The Real Alcázar’s Mezmering Mudéjar Palace in Seville

Europe’s oldest continuously used palace and UNESCO World Heritage Site is the best thing to see in Seville.

A palace like no other — the Real Alcázar of Sevilla dazzles with its stunning Mudéjar design with intricate stucco details.

After a quick, delicious breakfast at charming Filo, Wally and I made our way to Plaza del Triunfo (Triumph Square), the plaza where the Real Alcázar de Sevilla (Royal Palace of Seville) and its formidable main entrance, the Puerta de León (Lion Gate), stand. It’s just to the southeast of the Seville Cathedral. 

Thanks to Wally’s planning, all we had to do was show up at our scheduled time and wait in the line on the left, which was designated for pre-purchased ticket holders. That being said, it was a bit confusing — we weren’t sure we were in the right line, and the tickets Wally had purchased looked different than other people’s. So there was some apprehension until they were scanned and we were able to enter the palace complex. 

The monumental Puerta de León (Lion Gateway) serves as the main entrance to the Real Alcázar de Sevilla.

Puerta de León (Lion Gateway)

While we waited, I looked up at the tile panels set into the lintel above the gate. It depicted a peculiar, emaciated lion wearing a crown with its tongue lolling out of its mouth. It’s standing atop the flags of its defeated enemies, with a cross in its paw.

This passage was added by the Castilian monarch Pedro I (who reigned from 1350-1369) to provide direct access to his royal residence. The gate takes its name from the heraldic lion, a symbol of the Spanish crown’s power and protection. Although the defensive wall dates back to Almohad rule, the rampant lion was a more recent addition, created in 1892 at the Mensaque Rodríguez ceramic factory in Triana, the center of glazed-tile production in Seville. 

A statue of the Virgin and Child located within the stone walls of the Lion Gateway en route to the Patio de la Montería (Courtyard of the Hunt)

Wally and I passed beneath the puerta, where an attendant checked our tickets. Just beyond was the expansive Patio de la Montería (Courtyard of the Hunt), the main courtyard of the Royal Alcázar of Seville, where Pedro I and his noblemen gathered before embarking on royal hunts.

Carlos Blanco’s portrait of Fernando VII, one of the many royals who once called the Alcázar home. 

Casa de Contratación de Indias (House of Trade for the Americas)

We continued through the enclosed courtyard of the Patio del Cuarto Militar (Courtyard of the Military Quarter), which perfectly framed the blue sky above. From there we entered the Casa de Contratación de Indias (House of Trade for the Americas). The Renaissance-period addition was commissioned in 1503 by Isabella I of Castile and designed to regulate the flow of goods arriving from the New World, whose colonization had begun 11 years prior. Due to its location on the banks of the Guadalquivir River, Sevilla became an epicenter of commerce and trade, where ships set sail and returned to the port laden with goods from across the seas.

The Cuarto del Almirante (Admiral’s Quarters) is presided over by a large oil painting by Alfonso Grosso Sánchez depicting King Alfonso XIII and Queen Victoria Eugenia at the inauguration of the Ibero-American Exposition held in Seville in 1929. 

Cuarto del Almirante (Admiral’s Room)

After passing through the main doorway, Wally and I entered the spacious Cuarto del Almirante (Admiral’s Room), whose walls have 19th and 20th century paintings of historic events, along with a collection of royal portraits. It was here that explorers and pilotos mayores (master navigators) such as Amerigo Vespucci, Ferdinand Magellan and Juan Sebastián Elcano signed their contracts and charted their voyages, while cartographers drew up detailed maps and navigational charts to assist them on their travels.

Among the traditional Spanish hand fans in the Sala de los Abanicos (Hall of Fans) are the Abanico Inglés (English Fan), made of mother-of-pearl and silk, handpainted with birds and flowers, and the Abanico Macao (Chinese Fan), a handpainted silk fan with tortoise-shell ribs depicting a traditional court scene from the province of Macau.

Sala de los Abanicos (Hall of Fans)

The following room was the Sala de los Abanicos (Hall of Fans), which held glass vitrines displaying a collection of antique fans amassed and donated to the Real Alcázar in 1997 by María Trueba Gómez. Among the beautiful and rare examples is a tortoiseshell and Chantilly lace fan, as well as a mother-of-pearl and silk fan commemorating the wedding between Alfonso XII of Spain and María Cristina Habsburg-Lorena of Austria.

The Sala de Audiencias (Chapterhouse) is where you’ll find the Virgen de los Navegantes (Virgin of the Navigators) altarpiece, the first religious artwork linked to the discovery and conquest of America.

Sala de Audiencias (Chapterhouse)

After the Sala de los Abanicos, we entered the square-shaped Sala de Audiencias (Chapterhouse). This room includes a stone bench where chapter members sat. In front of these seats is an altarpiece inspired by the discovery of the Americas. 

