The Ultimate Self-Guided Tour of the Royal Alcázar of Seville

If there’s one place in Seville that makes you feel like you’re stepping into a dream, it’s the Royal Alcazar. Unlike the bustling Cathedral or the futuristic swoop of Las Setas, the Alcazar whispers its stories slowly, through shadowed courtyards, glittering tiles, and murmuring fountains. It’s a place to wander, to wonder, and to let yourself be guided by the turn of a corner or the sound of birds in the lemon trees. This is a journey through over a thousand years of history, layer by layer, room by room.

Practical Tips

The Royal Alcázar of Seville is one of the most popular, if not the most popular, attractions in the city, and it fills up fast, especially during the high season. My top tip? Book your tickets well in advance and aim to arrive early in the day to enjoy the palace before the crowds roll in. When planning your visit to the Alcázar of Seville, it is essential to purchase your tickets only through the official website. Many online vendors that pop up during peak season are not officially authorized and often charge well above face value, sometimes doubling the price for basic admission or time slots. These unofficial vendors may also sell outdated or invalid tickets, leaving you stranded at the gate.

By purchasing from the palace’s own site, you’ll guarantee the correct price (around €15.50 general entry) and get a confirmed time slot, avoiding disappointment, hidden fees, or last-minute stress. Booking early from the source also gives you the best chance to choose morning or late-afternoon slots, when the light and atmosphere are at their most magical. The mornings offer the best light for photography and the quietest atmosphere for wandering.

Be sure to wear comfortable shoes; you’ll be crossing gravel, tile, and stone. I saw so many women there is wedge shoes or heels who were having a horrible time. Bring a refillable water bottle and consider downloading a floor plan or guide like this one, since signage inside is minimal.

History of Seville and the Royal Alcazar

To truly appreciate the Alcázar, it’s helpful to understand a bit of Seville’s layered history. The city was originally founded by the Romans as Hispalis and later thrived under Visigothic rule. In the 8th century, it became a key stronghold of the Islamic world under the Umayyad Caliphate. Renamed Ishbiliya, Seville blossomed into a vibrant center of science, art, and architecture. It was during this era that the first foundations of the Alcázar were laid. Built in the 11th century by the Abbadid dynasty, the fortress was both a defensive structure and a royal residence, marking the beginning of what would become one of the most extraordinary palaces in Europe.

In 1248, Seville was reconquered by Christian forces under King Ferdinand III of Castile. After the Christian, King Ferdinand III and his son Alfonso X began using the Alcazar as a royal residence. But it was King Peter I, known both as “the Cruel” and “the Just,” who gave the Alcazar its heart. In the mid-1300s, he hired Muslim artisans from Granada and Toledo to build a dazzling Mudejar palace, one that still leaves visitors breathless today.

Over the centuries, Seville rose to prominence as the gateway to the Americas during Spain’s Age of Exploration, ushering in a period of immense wealth and global influence. The Catholic Monarchs brought Renaissance elegance to the Alcázar, and in the 16th century, the Admiral’s Quarters became the headquarters of the Casa de la Contratación (House of Trade), where voyages to the New World were planned and authorized. Remarkably, the Alcázar still serves as an official royal residence, making it the oldest functioning palace in Europe. The palace itself is a living monument to Seville’s layered history, evolving from an 11th-century Islamic fortress into a richly adorned royal complex used by Spanish monarchs for over 700 years.

Art & Architecture Styles

As you explore, you’ll notice how seamlessly the Alcazar shifts between art styles. One moment, you’re walking under Arabic calligraphy praising Allah. Next, you’re standing beneath a coffered ceiling commissioned by a Christian king. The Almohad elements, the oldest, favour simplicity: smooth plaster walls, geometric patterns, and cool, shaded courtyards like the Stucco Courtyard. Then comes the Mudejar brilliance of Peter I’s palace, where Muslim techniques meet Christian symbols. The plasterwork is dizzyingly intricate, the tiles luminous, the arches horseshoe-shaped and hypnotic.

Gothic wings, with their solemn stone and vaulting, contrast starkly with the warm intimacy of the Islamic elements. Then there’s the Renaissance, airy columns, mythological frescoes, and a restrained elegance that speaks of Spain’s imperial wealth. Even the gardens carry these layers, blending Islamic water channels with Italianate pavilions.

Your Self-Guided Tour Begins

Your visit begins with a bold red wall and a tile of a crowned lion above an arched gateway. Crossing under it, take a moment to imagine that you are leaving the Seville of today behind and stepping into centuries of royal drama and artistic splendour. The Puerta del León (Lion Gate) is named for the tile panel above the arch depicting a regal lion, crowned and upright, holding a cross in one paw and a banner in the other. Below it, a Latin inscription quietly warns, “Ad utrumque”, “prepared for either,” meaning both peace and war. Some believe the lion was part of an ancient clock mechanism, its paw marking the hour. Though the clock no longer functions, the lion remains a mysterious guardian of the palace.

