role as the representative chamber of the Andalusian people. The facade of the building taken and interpreted as Fadrique Enriquez de Ribera's pilgrimage to Jerusalem (sculpture 2)

Sculpture 3 - Author: Juan F. Hebles

In 1995, the Andalusian Parliament held an event known as "Five Artistic Proposals," a series of cultural initiatives to promote Andalusian talent and the integration of the Parliament into the region's public life. The result is these works by several artists that showcase their unique vision of the old hospitals that were housed in the building, and its new role as the representative chamber of the Andalusian people. The building's facade taken and interpreted with symbolist photographic images by Juan F. Hebles (sculpture 3)

Sculpture 4 - Author: Sancho Caparrini

In 1995, the Andalusian Parliament held an event known as "Five Artistic Proposals," a series of cultural initiatives to promote Andalusian talent and the integration of the Parliament into the region's public life. The result is these works by several artists that showcase their unique vision of the old hospitals that were housed in the building, and its new role as the representative chamber of the Andalusian people. The building's facade taken and interpreted as an ethereal sculpture by Sancho Caparrini (sculpture 4)

Sculpture 5 - Author: Fernando Parrilla

In 1995, the Andalusian Parliament held an event known as "Five Artistic Proposals," a series of cultural initiatives to promote Andalusian talent and the integration of the Parliament into the region's public life. The result is these works by several artists that showcase their unique vision of the old hospitals that were housed in the building, and its new role as the representative chamber of the Andalusian people. The facade of the building taken and interpreted with a painting full of emblems by Fernando Parrilla (sculpture 5)

Archaeological Collection I

In the Hall of Lost Steps on the upper floor, a good number of archaeological artifacts are displayed. These artifacts were found during the work carried out in the Cardinal, Las Flores, and Fuente courtyards prior to their restoration. These artifacts were found in the Roman Hispalis and Andalusian Isbiliya.

Archaeological Collection II

In the Hall of Lost Steps on the upper floor, a good number of archaeological artifacts are displayed. These artifacts were found during the work carried out in the Cardinal, Las Flores, and Fuente courtyards prior to their restoration. These artifacts were found in the Roman Hispalis and Andalusian Isbiliya.

Don Antonio Ojeda Escobar

Escacena del Campo (Huelva) President of the Parliament of Andalusia between 1982 and 1986 Author: Francisco Cortijo

Mr. Ángel Manuel López López

Seville President of the Parliament of Andalusia between 1986 and 1988 Author: Francisco Cortijo

Don José Antonio Marín Rite

Valverde del Camino (Huelva) President of the Parliament of Andalusia between 1988 and 1994 Author: Hernán Cortés

Don Diego Valderas Sosa

Bollullos Par del Condado (Huelva) President of the Parliament of Andalusia between 1994 and 1996 Author: Fernando Carrasco

Don Javier Torres Vela

Alcón Well (Jaén) President of the Parliament of Andalusia between 1996 and 2004 Author: Ricardo Cadenas

Mrs. María del Mar Moreno Ruiz

La Carolina (Jaén) President of the Parliament of Andalusia between 2004 and 2008 Author: Alfredo de Anca

Mrs. Fuensanta Coves Botella

Elche (Alicante) President of the Parliament of Andalusia between 2008 and 2012 Author: Alfredo de Anca

Don Manuel Gracia Navarro

Peñarroya-Pueblonuevo (Córdoba) President of the Parliament of Andalusia between 2012 and 2015 Author: Alfredo de Anca

Don Juan Pablo Durán Sánchez

Cordova President of the Parliament of Andalusia between 2015 and 2018 Author: Alfredo de Anca

Mrs. Marta Bosquet Aznar

Almería President of the Parliament of Andalusia between 2018 and 2022 Author: Alfredo de Anca

The flag of Andalusia

Author: Juan Genovés

"Five Wounds" Parliament

Author: Fernando Parrilla Zapata

Mirror for Huelva

Author: Manuel Rivera

Mirror for Córdoba

Author: Manuel Rivera

Mirror for Seville

Author: Manuel Rivera

Mirror for Malaga

Author: Manuel Rivera

Mirror for Jaén

Author: Manuel Rivera

Mirror for Cadiz

Author: Manuel Rivera

Mirror for Granada

Author: Manuel Rivera

Mirror for Almería

Author: Manuel Rivera

The four seasons

Author: Rafael Alberti

The Four Seasons - Spring

Author: Rafael Alberti

The Four Seasons - Summer

Author: Rafael Alberti

The Four Seasons - Autumn

Author: Rafael Alberti

The Four Seasons - Winter

Author: Rafael Alberti

Oath of the Deputies

This painting, depicting the swearing-in of the deputies in the Cortes Generales and Extraordinarias of 1810, reproduces the original canvas displayed in the session hall of the Congress of Deputies. The work was painted in 1863 by José Casado del Alisal (Villada, Palencia, March 24, 1832–Madrid, October 8, 1886) commissioned by the Congress of Deputies. The canvas depicts the beginning of the meetings on León Island (today San Fernando) on September 24, 1810. It captures the moment the deputies were sworn in. The ceremony took place in the Church of San Pedro and San Pablo, during a solemn mass presided over by Cardinal Luis de Borbón, uncle of Ferdinand VII, who appears in the painting alongside the Secretary of the Office of Grace and Justice, Nicolás María Sierra, who swore in the deputies. This reproduction was donated to the Parliament of Andalusia by the City Council of San Fernando on the occasion of the institutional visit of the Board of the Parliament of Andalusia to the city in February 1995.

The weight of the harvest

Series: "Instruments for Understanding Andalusia" Author: Suárez-Chamorro

The Andalusian Testament. Manuel Rivera Hernández

"From the certainty that we do not own life, but it owns us, this collective work called Andalusian Testament arose." This was stated by one of its authors, the poet Antonio Gala Velasco (Brazatortas, 1930-Córdoba, 2023), who, together with the creator Manuel Rivera Hernández (Granada, 1927-Madrid, 1995) and the composer and guitarist Manuel Muñoz Alcón (Sanlúcar de Barrameda, 1943-Jerez de la Frontera, 2022), signed this joint work on Andalusia, which has decorated the multipurpose room of the Andalusian Parliament since 1992. The works are dedicated to various Andalusian spaces: the source of the Guadalquivir River, the olive groves of Mancha Real, Úbeda, the Albayzín, the Alhambra, the Alpujarra, Níjar, the citadel of Almería, the sea of Carboneras, El Palo beach, Marbella square, Ronda, the Sierra de Córdoba, Medina-Azahara, the Mosque of Córdoba, the ruins of Itálica, Seville, the Guadalquivir through Coria, the Sierra de Aracena, Palos de la Frontera, the cemetery of Huelva, Arcos de la Frontera, the Cartuja de Jerez and the Guadalquivir through Sanlúcar. All of them are mixed media engravings in a format of 70 x 50 cm.

Andalusian Testament - The Alpujarra

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Palos de la Frontera

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Medina Azahara

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Guadalquivir through Coria

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Huelva Cemetery

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Seville

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Sierra de Aracena

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian-Albayzín Testament

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Úbeda

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - The Alcazaba of Almería

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Source of the Guadalquivir

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Olivares de Mancha Real

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Marbella Square

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Níjar

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Arcos de la Frontera

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Sea of Carboneras

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Mosque of Cordoba

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Ruins of Italica

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Charterhouse of Jerez

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Guadalquivir in Sanlúcar

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Sierra de Córdoba

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Alhambra

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - El Palo Beach

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Andalusian Testament - Ronda

Author: Manuel Rivera Texts: Antonio Gala Music: Manolo Sanlúcar

Canama

Author: Fernando Parrilla

Gerardo Delgado. Untitled

Gerardo Delgado. Untitled

José Ramón Sierra. Untitled

Antonio Rojas. Untitled

Oscar Pérez. Untitled

Oscar Pérez. Untitled

Oscar Pérez. Untitled

Montparnasse

Author: Juan Lacomba

Bercy

Author: Juan Lacomba

Three elements - Pleasure

Author: Pedro Simón

Three elements - Memory

Author: Pedro Simón

Oscar Pérez. Untitled

Oscar Pérez. Untitled

Cafeteria Collection (various authors)