The central panel was painted in 1535 by Alejo Fernández and is titled Virgen de los Navegantes (The Virgin of the Navigators). Fernández’s painting depicts the Virgin Mary hovering above a harbor, with her outstretched arms and billowing mantle sheltering notable navigators and monarchs, including Christopher Columbus, Amerigo Vespucci, Fernando II of Aragón and Carlos V, from the dangers of the sea. 

Flanking the Virgin are four smaller panels with saints, from left to right and top to bottom: San Sebastiano (Saint Sebastian), shown with a sword, a bow and an arrow piercing his chest; Santiago Matamoros (Saint James the Moor-Slayer) riding a white horse; San Telmo (Saint Elmo), the patron saint of sailors, dressed as a Dominican and holding a ship in his hand; and San Juan Evangelista (Saint John the Evangelist) with his book, pen, scroll and eagle. 

The entrance to the Cuarto Real (Upper Palace), which acts as a museum. For an additional fee, visitors can tour the royal residences.

Cuarto Real (Upper Palace)

Wally and I proceeded to ascend the staircase leading to the Cuarto Real (Upper Palace), where the private residences of the royal family are located. Throughout its long history, the palace has undergone numerous renovations and expansions by various kings, particularly during the 16th, 17th and 19th centuries.

Detail of a tarjetero, a large plate for holding social calling cards, designed by Manuel Arellano y Campos in 1894. 

Since we didn’t purchase tickets (as admission to visit these is separate), we didn’t get to tour them, but we did wander through a small museum displaying ceramic objects from the collection of Vicente Carranza. The pieces are arranged chronologically, starting with Muslim and Mudéjar ceramics from the late 12th century, followed by Renaissance ceramics, and ending with Baroque ceramics from the 18th century.

A tranquil haven within the Real Alcázar, the Patio de Levíes captivates with its symmetry and the quiet beauty of its reflecting pool.

Patio de Levíes (Courtyard of the Levis)

Back outside, Wally and I found ourselves in the tranquil Patio de Levíes (Courtyard of the Levis), which likely gets its name from the slender columns supporting four semicircular arches that were taken from the residence of Samuel Leví, the treasurer of King Pedro I.

The carved fountain spout, known as “grotesque,” in the Patio de Levíes combines artistry and utility.

Set into the wall on the left side of the patio is a Baroque-style ceramic tile altarpiece depicting the Immaculate Conception. At the center of the courtyard is a narrow reflecting pool with a gargoyle-faced fountain, flanked by white marble columns of the Ionic order.

The Romero Murube Courtyard, named after a famed Sevillian poet

Patio de Romero Murube (Romero Murube Courtyard)

Between the Patio de Levíes and Jardín del Príncipe (Garden of the Prince) is the Patio de Romero Murube (Romero Murube Courtyard), whose name refers to Joaquín Romero Murube, a poet and the curator of the Real Alcázar from 1934 to 1969.

Wally takes a break on a bench in the courtyard.

The courtyard’s design reflects the style of 19th century Sevillian domestic architecture, with a pair of flowerbeds on either side and a tile-covered bench framed by pink marble columns. 

The entrance to the palace, crafted by artisans from Granada, Toledo and Seville, is considered a masterpiece of Mudéjar architechture.

Palacio del Rey Don Pedro I (Palace of King Don Pedro I)

Standing opposite the Puerta de Leon is the Palacio del Rey Don Pedro I (Palace of King Don Pedro I), a majestic 14th century masterpiece of Mudéjar architecture.

The young prince came of age during a period of religious tolerance toward Muslims and Jews and a fondness for Mudéjar architecture, which blends Muslim aesthetics with local traditions. At just 15, Pedro became the final ruler of the House of Ivrea after his father, Alfonso XI, fell victim to the bubonic plague.

Pedro’s reign was a study in contrasts. To some, he was el Cruel (the Cruel), while to others, he was el Justiceiro (the Just) — depending on which side of his sword you stood. The only solution the young king ever seemed to find for resolving political conflict was to eliminate anyone who posed a threat. One of his first acts was to target his father’s mistress, Leonor de Guzmán. Shortly after taking the throne, he had her imprisoned, and following his mother’s orders, she was executed by Pedro’s chancellor, Juan Alfonso. 

Pedro ruled alongside his mistress, María de Padilla, and used his alliance with the exiled Nasrid sultan, Muhammad V of Granada, to bring in some of the most skilled Muslim builders and craftsmen from Granada, Toledo and Seville. Between 1356 and 1366, these craftsmen built his royal residence within the walls of the Alcázar in the Mudéjar style, which is why his palace bears such a strong resemblance to the Nasrid Palaces at the Alhambra.

The intricate grillwork adorning this doorway exemplifies the Mudéjar style’s mastery of geometric patterns.

Originally, the term mudejár, derived from the Arabic mudajjan, meaning “domesticated” or “tamed,” was a derogatory label given to Muslims who chose to remain in al-Andalus under Christian rule after the Reconquista. Yet, as time passed, it came to represent something far more enduring — the synthesis of Islamic forms and decorative elements within Christian architecture. This distinctive style of art and architecture includes features like horseshoe arches, carved stucco, geometric tile compositions, muqarnas (stepped, stalactite-like vaulted ceilings) and carved wood.