The arched entrance was cut into the old Almohad fortress walls in the 14th century, commissioned by King Pedro I to create a more elegant gateway to his newly expanded palace. Over the centuries, it became a passageway for some of the most powerful figures in Europe; Muslim emirs, Christian kings and queens, Renaissance artists, and even members of today’s royal family have all passed beneath its arch.

Patio del León

Walking inside, after the staff takes our ticket and may inspect any large bags you have, you step through the portal into the Patio del León or Lion’s Courtyard. The Patio del León, or Lion’s Courtyard, is the very first courtyard visitors enter after passing through the Lion’s Gate, offering a dramatic introduction to the layered history of the Alcázar. Once a part of the original Almohad fortress, this spacious, sunlit courtyard still bears traces of its military past. Situated on the western side, the old Muslim-period wall stands tall, pierced by three stately arches that once marked the fortified entrance. On the central arch, you’ll find remnants of Mudéjar decoration and, layered over this Islamic artistry, the heraldic coat of arms of Castile and León, a striking visual reminder of the palace’s long evolution from Muslim stronghold to Christian royal residence.

The Stucco Palace

Muslim rule in Spain lasted for more than 800 years, and over that time, different Islamic dynasties shaped the culture, architecture, and identity of southern Spain. It started with the Emirs and Caliphs of Córdoba, followed by the Taifa kings of Seville, and later the Berbers from North Africa in the 12th century. One Berber group, the Almohads, built a huge empire that stretched across both Europe and Africa. Seville became the capital of their European lands and was deeply connected to Marrakech, their main base in Morocco. Because of this importance, Seville saw a boom in construction, much of which you can still see today. Inside the Alcázar, the Almohads expanded the walls and built what’s now called the Stucco Palace.

Stucco Courtyard

This part of the palace, named for its delicate plaster decoration, is one of the oldest surviving sections of the Alcázar. The Stucco Courtyard is rectangular in layout, with a long reflecting pond running through its center, surrounded by lush cypress bushes. This preserved portico is divided into three sections. At the center, two squared brick pillars support a beautifully scalloped arch decorated with sebqa, a patterned technique that repeats geometric and botanical shapes in mesmerizing symmetry.

Flanking this central arch are two identical modules, each made up of three smaller lobed arches. Above these, delicate sebqa latticework fills the space with light and shadow, creating a screen-like effect that is both ornamental and architectural. This layout likely included elongated sleeping chambers, referred to as alcobas in Spanish, as well as private rooms arranged around tranquil, shaded courtyards.

Delicate floral motifs and Arabic inscriptions in plaster still decorate the archway leading into the Hall of Justice. The marble columns of the Stucco Courtyard are topped with capitals inspired by 10th-century Cordoban architecture, a nod to the artistic golden age that came before.

Hall of Justice

Further into the Stucco Palace, you enter the Hall of Justice, an area which marks the first time the Mudejar style, a harmonious blend of Muslim artistry and Christian patronage, was introduced into the Alcázar. Commissioned by King Alfonso XI of Castile in the mid-14th century, this room was created to commemorate his military victory over the Marinids at the Battle of Tarifa.

Structurally, the room is cubic and is believed to have originally been an Almohad qubba, or domed chamber. The interior is partially decorated with intricate stucco work from this period, as well as the ceiling. An extraordinary octagonal wooden vault is carved with interlaced ribbon motifs that draw the eye upward toward its corners. Looking down at the floor, admire the vibrant tiles, adorned with colourful floral designs that bring the space to life.

Although the space was shaped under Alfonso XI’s reign, it gained its name from his successor, King Peter I. According to tradition, Peter used the room as a courtroom, reportedly presiding over trials from a throne mounted against the wall.

According to legend, the ghost of Pedro haunts the Alcázar, particularly the area near the Hall of Justice, where he famously murdered his half-brother Fadrique in a political power struggle. Some say on quiet nights, you can still hear echoes of footsteps or feel a sudden chill in the air.

Hunting Courtyard

Heading back into the Lion’s Courtyard, make your way into the larger Patio de la Montería, or Hunting Courtyard. It’s wide and sunlit, with stone beneath your feet. This courtyard once buzzed with the comings and goings of royal hunting parties, and later, with the officials of the House of Trade.

Straight ahead is the magnificent facade of Peter I’s Palace, a masterpiece of Mudejar art. Behind you are remnants of Almohad architecture, and to your left, the Admiral’s Quarters tell the story of Spain’s maritime ambitions. We are going to head into the Admiral’s Quarters first, exploring this small quarter of the Palace.

Admiral’s Quarters

The Chapter House, also known as the Chapel, is a square-shaped room that once served as a meeting space for the navigators, cartographers, and officials of the House of Trade. Here, some of the most important discussions shaping Spain’s expansion into the Americas took place. The room is crowned by a beautifully detailed coffered ceiling from the 16th century, adorned with intricate geometric and floral motifs.

At its heart is the Virgin of the Navigators altarpiece, an extraordinary painting that holds the distinction of being the first religious artwork linked to the Age of Exploration. Created in 1535 by German-Spanish artist Alejo Fernández, the piece blends Gothic intensity with emerging Renaissance style. It shows the Virgin sheltering seafarers beneath her cloak, surrounded by detailed depictions of Spanish ships, evoking the grandeur and spiritual ambition of Spain’s voyages across the Atlantic.

