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			"properties": {
				"name": "Real Alc\u00E1zar (Royal Palace)",
				"ele": "17.0",
				"desc": "Seville\u2019s royal palace, still in use by the Spanish royal family, represents in one compound a thousand years of architectural styles and decoration. \n\nBegun in 712 by the Islamic caliphs, the Alc\u00E1zar was already a palace of splendor when the Catholic kings reconquered Seville. Fortunately for the world\u2019s cultural heritage, King Pedro was a great admirer of the Islamic styles and craftsmanship, so he continued the work in the Mud\u00E9jar style. \n\nLater monarchs added their own touches in succeeding styles, so here in one palace are original examples from the 8th century Islamic, Gothic in the late Middle Ages and into the Renaissance, Baroque and even later periods. This virtual textbook of evolving styles and tastes manages to appear as a harmonious whole, with Moorish arches morphing subtly into Gothic, and 19th-century styles adding their touches.\n\nEach room and patio is a separate work of art, but the tiled walls and golden dome of the Salon de Embajadores and the incredibly delicate stone work of the Patio del Yeso and the Doncellas Patio are highlights."
			}
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		{
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				"coordinates": [-5.992, 37.38588]
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			"properties": {
				"name": "Convento de Incarnacion",
				"ele": "21.0",
				"desc": "The church is part of the Hospital de Santa Marta, founded in 1395. The convent is home to a cloistered order of Augustine nuns. Its 14th-century Mudejar (Moorish revival) facade is original and it is thought that the tower base was once part of the earlier Almohad defensive walls. Notice especially the decoration on the tower, which is thought to date to the 12th century. The interior has a number of Medieval features, but it is the exterior that is of architectural note."
			}
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			"geometry": {
				"type": "Point",
				"coordinates": [-5.99255, 37.38578]
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			"properties": {
				"name": "Seville Cathedral and La Giralda",
				"ele": "30.0",
				"desc": "Begun in 1402, the building itself was completed a bit more than a century later, but the interior was not completed until the early years of the 20th century. The building replaces a mosque that was destroyed in an earthquake, and only the Patio de los Naranjos courtyard and La Giralda, the minaret\/watchtower, remain of the original mosque. In the Patio de los Naranjos look for the 12th-century Puerta del Perdon (door of pardon), built by the Moors, and the stone fountain that dates to the Visigoth era, or possibly as early as the Romans. Of the several large portals to the cathedral, The Puerta de los Palos, near the La Giralda, is the most outstanding, dating to the early 1500s and showing the Adoration of the Magi.\n\nThe former minaret, La Giralda, was described by UNESCO as \"the masterpiece of Almohad architecture.\" It dates from the late 1100s, the finest of the three remaining great Almohad minarets. Between 1560 and 1568, the top was extended in the Renaissance style, and the balconies added, but the lower portion, including all the beautiful brick trellis work, is the original Almohad minaret. As was common then, stones from earlier Roman structures were used in its construction, and if you look carefully around its base you can see the Roman inscriptions."
			}
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		{
			"type": "Feature",
			"geometry": {
				"type": "Point",
				"coordinates": [-5.9920818, 37.3863985]
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			"properties": {
				"name": "Palacio Arzobispal",
				"ele": "23.0",
				"desc": "Still in use as the ecclesiastical headquarters of the Archbishopric, Palacio Arzobispal is, unfortunately not open to the public except on rare occasions, so its impressive interior and art collections remains hidden. The elaborate baroque portal was added to the fa\u00C3\u00A7ade of this 16th-century late Gothic building in the 17th century.\n\nAddress\nPlaza Virgen de los Reyes"
			}
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		{
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			"geometry": {
				"type": "Point",
				"coordinates": [-5.99445, 37.38872]
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			"properties": {
				"name": "Ayuntamiento (City Hall)",
				"ele": "16.0",
				"desc": "Built in the early 16th century in the Spanish Renaissance style, the Ayuntamiento illustrates two different decorative styles on different sides; both are excellent examples of their period. The fa\u00E7ade that faces the Plaza de San Francisco, designed by Diego de Ria\u00F1o, is a fine example of the local version of Plateresque, featuring intricate architectural adornments that include both historical and mythical references. Its doorway is especially elaborate.\n\nLess ornate is the side facing Plaza Nueva, its neo-classical fa\u00E7ade added during an expansion in 1891 by architects Demetrio de los R\u00EDos and Balbino Marr\u00F3n. While the exterior is the main architectural interest, the building\u2019s interior is open to the public for late afternoon tours."