However, Pedro didn’t get to enjoy his palace for long. On March 23, 1369, just three years after the building’s completion, Pedro was assassinated at the age of 34 by his half-brother, Enrique. This treacherous act propelled Enrique to the throne as Enrique III, marking the beginning of the new Trastámara dynasty.

The window grille showcases elegant geometric patterns and stylized arches.

The palace’s main entrance is framed by two blind multifoil arches embellished with panels featuring symmetrical vegetal and geometric designs known as sebka. 

Above, the second-story gallery has three multifoil window arches. A horizontal blue and white frieze bears the Kufic inscription written forward and in mirror image: “There is no victor but Allah.” Framing this is a secondary band dedicated to Pedro I in Latin: “El muy alto y muy noble y muy poderoso y muy conquistador don Pedro, por la gracia de Dios Rey de Castilla y de León, mandó hacer estos Alcázares y estos Palacios y estas portadas que fue hecho en la era de mil cuatrocientos y dos.” This translates to, “The highest, noblest and most powerful conqueror, Don Pedro, by God’s grace the King of Castile and León, ordered the construction of these Alcázares, and these palaces, and these façades, completed in the year 1402.”

We stepped through the palace’s main door and found ourselves in a spacious two-story vestibule. In keeping with Islamic tradition, arches divided the reception hall into two smaller rooms with a broken axis of sharp right-angle turns, an ingenious architectural device designed to maintain the privacy of interior spaces. To the left was the Patio de las Doncellas (Courtyard of the Maidens), and to the right stretched the passageway leading to the Patio de las Muñecas (Courtyard of the Dolls). 

Located in the palace’s private area, reserved for the enjoyment of the monarch and his family, the Patio de las Muñecas (Courtyard of the Dolls) includes elegant marble columns, sourced from the caliphal palace city of Madinat al-Zahra.

Patio de las Muñecas (Courtyard of the Dolls)

The intimate courtyard is one of the palace’s private spaces and owes its name to the small doll-like faces that decorate the bases of the cusped arches surrounding the patio. According to tradition, whoever finds these attracts good luck, and eligible girls are believed to find husbands. Like Córdoba’s magnificent Mezquita Mosque, the columns of black, white and pink marble that support the arches came from the former palace of Madinat al-Zahra. 

Touring the Alcázar is a contrast of admiring serene beauty while surrounded by throngs of fellow tourists.

The two upper floors were added during the 19th century, and the domestic rooms were completely remodeled during the reign of the Catholic Monarchs. However, the showstopper here is the elegant glass skylight that turns this courtyard into a solarium.

The cupola roof of the Hall of Ambassadors is visible from the Patio de las Doncellas (Courtyard of the Maidens).

Patio de las Doncellas (Courtyard of the Maidens)

At the heart of the palace is the Patio de las Doncellas, the main courtyard. It’s encircled by a gallery of delicate, lace-like multifoil arches, each supported by pairs of double columns brought from Genoa during the Renaissance to replace the original brick pillars. 

The Patio de las Doncellas’ lower level features an arcade of polylobed arches reflecting the Mudéjar style, while the upper gallery incorporates semicircular arches influenced by the principles of the Italian Renaissance.

In contrast, the upper gallery, separated by a marble balustrade and semicircular arches, was added between 1540 and 1572 during the reign of Carlos V and reflects the Renaissance style. Despite their stylistic differences, these elements blend harmoniously, creating a space that is both cohesive and visually arresting. 

In the center of the courtyard is a rectangular pool flanked by sunken gardens with orange trees. 

The scallop motif, symbolizing the authority of the Catholic monarchy, seamlessly integrates with Mudéjar designs, highlighting the interplay of cultures and faiths in the Real Alcázar.

The name of the courtyard is tied to a controversial legend: It references a supposed annual tribute of 100 virgin maidens that the Christian kingdom of Asturias was required to send to the emirate of Córdoba. Each year, the Christian rulers allegedly selected the maidens — young women from noble and common families alike — to be sent to Córdoba. Many were believed to have been enslaved, serving as concubines or laborers in the palaces of the emirate. 

While there’s no historical evidence to confirm that such a tribute actually occurred, the story persisted in Christian retellings to underscore the perceived cruelty of Muslim rule and bolster the Christian narrative of righteous resistance. 

The sunken garden in the Courtyard of the Maidens is a result of a 20th century restoration of the original Islamic-era design, rediscovered through archaeological evidence and reinstated after centuries of Renaissance alterations.

The courtyard has also made its mark on popular culture, appearing as a striking backdrop in Ridley Scott’s epic film Kingdom of Heaven and as a setting in the popular HBO fantasy series Game of Thrones, where Ellaria Sand kneels before Prince Doran.

The alcove used as a bedchamber by the king during the summer months is topped by a pointed barrel vault, designed to keep the space cool.  