Completing the room’s symbolic narrative are the painted coats of arms that line the walls, each representing admirals of Castile, including one believed to belong to Christopher Columbus himself.

Over time, the House of Trade adapted to new roles and responsibilities, a shift that’s reflected in the evolving function of its rooms. Among these are the Fan Room and the Military Chamber, each repurposed during different chapters of the palace’s history. The Military Chamber sits at the heart of the courtyard, framed by an elegant octagonal marble fountain.

Peter I’s Palace

Head back into the hunting courtyard and face the incredible facade of Peter I’s Palace. This building is often considered one of the greatest achievements of Mudejar design, and it’s easy to see why. This ornate portico immediately captures the eye with its detailed craftsmanship and layered symbolism, offering a stunning preview of the splendor waiting inside.

The lower part of the facade is built from finely cut stone blocks that create a striking contrast of light and shadow. On either side of the doorway, Sevillian craftsmen carved intricate blind polylobed arches, while higher up, sebqa patterns echo the decorative style of the nearby Giralda Tower.

Heraldic emblems are embedded in the plasterwork of the façade, featuring symbols tied to Peter I, including the coat of arms of the Knights of the Band (Equites Bindae) and the emblem of Castile.

In contrast, the doorway’s horizontal lintel, designed to resemble a traditional beam, was crafted by master builders from Toledo. Eleven voussoirs carved with delicate ataurique (vegetal) motifs form the doorway’s upper arch, bridging the Sevillian and Toledan styles with elegant symmetry. Above this central section, a narrow strip of repeated blind arches rests on slender columns, giving the entire facade a rhythmic, almost musical quality.

Look up and you’ll notice an Arabic inscription running like a frieze across the upper level: the motto of the Nasrid Dynasty of Granada, “There is no victor but Allah”, is repeated eight times in flowing calligraphy. Along the borders, Gothic lettering commemorates the building’s construction under Peter I. On the central blind arches, more Arabic script alternates with vegetal motifs, repeating the phrase “The empire belongs to Allah.” It’s a visual and linguistic dialogue between worlds, carved into stone.

Entrance Hall

The entrance hall of Peter’s Palace sets the tone for the grandeur that follows. As you step inside, you’re immediately greeted by a space that feels both regal and intimate. The hall is relatively modest in size compared to the opulence of the rooms beyond, but it’s richly adorned with Mudejar details. Geometric tilework in bold colors lines the lower walls, while intricate plasterwork wraps around doorways and arches, featuring flowing Arabic inscriptions and floral motifs.

The wooden ceiling overhead is carved and coffered, displaying the fine artisanry of Granada and Toledo craftsmen brought to Seville for this palace. Much of the decorative plasterwork incorporates sebqa, a traditional ornamental pattern made up of intricate, interwoven geometric shapes that shimmer with depth and rhythm. These delicate details frame the gallery walls and archways, bringing the space to life with both structure and poetry.

The Courtyard of the Maidens

Follow the arrow on the recommended route, to step into the Courtyard of the Maidens. Here, you’ll find yourself at the center of palace life. This beautifully proportioned rectangular courtyard is ringed by Mudejar arches, each supported by elegant white marble columns that catch and reflect the shifting Andalusian light. Originally conceived as a tranquil leisure space, it was likely intended for relaxation and entertainment within the palace walls. But when King Peter I died unexpectedly, the courtyard’s final form was left unfinished. His successors saw potential in the open layout and gradually transformed it into a more official hub. It became the focal point of royal ceremony and political life. The courtyard itself rises in two distinct levels. The lower gallery, crafted in the 14th century, features graceful lobed arches inspired by Almohad architecture, each one carved from brick and wrapped in ornamental stucco.

Above it, a second-story gallery was added during the 16th century, built in classical style with Ionic capitals, plasterwork medallions, and coffered ceilings. From above, medallions of Charles V and Isabella of Portugal peer down, immortalized in celebration of their wedding, which took place here in 1526. Inscribed on the frieze is Charles V’s Latin motto, Plus ultra (“Further beyond”), alongside the coats of arms of his sprawling empire, fitting for a space that bridged past dynasties and rising global ambitions.

And then there’s the garden. For centuries, it was concealed beneath a slab of marble paving installed under Philip II in 1572. It wasn’t until a 2002 restoration that the sunken garden was revealed again, returning the courtyard to something close to its original 14th-century design. At its center runs a narrow reflecting pool, flanked by terracotta brick walkways and modest flowerbeds nestled one meter below the surrounding galleries. Unlike many palace gardens, this one wasn’t meant for strolling; it was a garden to be viewed and admired from above, offering colour and calm without disrupting the rhythm of palace life.

It’s believed that many of the craftsmen responsible for this area came from the Nasrid Kingdom of Granada, and their influence is clearly visible. Along the walls, you’ll find the Nasrid motto, “There is no victor but Allah”, a phrase also inscribed on the palace’s grand Mudejar façade and echoed throughout the Alhambra. These repeated epigraphs act like whispers from another palace, linking Seville to Granada and Peter I to the Nasrid dynasty.

