Conservación y Restauración I.

El Salvador.

Ainhoa Mora Ramos.

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Index.

Abstract.

Introduction.

The importance of urban environment.

Spanish historical heritage law.

Evolution of urban environment in El Salvador.

Artistic evolution of El Salvador: from mosque to collegiate church.

Proposal for the conservation of urban environment.

Chronology of the surrounding constructions.

Conclussion.

Sources.

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 Abstract.

In the last decades there has been a constant growth in concern for the urban
environment of different cultural assets. This environment allows us to understand the
meaning of a cultural asset, its history and witness the evolution of society over time.

In this work, we will talk about various factors that have made the construction
of this church possible, as well as its history. the importance of the environment is also
interesant it as well as its great evolution.

At the end of the work there will be a conclusion about the research I have done
and what I have found.

Introduction.

The environment is one of the most characteristic elements, not only of

individual monuments, but also of historical sites and even of cities and large urban
centers, which helps in its contextualization.

Concern for this environment appeared in the context of archaeological

excavations, and evolved over the decades, thus expanding the concept of the
environment in the field of heritage. The growing concern for this environment has meant
that everyday civil constructions, such as streets, squares, buildings, etc., that are located
around different assets have been the object of study and protection.

Therefore, this task will focus on the study of the environment of the Church of
the Divine Savior in Seville. Built on its plot from the origins of the city, this is one of the
monuments of Seville with the longest history, undergoing important changes and being
the subject of numerous legends and history. The Church of El Salvador was built in
Roman times, with Visigothic buildings to finally give place to what was the city's
Alhama mosque. This was a turning point in the history of this plot and its surroundings,
since from this moment the most important stores were located in the streets surrounding
the mosque, thus forming the most important center of commercial and religious activity
in Muslim Seville. , until the construction of the new Alhama Mosque, currently located
in the Cathedral of Santa María de la Sede.

The Christian conquest and the conversion of the Muslim temple to a Catholic
church kept the activity alive in these businesses, which provided the population with
products for daily use, receiving a large influx of citizens. The different streets that
formed around it since ancient times have given rise to the structure that we now know of

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this central area, through which thousands of citizens and tourists pass every day,
becoming a unique enclave, that leaves us beautiful photos, for example, at Easter or
during the Corpus Christi procession. The centuries and history have made this temple
and its surroundings one of the most emblematic areas of the city, creating a link between
it and the citizens, who conceive it as "theirs", as their heritage.

For its study, the area will be delimited and its evolution from its origin to the
present day will be analyzed, concluding that aspects must be maintained, those that must
be avoided and those that must be modified to improve the symbiosis that they maintain
with this monument, one one of the most characteristic and visited in the Andalusian
capital.

The importance of the urban environment.

The city can be understood as a work of art, in which the different factors that
make up the lifestyle of a community converge: cultural, historical, climatic or economic.

These factors determine a large part of the development of a city, which makes
each city different from another and has its own personality. Urban planning has evolved
together with society, trying to respond to the events of common life, adapting to new
thoughts and new needs, seeking the greatest comfort and stability in the relationship
with the population. Thus, the different remodeling of cities is carried out, in order to
adapt to modern life, but always trying to maintain the city's own identity, preserving the
characteristic aspects that have defined it throughout the centuries.

Art plays an important role in this urban planning. From an educational role, to
the search for beauty, different works of art have always been related to their
environment, complementing it. For example, we know that in the Muslim culture it was
common for the commercial area of ​the city to be distributed around the alhama or the
main mosque, joining two basic points of their way of understanding life: daily tasks and
religion.

It is necessary to understand what each city proposes, what they want to

transmit, their past, present and future history. In our case, we will study the city of
Seville, specifically the Barrio de la Alfalfa, in the Historic Center. In this way, we intend
to exploit every historical contribution that different civilizations leave us, from the
Roman Empire to the most classical baroque. Tourism in Seville would not be understood
in the same way if, during the urban renewal of centuries past, for example, the small
streets of the Santa María la Blanca neighborhood, the old Jewish quarter of the city, the

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remaining part of the Macarena Wall, or the Roman Antiquarium that we found under the
modern construction of the Metrosol Parasol, had been removed. It is true that during this
urban reorganization a large part of the structure that made up the city was lost: the
streets were expanded, new squares were built and many historical buildings were
demolished. Adaptation was sought at the time, such as facilitating the transit of cars or
public transport. Fortunately, there were several people who ensured the safeguarding of
Seville's heritage, such as the historian and archaeologist José Gestoso.