Alcoba Real (Royal Chamber)

The Alcoba Real (Royal Chamber) is another one of the private palace rooms and is accessible from the ground floor gallery of the Patio de las Doncellas. Its interior is divided into an antechamber and a bedroom with alcoves on the sides. Its lower walls are covered with colorful ceramic tile compositions in turquoise, royal blue and orange. 

Once used by Pedro I as his throne room, the Salón de Embajadores (Hall of Ambassadors) stands as the most magnificent room in the palace. Its opulent design perfectly embodies its purpose as a symbol of regal authority and grandeur.

Salón de Embajadores (Hall of Ambassadors)

One of the most spectacular rooms in the Real Alcázar is the Salón de Embajadores (Hall of Ambassadors). Originally, it served as the throne room for Pedro I, where he received dignitaries and other important visitors.

Beneath the shimmering, gilt dome of the opulent Hall of Ambassadors is a frieze depicting castles and lions, and below that Gothic niches containing portraits of Spanish kings.

The walls of the room are covered with intricate tile and finely carved stucco work and follow the architectural scheme of a qubba — a structure in Islamic architecture, often as a mausoleum or shrine — which features a cubic floor plan with a spherical dome above it. The square base represents the earth, while the domed ceiling symbolizes the vastness of the universe above.

The ceiling of the Cuarto de Príncipe (Prince’s Suite) was created during the reign of Charles V in 1543 and is adorned with golden honeycomb-like mocarabes. 

Cuarto de Príncipe (Prince’s Suite)

You’ll find the Cuarto de Príncipe (Prince’s Suite), through the north gallery of the Patio de las Muñecas. This historic space includes a central hall with two smaller alcove rooms on each side. The room is named after Juan de Trastámara, the only son  of Fernando II of Aragon and Isabella I of Castile. He was believed to have been born here in 1478. 

Look up, and you’ll find a ceiling decorated with the heraldic symbols of the Catholic Monarchs, with plaster arches dividing the room into three sections.

Islamic design, as seen on the lower walls of the Prince’s Suite, avoids depictions of people or animals, reflecting a focus on abstract patterns and geometry as a way to honor the divine without creating so-called idolatrous imagery.

We exited the Palacio del Rey Don Pedro I through a set of wrought iron and glass doors into the back gardens of the Real Alcázar — a serene oasis and the perfect respite after the dazzling beauty of the Mudéjar palace, which left us awestruck with its intricate details and overwhelming splendor. –Duke

Palacio de Viana’s Secret Gardens

Filled with flowers, fountains and fruit trees, each patio at this overlooked gem in Córdoba, Spain has a story waiting to be discovered.

The Palacio de Viana dates back to the 15th century and grew to include a dozen courtyard gardens, many of which are abundant with climbing vines complemented by a distinctive shade of blue.

Suppose you have a brief stay in Córdoba, Spain, and you can only see two of this charming town’s sights. One, of course, has to be the Mezquita. But the second might be a bit surprising: We think you should head a bit off the beaten path to explore the gorgeous plant-filled patios of the Palacio de Viana. 

We might not have even visited the palace (think of it more as a museum and garden where a series of marquises lived) if we hadn’t had a bit of extra time in Córdoba and asked our friend Jo for a recommendation. She told us that it was impressive, but we were absolutely astounded by the variety and number of courtyards. There are 12 in total, not to mention the massive garden, with each taking you on a journey through the home’s extraordinary history.

The striking entrance onto the Plaza Don Gome was added by Luis Gómez de Figueroa y Córdoba, the 2nd Lord of Villaseca.

Visiting Palacio de Viana

As we set off from our lodgings at los Patios del Pañuelo, it was yet another blazingly hot afternoon in Córdoba, even though it was early October. You’re mostly sheltered from the sun by the narrow winding labyrinthine passageways of the historic center. However, after a 15-minute walk en route to the palacio, the intense heat washed over us as if an oven door had opened. The heat builds up throughout the course of the day, and somehow feels hottest around 5 p.m.

Before entering the historic landmark, Duke and I decided to pop into Taberna de Viana, a no-frills café across the street. We were drawn in by a sign advertising their hot pink dragon fruit smoothies.

The seamless blending of indoor and outdoor spaces gives the palace a beautiful harmony.

Refreshed and hydrated, we crossed the Plaza de Don Gome, the small square in front of the palacio. Because we visited during typical siesta hours, our admission was free. (You’ll find this happens a lot in Andalusia, or that the admission is remarkably cheap.)

The courtyards of Córdoba are a testament to the city’s rich history, influenced by various cultural groups, including the Romans, Visigoths, Muslims and Christians over thousands of years.

A Brief History of Cordoban Courtyards

As with most things in town, it started with the Romans. They loved to sip their watered-down wine while lounging in their interior courtyards, a practice that left its mark on Córdoba and has become a symbol of the city. 

The Muslims introduced courtyard gardens that aspired to paradise. Enter ornate tiles, gurgling fountains, reflecting pools and greenery that evokes a desert oasis. 

And when the Christians conquered Córdoba, the courtyards got another makeover, adopting the in-vogue Renaissance style (a bit of a snooze comparatively, in my humble opinion).