By the 16th century, the Alcazar saw yet another transformation. As new tastes emerged under the influence of the Renaissance, the palace’s courtyards and interiors were updated to reflect evolving artistic ideals. In many places, earlier Mudejar elements became the canvas for new flourishes. Over the old tilework and plaster, skilled artisans introduced ornate stuccowork rich with Plateresque details, a Spanish twist on the Renaissance style that merged Gothic forms with classical inspiration. You’ll spot delicate consoles etched with Latin inscriptions, motifs of saints and noble figures, and heraldic shields nestled among the floral ornamentation. These additions didn’t erase the past, but rather added another poetic verse to the palace’s ongoing architectural dialogue.

The Art of Tiling

Nowhere in the Alcázar is the legacy of Islamic art more visible than in its stunning tilework. Every wall and hallway glimmers with azulejos, colourful ceramic mosaics made from countless small, handcrafted pieces. Far more than simple decoration, these tiles reflect centuries of tradition, mathematical precision, and spiritual symbolism. Each tile began as a piece of clay, shaped, dried, and fired in kilns that reached temperatures of up to 900 degrees Celsius. The first firing hardened the clay, after which artisans would apply pigments and glaze before firing the pieces again to set their colours in place. This dual-firing process was essential to achieving the rich, glossy finishes still visible today.

Over time, techniques evolved. One of the most important innovations was the dry rope technique, introduced in the 15th century. Craftsmen used a greasy ink to trace the outlines of a design, acting as a barrier to prevent the glazes from bleeding into one another during firing. Another popular method was the cuenca, or arista technique, where clay was pressed into wooden moulds to create ridges and divisions that separated each colour. This method enabled the creation of intricate polychrome patterns and contributed to the design of some of the Alcázar’s most recognizable surfaces.

The designs themselves followed precise geometry. Using a grid, artisans laid out patterns based on repeated polygons, stars, wheels, and interlaced motifs that created a sense of endless rhythm. These symmetrical designs weren’t just decorative. In Islamic art, the repetition of shapes is symbolic of divine infinity, a visual meditation on the eternal.

The vibrant palette of the Alcázar’s tiles also tells a story. Deep cobalt blues, made from ground minerals, sit beside copper greens, rich iron reds, manganese blacks, and tin whites. Each colour was mixed by hand using a potter’s closely guarded recipe, ensuring no two tiles are ever exactly alike.

The Ambassadors’ Hall

If there’s one room in the Royal Alcázar that truly dazzles, it’s the Ambassadors’ Hall. This was the symbolic heart of the palace, the grandest stage for royal power, and the space where Peter I held court and received official delegations. The hall is square in shape, echoing the traditional layout of a qubba, an Islamic audience chamber. It’s open on all four sides: the entrance is marked by a grand angled arch, while the other three sides feature triple sets of horseshoe arches that invite movement and visibility from every direction.

What makes this room even more extraordinary is that it’s the only one in the palace that spans two levels. If you glance up from the Courtyard of the Maidens, you can see the golden crown of its roof rising above the complex, underlining the hall’s central role in both palace and power.

At the center of the room is the pièce de résistance: a soaring, gilded wooden dome nearly 9 meters in diameter. Shaped like a half-orange and crafted in 1427 by master carpenter Diego Ruiz, the dome is an intricate display of geometric ornamentation, symbolizing the heavens. A twelve-pointed star sits at the center, radiating outward like a celestial map. Hidden within the honeycomb-like details of the cupola are painted female portraits, believed to depict Castilian infantas, created in the late 16th century by Diego de Esquivel.

Supporting the room’s many arches are Caliphal capitals and columns of pink and black marble, a nod to both the Cordoban and Nasrid traditions that influenced the palace’s design. Even the balconies that overlook the room are held aloft by wrought iron dragons, adding a fantastical flourish to this otherwise formal space. The entrance doors themselves are masterpieces. Made of pinewood with bronze and iron hinges, they stand five meters tall and ten centimetres thick. Built by artisans from Toledo in 1366, they blend Christian and Islamic motifs in an elegant fusion of styles. When opened, they fold completely back against the walls of the gallery, revealing the room in its full grandeur.

Peter the Ist spared no expense here. The walls are adorned with richly coloured tilework inspired by Granada, polychrome stucco featuring Arabic inscriptions that praise both Allah and the king, and ornate wooden panels with starry latticework. No space was left undecorated, floral patterns, geometric lines, and poetic epigraphy ran across every surface. Even the lion crest of Castile and León is carved high into the dome, a reminder of Peter’s lineage.

The Collateral Rooms

Flanking either side of the Ambassadors’ Hall are two symmetrical chambers known as the Collateral Rooms. These rectangular spaces act as elegant transitions, linking the grand, public throne room with the more intimate areas of the palace, namely the Dolls’ Courtyard and the Infantes’ Rooms. Together, they create a kind of architectural bridge between the political stage and the royal family’s private world.