Orpheus

Author: Ignacio Tovar

Ignacio Tovar. Untitled

Orpheus

Author: Manuel Ortiz

Diary

Author: Dorothea von Elbe

Juan Barjola. Untitled

Joaquín Sáenz. Untitled

Juan Barjola. Untitled

Carmen Laffón. Untitled

Carmen Laffón. Untitled

Lucio Muñoz. Untitled

Francisco Peinado. Untitled

Gerardo Delgado. Untitled

Disturbance in the tree

Author: Juan Romero

Feet, Man, Woman, Pregnant Woman and Child (5 works)

Author: Paco Lara

Disturbance in the tree

Author: Paco Lara

José María "Chema" Tato. Untitled

Esther Garrido. Untitled

16th Century Main Altarpiece

The design of the main altarpiece of the old hospital chapel was the work of the architect who completed the temple itself, Asensio de Maeda, in 1600. For the assembly of the large wooden structure, the architect and sculptor Diego López Bueno was hired in 1601, and for the paintings and polychromy the commission fell to Alonso Vázquez in 1602. The supervision of all the work was carried out by the hospital administrator himself, Celedonio de Acoza. The altarpiece's design follows the model of the monastery of San Lorenzo del Escorial, which was widely known at the time thanks to the prints made by the Flemish engraver Pieter Perret. It consists of a wide pew, three sections, and an attic. The eighteen paintings that make up the altarpiece follow, as in the case of the chapel's cover, the program of the Counter-Reformation of the Catholic Church. In the first section, in the center, is the figure of Saint Laurence, next to Saint Sebastian and Saint Roch. The second section is composed of the central scene of the incredulity of Thomas, directly related to the chapel's portal, and the figures of Saint Francis of Assisi and Saint Anthony of Lisbon (or Padua); and the third section features representations of Calvary, Saint Anthony with the Child, and Saint John the Baptist. The attic is occupied by the emblem of the Five Wounds held by two angels. On the altarpiece bench, on the pedestals, appear the so-called Church Fathers: Saint Jerome, Saint Ambrose, Saint Augustine, and Saint Gregory; and on the panels, the evangelists: Saint Luke and Saint John on the Gospel side, and Saint Matthew and Saint Mark on the Epistle side.

Commemoration of the 25th Anniversary of the Parliament of Andalusia

Author: Luis Rodríguez Gordillo

Three elements

Author: Pedro Simón

Olavide Map

This print is a 1903 edition of the well-known map of the city of Seville drawn up by Francisco Manuel Coelho and engraved by José Amat in 1771, which was promoted by the city's intendant and assistant Pablo Antonio José de Olavide y Jáuregui, who served as such from 1767 to 1776. That map from 1771 became the first one made of the entire city of Seville. The 1903 edition was printed at the expense of the Duke of T'Serclaes, Juan Francisco Pérez de Guzmán y Boza, senior lieutenant of the Royal Cavalry of Seville, who was a great bibliophile. Today, part of his extensive library is housed in the Hispanic Society of America in New York. In this edition, the explanation of the map (nomenclature or list of buildings located on the plan by numerical key), printed on the left and right margins of the first print run of 1771, was removed. It consists of four printed sheets of laid paper, glued together, measuring 49.5 x 70 cm, with a footprint of 44 x 55 cm. Scale [ca. 1:2.650]. 600 Castilian varas [= 18.8 cm]

EXIT THE PLENARY HALL

EXIT THE PLENARY HALL

EXIT THE PLENARY HALL

EXIT THE PLENARY HALL

Greeting from the President

Indoor gardens

The interior garden of the old Hospital Field, much reduced compared to the 1889 delimitation, was converted into a parking lot for use by the Central Hospital in the second half of the 20th century. In 1992, with the remodelling of this space on the occasion of the opening of the permanent headquarters of the Parliament of Andalusia, the architect Alfonso Jiménez Martín designed the new interior garden, with low gardening tables, without trees, based on myrtle hedges and rose bushes that allow the view of the main façade of the old Hospital de las Cinco Llagas in all its splendour. These fields of plants are home to, in the official name of Seville's street directory, the only street in the city without houses. This is Andueza Street, dedicated to the merchant and hospital benefactor Vicente Torres de Andueza. Previously, and since 1859, this name was given to the current Parliament Street, which had been known by other names throughout history, such as Acera del Cajón, Ruy Pérez, Barbacana, and Plaza de la Macarena. This street had once had a row of houses in front of the wall, which were demolished in 1937.

Main or ceremonial entrance

The Hospital's Campo Gate, the main entrance to the building, was completed in 1617, almost sixty years after its inauguration in 1559. It is a work of white Estremoz marble, crafted by the master Miguel de Zumárraga. It consists of two sections and an attic. The first has a triumphal entrance flanked by semi-columns and a large scrolled cartouche on the lintel, depicting the hospital and its patrons. The second features a wide balcony framed by the coat of arms of the House of Ribera. The attic crowns the complex, bearing the coat of arms of the Five Wounds. The hospital's board of trustees decided to erect this façade as a monument dedicated to the memory of the hospital's founder, Catalina de Ribera y Mendoza, as well as to her first-born son, Fadrique Enríquez de Ribera, through the elements that comprise it: the dedicatory inscription, the noble coats of arms, the hospital's emblem and the Jerusalem Cross, symbols of the institution itself and its patrons and sponsors. The dedication that appears above the lintel of the entrance to the hospital aims to perpetuate the memory of its patrons, as well as highlight the healthcare mission of the institution. The establishment, created by Catherine de Ribera y Mendoza, was authorized by papal bull of Alexander VI. It was to be administered by the priors of the monasteries of Santa María de las Cuevas, San Jerónimo de Buenavista, and San Isidoro del Campo. In 1525, Fadrique Enríquez de Ribera, Marquis of Tarifa and Chief Constable of Andalusia, heir to the House of Ribera, obtained a new papal bull from Pope Clement VII authorizing the relocation of the healthcare center. From then on, land was purchased in the Macarena suburb, and the planning of the building was entrusted to Francisco Rodríguez Cumplido, who designed it following the new model of cruciform hospitals with wide courtyards and galleries. All of this is reflected in this inscription on the lintel of the doorway, which was executed in 1617. «QVINQV CHRISTI IESV VVLNERIBUS S. / AMPLISS. NOSOCOMIVM PAVPERIB. CVRANDIS D. CATHERINA DE RIBERA / ET D. FEDERICVS HENRIQVEZ DE RIB. FIL I. TARIFAE MARCH., BET. ANTEL. / NON MINORI SVMTV. QVAM PIETATE FIERI IVSS. DPS/TANTOR. PRINCIPVM MEMORIAM PERFICI. ET PORTAM HANC F. CC. / INTEGER PR. PATRONI ETREI ADMINISTRATES. AN. M. DC. XVII». This is: «The Holy Five Wounds of Jesus Christ, the most illustrious hospital for the care of the poor. It was commissioned by Doña Catalina de Ribera and Don Federico Enríquez de Ribera, her son, Marquis of Tarifa and adelantado of Baetica. It was made with great piety and paid for by these princes. This door was erected by the patrons and administrators in memory of these princes. Year 1617.»

Balcony of the entrance

This wide balcony with a balustrade, designed by Miguel de Zumárraga, is the gateway from which the hospital overlooks the city. It was made of white Estremoz marble, like the rest of the entrance. The open bay window above the hospital entrance features a pyramidal railing. The opening surrounds the entrance in a double frame. In the foreground, Ionic semi-columns support an entablature. All of this is, in turn, framed by a structure of pilasters with bracket-shaped capitals supporting another entablature, above which the curved pediment of the attic of the doorway will be located.