The Courtyard of the Columns is actually the newest of all the patios at Viana.

As time marched on, it wasn’t all sunshine and sangria, and some of the patios fell into a state of disrepair. But there’s nothing like a little friendly rivalry to encourage people to whip their courtyards into shape. Competitions were held, leading to the Fiesta de los Patios — an annual event in May that transforms the entire town into a courtyard carnival. This tradition has been recognized and honored by UNESCO since 2012.

The entrance to the palace is through this charming courtyard, which had large photos of bald women cancer survivors when we visited.

A Tour of the Palacio de Viana

Courtyard of the Gate

This courtyard was the entrance to houses once owned by neighbors, the Torres Cabreras, until it was incorporated into the Palacio de Viana in the 19th century. I particularly liked the cobbled floor. A stone pillar, probably of Roman origin and currently repurposed as a planter, was formerly used as a trough for horses and other animals.

It’s come full circle, since the patio is now used as the entrance to the visitor reception center. We left the palace through this patio, which was exhibiting photos of female cancer survivors.

Main plants: bush lilies, Lady Banks’ roses, calla lilies, bougainvillea, centaurea and geraniums

A date palm surrounded by an arcade of 16 Tuscan columns stands at the center of the Reception Courtyard.

Reception Courtyard

Originally an enclosed courtyard, its present incarnation as the entrance to the Patio de Recibo dates back to the 1500s. This transformation took place when Luis Gómez de Figueroa y Córdoba, the 2nd Lord of Villaseca, married María de Guzmán y Argote, a Cordoban noblewoman. Motivated by the union and elevated social status, he constructed the corner façade opening out onto the Plaza de Don Gome. It was designed to impress and highlight the status and wealth of its noble occupants. Some plants were chosen to maintain their greenery throughout the year, while others flowered in different seasons.

A date palm stands at its center, surrounded by an arcade of 16 Tuscan columns supporting a two-story structure, whose window frames are painted in the palace’s signature color, Viana blue. Its trapezoidal shape (think of a triangle with the top shaved off) is a reflection of the plot of land available at the time.

A tour of Viana starts off with a bang, with the large, dramatic Reception Courtyard.

Back in the day, the lord would have his carriage in the stables and enter under one of the arches, while horses would drink water from a Visigothic baptismal font used as a trough. The corner, where two rows of columned arches meet, was where the carriages came and went.

Main plants: plumbago, date palm, Lady Banks’ roses, bush lilies, night blooming jasmine and bougainvillea. 

Walls lined with potted geraniums are a common sight in Córdoba, and the Courtyard of the Cats was no exception.

Courtyard of the Cats

The adjoining courtyard belonged to the Puentezuela de Tres Caños houses, which were purchased in 1545 by Gómez de Figueroa y Córdoba, the 1st Lord of Villaseca. In keeping with medieval tradition, they were cut off from the rest of the palace and used as rental properties. Families that once lived in these homes used the stone troughs in the courtyard gallery for laundry and drew water from the well.

This courtyard once belonged to the Puentezuela de Tres Caños houses and served as rental properties until the second half of the 18th century.

In the second half of the 1700s, it was integrated into the palace and used as offices for the palace’s administrators. But, OK, where are the cats?! It might be a disambiguation of uñas de gato, or cats claws, a leafy vine with sharp three-pronged tendrils resembling a cat’s claws that help it climb and flourish in the courtyard. 

Then again, it’s easy to imagine it was a favorite spot for kitties looking for food scraps after the Viana family took ownership of the palace in 1873 and installed kitchens in the adjoining buildings. 

Main plants: pink trumpet vines, ivy geraniums, geraniums, carnations, marguerites and purple carpet creeping thyme

The Courtyard of the Orange Trees is filled with centuries-old orange trees.

Courtyard of the Orange Trees

Before the Reception Courtyard was built, this was the entrance to the palace in the 15th century. 

Inspired by Muslim orchard gardens, this courtyard is filled with centuries-old orange trees, surrounded by rounded hedges. These were private spaces where one could sit and think, perhaps pondering the meaning of life. They were designed to mimic desert oases, with water being a prominent feature, referred to in the Quran as “divine mercy” — not surprising considering the arid nature of much of the Islamic world.

The patio was inspired by traditional Muslim orchard gardens.

If you close your eyes and focus on your senses, you might smell the delicate scent of orange blossoms or heliotrope followed by the gentle sound of gurgling water. Remember the original purpose of such an intimate, tranquil space: introspection, communion with the divine and contemplation of nature.

How dapper! The last marquis of Viana would pick a flower from the courtyard every day to put in his jacket’s buttonhole.

But I don’t recommend following the tradition of the last marquis of Viana who lived here. Every morning he’d come to the Courtyard of the Orange Trees to pick a heliotrope flower for the buttonhole of his jacket — I’m pretty sure that picking the flowers is now discouraged.

Main plants: bitter orange trees, white water lilies, calla lilies, Chinese wisteria, pig squeak and plumbago. 

The Marchioness of Viana had these tiered steps built to display her pots of cineraria during the passing of the Virgin of Anguish on Holy Thursday.