What makes these rooms truly special are their beautifully preserved ceilings and delicate plasterwork. The ceilings, added toward the end of Philip II’s reign in the late 16th century, are attributed to the carpenter Martín Infante. Look up and you’ll find intricate coffered designs featuring floral motifs, an elegant echo of the garden themes found throughout the palace.

But it’s the friezes that will likely catch your eye first. Running high along the walls are 27 medallions in plaster, each one depicting a dynamic horse-riding scene. The figures, rendered in white silhouette, gallop across the walls with a sense of motion and pageantry. The eastern room’s friezes were created by skilled artisans from Toledo, while the western room later saw the hand of Sevillian artists, showcasing a blend of regional influences.

As with much of the Alcázar, the floors and lower walls are dressed in colourful tilework. In these rooms, the skirting is shaped from hexagonal and triangular tiles arranged in geometric harmony. Horseshoe arches adorned with naturalistic stucco add another layer of beauty, their botanical forms softening the space and guiding you from one world to another.

The lnfantes’ Rooms

Tucked behind the Ambassadors’ Hall lies a trio of intimate rooms once reserved for the children of Spain’s monarchs. Known as the Infantes’ Rooms, these spaces combine tradition and transformation, shaped over centuries to reflect both Muslim architectural influences and 19th-century royal needs.

The layout mirrors a classic Islamic domestic plan: a central, rectangular chamber flanked by two smaller, square side rooms that likely served as bedrooms. This symmetrical configuration, adopted by Christian royalty, provided both comfort and seclusion, with each space offering views onto the Garden of the Galley through barred double windows. A small balcony and stairs once gave the young royals easy access to the outdoors.

The central room, about ten meters in length, served multiple purposes over the centuries. Sometimes a dining room, sometimes simple storage, its most touching role was as a nursery for the royal children. In fact, in 1848, Princess Marie Isabelle of Orléans, granddaughter of King Ferdinand VII of Spain and the last King of France, Louis Philippe I, was born here. A commemorative plaque still marks the spot.

The room’s decor is full of subtle beauty. Look up and you’ll see a richly coffered ceiling, woven with narrow strips of multicolored wood and embellished with heraldic emblems like lions and castles. On the floor, vibrant ceramic tiles burst with color, depicting floral medallions inside circles and squares. One of the few original floor designs still intact in the palace, it also includes symbolic figures like the Pillars of Hercules and the rampant lion, icons of strength and empire.

A scalloped arch leads from this central room into the Ambassadors’ Hall, its curve decorated with natural motifs and, intriguingly, a carved snail, a symbol of fertility and the cycle of life. The door to the southern chamber is crowned with delicate stucco bearing Arabic inscriptions, while the floor below blends brick and ceramic into radiant star-shaped patterns.

The current appearance of these rooms owes much to a major refurbishment in the mid-19th century. When Antonio de Orléans and Maria Luisa Fernanda de Borbón, the Duke and Duchess of Montpensier, settled here after fleeing France during the Revolution of 1848, they brought new life and prestige to this corner of the Alcázar. Their presence turned the once-practical royal nursery into a personal refuge, blending historical charm with the elegance of their time.

The Philip II Room

Connecting the Ambassadors’ Hall to the gallery that opens onto the Prince’s Garden is the longest room in Peter I’s palace, a space steeped in intricate craftsmanship and quiet grandeur. It’s commonly referred to as the Philip II Ceiling Room, a nod to its remarkable wooden ceiling, completed between 1589 and 1591 during the final years of Philip II’s reign. You’ll also hear it called the Semi-Barrelled Vault Room because of the gentle curve of its roof, which resembles a half-barrel vault.

Step inside and look up. The ceiling is a masterpiece of late 16th-century Mannerist carpentry, composed of geometric panels arranged in a rhythmic dance of square and diagonal reliefs. Crafted by Martín Infante, the design draws influence from the Italian architect Sebastiano Serlio, known for his elegant, harmonious aesthetic. The result is a ceiling that feels both refined and deeply structured, drawing the eye across its 23-meter length.

But what truly sets this room apart is what lies at its northern end: the Peacock Archway. Framing the entrance to the Ambassadors’ Hall, this trio of horseshoe-shaped arches is considered one of the Alcázar’s finest displays of Mudejar artistry. Inspired by architecture from Córdoba, the arches combine Islamic motifs with delicate figurative flourishes. Look closely, and you’ll see 24 birds, each carved in fine relief, nestled among curling vine shoots, spiraling foliage, and stylized epigraphs.

Above the arches, Arabic calligraphy traces elegant curves, whispering praises and poetry from a bygone era. And at the heart of the arch’s design lies a plasterwork eight-pointed star, a symbolic shape often associated with balance and cosmic harmony in Muslim art.

The Dolls’ Courtyard

Discreetly accessed through a narrow passage from the main vestibule, the Dolls’ Courtyard was intentionally hidden from view, preserving the privacy of those who lived there. From this peaceful enclave, doors led to three royal bedrooms, a side chamber, and a hallway that opened onto the Prince’s Garden, a thoughtful layout that ensured the royal family could move about without being seen or interrupted.