The use of heritage has allowed safeguarding a large part of it and its
surroundings, with the city of Seville standing out for its deep-rooted faith. Latent
devotion in the city and continuous public displays of faith have made it possible for
most city churches to survive gradual urban evolution, respecting their surroundings and
enclaves as much as possible.

In this process of preserving the structures of the city and the urban
environment, the role of citizens stands out, mobilizing on numerous occasions to avoid
the loss of buildings or monuments, or to recover the lost aesthetics. We can mention the
example of the Plaza del Pan, located near the Iglesia del Salvador, and which is
therefore the subject of this work: the classic lampposts that adorned the plaza were
replaced in 2006 by some of the more modern style. A platform of citizens did not
hesitate to express their discontent to the City Council, alleging that these new street
lights broke the aesthetics of this traditional square. Finally, the original lampposts were
replaced. In summary, the urban environment helps us understand the evolution of the
society that is based there, its needs, concerns and its way of understanding life.

Evolution of the urban environment of El Salvador.

The city of Seville was born in the second half of the 8th century BC. C, on a
small plain emerging between the waters of the Guadalquivir and its tributaries. It was
here that the first Turdetans, a pre-Roman people who lived in the Guadalquivir Valley
region, along with foreign merchants, settled, motivated by the great richness of the soil.
The agricultural fertility and the mining wealth made many agricultural traders and
sailors interested in the area. This nucleus would be located between El Salvador and the
current Santa Cruz neighborhood, with a size of 450m by 200m square. Thus, it is on the
edge of this mound on which the city originates that the Collegiate Church of El Salvador
will later be built, and numerous excavations have revealed valuable objects from the

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East, dating from the 8th century BC, in the section of the Cuesta del Rosario and the
Plaza del Pan.

This strategic point in which the different political forces of the time converged
gave rise to conflicts between them, triggering the Second Punic War between Rome and
Carthage, and the Roman Empire rose to power, conquering the city of Hispalis and
founding Italica in the same year.

Artistic evolution of El Salvador: from mosque to collegiate church.

After the reconquest, the building followed the genuine structure that marked
the Muslim tradition: a walled enclosure with a rectangular shape, in which there are two
different spaces, the first one open, being this the courtyard of the ablutions, and a
hypostyle room, whose cover falls on columns and arches, closed by a straight wall
called quibla, in which there was the mihrab, which indicates the direction of the prayers,
being therefore the most important part of the building. This wall corresponds to the side
of the present church that is located on Calle Vi

llegas, while the minaret or minaret from which the people were called to
prayer was on the north side of the courtyard of the ablutions, which today corresponds to
Calle Córdoba.

Few documents are preserved describing the appearance of the early church,
since most of the documents, as well as the ecclesiastical trousseau, were lost in a fire in
1360. In 1671, on the occasion of the aforementioned remodelling of the temple, an
inventory was carried out, thanks to which we know that a high altar, a chapel for the
Virgen de las Aguas and a choir were fitted out, as well as a bell tower that finished off
the original minaret. Burial spaces were created: different chapels were erected inside for
contributing families, while an outside space was also provided for these burials. In 1356,
an earthquake shook the city, causing the top of the Giralda to fall, and the upper body of
the Salvador tower to collapse, entering a period of dark and difficult years, until finally
in 1671 its demolition was approved. It is then that the current structure of the Collegiate
Church is conceived, as described throughout the previous points, and highlighting the
reduction of the patio in order to enlarge the room, or the breakage at different levels of
the temple, with the construction of the high sacristy in the Plaza del Pan. The growing
devotion to the Virgin of the Waters played an important role in maintaining life in the
temple: its chapel was enriched, and different cults and ceremonies were held in honor of
the Virgin who helped to maintain the presence of the parishioners. However, it was these

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same works of remodelling its chapel that caused serious structural problems in the roofs,
until finally the demolition was approved. Thanks to this inventory, we can recreate the
layout of the different chapels and spaces that made up the early church.

Construction work on the new church began three years later, in 1674, and was
completed almost four decades later. Several architects followed one another during this
period, including Esteban García, who began the work, Francisco Gómez Septien, who
continued the elevation work, and Leonardo de Figueroa, who completed the enclosure of
the vaults and dome, as well as the completion of the interior decoration in 1712.