Shield of the Five Wounds / Cross of Jerusalem

The Five Wounds (or plagues in archaic versions) is a Christian devotional expression that refers to the five wounds Jesus received during his crucifixion. This devotion was initiated by Giovanni di Pietro di Bernardone (Saint Francis of Assisi). The Order of Friars Minor, associated with the saint, began using the emblem of the Five Wounds in their convents. Later, the devotion was adopted by the brotherhoods of disciplinarians, including the True Cross. It also designated invocations of Christ, as well as charitable institutions, such as hospitals. The representation of the Five Wounds appears on the façade of the hospital with the allegory of the five bunches of grapes, alluding to the wine and blood of Christ in the transubstantiation. The Jerusalem Cross is a heraldic element composed of a Greek cross surrounded by four others of the same shape and smaller size, called crosslets, located in each of the quadrants delimited by its arms. In 1533, the Lombard artist Antonio María Aprile de Cardona had executed the portal of the Palace of the Major Adelantados of Andalusia, residence of the House of Ribera. Above the cornice, he decided to place the Cross of Jerusalem and the inscription "4 DAYS OF AUGUST 1519. ENTERED JERUSALEM", alluding to Fadrique Enríquez de Ribera's pilgrimage to the Holy Land. For this reason, the master builder Miguel de Zumárraga crowned the entrance to the Hospital de las Cinco Llagas with the emblem of the Cross of Jerusalem, in homage to the driving force behind its new headquarters, the Marquis of Tarifa, and to the symbolic significance of the cross as a representation of the Five Wounds of Christ: the central one points to the wound in his side, and the four smaller ones, to the nail wounds. Today, the latter have disappeared. The first iron cross was made by the locksmith Hernando de Pineda.

Coat of arms of the Enriquez family

The House of Enriquez is a Spanish noble lineage of royal origin from the Crown of Castile, initiated by the Infante Fadrique de Castile, natural son of King Alfonso XI of Castile and Leonor de Guzmán and twin brother of Henry II of Castile, who gave his name to the lineage. Pedro Enríquez de Quiñones, a member of the lineage, married Catalina de Ribera y Mendoza for the second time in 1460. He had previously been married to her sister, Beatriz de Ribera. Here appears the emblem of his lineage, carved in white marble. It is a mantled shield with three cantons: the first two, gules with two gold castles; the third, gules argent with a rampant lion in purple.

Coat of arms of the Ribera family

Per Afán de Ribera y Portocarrero, grandson of Catalina de Ribera and nephew of Fadrique Enríquez de Ribera, was to inaugurate the new headquarters of the Hospital of the Five Wounds in 1559. He was lord of Tarifa and was later named Duke of Alcalá by Philip II. He also became viceroy of Naples. He hereditarily held the positions of chief notary of Andalusia and chief governor of Andalusia. Under him, the House of Alcalá was to emerge, whose heraldic emblem was the combination of the coats of arms of the Enríquez and Ribera families. Here appears the family coat of arms of the House of Ribera in Andalusia, which, although in this representation in marble it lacks color, in heraldry it is a field of gold with three bands of green.

ING Plate (Altitude)

In the 19th century, the National Geographic Institute began creating the national topographic map, on which altitude was an important factor. Level 0 was established in Alicante, from which the reference point for all of mainland Spain will be taken. In 1871, the first leveling plate was placed, and a project began that wasn't completed until 1966. The network was extended along the railway lines, and the plates were placed at stations and on the most prominent buildings in each city. Those prior to 1925, such as the one located at the headquarters of the Andalusian Parliament, bear the name of the Geographic and Statistical Institute. Those later bear the nomenclature of the National Geographic Institute. There are several plaques in the city of Seville. In addition to those placed at the train stations in Córdoba and Cádiz, they were also installed at the Royal Alcázar, the Town Hall, the Museum of Fine Arts, the Casa de Pilatos, the courthouse building (now the headquarters of the Archive, Newspaper Library, and Publications Service of the Seville City Council), and this one, installed at the Central Hospital of Seville.

Gargoyles

The gargoyles, with figures of animals and two-headed fantastic beings, and even anthropomorphic elements, will appear throughout the main façade of the building, as well as on the first seven modules of the western façade, after which they are replaced by corbels. They recall the old constructive elements of Gothic art, used in the city of Seville at the beginning of the Modern Age, which are intertwined with the new constructive features of the Renaissance, of which this building is a great example. Functionally, gargoyles were used to drain rainwater from the roofs and prevent it from falling directly onto the stone walls and causing their deterioration.

Southwest Tower

Southeast Tower

This tower, never completed during the building's historic period as the headquarters of the Hospital de las Cinco Llagas, was completed in 1991, during the renovation of the building to adapt it to the headquarters of the Andalusian Parliament. The work was completed with new materials, following the model of the towers on the west façade and bearing a record of the date of the renovation. The finishing works were directed by architects Alfonso Jiménez and Pedro Rodríguez.

East facade

We know that in 1622, this façade had some modules erected on its first level, which had remained in a basin for a long time. Work must have progressed following the testamentary bequest made to the hospital at that time by Diego de Yanguas, treasurer of the Mint, for the construction of a pavilion for convalescents. This allowed for the completion of the exterior wall of the Prisoners' Patio, which was built in brick, unlike its first modules, which were executed in stone. Later, news takes us back to 1809, when the eastern wing of the hospital was used for the wounded from the Napoleonic Wars. The soldiers remained in the building until 1841, not without significant problems with the building's administrators. As a result, they were forced to move to the abandoned Hospital del Amor de Dios at that time, but they were forced to return the following year. A decade later, in 1852, this part of the building was ceded to become the headquarters of the Military Hospital, once consolidation works were carried out thanks to a new legacy provided by the wealthy merchant and industrialist Vicente Torres Andueza. The Military Hospital will occupy the Alcohol, Cobalt and Innocents courtyards (today the Prisoners' courtyards), and will remain in the building until 1957, when it moves to the Pineda area, south of the city. During the renovation of the building in 1991, the entire façade was harmonized by covering the brick walls with new materials to match the original stone sections.

East facade door

Currently, this gate, on San Juan de Ribera Street, is the usual entrance to the Andalusian Parliament, as the main gate, known as Puerta del Campo, is only open for institutional events and open days. The gate was erected in 1858, when the Military Hospital was completely separated from the Central Hospital. The street is named after Juan de Ribera, the natural son of Per Afán de Ribera, the first Duke of Alcalá, who inaugurated the hospital building. He was appointed Viceroy of Valencia by Philip III; there he carried out the expulsion of the Moriscos from the kingdom in 1609 and was a major driving force behind the Counter-Reformation in the Catholic Church. He was beatified at the end of the 18th century and made a saint in 1960.

Lobby

In 1552, seven years after the construction work began, the patrons of the Hospital of the Five Wounds decided to begin construction of the Reception Courtyard and the hospital church. These works began with the vestibule or reception hall, which would give its name to the entire courtyard. The construction work was directed by Martín de Gainza and the surveyor Martín de Baliarren. The vestibule is the welcoming place to enter the building. It is a quadrangular space, opened by a columned portico on its north side. The portico features seven semicircular arches supported by six pairs of columns and two corbels at the end, and provides access to the building's large central courtyard. The columns for this space were supplied by the stonemason Asteasu, and the timbers for the roof trusses by the carpenter Luis de Villafranca. The vestibule must have been completed around 1558, when Hernán Ruiz Jiménez took over the works. In 1858, the fence that today separates the hall from the courtyard was placed.

Reception Courtyard

This is the building's largest courtyard, occupying its heart and extending from the lobby to the corridor of the halls with lost passages. It gets its name from being the reception area or entrance space to the building. It is divided into two areas. The first is porticoed by columned galleries, both on the ground and upper floors, while the rear area lacks them. In the center of the courtyard is the plenary hall of the Parliament of Andalusia, which occupies the interior of the former main chapel of the Five Wounds. Its construction began in 1552. Its layout has changed as the building's construction decisions changed. The building's great master builders, Gainza, Ruiz Jiménez, and Maeda, all of whom were also master builders of Seville Cathedral, participated in its construction, as did the surveyors Martín de Baliarren, Francisco Sánchez, and Andrés de Ribera. The courtyard's first section, closest to the building's facade, features galleries on three sides. Those on the ground floor are formed by twenty-eight intercolumniations with raised arches, supported by twenty-six Doric columns with entasis on their smooth shafts and two corbels that close off the gallery space where the arches rest. On the upper floor, the intercolumniations with lowered arches are supported by twenty-seven columns with the same characteristics and a single corbel, located on the east side at the end of the corridor. All the galleries on the upper floor have glass metal closures.