The courtyard originally featured just one level, surrounded by delicate arches supported by columns topped with Caliphal capitals salvaged from the legendary Palace of Medina Azahara in Córdoba. The stucco decorations, carved by artisans from the court of Granada’s Sultan Muhammad V, included intricate vegetal and geometric designs alongside Arabic inscriptions, showcasing the finest craftsmanship of the 14th century.

Over time, the space evolved. A second-story Mannerist gallery was added in the 1500s, only to be removed centuries later during 19th-century renovations that introduced a mezzanine, a neo-historic gallery, and a skylight that now floods the courtyard with soft, natural light.

The courtyard’s name comes from a charming detail: if you look closely at the base of one of the arches near the entrance corridor, you’ll spot four tiny sculpted faces, the so-called “dolls” that have enchanted generations of visitors and earned the space its nickname.

The Prince’s Suite

Connected directly to the quiet Dolls’ Courtyard, the Prince’s Suite once served as the queen’s private quarters, until Queen Isabella I of Castile commissioned new rooms in the upper levels of the Alcázar. This intimate and richly decorated space later became the birthplace of her son, Prince John of Aragon, the only male heir of the Catholic Monarchs. His birth here in 1478, witnessed by selected noblemen to confirm his legitimacy, forever tied this room to royal legacy.

The suite follows a layout typical of traditional Muslim design, with a long, rectangular central hall flanked by two square bedchambers at either end. These rooms are enclosed by arches adorned with intricate stuccowork, seamlessly blending Mudejar and Renaissance elements.

You’re immediately struck in here by its mocarabe ceiling, a honeycomb-style plasterwork that hovers above like frozen lace. The arches that divide the chambers shimmer with detail, framing each room with the kind of ornamentation reserved for only the most important royal spaces.

Upper Level

In the 15th century, during the campaign against the Nasrid Kingdom of Granada, the Catholic Monarchs made key renovations to the Alcazar to suit their growing court. Before their changes, only two rooms existed upstairs: Peter I’s bedroom in the east and the Assembly Hall in the west. The rest of the palace was single-storey. Despite Seville’s generally mild climate, the monarchs added an upper floor to create warmer, drier living quarters for the colder months, transforming the Alcazar into a more practical year-round residence. Access to the upper level requires a separate admission ticket, but honestly, you’re better off spending that time exploring the incredible gardens instead.

Alcazar Gardens

During the era of Muslim rule, the areas surrounding the palace featured an expansive system of gardens, orchards, and courtyards, designed not only to provide fresh produce and herbs for the royal court but also to delight the senses. The layout adhered to the principles of Islamic garden design, featuring fragrant plants, flowering shrubs, and fruit trees arranged in geometric patterns to symbolize harmony and divine order. Reflecting pools doubled as mirrors and natural air conditioners in the Andalusian heat.

Following the Christian conquest, and particularly during the reign of Emperor Charles V, the Islamic character of these gardens began to shift. Landscapes once designed for spiritual contemplation were gradually transformed to reflect the new European tastes of the royal court. By the 17th through 20th centuries, a wave of redesigns layered styles like Mannerism, Romantic Naturalism, Historicism, and even English landscape gardening, resulting in a uniquely hybrid space that seamlessly merges architecture and nature across a variety of carefully curated environments.

Historic Gardens

The first garden you enter is the Historic Gardens. Vermondo Resta, who trained in Italy, brought the flair of Mannerist style into the design of the Historic Gardens. This aesthetic moved away from the balance and symmetry of classical architecture, leaning instead into dramatic expression and artistic invention. These qualities suited the playful, performative nature of courtly life.

Garden of the Flower

Through the archways in the Historic Garden, you step into the Garden of the Flower, arranged around a traditional Islamic cross plan and anchored by a 16th-century fountain. The pool within is lined with ceramic tiles, possibly made by potter Juan Gascón, and its waters were historically used to irrigate the surrounding orange trees. Heraldic emblems of Castile, León, and the Bourbon dynasty still decorate this space, emphasizing its royal ties.

Garden of the Galley

Tucked between the Flower Garden and the Garden of Troy, the Garden of the Galley (Jardín de la Galera) is a quieter, more contemplative part of the Alcázar’s vast grounds. It takes its name from the carefully trimmed myrtle hedges that line the central parterre. These low, aromatic shrubs are pruned into the elongated, tapered shape of a galley ship, an imaginative nod to Spain’s maritime past and the garden’s proximity to the House of Trade, where voyages to the New World were once plotted.

At one end, a modest plasterwork emblem of the Castilian Crown adorns the arch that links the Garden of the Galley to the adjacent Garden of Troy. This heraldic detail adds a royal flourish and reminds visitors of the deep symbolic meaning layered into every part of the Alcázar’s grounds.

Garden of Troy

Entering the Garden of Troy feels like stepping into a quiet corner of history, where a central fountain anchors the space with timeless elegance. At its heart, lion-headed spouts, carved in the traditional Islamic style, send streams of water into the basin, a feature that has endured since the 10th century. This simple yet powerful design evokes the artistic sophistication of early Islamic Spain and serves as a living reminder of the garden’s ancient roots.