Courtyard of the Bars

Courtyards are typically private spaces hidden from the casual passerby, but the Patio de las Rejas, or Courtyard of the Bars, breaks with that tradition. Created by the 3rd Lord of Villaseca, Gómez de Figueroa de Córdoba, it features three Mannerist-style openings with wrought iron railings. These “bars” gave the courtyard its name and offered the public a view of the home’s beauty from Rejas de Don Gome Street. If this seems like a means for nobility to flaunt their status and wealth, you're right. 

Cordoban courtyard gardens liberally use potted plants for decoration, something we hadn’t seen anywhere else.

To ensure greenery throughout the year (important since this courtyard was on public display), the gardeners put citrus trees on trellises along the walls, training them to grow vertically. Tiered steps were built following orders from Sofía Amelia de Lancaster y Bleck (1904-1982), 3rd Marchioness of Viana to display her pots of cineraria during the passing of the Virgen de las Angustias (Virgin of Anguish) on Holy Thursday. 

Additionally, she chose to have her bedroom window face the courtyard from the second floor, ensuring that she’d have the best view of the courtyard.

Main plants: citrus trees, geraniums, cineraria, centaura and calla lilies. 

That’s Madama — the water nymph who gave the courtyard its name.

Madama Courtyard 

Created as part of the renovations that took place during the 18th century, the Patio de la Madama was designed to be admired from inside the palace. Cypress trees frame the fountain at its center, which features a naiad, or water nymph, pouring water from a jug, much like the star sign Aquarius. Calla lilies sprout from pots submerged in the basin. 

The naiad, the madama of the courtyard’s name, gazes toward the windows of the Admiral’s Bedroom (so called because the last Marquis of Viana, who served as an Admiral of the Navy, used it as a guest room when his military buddies came to stay). The Neoclassical style of this intimate courtyard is enhanced by the wrought iron balcony and the Viana blue windows and doors.

If you visit during the summer, jasmine will be in full bloom, covering one of the walls and filling the air with its heady fragrance.

Main plants: mandarins, sweet violets, heartsease, bougainvillea, velvet groundsel and jasmine. 

The large garden at Viana was inspired by those in France. It’s composed of symmetrical, meticulously trimmed hedges designs.

The Garden

In an effort to keep up with the Joneses, or at least the rest of the nobility, the 7th Marquis of Villaseca, Diego Rafael Cabrera (1767-1816), added a French-inspired garden to the palace. The marquis purchased the homes of his neighbors, the counts of Torres Cabrera, and subsequently demolished them to create this expansive green space, covering over 13,000 square feet or 1,200 square meters. The garden includes some of the oldest botanical specimens at Viana, such as the towering white oak that stands over 82 feet (25 meters) high, believed to be about four centuries old.

The grotesque-style gazebo on one side of the garden struck us as a bit ominous.

Well-manicured box hedges form geometric shapes that divide the garden, with a circular pathway surrounding the central fountain. To the far right as you enter the garden is a peculiar structure covered in ivy. We saw other visitors crouching inside it, and I wouldn’t argue with its designation as a “grotesque-style” gazebo.

Main plants: citrus trees, white oaks, Delavay’s magnolias, oleanders, pomegranates, roses, velvet groundsel and German irises. 

Traditional Islamic gardens had pools to aerate and oxygenate the water.

Courtyard of the Pool

At the back of the garden is the Patio de la Alberca, or Courtyard of the Pool, a service area where gardeners work their magic behind the scenes. A greenhouse from the 1960s stands where, in the past, stuffed deer heads once hung — relics from hunts with King Alfonso XIII.

The pool is a more recent addition, transferred to its current location from the nearby Courtyard of the Well in the 1980s. Pools have essential roles in Arabic gardens, aside from offering picturesque reflections: Sunlight aerates and oxygenates the water, which, at Viana comes from the well, before it’s used in irrigation.

Main plants: citrus trees, centaurea, geraniums, carnations, white lantana and corals

The well at Viana connects to an underground stream. It supplies all the water at the palace, nourishing the numerous plants and feeding its fountains.

Courtyard of the Well

An additional service area, the Patio del Pozo, or the Courtyard of the Well, is the water source of the complex. The ancient well, a whitewashed hexagon with brick trim and an iron arch, connects to the Colodro stream, which flows underground and supplies enough water for the entire palace, including its fountains.

The Fuente de Doña Leonor, named for one of the daughters of the 2nd Marquis of Viana. 

Old earthenware jugs used as plant pots dot the courtyard amid bougainvillea and other plants. Look for the mustachioed face jutting out from one of the palace’s walls. It’s the Fuente de Doña Leonor, named for one of the daughters of the 2nd Marquis of Viana. 

Main plants: bougainvillea, chrysanthemums, jasmine, petunias, lantanas and redflush

Plumbago has been trained to grow up the wall in the Courtyard of the Gardeners.

