The former Convent of Merced Calzada dates from the early 1600s, but since 1841 it has been open to the public as the Museo de Bellas Artes.

The fine arts museum originally preserved and showcased works from closed convents and monasteries around Seville. The collection has grown through the years and includes works by some of the most famous painters associated with the city – Murillo, Zurbaran and Leal.

“San Miguel Arcangel,” Juan Hispalense, 1480

“Virgin con el Nino,” Francisco Niculoso el Pisano, circa 1500

detail of “San Miguel Arcangel,” Juan Hispalense, 1480

“San Jeronimo Penitente,” Pietro Torrigiano, 1525

“Carro del Parnaso,” Domingo Martinez, 1748

detail of retablo from el Convento de San Agustin, Martin de Vos, 1570

“La Muerte del Maestro,” Jose Villegas Cordero, 1913

detail of “Juico Final,” Martin de Vos, 1570

detail of “Juico Final,” Martin de Vos, 1570

detail of “Santa Ana ensenando a leer a la Virgen,” Juan de Roelas, 1615

“Carro de la Comun Alegria,” Domingo Martinez, 1748

detail of “Juico Final,” Martin de Vos, 1570

“Santas Justa y Rufina,” altar, Hernando de Valladares, circa 1620

Bellas Artes

detail of retablo from el Convento de San Agustin, Martin de Vos, 1570

detail of “Juico Final,” Martin de Vos, 1570

detail of “Baile en la Taberna,” Manuel Rodriguez de Guzman, 1854

“San Juan Evangelista ante Portam Latinum,” Juan Martinez Montanes, 1638

detail of “La Santera,” Manuel Gonzalez Santos, 1930

“La Virgen de las Cuevas,” Francisco de Zurbaran, 1655

detail of “La Muerte del Maestro,” Jose Villegas Cordero, 1913

Not uncharacteristically, I often found myself distracted by the tilework and the devils in the details.

As we were headed into the season of Semana Santa processions, the paintings of enormous horse-drawn floats from 18th-century Seville proved of particular interest. Although these bacchanalian-themed floats appear to be more closely associated with rowdy pre-Lenten Carnaval celebrations.