The Dance Garden

The Dance Garden is arranged across two tiers, with a 16th-century fountain at its center. Bronze in construction, this elegant feature forms part of the Fountain of the Sign. Around the garden, benches lined with traditional tilework offer quiet spots to sit and take in the surroundings. The Dance Garden is one of the best places to sit and enjoy the incredible living works of art that surround you, the plants and flowers of the Alcazar! They are not only a feast for the eyes, but for all the senses! The gardens are home to over 20,000 plants representing 187 species. The flowering trees, from vibrant bougainvillea and delicate agapanthus to oleander, wisteria, jacaranda, and acacia, each adding colour and texture to the garden’s palette.

Scattered throughout are abundant fruit trees, many of which have grown here for centuries. You’ll find figs, quinces, persimmons, carob, and citrus groves heavy with oranges and lemons, filling the air with their zesty scent. Nestled among the greenery are aromatic herbs and flowering shrubs like lemon verbena, honeysuckle, jasmine, laurel, lavender, myrtle, rosemary, and sage, plants that not only delight the senses but once served practical purposes in royal kitchens and apothecaries.

Adding to the variety are several types of palm trees, including the towering date palm, the iconic Washington palm, and the squat Mediterranean dwarf palm, which bring a sense of vertical drama and cooling shade.

Baños de Doña María de Padilla

Through a little overhang in the Dance Garden, you can sneak under the Alcazat and enter the Baños de Doña María de Padilla, or Maria de Padilla Baths. Beneath the palace, these vaulted underground chambers were originally rainwater tanks built during the Islamic period, later repurposed and romanticized in the centuries that followed. The baths are named after María de Padilla, the beloved mistress of King Pedro I. According to legend, she would retreat to this cool, secluded space to bathe in peace, out of the court’s eyes. Whether or not that’s true, the setting certainly feels like something out of a story: long, dark corridors lined with Gothic arches, their reflections shimmering in the still, mirror-like water below.

Pond Gardens

Tucked along the eastern side of the Gothic Palace, the Pond Garden (Jardín del Estanque) is one of the most atmospheric corners of the Alcázar, blending Islamic engineering with Renaissance elegance. This serene space was originally the site of a functional cistern, fed by the ancient Caños de Carmona. This Roman aqueduct once supplied water to both the palace and the city of Seville. For centuries, this large basin played a vital role in keeping the surrounding gardens lush and fertile. However, by 1575, its practical role had come to an end. No longer needed for irrigation, the pond was transformed into a purely decorative feature, marking the shift from utility to aesthetic pleasure that defines so much of the palace’s evolution.

At the center of the pond stands a striking bronze statue of Mercury, the Roman god of trade, symbolizing Seville’s wealth and its prominence as a maritime hub. This elegant sculpture was designed by Diego de Pesquera and cast by Bartolomé Morel, a celebrated bronze worker of the time. Around the pond, ornate stone balustrades and mythological sculptures of lions and dolphins add to the regal charm

Grotesque Gallery

One of the garden’s most unique features is the Grotto or Grotesque Gallery, a dramatic wall that rises from the edge of the pond. Originally part of a 12th-century Almohad fortification, this wall was reimagined between 1612 and 1621 by architect Vermondo Resta. He transformed it into a theatrical blend of smooth masonry and rugged, grotto-like stones that gives the impression of a natural cliff face, an early example of the Mannerist taste for rustic romanticism. Nestled within its arches are frescoes with mythological scenes, and perched at the top is a hidden water spout that sends a gentle stream down into the pond below.

The Damsels’ Garden

Among the many green spaces of the Royal Alcázar, the Damsels’ Garden (Jardín de las Damas) stands out not just for its impressive scale but for its sense of peaceful seclusion. This expansive and elegantly designed garden is widely considered the most significant legacy of Vermondo Resta, the Italian architect who left a lasting mark on Seville’s royal palace in the early 17th century.

Back in the late 1500s, this area was only a modest section of the palace’s orchard, known as the Alcove Bower, nestled close to the historic gardens. At that time, palace residents could easily be seen and overheard by workers in the nearby grounds. To protect the royal family’s privacy and create a refined space for them to enjoy the outdoors away from curious eyes, Resta was commissioned in 1606 to reimagine and expand the garden.

His solution was both practical and beautiful. The newly designed garden was enclosed by walls and iron fences to block outside views and sounds, creating a secure and serene retreat. Inside, he laid out the garden in a formal rectangular pattern, divided into eight neat plots edged with myrtle hedges. These symmetrical green spaces were connected by a broad central pathway, which was elegantly lined with fountains and decorative water jets cleverly hidden in the paving stones. The result was a harmonious blend of order, movement, and sound, a sensory experience carefully crafted for royal leisure.

Fountain of Fame

One of the garden’s most dramatic features is its eastern edge, which borders the Grotto Gallery. Here, visitors will find the grand Fountain of Fame, another of Resta’s creations. This spectacular water feature was once adorned with a playful mechanism that mimicked the sound of organ pipes whenever the water flowed, an early experiment in combining technology with art. Though only six of the original fifteen mythological statues survive today, the fountain remains a striking centrepiece. Standing over it is a bold bronze statue of Neptune, god of the sea, which was cast in Genoa and shipped to Seville to crown the garden’s main thoroughfare.