Courtyard of the Gardeners

Rounding out the trio of service courtyards, this one gets its name from being where the gardeners store their tools. (Originally, it was called the Courtyard of the Dogs, for, one imagines, obvious reasons.) Its most noteworthy feature is the wall that forms a vertical garden of plumbago. A window that peers into the Courtyard of the Well, bordered in pretty geometric zellij tiles. In fact, this patio has the most tilework of any at the palace — see how many you can find.

Wally on the Courtyard of the Gardeners

This courtyard reflects a tradition of the middle class: a delightful mishmash of items placed around the patio. Unable to afford statues, the average Córdoban would scatter antiques, archeological finds, furniture, ceramics, plinths and more. Look closely and you’ll spot a church lintel. 

Main plants: plumbago, centaurea, roses, petunias and geraniums 

There’s a sense of quietude when you enter the Courtyard of the Chapel. It’s meant to be a place for introspection before worshiping in the small chapel.

Courtyard of the Chapel

Repetition. Harmony. Tranquility. These are the themes of the stately Patio de la Capilla, or Courtyard of the Chapel, designed to inspire introspection among the shadows of the citrus trees. If it feels a bit solemn, that’s the point: It leads to the private chapel, so silence is encouraged.

Back when this section of the palace was still owned by the counts of Torres Cabrera, this was their main courtyard. Created in the 17th century, it was incorporated into the Palacio de Viana 200 years later.

Archeological artifacts decorate the courtyard — evidence of a fad spurred on in part by the discovery of King Tut’s tomb in Egypt.

The altar of the family chapel

Archeology gained mainstream appeal in the late 19th and early 20th centuries, spurred on by the discoveries of Pompeii and King Tut’s tomb. Placing archeological pieces around your patio came into vogue. This courtyard reflects that trend, with some museum-worthy items placed about, including marble flooring and small statues from Ancient Rome, as well as pieces of columns. 

Main plants: citrus trees, bush lilies, primrose and mind-your-own-business

A beautiful blue and yellow zellij tiled fountain is the centerpiece of the Courtyard of the Archive.

Courtyard of the Archive

Built by the 6th Marchioness of Villaseca in the 1700s, this courtyard is an example of Cordoban Baroque (not the gilded excess found in Baroque churches you might be thinking of). The Baroque aspect is more about a line of vision leading into the Courtyard of the Bars.

This is actually one of the more minimal patios, with hedges along the edges and a blue and yellow tiled fountain in the center. The idea is not to compete with the whitewashed walls of the home and the iconic doors and windows in Viana blue. 

The archives are on the second floor, containing over 300,000 documents.

The second floor is where the palace’s archives are kept, giving the courtyard its name. Over 300,000 documents, dating back to the 12th century, are stored there.

Main plants: mandarins, sweet violets, bush lilies, calla lilies, ivy geraniums and night blooming jasmine

The gorgeous Courtyard of the Columns was created as an event space.

Courtyard of the Columns

The largest and newest of the complex, the Patio de las Columnas was added in the 1980s as a space to host events — everything from poetry readings to theatrical performances, from awards ceremonies to art exhibitions.

Duke dances gaily with the Romany cutout.

Wally strikes a pose with a sassy niño.

Sunlight illuminates the two-tone cobblestone patterns covering the ground, and a long, narrow pool with a chevron-patterned bottom anchors the center of the courtyard. On the left, 11 columns are linked by arches, while the tower of the Church of San Agustín rises just beyond the façade of a house supported by four columns. 

Main plants: jasmine, centaurea, bougainvillea and geraniums 

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Note: Much of this information comes from Courtyards of Viana, a visual guide you can purchase in the gift shop.

There are a couple of rooms you can peer into or wander through at the palace, to see the furnishings of the noble families who lived here.

A Glimpse Into the Lives of Nobility

Throughout our visit, we saw interior rooms filled with gorgeous furniture, objects and works of art, amassed over the five centuries it was inhabited by nobility.

This whimsical Baroque clock was one of the more distinctive pieces we saw at the Palacio de Viana.

The house has been open to the public since 1980. Whether you love gardens, architecture or both, the Palacio de Viana, rooted in local history and filled with flowers, is a must-see for all who visit Córdoba. –Wally

Palacio de Viana

Plaza de don Gome, 2
14001 Córdoba
Spain

 

The Crumbling Ruins of El Badi Palace in Marrakech

Once praised for its massive scale and beauty, El Badi Palace soon became a mere shell of its former grandeur. Only storks now call it home.

A ruined palace sits within the medina of Marrakech.

It must have once been quite a spectacle. El Badi Palace was commissioned by Ahmad al-Mansour, a Saadi sultan who ascended to power after his brother’s untimely death in 1578. Its financing came from ransoms paid by the Portuguese to release their prisoners who had been captured and enslaved following their defeat after the Battle of al-Qasr al-Quibir.

A ransom paid by Portugal financed the construction of El Badi Palace.

Al-Mansour and the Battle of Three Kings

The young and impetuous King Sebastian of Portugal wanted to reclaim coastal Morocco for his country and intended to convert the Muslim populace to Christianity. He combined forces with the deposed sultan al-Mutawakkil, who had his own aspirations to reclaim sovereignty. 