			}
		},
		{
			"type": "Feature",
			"geometry": {
				"type": "Point",
				"coordinates": [-5.99344, 37.38978]
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			"properties": {
				"name": "Iglesia del Salvador",
				"ele": "20.0",
				"desc": "Like the cathedral, El Salvador sits on the site of a former mosque. Built in the 9th century, the Inn Adabbas mosque predated the one at the cathedral site, and today only its courtyard and the base of the tower remain of the Moorish building that was once the largest mosque in Seville. The mosque remained active following the reconquest by the Catholic kings, and remained a mosque until 1340, when it was converted into a Catholic church. \n\nBy the late 1600s, its condition had deteriorated so badly that a new church was built to replace it, and El Salvador was completed in 1712. El Salvador is the second largest church in the city, exceeded only by the cathedral, and it is an outstanding example of Spanish baroque architecture."
			}
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				"coordinates": [-5.99177, 37.39326]
			},
			"properties": {
				"name": "Metropol Parasol",
				"ele": "16.0",
				"desc": "Seville's newest architectural landmark, the Metropol Parasol was the result of discovering Roman remains during excavations for an underground garage to replace a parking lot that covered a former market square. Berlin architect Jurgen Mayer H. won the competition to build a structure that would house the Antiquarium (an archaeological museum showcasing the Roman finds) and a farmers market. In the museum, which lies below street level, sections of ruins are seen through glass walls and under transparent walkways.\n\nThe large canopy-like structure, almost 500 feet long and standing 85 feet tall, stands on large pillars, which support the tree-like roof of waffle-grid timbers - the parasols (known to locals as Las Setas - the mushrooms). These were inspired by the fan vaulting of the cathedral, and provide welcome shade in the summer. Their sinuous shape is echoed in curving benches and flowerbeds below. Elevators lead to walkways and a platform at the top for views over the city."
			}
		},
		{
			"type": "Feature",
			"geometry": {
				"type": "Point",
				"coordinates": [-5.9858, 37.38973]
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			"properties": {
				"name": "Iglesia de San Esteban",
				"ele": "20.0",
				"desc": "Perhaps the finest example in the city of the Mudejar style - a Gothic revival of the Islamic architecture and decoration of the Caliphate period, Iglesia de San Esteban was built in the late 1300s and early 1400s. Above the portal is delicate early 15th-century stone-carved tracery in a set of poly-lobed arches, and a series of grinning lion corbels. \n\nThe tower was built in the late 17th century, but severely damaged in the Lisbon earthquake of 1755, and rebuilt in 1758.\n\nThe interior is richly decorated, with ornamental plasterwork and fine 16th-century tiles. Note its ceilings, which are a mix of Gothic ribbed vaulting and Moorish-inspired coffers. The high altar is lined by a series of 17th-century paintings by Francisco Zurbaran."
			}
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			"geometry": {
				"type": "Point",
				"coordinates": [-5.98925, 37.38863]
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			"properties": {
				"name": "Iglesia de San Nicolas de Bari",
				"ele": "23.0",
				"desc": "The plain and sober exterior with a simple pediment above the door gives no clue to the exuberant interior. Built in the 1700s, the church is in high baroque, but the multitude of red marble Doric columns that separate its five naves almost reminds one of the forest of pillars in the Great Mosque of Cordoba. The main altar, completed in 1758, has an image of St. Nicholas flanked by saints Peter and Paul and salmonic (twisted) columns. \n\nThe high altar is the largest of a series of highly ornate gold-washed altars holding polychrome wood statues that vie for attention in small chapels everywhere one looks. Chapels dedicated to Our Lady of Fatima, the Holy Trinity, saints Barbara, Augustine, Carlo Borromeo and others are all 18th century; the one 19th-century altar is in a more restrained neoclassical style."
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