Plaque of the visit of HRH the Prince of Asturias (2002)

On June 21, 1982, the constitutive session of the Parliament of Andalusia was held in the Tapestry Room of the Royal Alcázar of Seville. Two decades later, on the afternoon of April 8, 2002, when the Andalusian Parliament was already seated in the old Cinco Llagas building, HRH the Prince of Asturias, Don Felipe de Borbón, visited the parliamentary headquarters as part of the events organized to commemorate its twentieth anniversary. This would also be the first official visit the Prince of Asturias would make to Andalusia, whose eight provinces he toured for two weeks. The birth of the first parliament in Andalusia was a long process that began on October 12, 1977, with the constitution of the Assembly of Andalusian Parliamentarians, made up of the candidates elected in Andalusia, deputies and senators, of the Cortes Generales, and which would have other notable moments such as the creation of the Pre-autonomous Board on May 17, 1978, a body that ratified autonomy for Andalusia in 1980 in accordance with the procedure set forth in Article 151 of the Constitution, the holding of the referendum on February 28, 1980, ratifying the autonomous initiative, the approval of the Statute of Autonomy on October 20, 1981, and the election of the first parliament on May 23, 1982.

Triana tile baseboards

At the beginning of the 20th century, around 1908, the Central Hospital underwent extensive improvement and modernization works. This period marks the tiled plinths we can see today in the lobby and the Reception Courtyard. Initially, these plinths were located in the courtyard galleries and in the infirmary rooms, and served a dual function: ornamental and functional, just as they had existed in the palaces and convents of Seville during the Modern Age. After the building's restoration, the ceramic pieces that could be salvaged from the entire building were installed in this space. These pieces are industrial edge tiles made in the factories of the Mensaque y Soto company, founded in 1889, and in the workshops of Manuel Ramos Rejano, created in 1895 in Triana. Both production centers produced ceramic pieces imitating 16th-century models in the Mudejar tradition and with latticework motifs.

Commemorative plaque of the transfer of the building by the Provincial Council (2012)

In 1982, the plenary session of the Provincial Council of Seville, at its meeting on October 4, agreed to transfer the Hospital de las Cinco Llagas to the Regional Government of Andalusia. Subsequently, in 1985, the Board of the Andalusian Parliament, at its meeting on January 9, agreed to the transfer of the building to the Andalusian Parliament to become its permanent headquarters. Therefore, in 2012, coinciding with the 30th anniversary of the transfer of the building, the Parliament of Andalusia wanted to permanently commemorate this fact by placing this commemorative plaque. The date of June was chosen to coincide with the anniversary of the constitution of the Parliament of Andalusia, an event that took place in 1982 in the Tapestry Hall of the Royal Alcázar of Seville. The building was owned by the Seville Provincial Council since the 19th century, when the provincial corporations took over charitable assistance in their administrative district. At that time, the Central Hospital was established and the Five Wounds Trust disappeared. The hospital ceased operations in 1974, when the Clinical Hospital of the Faculty of Medicine, now the Virgen Macarena University Hospital, was opened.

Model of the Parliament of Andalusia

In 2010, the Presidency of the Andalusian Parliament launched a traveling exhibition that toured various locations in the region to raise awareness of the institution that represents the Andalusian people and bring it closer to the public. The exhibition was entitled "The Parliament for Andalusia." Among the exhibition's educational resources was a scale model of the old Cinco Llagas building, the seat of the Parliament, intended for people with visual impairments. Today, the model is displayed in the building's entrance hall and is the starting point for guided tours, with which the Andalusian Parliament maintains the objective of bringing the institution closer to the public through an educational and entertaining program that runs throughout the year. To book a visit, simply go to the Chamber's website and follow the steps in the "Visit the Parliament of Andalusia" window.

Replica of a Nasrid vase

Author: Francisco Martínez Villacañas These two glazed ceramic amphorae are the work of the brilliant ceramist Francisco Martínez Villacañas (Úbeda, 1943), known as Paco Tito. They reproduce the well-known models of the Nasrid vases from the Alhambra in Granada. They feature a rounded body, narrower at the base, as well as a raised neck and large, fin-like handles. The pieces are decorated with plant and lattice motifs, glazed in green and ochre. Both are signed by their creator on the body of the vase, which also shows the date of execution, 1987.

Column gallery bracket

The supporting elements, consisting of corbels in stone or wood, can be found in various areas of the building, such as in the courtyard galleries to support the arches; in the plenary hall (formerly the main chapel), to prop up the cantilevered elements of the second floor; on the interior balcony of the Apothecary Courtyard; to support the truss beams; or in the elements for draining rainwater from the roofs, replacing the gargoyles. These vestibule corbels, resembling shelves, are perhaps the most artistically striking in the building. They are carved from stone and serve to support the arches of the gallery leading to the Reception Courtyard. They feature a balanced design, with a central figure of a full-length angel between two corbels of plant elements.

Main Chapel - Plenary Hall

The hospital's main chapel is located freestanding in the heart of the building, in the Reception Courtyard. It has a Latin cross layout, with a rectangular transept and apse, behind which is the rectangular sacristy. It stands 33 meters high and measures 48 by 17 meters, making it a major monument within the Five Wounds complex. Its exterior facades feature superimposed orders on its three levels, with Doric, Ionic, and Corinthian pilasters. Its closed appearance opens to light in the upper level, where large thermal windows appear. Construction began in 1552, when the master builder Martín de Gainza was in charge. Six years later, in 1558, when Hernán Ruiz took over, the decision was made to extend the hospital's initial, smaller length and provide it with side chapels. Construction continued at a good pace until the death of Ruiz Jiménez in 1569, and was resumed in 1581 by Asensio de Maeda. The hospital was completed in 1602, at the time of its consecration. Forty-three years had passed since the hospital's opening. The chapel has three access doors, whose door fittings were made by Francisco de Bonilla in 1598.

Main entrance of the Main Chapel

The main chapel's façade was commissioned on June 26, 1560, to Hernán Ruiz, and was completed seven years later, in 1567, as evidenced by two inscriptions on the front itself. Ruiz conceived this portico as a great triumphal arch to pay tribute to the hospital's patrons and highlight its healthcare function. It is divided into two bodies, topped by a triangular pediment with acroteria. The lower section is Doric and features a semicircular arch with a bracket at the keystone, where the completion date appears. The arch is flanked by double Doric columns, which rise from a podium and support an entablature with triglyphs. The spandrels and keystone of the arch feature three reliefs depicting what the Catholic Church calls the theological virtues: Faith, Hope, and Charity. The second section features niches between paired Ionic columns, flanking a semicircular arch with a bracket at the keystone, above which are the coats of arms of the patron saints and an inscription alluding to Thomas, one of the apostles of Jesus Christ. The spandrels read "YEAR 1567." The doorway also features the geometric ornamentation of the intercolumns and jambs. The materials used for the façades are white and red marble from the quarries of Estremoz, in the Portuguese Alentejo. The jaspers that decorate the first section also come from the same area. The iconographic program of the Five Wounds was carefully studied by the hospital's board of trustees, directed by the priors of the Carthusian monastery of Santa María de las Cuevas and the Hieronymite convents of San Jerónimo de Buenavista and San Isidoro del Campo. They decided to place these high reliefs above the entrance to the temple, as a catechism of the Catholic Church. These high reliefs represent the so-called theological virtues: Faith, Hope, and Charity, which God instills in the souls of men at baptism. The reliefs were carved in white Genoese marble in 1564 by Juan Bautista Vázquez, the Elder, one of the great promoters of the Sevillian school of sculpture in the 16th century. Both Faith and Hope appear identified on separate plaques with the signs "SINE FIDE / NICHI" and "SPES MEA / DOMINE". At the height of the reform of the Catholic Church, with the culmination of the Council of Trent in 1563, the decision was made to place the inscription "QVIA VIDISTI ME THOMA / CREDIDISTI BEATI QVI NON / VIDERUNT ET CREDIDERVNT" on the doorway of the main chapel to exalt the value of Faith, alongside the theological virtues. The phrase is from the Gospel of St. John: "When you have seen me, Thomas, you have believed. Blessed are those who have not seen and yet have believed." It was also chosen to illustrate the central painting of the main altarpiece of the hospital chapel. In this context, it is also interesting to remember that one of the monasteries that served as patrons of the hospital, San Isidoro del Campo, located in the neighboring town of Sevilla la Vieja, today Santiponce, played a major role in the Protestant Reformation in Seville, and part of its community had been prosecuted by the Inquisition a few years before the completion of this portal, at the same time as the opening of the hospital. Among those prosecuted was María de Ribera, sister of Per Afán de Ribera, who inaugurated the hospital.