The front has undergone various artistic remodelling, with the current
appearance almost entirely corresponding to the 19th century, at the hands of the plasterer
Pelly's workshop and following the plateresque models of the façade of the Church of
San Francisco de Paula. It has three covers, one for each inner nave, the central one being
higher. In the first body, we find in each nave pilasters on which there is an entablature,
all with decoration based on the Italian Renaissance, framing the three doors of the main
facade. On the entablatures, we find three pediments flanked by pinnacles, with the
effigies of St. Peter and St. Paul on the sides and the ball of the world with the cross of
Christ in the center. In addition, two circular or circular windows open on these side
gables. The second body in height is held up by paired pilasters, a third circle appearing
in the centre of this body and above the central door. Above the side naves, large scrolls
appear, a decorative element characteristic of the Italian Renaissance that serves to
smooth the passage between different heights. At its sides are small cylindrical towers
with half-orange covers, as well as different pinnacles. The elevation corresponding to
the central nave is finished off with a belfry with a pediment, on which there is a forged
cross. On the left side of the façade we find the small chapel dedicated to the Virgen del
Carmen, a brotherhood that moved to the temple in 1822. It has a semicircular arch
flanked by pilasters supporting an entablature and pediment, on which the coat of arms of
the Carmelite order appears.

On the opposite corner, next to Calle Villasis, there is a niche framing a cross,
on the tombstone of King Juan II of Castile. Next to it, and already inside Villasis Street,
there is a magnificent ceramic altarpiece dedicated to the Christ of Love, of the
brotherhood of the same name and which resides in this temple. It was made by Enrique
Mármol Rodrigo in 1930 and it is the ceramic altarpiece dedicated to a larger religious
image of the city, presenting the figure in real size. It's topped by a canopy.

As for its interior, the church is organised on a hall plan, divided into three
naves, corresponding to the three entrances on the main façade. With a large transept area
and presbytery, it is supported by large quadrangular pillars, to which are attached fluted

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columns with a composite capital, on which semicircular arches rest.The side naves are
covered with a groin vault, while the central nave has a barrel vault reinforced by Saxon
arches. The whole is illuminated by stained glass windows and oculi.

The grandiose dome rises above the transept and is supported by pendentives
representing the four evangelists, framed by plant motifs. It falls on an octagonal drum
with different openings, and is topped by a lantern with semicircular openings, thus
helping to illuminate the interior of the temple. At the end of the central nave and the
presbytery, there is a wonderful high altarpiece. This was made by Cayetano de Acosta
between 1770 and 1779, and is one of the greatest works of the Baroque in the city of
Seville. Prior to the construction of this work, the High Altar consisted of a canopy
located under the dome, following the model of St. Peter's Basilica in Rome. The creation
of this altarpiece made it necessary to place the choir in the central nave, thus following
the traditional model of the country's medieval cathedrals. The altarpiece is divided into a
bench, a main body divided into three streets and an attic. In the lower area of the
altarpiece we find the tabernacle, on which a protester stands and shelters the image of an
Immaculate Conception, with medallions on its sides representing Saint Gregory the
Great and Saint Augustine. The main body is divided by four columns with a composite
capital, with a shelf that stands out in the centre and on which is the main image of the
altarpiece, representing the transfiguration of Christ. In the upper body, we find an image
of God the Father, on a cloud with cherubs and two angels framing it. The entire
ensemble is topped by the royal shield.

In the epistle nave, located to the right of the main altarpiece, is the altarpiece
that houses the holders of the brotherhood of love. The carving of the crucifix is due to
the famous Juan de Mesa, and was made between 1618 and 1620. The dolorosa, under
the invocation of Our Lady of Help, is attributed to the same author. However, the
authorship of the primitive face of the Virgin has been linked to Juan de Astorga and
Gabriel de Astorga, although today it presents the mask made by Francisco Buiza in
1967, where he tried to recover the primitive features of the image, lost after the
intervention of Antonio Castillo Lastrucci in 1934. On the side wall there is a smaller
altarpiece, dedicated to Saints Crispin and Crispiniano, made between 1730 and 1733.
This altarpiece sheltered an image of the Sorrowful Virgin under the invocation of
Solitude, which was replaced by the image of Jesus at the entrance to Jerusalem, holder
of the brotherhood of love.

