Abstract

How were various strata of local history—Classical, Christian, and Muslim—incorporated into the building of imperial Seville (sixteenth and seventeenth centuries), and what was the impact of the critical approach to evidence developed in Renaissance Italy on actual urban projects? Three case-studies—of a noble palace, the Casa de Pilatos; of a public park, the Alameda de Hércules; and of a carpentry treatise by master builder Diego López de Arenas—reveal the malleable role of historical evidence in monumental construction projects based on classical and Christian ideals and demonstrate a more methodical use of evidence among artisans practicing traditional medieval craftsmanship.