The Miguel de Mañara palace, situated on Levíes street, was built by the Almansa family in the 15th century on the remains of previous constructions, including a Mudejar house. The house fits in with Renaissance typology, though with slight modifications at a later date. As regards the first constructions on which the Renaissance palace was based, some plinths have been conserved its murals in one of the rooms on the ground floor, probably carried out in the second third of the 15th century. The Mañara palace conserves a collection of screens of Jewish origin. Curiously, they almost all have different designs. It is the Seville façade which best conserves these elements. Levíes street where it is located gets its name from Samuel Ha-Levi, the treasurer and main book-keeper of King Pedro I.
Cultural centre situated in the Santa Cruz District, Casa de la Memoria de Al-Ándalus organises exhibitions and concerts and throughout the year a musical cycle focused on the art of flamenco. The headquarters is an old house-palace that conserves the elements of the original Jewish house (15th century) as well as other elements from the 16th and 17th centuries. The house and the shop can be visited where exclusive craftsmanship of the Al-Andalus and Sephardi tradition can be bought.
Carne Gate, called Minjoar by the Moslems and of Almoravide origin, was the only exit to the exterior from the fenced Jewish quarter district. It was situated at the point at which the current Santa María la Blanca street meets Cano Cueto street, where the market was located. During the course of it history it has received various names such as the Perlas gate, the Jewish quarter gate, as it was the direct entry from the city to the latter, and the one that stuck, Carne (meat) gate, as there was an abattoir on the outskirts of the city constructed at the time of the Catholic Monarchs and immortalized by Cervantes in his Coloquio de los perros (Colloquy on dogs), said to be one of the three places which the King had yet to conquer in Seville and where Berganza was born, one of his characters.
Via Agua (Water Alley) is an alley that runs parallel to the Citadel gardens where one can see houses decorated with numerous plants, flowerpots and ivy. Worthy of special mention is the house at number 2 with its patio surrounded by columns and flowerpots. On the façade of this house there is a headstone commemorating the visit by the US writer Washington Irwing. This alley leads us to Alfaro square, the access gate to the Murillo gardens from the Santa Cruz district which was created in 1911, when they were granted by the Citadel to the city under royal order, as it belonged to its former garden.
Santa Cruz is the primary tourist neighborhood of Seville, Spain, and the former Jewish quarter of the medieval city. Santa Cruz is bordered by the Jardines de Murillo, the Real Alcázar, Calle Mateas Gago, and Calle Santa Maria La Blanca/San José. The neighborhood is the location of many of Seville's oldest churches and is home to the Cathedral of Seville, including the converted minaret of the old Moorish mosque Giralda.
Santa María la Blanca Church was built in the 13th century as a synagogue, but then it was transformed into a Christian temple in 1391, after the slaughters in the Jewish quarter of Seville. In 1252, King Alfonso X, after the taking of Seville by his father, granted a synagogue to the Jews inhabiting the San Bartolomé and Santa Cruz area. The synagogue stayed until 1391, when it was converted into a Christian church. The name and dedication of Santa María de las Nieves was imposed on it by the cathedral´s chapterhouse. The side gateway, which can be accessed from Archeros street, conserves two Roman shafts crowned by several Visgoth chapters which correspond to the old synagogue. The current church of Santa María la Blanca was built in 1662 in a Baroque style, and it has a structure divided into three naves which, in turn, is split into red marble columns. The vaults are decorated in plasterwork and attributed to the Borja brothers. Murillo was probably involved in the church decoration Works and it was he who painted the midpoints, plundered by Marshal Soult during the French invasion, subsequently being replaced with copies