Next to it, there is a majestic altarpiece dedicated to the Virgin of the Waters. As
described in previous points, this Marian image enjoyed great devotion in the city, always
being one of the main points that kept alive the religiosity and performance of cults in the

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temple. Oral tradition tells us that it was one of the images made at the request of Saint
Ferdinand, who would argue that the carving was "between two waters";, the
carving of the Virgin of the Kings being finally chosen by the king. The colossal
architectural work was carried out by José Maestre, and the works were extended for
more than three decades, between 1722 and 1756. It follows a similar structure to the one
described in the main altarpiece, since this was the one that led to a new work to replace
the old baldachin. Thus in the bench we find a beautiful image of the baby Jesus
attributed to Martinez Montañes. In the main body, there is a large dressing room,
presided over by the Virgin of the Waters. The carving has a hieratic face, with simple
lines, due to the age of the carving, which can be dated between 1250 and 1300. José
Gestoso noted that he had found traces of gold threads that made up the carved hair. On
both sides are the images of San Leandro and San Isidro, works by Felipe Castro and
dated in the 17th century. In the attic, the scene is represented in which Saint Ferdinand
worships the image he had ordered to be made. The dressing room is richly decorated
with reliefs, carvings and paintings that were paid for by the devotees of this carving.

Continuing along this same wall of the epistle and towards the foot of the
temple, we find smaller altarpieces. The first one, made by José Díaz between 1760 and
1767, is occupied by an image of San Fernando, made by Antonio de Quirós in 1699.
The adjacent one, made by José Maestre between 1732 and 1734, currently houses the
image of the Lord of Humility, a work also made by Quirós. This is the patron of the
Pious Work of the Sacramental of the Divine Savior, and in recent years its worship has
been encouraged, with different masses being held, as well as a kissing of the feet on the
morning of Holy Thursday. These two altarpieces sheltered for many years the images of
Jesus of the 10th Passion and Our Lady of Mercy, after their transfer to the temple from
the parish of San Miguel due to the Revolution of 1868.

These images were moved to the Tabernacle, where they remain today. The next
chapel has an altarpiece of the Miraculous Virgin. In the adjoining chapel there is an
altarpiece by Juan de Dios Moreno in 1730, of Mannerist inspiration, which shelters the
Saints Justa and Rufina, works attributed to Pedro Duque Cornejo, author also of a relief
located in the baptismal chapel, next to this altarpiece, and which represents the
annunciation of the Virgin. Inside this chapel was the magnificent carving of St.
Christopher, a work by Montañés carried out in 1597, commissioned by the guild of
guanteros and which aroused great devotion. This image is currently displayed in front of
the altarpiece of the Miraculous Virgin.

We return to the presbytery, in this case to situate ourselves in the nave of the
gospel, to find at its head an altarpiece by José Maestre, which corresponds to a late

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baroque. At the heart of this work is the image of a Nazarene, known as the Lord of Souls
or of the Afflicted, whose date and author are unknown. On the bench of this altarpiece,
the image of the Virgin of the Rosary, by Cristóbal Ramos, is venerated. It was the
Marian title of the Congregation of Christ Crucified which was located in the collegiate
church, and which finally merged with the Sacramental. The image was moved to the
town of Pilas more than three decades ago, returning to El Salvador at the end of 2017.
Next to this set we find a corridor through which we access the sacristy.

Going down the Gospel nave, and in front of the altarpiece of the Virgen de las
Aguas, we find the entrance to the Sacramental Chapel. This entrance is framed by an
altarpiece by Cayetano Acosta, dated between 1756 and 1764, in a Rococo style. Its rich
decoration and magnificence responds to a symmetry between this work and the one in
front of it. The first body is organized around the door that gives access to the Chapel,
which has a wrought iron grille placed earlier, in 1752, whose author is unknown. The
images of Saint Lucia and Saint Teresa of Jesus on both sides stand out, giving way to the
second of the bodies, in which an exhibitor for the saint is centred, surrounded by
different images of saints belonging to the New and Old Testament. The whole is
crowned by the image of God the Father. Important mention should be made of the image
of Mariana on the left side of the altarpiece bench. It is an anonymous sculpture, dated in
1654, whose original invocation was the Immaculate Conception, popularly known as the
Virgin of the Vow, and which was the holder of the sacramental brotherhood. This image
originally occupied the altarpiece located inside the Sacramental Chapel.