Side doors of the Main Chapel

The side portals, opening into the transept, are smaller than the main one and are made of carved stone. They occupy the lower part of the facades. They were designed by Hernán Ruiz Jiménez. The east portal features semicircular arches with a bracket at the keystone and small spandrels. Above the alfiz is a central niche with a scallop shell. This group is flanked by pilasters and Ionic semi-columns arranged on a podium. The body is crowned by a decorative frieze of plant motifs with acroteria on the columns. On the second body there is a venerated niche as a finish, which was executed in 1582 by Mateo Merodo. The west portal features semicircular arches with a bracket at the keystone and small spandrels. Above the alfiz is a central niche with a scallop shell. This group is flanked by pilasters and Ionic semi-columns arranged on a podium. The body is crowned by a decorative frieze of plant motifs with acroteria on the columns. On the second body there is a venerated niche as a finish, which was executed in 1582 by Mateo Merodo.

Bell towers of the Reception Courtyard

These simple, whitewashed brick bell towers are located above the two infirmary wards closest to the hospital chapel. They did not serve a liturgical purpose, but were used during visits by doctors and priests to the hospital's sick. The bells were rung so that the senior nurse, or any other sister caring for patients at the Five Wounds, could go to the western or eastern wards to accompany the doctor or priest during the visit.

Bell tower of the Main Chapel

The hospital chapel was never a parish church. The sacraments of baptism and marriage could not be administered there. Therefore, it will not have a tower or a high belfry, typical of Catholic parishes. It will have only a small, very discreet belfry on the apse façade. Made of carved stone, it features a semicircular voussoired arch, pilasters attached to the jambs, and a straight pediment. Inside there is a bell with the inscription, not entirely legible, "SOLANO ME FECIT. AÑO 1714". The founder must have been the master bellmaker Francisco Matías Solano, creator of other carillons, such as that of Santa Rufina in the Seville Cathedral, made on the same date. Let us remember that this chapel was designed and directed by Hernán Ruiz, author of the bell tower of the Seville Cathedral, the popular Giralda, which is named after the rotating weather vane that crowns it and represents Faith.

Dice from the head of the Main Chapel

At the head of the main chapel, on the north façade, is a carved die with three square faces divided into four triangles by a cross. The entire die appears within a circle. The interpretation of this symbol is varied. On the one hand, and following the iconographic program of the chapel's portal, it may be related to the Counter-Reformation of the Catholic Church, which reaffirmed the doctrine of the Trinity. Hence, the three faces of the die and the circle that surrounds it may represent the mystery of the Trinity: Father, Son, and Holy Spirit. It may also be a symbol alluding to the tripartite patronage of the hospital, made up of the priors of Santa María de las Cuevas, San Jerónimo de Buenavista and San Isidoro del Campo, who after the Council of Trent will be subject to the bishop of the diocese in relation to the care of souls in the hospital, and who will be their authority, unlike what was established in the papal bull founding the establishment. And finally, it can be interpreted as a symbol of perfection, which could be found in squaring the circle. In this sense, it could be related to the work's author, Hernán Ruiz, and his famous Book of Architecture, of which part of the manuscript with geometric drawings applied to this art form is preserved.

Plenary hall

The monumentality of the interior of the hospital's main chapel stands out for its great height and the use of stone throughout, including the vaults that cover it. It features three large interior sections, characterized by superimposed orders. The first two make up the main chapel, while the third houses the thermal arches and the vaulted ceiling that covers it. The nave has four auxiliary chapels paired on each side, with galleries above them, which are finished with barrel vaults. The lower part of the chapel features Ionic pilasters in the presbytery and pendulum capitals in the transept and nave, which support the entablature leading to the second part. This section has supporting elements in the form of semi-columns and Ionic pilasters. The space is covered with different types of vaults. The first is the half-orange vault of the presbytery's exedra, followed by the vaults of the transept and nave, where smooth groin vaults are used. The presbytery is covered with a quarter-sphere vault; the arms of the transept, chapels, and galleries are covered with barrel vaults. Hernán Ruiz oversaw the construction work from the foundations to the entire body of the temple. The vaults were completed by his successors, the surveyor Francisco Sánchez and the architects Benvenutto Tortello, Asensio de Maeda, and Juan de Mijares. The chapel was completed in 1592.

Chapel with remains of paint

In this chapel on the eastern side, remains of 19th-century polychrome are preserved. They belonged to the Chapel of Saints Cosmas and Damian, which must have contained an altarpiece dedicated to these Catholic saints. It came from the hospital of the same name after it was integrated into the Central Hospital in 1840. This hospital, popularly known as the Hospital of the Innocents, was founded in 1436, and from the 19th century onwards, its patients were part of the Central Hospital's insane department. In 1880, the Provincial Council of Seville allowed the construction of a mausoleum in this chapel for José María de Ybarra y Gutiérrez de Caviedes, a Sevillian businessman who was a benefactor of the hospital and who had been the free director of the Provincial Hospital between 1858 and 1867, and who died in 1878. Today the tombstone is located in the San Fernando cemetery, in the pantheon of the Counts of Ybarra. During Ybarra's administration, new kitchens, linen closets, and pantry were built at the Central Hospital, and the infirmary wards were tiled to improve hygiene. The Patio de las Flores was completed, and construction began on the San Juan ward for mental patients. The Military Hospital was also permanently segregated.

Blind arch of the transept

The polychrome remains preserved today in the blind arch of the old Epistle nave in the chapel's transept once housed an altarpiece dedicated to the Mass of Saint Gregory, the work of Jerónimo Ramírez, a disciple of Juan de Roelas, painted around 1618. Under this altarpiece, the treasurer of the House of Trade, Diego de Yanguas, was buried. In 1622, he founded a board of trustees to create a convalescent hospital for men and women in the Cinco Llagas. On the other side of the transept, in the Gospel nave, there was another altar with a canvas by the same author, made in 1633 and dedicated to Christ Crucified, which today presides over the main altar of the chapel of the convent of Santa Clara in Alcalá de Guadaíra. Until the 19th century, the hospital chapel had two more altarpieces, one dedicated to Our Lady of Bethlehem and another to Las Angustias. Following the creation of the Central Hospital and the concentration of hospitals in the Cinco Llagas (Five Wounds), the temple's heritage increased with the incorporation of the liturgical furnishings from the oratories of these healthcare centers.

Staircase leading to the main floor.

This stairwell contains the building's main staircase, made of white marble. It is a cloister-style staircase with an open box under a wooden coffered ceiling. It is built in three flights and has two landings. The first flight has fourteen steps and is the widest; the other two have eleven steps each. The staircase is completed with a balustrade, handrail, and an upper gallery. This staircase model was established during the Renaissance for access to the cloisters of monasteries, and was later developed in palaces and hospitals. The armor crowning it is of the coffered knuckle type, common in covering this type of space. The almizate, the upper panel of the covering, is decorated with geometric latticework and star motifs, and features a pendant or pinecone-shaped ornament in the center that hangs from the structure of the armor. The two straps of this also display geometric bow and star motifs in their carving. The framework was hidden in the early decades of the 20th century when a freight elevator was installed in the stairwell, with a false ceiling to conceal some of the operating machinery. It will be recovered in the restoration directed by architects Pedro Rodríguez and Alfonso Jiménez.

Reliefs at the entrance to the Cardinal's Patio

These reliefs were installed in this entrance portico to the old courtyard of San Pedro in 1558, at which time crosses and coats of arms were placed in the courtyards and infirmary rooms with the symbols of the Five Wounds and the House of Ribera. They were placed in anticipation of the building's opening, which took place on March 5, 1559. Here appears the Enríquez family coat of arms on the right, that of the Ribera family on the left, and in the center the emblem of the Five Wounds of Christ. Above this last emblem is a high relief of Jesus Crucified, similar to that found on many crosses installed at the entrances to towns during this period.