Game of Thrones Shooting Location

If there is something that looks familiar about these gardens it could be that you have seen on on TV on the infamous show Game of Thrones! The Royal Alcázar of Seville was transformed into the breathtaking Water Gardens of Dorne, the private summer residence of House Martell. Filmed across four episodes in Season 5 and one in Season 6, the Alcázar stood in for Sunspear’s palace, embodying Dorne’s exotic elegance and political tension. The palace’s lush gardens, reflective pools, and ornate architecture perfectly suited the hot, sun-drenched kingdom of Dorne, adding visual depth and realism to the fictional world.

These scenes became the backdrop for some of the show’s most emotionally charged and politically tense moments. It was in the shaded courtyards of the Alcázar that Princess Myrcella and Prince Trystane shared tender moments, symbolizing the fragile hope of a peaceful alliance between the Lannisters and the Martells. The palace also set the stage for high drama: Jaime Lannister’s desperate mission to retrieve Myrcella unfolded here, including a skirmish with the deadly Sand Snakes among the tiled walkways and orange trees.

Walking Along the Grotto Gallery

From this area of the gardens, you can enter the Grotto Gallery (Galería del Grutesco). This raised, outdoor loggia runs along the eastern side of the gardens, offering sweeping views over the Gardens of the Damsels and beyond. Originally part of the old Almohad wall, this structure was transformed in the early 17th century by Italian architect Vermondo Resta, who added its current theatrical, grotto-style finish.

The lower level blends seamlessly into the garden paths, while the upper gallery, from which you’re standing, allows you to look out over the geometric hedges, fountains, and orange trees below.

The Alcove Bower Garden

Behind the Damsel’s Garden, you’ll find the Alcove Bower Garden (Jardín del Cenador de la Alcoba). At its center stands the Pavilion of Charles V, a jewel of hybrid architecture that seamlessly fuses Islamic, Mudejar, and Plateresque styles. This structure, originally a Muslim oratory or qubba, was transformed during the reign of Charles V into a quiet space for rest and reflection. Between 1543 and 1546, it was carefully rebuilt into a leisure pavilion, retaining its original charm while adapting to the royal court’s evolving tastes.

With a square base, open arcades on all four sides, and a hipped roof, the pavilion was designed to remain cool in the intense summer heat. A white marble Mudejar fountain anchors the center of the space, offering both visual harmony and a natural cooling effect through the gentle trickle of water. The tiled flooring and baseboards echo the colourful patterns seen throughout the Alcázar, while light filters in from all directions, creating a soft interplay of shade and sun.

Nearby sits the Lion Bower (Cenador del León), added in the mid-17th century by architect Diego Martín Orejuela. This smaller, Mannerist-style structure once featured frescoes on both its inner and outer walls. A 17th-century lion sculpture stands guard here, its stylized head doubling as a spout that feeds the pond outside. Inside, the vault is adorned with decorative tilework that nods back to Islamic aesthetics, blending past and present in one ornate space.

Garden of the Poets

As you pass through the Puerta del Privilegio, or Privilege Gateway, you step into the Garden of the Poets. This impressive 17-meter-tall archway links the Alcove Bower Garden to the New Gardens and is richly adorned with sculptural elements like scrolls, pinnacles, and the coat of arms of the House of Austria. Its heraldry reflects the power of the Habsburg dynasty, who ruled Spain when the gateway was built.

The Garden of the Poets was designed in 1956. It is bordered by trimmed myrtle hedges and features twin reflective pools, it blends modernity with timeless symmetry.

Marquis’ Garden of Retreat

One of the final sections of the Alcázar’s orchard to be transformed into a formal garden, the Marquis’ Garden of Retreat (Jardín del Retiro del Marqués) was named in honour of the Marquis de la Vega-Inclán, a key cultural figure and heritage advocate in early 20th-century Seville. Built between 1913 and 1917, this expansive space blends refined landscaping with traditional Sevillian garden elements, creating a unique fusion of French formality and Andalusian charm.

Situated in the eastern portion of the Royal Alcázar’s gardens, this area is part of the so-called New Gardens, bisected by the Royal Walkway, which once extended beyond the palace grounds through the Countryside Gateway. Each pathway intersection forms a small square with a central fountain, while decorative touches such as stone pedestals topped with ceramic pots bearing the Royal Alcázar’s initials add elegance and cohesion. Inside this garden, you’ll also find the Marchena Gateway, a striking 15th-century portal originally from the Palace of the Dukes of Arcos, which now stands in the Marquis’ Garden of Retreat, decorated with heraldic symbols that speak to Seville’s noble past.

This brings us to the end of the tour. Thank you for walking through history with me. I hope you’ve come away with a deeper appreciation for this extraordinary place. The Royal Alcázar isn’t just a palace, it’s a portal. A thousand years of conquests, cultures, and quiet beauty etched into tile, stone, and shadow.