The Monastery of Santa María de las Cuevas, also known as the Monastery of the Cartuja hosts today The Andalusian Contemporary Art Center (The Centro Andaluz de Arte Contemporáneo).
Legend holds that the area, in Moorish times, was honeycombed with caves made by potters for ovens and to obtain clay, and that after the capture of the city by Christians in the thirteenth century, an image of the virgin was revealed inside one of the caves, where supposedly it had been hidden. It prompted the construction of a chapel of Santa María de las Cuevas to house the venerated icon. In the 15th century, the archbishop of Seville, aided by the noble family of Medina, helped found a Franciscan monastery at the site. Later constructions were patronized by don Perafán de Ribera (who built the Casa de Pilatos). In the 15th century, monks of the cloistered order of Saint Bruno were housed in the monastery.
Christopher Columbus' remains were first interred at Valladolid, then at the Monastery of the Cartuja by the will of his son Diego. In 1542 the remains were transferred to Colonial Santo Domingo.
During the Napoleonic invasion, the monastery was sacked and used as barracks. After returning in 1812, the monastery was finally vacated with the general closure of monasteries in 1835–36.
Following the confiscation Englishman Charles Pickman acquired the monastery in 1839. Commencing production in 1841, Pickman established innovative manufacturing methods such as importing raw materials, the use of molds, using specialised machinery, mechanical arms and presses, utilising British ceramist experience while employing pottery workers from nearby Triana. The initial success of the factory led to La Cartuja de Sevilla becoming one of the most popular brands in Europe and in Latin American countries. Production continued until 1984. The bottle shaped kilns and tall chimney are the legacy of the ceramics factory.
References:
The Church of St Donatus name refers to Donatus of Zadar, who began construction on this church in the 9th century and ended it on the northeastern part of the Roman forum. It is the largest Pre-Romanesque building in Croatia.
The beginning of the building of the church was placed to the second half of the 8th century, and it is supposed to have been completed in the 9th century. The Zadar bishop and diplomat Donat (8th and 9th centuries) is credited with the building of the church. He led the representations of the Dalmatian cities to Constantinople and Charles the Great, which is why this church bears slight resemblance to Charlemagne's court chapels, especially the one in Aachen, and also to the Basilica of San Vitale in Ravenna. It belongs to the Pre-Romanesque architectural period.
The circular church, formerly domed, is 27 m high and is characterised by simplicity and technical primitivism.