When King Sebastian, al-Mutawakkil and their troops landed at Tangier, they were met by Sultan Abd al-Malik and his men. Within a mere six hours, the Muslim army easily forced the invading Christians to retreat to the port city of Larache — but while fleeing across the Wadi al-Makhazin at high tide, Sebastian and al-Mutawakkil drowned. 

Exhausted from combat, Abd al-Malik fell ill and expired the following morning. In the end, all three died. For this reason, the event is also known as the Battle of Three Kings.

“Al-Mansour asked his court jester what he thought of his palace complex.

The jester replied, “It will make a magnificent ruin.” ”

Was this stork once a human being? Or is it off to deliver a baby?

Say Hi to the Storks: Visiting El Badi Palace

While staying in the Marrakech medina, we spent a day trying not to get lost and seeing the sights, including El Badi Palace. 

Outside the site are shops. An open-air restaurant with charcoal braziers filled the air with oily black smoke. Enormous storks nests that could easily accommodate the three of us have taken up residence atop the remains of the rammed earth walls. The storks of Marrakech are considered to be holy animals. Even before the arrival of Islam, an old Berber belief held that storks were actually transformed humans. As a Westerner, I’m only familiar with storks delivering babies.

The silhouettes of storks seen at sunset. The birds find niches in the ruins of El Bahi Palace to build their nests.

Wally, our travel buddy Vanessa and I paid 10 Moraccan dirham (about $1) at the kiosk located outside the palace. We entered through a towering doorway and found ourselves enclosed in a massive bare-walled chamber open to a cloudless blue sky. These are the ruins of the Qubbat al-Khadra or Green Pavilion. The two-story pavilion most likely had a pyramidal roof of green terracotta tiles, a common material of the period. 

El Badi means the Incomparable One.

Nothing Compares 2 U: The Incomparable Palace

The name of the palace derives from one of the 99 names of Allah given in the Qur’an, and translates to “the Incomparable One.” It served as the reception palace of al-Mansour, who spared no expense in building his lavish monument to the Saadian dynasty and its growing power. 

While the palace was widely acknowledged in its time as a spectacular architectural achievement, it was plundered for its rich decorative materials only a century after its construction. However, you still get a clear sense of its monumental scale. The courtyard features four symmetrical sunken groves planted with lemon and orange trees surrounded by footpaths and separated by a large central basin, which was dry upon our visit but once provided irrigation for the orchards. 

The sunken courtyards house small orchards of citrus trees.

It took nearly 16 years over the course of Sultan al-Mansour’s reign to complete, using materials imported from numerous countries, including onyx, Carrera marble from Italy, gold from Sudan, cedarwood and ivory. Walls and pathways were covered with multi-colored glazed zellij tiles arranged in geometric patterns. 

The zellij tile floor is the one section of the palace with some color.

We met a fussy tomcat who at first craved our attention and then just as quickly grew fickle, batted a paw and hissed at us. (I think it was an angry jinn who became unhinged as we didn’t have any scraps of food to offer it.)

Sixteen-century Moroccan architecture during the Saadian period was heavily influenced by Andalusian decorative traditions, an Islamic architectural style that spanned across North Africa and Spain. El Badi’s layout follows a rectilinear grid similar to the Court of Myrtles at the Alhambra in Granada, Spain, but on a much larger scale.

Foreign ambassadors of the time gushed about El Badi’s unparalleled beauty and grandiose domed pavilions: In addition to the Green Pavilion, there’s the Qubbat ad-Dahab (Golden Pavilion), the Qubbat az-Zujaj (Crystal Pavilion) and the Qubbat al-Khayzuran (Khayzuran Pavilion). According to a plaque outside the latter, Khayzuran comes from the Arabic name for wild myrtle and is believed to have been the harem’s quarters. 

I’d suggest bringing bottled water and sunblock, as the site is mostly exposed. Although there isn’t a dress code, it’s respectful to stay modest wherever you go in Morocco. Wally and I both wore linen pants, and Vanessa covered up appropriately. 

It’s too bad the grandeur of the palace didn’t last long. Moulay Ismail stripped El Badi and repurposed the materials to build a new residence in nearby Meknès.

El Badi’s Short-Lived Beauty

Less than a century after the construction of El Badi, the 17th-century Alaouite Sultan Moulay Ismail decided to move the capital from Marrakech to Meknès, and spent over 10 years systematically stripping El Badi of its riches to reuse for his palace in the new capital city. 

This could explain why, as far as ruins go, El Badi might have once been astounding, but now it just doesn’t inspire much awe. That being said, according to local lore, al-Mansour asked his court jester, who was in attendance at the official opening, what he thought of his palace complex. The jester replied, “It will make a magnificent ruin.” And indeed it does. –Duke

If you have a few days in Marrakech, you should visit El Badi Palace. If time is limited, skip it and do the souk and Jardin Majorelle instead.

El Badi Palace
Ksibat Nhass
Marrakech 40000
Morocco