Inside, we find a square room, whose decoration had to be renewed after a fire
in 1905, missing the mural paintings of Andres Ruvira. It was blessed in 1756, after
being paid for by the sacramental brotherhood. The chapel is currently presided over by a
magnificent silver altarpiece, which replaced the original gilt wood one between 1956
and 1957. It was originally in the Casa Profesa of the Society of Jesus, and was donated
to the school after the Jesuits were expelled. The altarpiece is currently presided over by
the superb image of Our Father Jesus of the Passion, a work by Martínez Montañés dated
around 1615. On both sides, we find the image of Our Lady of Mercy, a work by
Sebastian Santos Rojas, made in 1966, and St. John the Evangelist, whose authorship is
due to Gabriel of Astorga in 1862, being both holders of the brotherhood of passion.
During the month of July 2017 a reform was carried out on this altarpiece to align the
position of the three holders, since the images of the Virgin and St. John were left behind
that of the Lord of the Passion.

Once again in the Gospel nave, we find an altarpiece attributed to José Maestre,
made between 1718 and 1731, dedicated today to the Virgen del Rocío, popularly known

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as "La Lotera";. The small niche that crowns the altarpiece stands out, where an
Immaculate Conception is displayed. Next to this we find an altarpiece dated in the 17th
century, by an anonymous author, in which a sculpture of Santa Ana with the Virgen
Niña, by José Montes de Oca, carved in 1714, is venerated.

Finally, we find two more altarpieces, the first of which is the work of Antonio
Quirós, at the end of the 18th century, in a neoclassical style, and a second altarpiece by
an anonymous author, dated between 1750 and 1800, dedicated to the Virgen de la
Antigua, an anonymous work from the 16th century, inspired by the painting that is
venerated in the Cathedral.

Once the tour of the Gospel nave is completed, the organ located in the mro of
the central nave, above the main door, by Juan de Bono and Manuel Barrera in 1796,
stands out.

Worthy of mention are the sculptural works that decorate the large pillars in the
presbytery, such as the reliefs of the annunciation or the worship of the shepherds, as well
as the two large lamp angels located in front of the presbytery, works by Cayetano de
Acosta between 1771 and 1778 and the rich pulpits attached to these pillars. The school's
rooms are full of numerous works of great value, among which we would highlight the
Crucifix located in the Collection, whose authorship has been related to the masters who
worked on the cathedral's main altarpiece, and the sculpture of Saint Peter located in the
Sacristy, a work by Montes de Oca.

Proposal for the conservation of the urban environment.

At this point, different aspects concerning the buildings located on the streets
studied will be studied, as well as other elements such as the pavement or vegetation.
Through the route taken in previous points, photographic documentation and the
legislation proposed in point number three of this project, it will be determined which
aspects comply with the established requirements, if they are correctly integrated with the
Church of the Savior, and if they should therefore be preserved, as well as those that may
be deficient and need an intervention or modification for a better correlation with the rest
of the group. To this end, the study is proposed at different levels, which will be
developed below.

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 Chronology of the surrounding constructions.

Through the website of the Cadastre of the city of Seville, it has been verified
the age of the buildings that we find in the streets and squares previously studied.
Mention that in those constructions prior to the 20th century, the date of 1900 is assigned.
Thus, between Cordoba Street, Jesus de la Pasion Square, Salvador Square, Villegas, and
the buildings seen from these areas but with entrances on Lineros, Huelva, Sagasta,
Oropesa, Herbolarios and Cuesta del Rosario streets, we find a total of 42 buildings. Of
these 42 constructions, a total of 11 are dated 1900, that is, they are constructions already
made in the 19th century. A brief breakdown of the information collected will follow:

Córdoba Street: 13 buildings, one of them with an entrance on

Lineros Street. These date from 1900 to 1972, the oldest being located on
the left sidewalk, adjacent to the Church of the Savior.

Plaza del Salvador: 16 buildings, two of them with entrances on

Sagasta Street and another on Oropesa Street. Dated between 1900 and
1972. Several of these buildings are dated 1910 and 1920, being the closest
to the Church of Our Lady of Peace.

Calle Villegas: 3 buildings, dated between 1900 and 1930.

Plaza de Jesús de la Pasión: 10 buildings, dated between 1900 and

1975.