Cobalt or León Courtyard

The courtyard features three porticoed facades with galleries on the upper and lower floors. The west side lacks a gallery. Unlike the other smaller courtyards in the building, these galleries are supported by pillars and feature segmental arches and basket wedges. The north and south galleries have two openings, while the east side galleries have three, with the central one being the largest. The corridors on the upper floor have glass metal shutters. The courtyard features a white marble fountain attached to the west wall, with a semicircular basin, a saucer, and a lion's head fountain. The shrub garden features orange trees pruned into pillars next to the fountain. This space must have begun to be built in the first third of the 17th century, but a century later it was still a basin. It was completed after the legacy donated to the hospital by the merchant Vicente de Torres Andueza beginning in 1842. Between 1852 and 1957, it housed the Military Hospital. This space housed the Santa Isabel and San Cosme wards on the ground floor, as well as the military parish church in the east gallery, and the quarters for teachers and chaplains in the western area of the upper floor. After the military health service abandoned these facilities, the first cobalt machine purchased by the provincial hospital was installed in this courtyard in the 1960s for the treatment of certain illnesses. Hence the name by which this space became known. Currently, the administrative services of the Parliament of Andalusia, as well as visitor access control, are located around the courtyard.

Lion Fountain

Located in the Cobalt or Lion Courtyard, this white marble fountain is wall-mounted, attached to the west wall, with a semicircular basin, a saucer, and a lion's head front serving as a spout. The shrub garden features orange trees pruned into pillars next to the fountain.

Patio del Alcohol

The courtyard has four porticoed facades with galleries on the upper and lower floors. The wider north and south sides have six openings, while the smaller ones on the east and west sides have five. On the ground floor, the stilted arches with alfiz arches are supported by plain columns with composite capitals. On the upper floor, the gallery openings are formed by segmental arches between plain columns with composite capitals. There are a total of 22 columns on each floor in the courtyard. The bases of the columns in the north gallery of the lower floor do not feature the torus with leaves at the corners that appears on the other galleries. The shafts of these columns also display entasis in their diameter. The corridors on the upper floor feature glazed metal closures. The patio has a fountain, made of white marble with a circular vase, shaft, plate with gallons and spout, surrounded by landscaping of low hedges, bushes and orange trees. This space must have begun to be built in the first third of the 17th century, but a century later it was still a pool. It was completed after the merchant Vicente de Torres Andueza donated a legacy to the hospital beginning in 1842. From 1852 to 1957, it housed the Military Hospital. The San Marcos and San Cosme wards were located here on the ground floor, and the San Gil wards were located upstairs. Its name possibly derives from the alcohol warehouses that the hospitality had, which had to have safe and ventilated premises away from light and heat. Currently, the administrative services of the Parliament of Andalusia are located around the courtyard.

Otto Engelhardt plaque

On October 31, 2018, the Andalusian Parliament recovered a plaque installed in 1909 in the San José Ward of the former Central Hospital. This plaque commemorated the patronage work carried out by the German engineer Otto Engelhardt, who lived in Seville and contributed to the improvement of the now-defunct ward located in the north gallery of the Prisoners' Courtyard. The text on the plaque reads as follows: «TO GIVE PUBLIC TESTIMONY OF GRATITUDE TO / OTTO ENGELHARDT / CONSUL OF GERMANY / FOR HIS GENEROUS DEVOTION IN PAYING FOR / THE TILING OF THIS ROOM / THE MOST EXCELLENT PROVINCIAL COUNCIL OF SEVILLE / AGREED TO PLACE THIS TOMBSTONE / DECEMBER 1909». Otto Engelhardt, born in Brunswick in 1866, was director of Sevillana de Electricidad and Tranvías de Sevilla, as well as honorary German consul in the city. He was noted for his philanthropy and his fight against the totalitarianism of the Nazi Party in Germany, as well as for helping those persecuted by Hitler's regime. He was assassinated on September 14, 1936, in Seville following the July coup d'état. The replacement of the plaque was made possible by an agreement of the Board of the Andalusian Parliament. It was donated by the City Council of San Juan de Aznalfarache, where he had lived during his professional life in our country. [More information about the Otto Engelhardt plaque](https://www.parlamentodeandalucia.es/web/guest/placa-otto)

Patio of the Pharmacy

This courtyard, built in the southwest corner of the building, is the first to be built in the Hospital de las Cinco Llagas complex, starting in 1546. Unlike the other smaller courtyards, this one has only one porticoed front, the southern one, with two levels. Each gallery has five raised arches with alfiz on the ground floor, supported by four plain columns with composite capitals, and the same number of semicircular arches on the upper floor, with columns with Tuscan capitals. The gallery on the upper floor has glazed metal closures. The courtyard has a fountain in its central area, made of white marble with an octagonal bowl, shaft, plate and spout, surrounded by gardening hedges and shrubs. The space must have been completed in 1554. A year after the hospital opened, in 1557, the first fountain was installed to supply water to the building, located in this courtyard. The fountain was provided by the marble worker Domingo de Azpeitia. The courtyard was used as quarters for hospital staff, as well as housing the hospital's pharmacy. Hence its name, which has remained unchanged over time. In the 19th century, the Central Hospital's pharmacy would continue to be located there. The various parliamentary groups currently have their offices around the courtyard. The Andalusian Parliament's Speakers' Room is also located in the south gallery on the upper floor.

Patio of San Carlos

The courtyard has four porticoed facades with galleries on the upper and lower floors. The wider north and south sides have six openings, while the smaller ones on the east and west sides have five. On the ground floor, the stilted arches with alfiz arches are supported by plain columns with composite capitals, except for those at the gallery angles, which are in the Tuscan order. On the upper floor, the gallery openings are formed by segmental arches between Tuscan columns. There are a total of 22 columns on each floor of the courtyard. The corridors on the upper floor have glass metal shutters. The patio has a fountain, made of red marble, with a circular stem, a plate with gallons and a spout, surrounded by landscaping with low hedges, bushes and orange trees. Throughout the Modern Age, the courtyard housed the offices of the hospital administrators and its patrons, as well as the archive and other auxiliary rooms. Hence, it was initially known as the "Administrators' Courtyard." Later, it was designated the San Carlos Courtyard, in honor of Saint Charles Borromeo, who, along with Saint John of Ribera, stood out as a figure of the Counter-Reformation of the Church in the 16th century. From the 19th century, in the civil stage, the ground floor housed the department for the "insane", while the upper floor was used as the quarters of the Sisters of Charity of Saint Vincent de Paul, who were in charge of the nursing work in the hospital, in addition to housing the Deanery of the Free School of Medicine and Surgery. Currently, around the courtyard, on the ground floor, is the Parliamentary Relations Service, whose functions include coordinating parliamentary initiatives with the Governing Council of the Andalusian Regional Government. The upper floor houses the meeting room of the Andalusian Parliament's Bureau and the offices of the members of this body.

Renaissance balcony

Much of the hospital's staff resided in this area of the building, the first to be built. The policy regarding the Five Wounds staff emphasized the need for them to live on-site to care for the sick and to transform the facility into a kind of female cloister with minimal contact with the outside world. The hospital administrator, appointed by its patrons, as well as the steward, the notary, the priests, the apothecary, the elderly mother, and other nurses resided in the care center. Other people who cared for the sick, such as the doctor, the surgeon, and the auxiliary service staff, were not under this obligation. This balcony, the only one inside the building, appears to be supported by three large corbels on the west side of the courtyard. It must have been built after the completion of the enclosure, when Hernán Ruiz designed the main chapel. This viewpoint opened onto the exterior of the quarters occupied by the hospital administrator, who, in addition to his own chambers, also had a private oratory.

