Seville's culture runs deeper than its postcards: five rooms of Zurbarán in a Baroque convent, Valdés Leal's rotting corpses hung where Murillo intended, Carthusian kilns full of installation art, and Triana's tile trade in its own barrio.
Spain's second picture collection after the Prado, in the 17th-century Convento de la Merced: five Zurbarán rooms, Murillo's Virgin of the Napkin, El Greco's portrait of his son, hung around three tiled patios.
Miguel de Mañara's 1670s charity hospital still hangs the paintings he commissioned, in the places he chose: six Murillos, and Valdés Leal's In Ictu Oculi and Finis Gloriae Mundi facing each other under the choir.
The Medinaceli palace of 1519, where Mudéjar plasterwork meets the first Italian Renaissance loggia built in Spain: some 150 azulejo patterns in the main patio, Roman busts shipped from Italy, Pacheco's painted ceiling upstairs.
Jürgen Mayer's 2011 timber lattice over Plaza de la Encarnación, with a walkway curling 26 metres above the rooftops. The ticket includes the Antiquarium, the Roman houses and mosaics found when the foundations were dug.
Andalusia's contemporary art museum occupies a 15th-century Carthusian monastery that spent a century as the Pickman ceramics factory. Bottle-shaped brick kilns stand among works by Barceló, Kounellis and Louise Bourgeois.
Seville's opera house, built for Expo '92 behind the drum-shaped facade of the old artillery yard on the riverbank. The season runs October to June and leans on the operas actually set in the city: Carmen, Fidelio, Don Giovanni.
Bailaora Cristina Hoyos's museum in an 18th-century house near Plaza de la Alfalfa: costumes, screens showing the great dancers of each palo, and a vaulted cellar with Almohad walls used as the performance space.
A 15th-century palace courtyard on Calle Cuna seating about 100, with no microphones and no amplification — cante, guitar and two dancers close enough to hear the breath. Shows nightly at 19:30 and 21:00.
Built directly over the excavated kilns of the Santa Ana factory on Calle Antillano Campos, this museum traces Triana's tile trade from Roman amphora workshops to the azulejo shopfronts still standing across the barrio.
The sailors' chapel on Calle Pureza holds the Esperanza de Triana, the Virgin whose Good Friday crossing of the river splits the city's loyalties with the Macarena. Free entry, then the painted riverfront houses of Calle Betis.
The Esperanza Macarena stands above the altar in her emerald mantle, five glass tears on her cheek. The treasury museum alongside displays the embroidered mantles, the bullfighter Joselito's gift, and the paso she rides at midnight.
Europe's oldest surviving public garden, laid out in 1574 around two Roman columns dragged from a temple on Calle Mármoles. Now the axis of Seville's alternative scene: record shops, live rooms, and terraces that fill after dark.