After collecting these data, it can be established that the largest number of
buildings in the Salvadoran environment have been built in the last century or more. Its
long history means that practically the entire population of Seville knows the area in this
way. These are buildings that were constructed during the main urban reforms of the city,
in which the historic centre of Seville was given a personal style that characterises it,
whose conservation is increasingly present in the city's urban planning, thus maintaining
the aesthetics of the historic centre of the city. They may be number 2 of Herbolarios
street and number 3 of Huelva street, both with facades in Jesús de la Pasión Square, the
two constructions that most differ aesthetically from the rest of the area studied. These
constructions made in the 70's respond to a new architectural model, which we find, for
example, in Imagen street, where the stylistic unity is also broken, creating a great
difference with respect to the buildings in Plaza de la Encarnación and Regina street.

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 Conclussion.

Over the last century there has been an evolution in the concept of urban
environment and heritage. Nowadays, a monument is not understood as an isolated work,
but rather it interacts with its surroundings, which is why different laws have been
established for the correct care and conservation of these spaces. One of the pioneer
countries in the realization of these measures was Greece, establishing different measures
for the care of the Acropolis, trying to maintain its correct vision, without elements or
constructions that could make difficult its reading, with the purpose of being able to
maintain its original conception. In our country there are several projects that have sought
to care for the environment of the monuments, highlighting, for example, the so-called
“Retablos Urbanos"; (Urban Altarpieces), carried out by AU Arquitectos and “AJO Taller
de Arquitectura", with the collaboration of the archaeologist Fabiola Monzón, whose
objective is “to recover or remember the original spatial definition of the flat square
outside".

After this artistic and historical journey about the evolution of El Salvador and
its surroundings, it is easy to determine that this is one of the most characteristic enclaves
of Seville. Its location and commercial activity made this area one of the busiest in the
city since its origin. The subsequent construction of the alhama mosque on this plot was a
turning point in the history of this central area: its commercial activity would be even
more accentuated, and it would be the centre of daily life, as well as of religious activity.
The many buildings and infrastructures that were erected led to their reuse by Christians
after the reconquest.

We must not forget the deep religious feeling that has always characterized
Sevillian society, and which was one of the pillars for the activity to be maintained in the
area after the construction of the new Catholic temple. The cult of the Virgin of the
Waters in the first decades of the collegiate church, gave life and activity to the church.
The collapse of the temple and the construction of the new collegiate church gave rise to
the most monumental temple in Seville after the Cathedral. In the different shops the
daily supply markets were established, as well as other trades of basic need for the time.
All this produced a continuous traffic of citizens through the area, which resulted in one
of the areas to be reformed with priority in the city.

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 The interest of the different architects in the area and their aim of converting it
into a space adapted to the citizens and their comfort kept the citizens'; attitude alive, in
addition to presenting new shops that were adapted to the needs of the time, constituting
today an excellent sample of the buildings that characterized and still characterize the
style of the Historical Center, with works of great architects and personalities that left an
important legacy in the city of Seville.

The arrival of the brotherhoods of passion and love at the temple elevates even
more the feeling of the Sevillians for this temple, as it houses two of the images that are
most devoted to it in the capital of Seville. Finally, its location in the heart of the city has
made it a daily stopover for citizens, a must for tourists, and an exceptional spot during
the Easter, Corpus Christi and Christmas celebrations. There are many Sevillians who
wait all year to see the "ramp of the Savior";, where the different brotherhoods that
reside there will parade, a ramp where small children run around on the eve of the city's
Big Week, and which is undoubtedly one of the most beloved pictures in the city.

We find, then, a sector that reflects the identity of the city, its history, evolution,
customs, etc, creating a link with the citizen, a feeling of belonging. It is therefore the
object of care and conservation, in order to continue transmitting this history and values
to the next generations. Fortunately, in recent years there has been a growing concern to
preserve the identity and stylistic unity of the city, leading to reforms that seek to recover
a more classic look. We cannot forget that Seville is a city that is in full growth.
However, there are numerous areas where stylistic innovations can be made and different
elements and constructions can be established, without interfering with this classic
character that the Historical Site presents. Currently, the aspect that can present the most
problems when it comes to the conservation of the urban environment is the installation
of shops, advertising signs, wiring, etc. These must be cared for in any area that forms
part of the Historical Centre, establishing a series of criteria and rules that unify them.

In short, El Salvador and its surroundings make up a unique whole that reflects
the historical, artistic and social identity of the city of Seville, and it is necessary to
preserve and enhance it.

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2005 Vienna Memorandum. Vienna.

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 https://www.diariodesevilla.es/sevilla/Plaza-Salvador-obras-julio-Navidad_0_1
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