Cardinal's Patio

This was the first of the infirmary courtyards to be built at the Hospital of the Five Wounds. It was built under the direction of Martín de Gainza. It was partially operational, on its east side, when the building was inaugurated in 1559, when the women's infirmary opened. Ten years later, it also housed the clergy's infirmary. This courtyard was completed towards the end of the century after the works of Hernán Ruiz and Benvenutto Tortello, who closed it off. It was the first to be equipped with flower beds, when the first orange and lemon trees were planted in 1587, at which time a marble font was built, made by Juan de Cafranca. The courtyard is a large quadrilateral formed by galleries of eleven arches framed by alfiz, raised on the ground floor and semicircular on the main floor, supported by brick pillars. It has been restored throughout the two stages of the building's renovation. In the first, work was done on the east and south galleries, and in the second, on those in the north and west areas. The differences can be seen in the materials used for the plinths, doors, openings, and roofs. Today, the courtyard houses the Communications Service and Committee Chairs of the Andalusian Parliament, as well as working areas for the parliamentary groups. A wide-ranging archaeological intervention, in addition to documenting burials and foundation remains of the old Andalusian suburb of Macarena, also led to the discovery of a large pottery complex in Hispalis, from the Roman imperial period, in the 1st century AD, which was located next to the river, outside the city, on the road to Emérita, and is now located beneath this space.

Referendum Slate

In March 2021, this replica of the blackboard used on the night of February 28, 1980, at the Casino de la Exposición in Seville to record the vote count by province in the referendum in which Andalusians had to decide whether or not to accede to autonomy through Article 151 of the Constitution, was installed in the Andalusian Parliament. The eight Andalusian provincial councils and 97% of the region's municipalities had voted in favor of channeling Andalusia's autonomy initiative through the means established in Article 151 of the 1978 Spanish Constitution, making the referendum the third and final requirement for the region's access to autonomy, as established in said article. It was the first and only referendum on access to autonomy proposed through this means in Spain. The piece has great symbolic value as it represents the Andalusian people's confirmation of their self-government. Of the 2,843,820 Andalusians who participated in the referendum, 2,472,287 voted in favor of the autonomous process for Andalusia. The original piece is in the Museum of the Autonomy of Andalusia, although it was kept for a long time in the basement of the parliamentary headquarters. The slate was donated to the regional chamber by the Center for Andalusian Studies. The board was later reused for the counting of votes in the referendum on the Statute of Autonomy, which took place on 20 October 1981. The panel reflects the results of this last consultation with the Andalusian people.

Staircase leading to the main floor.

This staircase is one of the two original ones preserved today in the headquarters of the Andalusian Parliament. It contains a cloister-style white marble staircase in an open box under a wooden coffered ceiling. It is built in three sections and has two landings. The first section has thirteen steps. The widest is the central section, with fifteen steps, while the last section has eleven steps. It also has a balustrade, a handrail, and an upper gallery. The armor that crowns it is modern, of the pair and knuckle type, with two straps. Two of the staircase's sections are decorated with tile panels installed in 1908, signed by Manuel Ramos Rejano's workshop, as can be seen on a piece of the plinth pedestal in the last section. At that time, the two stained-glass windows that separate the staircase from the western façade of the building were also installed. They bear the emblems of the House of Ribera in their color, dated 1909, and signed by Pickman, SA.

Fountain Courtyard

The construction of this courtyard, which encloses the west wing of the building, was begun by Hernán Ruiz in parallel with the construction of the hospital's main chapel in the second half of the 16th century. Upon completion, the east and south galleries were used as infirmaries, while the north and west galleries were reserved for hospital services. This layout was maintained in the 19th century, when provincial hospitality was opened: the rooms in the south wing were renamed Cardinal's, on the ground floor, and San Cosme and San Damián on the upper floor; the rooms in the west wing were named Nuestra Señora del Carmen, on the lower floor, and Santa Catalina, on the main floor; and the rooms in the north and west wings were used as wardrobes and pantry, as well as offices, bedrooms, and dining rooms for the Sisters of Charity of Saint Vincent de Paul, who performed nursing duties. The courtyard is a large quadrilateral formed by galleries of eleven arches framed by alfiz, raised on the ground floor and semicircular on the main floor, supported by brick pillars. This large space was restored in the second phase of the building's renovation, between 1999 and 2003, under the direction of architects Francisco Torres Martínez, who also participated in the first phase, and Ricardo Aroca Hernández-Ros. During the renovation, mezzanines were created to increase the building's usable area for its new purpose. The south gallery, on the ground floor, is used by the Andalusian Parliament's Communications Service, while the upper floor houses the offices of the Committee Chairs. The east wing houses other Parliament services, such as Reprography, Maintenance, and Mailrooms; and the other galleries are used by the Andalusian Court of Auditors. Part of the existing landscaping prior to the works, consisting of orange and palm trees, has been integrated into the new design of the courtyard's garden space, in the center of which a flat marble fountain has been placed.

Courtyard of Flowers

The construction of this courtyard was completed in 1865, three hundred and twenty years after the hospital's construction began. At that time, the Central Hospital, for which regulations had been drawn up a few years earlier, in 1844, was fully operational. During this stage, all the infirmary wards were renovated and given new names. The wards in this courtyard will be the Holy Spirit and Our Lady of Mount Carmel wards, in the western transept on the ground floor, and the Sorrows and Saint Catherine wards on the upper floor. The Mercedes ward will be located on the upper floor of the eastern transept. The courtyard will also house the anatomy section and the "insanity" ward, which will be connected to the now-defunct San Juan ward, the province's first psychiatric hospital, built at that time on the same building. The maternity ward will also be located in the upper area of the north gallery. The courtyard is a large quadrilateral formed by galleries of seven arches framed by alfiz, raised on the ground floor and semicircular on the main floor, supported by brick pillars. This large space was restored during the second phase of the building's renovation, between 1999 and 2003. Part of the space was used to store the Parliament's library and training rooms. The rest is used by the services of the Court of Auditors. The cafeteria is also located in this space. The patio garden consists of rose beds and a recently planted carob tree.

Hall of Lost Steps. Ground floor

The term "hall of lost passages" appeared in French palace architecture in the 17th century and later spread to the rest of Europe. This term was already used in parliamentary spaces in the 19th century, as public rooms for members of parliament in their relations with the public, and in many cases preceded the space for parliamentary debate. The Andalusian Parliament has two large halls with hidden passages, located in the central naves of the former nursing wards. This one on the ground floor was designed by architects Ricardo Aroca and Pedro Rodríguez during the second phase of the building's renovation, which was completed in 2002. The spacious room, with large quadrangular windows, features a double vault structure. The easternmost vault is an original partitioned vault with lunettes, which corresponds to the space that housed the private chapel of the Congregation of the Sisters of Charity of Saint Vincent de Paul during the existence of the Central Hospital. The westernmost vault is a contemporary design covering the old space of the clergy infirmary, designed by Martín de Gainza in the 16th century.

Commemorative plaque of the visit of SS.MM the Kings of Spain

On February 20, 2003, Their Majesties King Juan Carlos I and Queen Sofía visited the Parliament building on the occasion of the inauguration of the center's expansion following the completion of the second phase of the renovation work. The final phase of the expansion began in 1999 and was directed by architect Pedro Rodríguez, who had previously participated in the first phase of restoration, along with Ricardo Aroca. This work affected a third of the total surface area occupied by the former hospital, specifically the Cardinal, Fountain, and Flower Courtyards, until the entire building was restored, bringing its surface area to 67,238 m2.

Western Cruise

The Hospital of the Five Wounds of Our Savior Jesus Christ was a clear example of cruciform hospital architecture in Spain, along with others such as the Hospital of the Catholic Monarchs in Santiago de Compostela, the Hospital of Santa Cruz in Toledo, the Royal Hospital in Granada, and the General Hospital in Valencia. In these healthcare facilities, the nursing wards are arranged in a cross-shaped layout. This space in the transept of the women's infirmary at the Hospital of the Five Wounds was designed by Martín de Gainza and executed under his direction with the support of the surveyor Martín de Baliarren. It was inaugurated in 1559, when Hernán Ruiz was in charge of the works and was supposed to complete the design. This space served as a temporary hospital chapel and was consecrated in March 1559 with the inauguration of the building. The vaulted ceiling covering it, made of carved stone, has a very low, almost flat appearance, with low-slung ribs, coffering, and decoration with plant motifs. The whole rests on basket-shaped arches and four pendentives decorated with cornucopias and plant motifs. The keystone is decorated with the emblem of the Five Wounds, an allegory related to the blood of Christ and the grape from which wine is obtained.

Alberto Jiménez Becerril Room

The Alberto Jiménez-Becerril Hall, a multipurpose room, is a space that marks the opening of the Andalusian Parliament to the public. It not only hosts events scheduled by the institution, but also hosts other types of meetings and programs organized by parliamentary groups and Andalusian civic organizations, to whom this space is made available. This former infirmary is dedicated to the member of parliament Alberto Jiménez-Becerril, who died in the city of Seville, along with his wife, Ascensión García Ortiz, on January 30, 1998, in an attack by the terrorist group ETA. To pay tribute to him, and by extension to all victims of terrorism, the Parliament of Andalusia agreed on January 25, 2023, to name the room after him. It was originally the first nursing room to be inaugurated in the Cinco Llagas, on March 5, 1559. It was then called "San Pedro Room", and later, in the 19th century, with the creation of the Central Hospital, it was called "San Cayetano Room". Up to sixty people could be accommodated here, on cots with straw mattresses—and rarely wool—placed along the longer walls. The room was very dark, as the current windows and doors, which began to be opened in the 19th century, did not exist. The niches that appear in the room served as braziers. Above them, other spaces were used for the sick women's personal belongings. The numbered beds of the hospital's patients were located next to the braziers. [More information about the Alberto Jiménez Becerril Room](https://www.parlamentodeandalucia.es/web/guest/sala-jimenez-becerril)

Niche for brazier and cupboard

The room was very dark, as the current windows and doors did not exist, which began to be opened in the 19th century. In the Modern Age, these spaces were used to install braziers and as a cupboard for the personal belongings of the sick. Next to the braziers were the numbered beds of the patients.

Tapestry of the Coat of Arms of Andalusia

The Andalusian Parliament houses a rich collection of textile heritage, especially rugs and tapestries that decorate various rooms in the parliamentary headquarters. Many of these items have been made using traditional techniques from different towns and regions in the region. In this room you will find this tapestry with the coat of arms of Andalusia, made in 1996 by the Granada company Alfombras Artesanales la Alpujarra (Alp), located in the town of La Zubia. This textile industry, famous in the Alpujarra region, characterized by its thick and colorful fabrics, has known how to innovate to offer new quality artisanal products marked by design and avant-garde, as can be seen in this tapestry that today decorates the Alberto Jiménez-Becerril room.

Coat of arms of Andalusia

It is a ceramic replica of the original coat of arms that existed in the Casa de la Alegría and is now on display in room 28F of the Museum of the Autonomy of Andalusia. The original coat of arms presided over the entrance door of Blas Infante's house in Coria del Río and was made by the ceramist Pedro Navia Campos (Almendralejo, 1897-Seville, 1960) in 1932 following the instructions of Blas Infante himself. The original work is a glazed mosaic of 39 tiles measuring 117 centimeters high by 68 centimeters wide. The technique used was mixed, combining dry rope and painted flat tiles. It was inspired by the design made in 1931 by the draftsman Andrés Martínez de León (Coria del Río, 1895–Madrid, 1978), who, following the instructions of Blas Infante, created the drawing of the first heraldic shield of Andalusia. This reproduction was made by the Gelves School of Artisans, a subsidiary of the Andalusian Regional Government, in 2021. The piece was created by students under the direction of professor and renowned ceramic painter Ángel Lora Serrano. Its development involved meticulous analysis to reproduce the type of tiles, techniques, and glazes Navia used in his Nuestra Señora de la Piedad factory.

Prisoners' Patio and stairs leading to the main floor

Its construction, like that of the Patio de las Flores, took place in the 19th century. It will be occupied by the Military Hospital, along with the two front courtyards of the building's east wing. The south side will be used for the infirmary wards, called San Juan, on the ground floor, and San Fernando on the upper floor. The northern area will be occupied by the San Basilio wards, on the ground floor, and San José, on the upper floor. The San Rafael ward will occupy the upper eastern façade. The remaining spaces will house the hospital's pharmacy, laboratory, kitchen, pantry, and dining room. After the closure of the Military Hospital, a secretarial school was located here on the upper floor between 1959 and 1965, which depended on the Provincial Council of Seville. In 1966, two complete wings of the Patio de los Inocentes or de los Presos, the north and the east, were demolished due to their poor condition, and they have never been rebuilt. The courtyard is a large, incomplete quadrilateral, formed by two galleries, the south and west, which house the administrative offices of the Andalusian Parliament, as well as the library's reading room and two of the four committee rooms. These galleries feature eleven arches framed by alfiz arches, raised on the ground floor and semicircular on the main floor, supported by brick pillars. This large space was partially restored in the first phase of the restoration, between 1987 and 1993, by Francisco Torres Martínez and Alfonso Jiménez Martín, while in the second phase its central space was used as a vehicle parking area. This staircase again contains a cloister-style white marble staircase under a cast-iron coffered ceiling. It is built in three sections and has two landings. The first section has thirteen steps. The widest is the central section, with fifteen steps, while the last has twelve steps. The staircase has a balustrade and handrail. Unlike the other two monumental staircases in the building, this one lacks an upper gallery. The armor that crowns it is modern, of the pair and knuckle type, with two braces, and is made of cast iron and brickwork.

Hall of Lost Steps. Upper floor

The term "hall of lost passages" appeared in French palace architecture in the 17th century and later spread to the rest of Europe. This term was already used in parliamentary spaces in the 19th century, as public rooms for members of parliament in their relations with the public, and in many cases preceded the space for parliamentary debate. The Andalusian Parliament has two large halls with hidden passages, located in the central naves of the former nursing wards. This one on the upper floor was designed by architects Ricardo Aroca and Pedro Rodríguez during the second phase of the building's renovation, which was completed in 2002. The spacious hall, with large quadrangular windows, features a newly designed flat roof between the two vaulted spaces of the transepts. In addition to hosting a large display of the Chamber's art collection, this space displays a good number of the archaeological pieces found during the work carried out in the Cardinal, Flowers and Fountain courtyards, prior to their restoration, where structures from Roman Hispalis and Andalusian Isbiliya were found.

Model of lost steps

ENTRANCE

EXIT THE PLENARY HALL

Eastern Cruise

The interior of the Hospital de las Cinco Llagas is arranged in a double cross for the location of the nursing rooms, one on each side of the main chapel, both connected by a central arm common to both healthcare spaces. The eastern transept of the infirmary wards began to be built in the 17th century thanks to the legacy left in 1622 by Diego de Yanguas, treasurer of the Mint, to the hospital board of trustees to house a room for the care of convalescents. Unlike the western transept, it is crowned by a groin vault, made of brick and decorated with traces of plasterwork. Of the four infirmary rooms that were distributed around this transept, only three remain today, having been adapted to the new uses of the parliamentary headquarters: the library (north and south rooms) and the hall of lost passages (west room). The east room, which was part of the Military Hospital, was demolished in 1966.

The Hospital of the Five Wounds

The growth of the city of Seville in the 16th century, under the protection of the monopoly control of trade with the West Indies, caused the Hospital of the Five Wounds, initially founded in the district of Santiago by Catalina de Ribera y Mendoza to accommodate poor women in 1500, to see a significant increase in the demand for care. Given the impossibility of expanding its facilities, it will be decided to create a new headquarters, outside the city walls, in the Macarena suburb. The new hospital was promoted by Fadrique Enríquez de Ribera, the founder's firstborn son, and was inaugurated by his nephew, Per Afán de Ribera y Portocarrero, heir to the House of Ribera and first Duke of Alcalá, on March 5, 1559, thus becoming the largest hospital in the city of Seville throughout the Modern Age. Throughout history, this unique and singular building has also housed other institutions. In the 19th century, the building became state property and became the headquarters of the Central Hospital (1837), the Military Hospital (1852), and the Free School of Medicine and Surgery of Seville (1868). Already in the 20th century, in 1974, the building ceased to serve as a health service and was closed. A decade later, in 1984, it became the property of the Regional Government of Andalusia, which accepted its donation through the Provincial Council of Seville. A year later, the Board of the Andalusian Parliament, in its session on January 9, 1985, agreed to use the building as the headquarters of the Andalusian Parliament and began the renovation works. Since 2004, it has also housed the Andalusian Court of Auditors.