This mill is part of a series of hydraulic constructions of the "Ribera de los Molinos" that were made up of at least 10 mills built in the 16th century, including some of Arab origin and that supplied water to the entire town and the abundant orchards of Bornos.

This building, popularly known as Molino Ancho, is one of the best-preserved sections of the short cut and corresponds to the Molino del Arco lieva. You can see the bricks with which it is floored inside and the magnificent buttresses. The lieva is the architectural resource that allows sufficient unevenness to provide an adequate height for the vertical fall of the water into the bucket and that of this mill has been built by means of two very unique large arches, with buttresses. The spillway or quebradero is the gate to regulate the entry of flow into the bucket, and in this mill the accumulation of limestone concretions is striking, which could be a sign of the centuries that it was working.

Tithes for the church were deposited in it. The pink facade stands out in its conservation with a stone doorway topped by the symbols of the Diocese of Seville: "the Giralda and the lilies".

Dated in 1781. It is currently private property. Its interior has been rebuilt and turned into a luxurious and comfortable home.

In the 16th century, Don Diego Álvarez, a resident of Bornos, ordered in his will the creation of a house-hospital for the resurrection of our Lord Jesus Christ and a Church.

The temple, which is the only thing left of the old hospital, appears covered by an extraordinary Mudejar coffered ceiling. It also preserves a golden Baroque-style altarpiece with a niche and Solomonic columns.

The image of the Christ of the Flagellation stands out, dating from around the 17th century and the oil painting of the Virgen de los Dolores received by the Seven Holy Servite Founders.

Schedules:

Monday to Friday
10:00 - 13:00
Weekend only outside.

According to Father Mariscal, “the Hermitage of Calvario was built, largely with their alms and solicitude, by some devotees of this town with the surname Soto; In the years 1696, a hermit, who was called Brother Mendoza, a native of Córdoba, was collected in the hostel that is attached. This one, with the alms he requested from the neighbors, added another room to the chapel, in a square and as a better half (...) The monastery of San Jerónimo helped him a lot, with sustenance for himself and a lot of material for the work. The last illness gave him when his attempt was reaching perfection. According to the Bornense historian Manuel Barra, despite this statement by Father Mariscal, the truth is that those who constantly took care of the needs of Brother Mendoza were the Franciscans of the Convent of San Bernardino de Siena. So much so, that they made a Via Crucis (imitating the one that D. Fadrique Enríquez de Ribera had instituted from the Jerónimos Monastery), starting from the door of his Convent to the Calvario Hermitage and which is very frequented on Fridays, especially those of Lent. Some crosses and chapels that indicated the stations of the Via Sacra are still preserved.

The triangular façade stands out in its construction, which offers a beautiful niche, topped with a typically Baroque belfry. In the hermitage, a beautiful image of San Francisco de Paula is venerated, dating from the first half of the 18th century. Other images of merit that are currently in said hermitage are: Santa Rosa de Viterbo (16th century); Saint John the Evangelist; an image of the Virgin, under the invocation of María Santísima de la Soledad; and others of less merit. It also houses paintings of great interest, highlighting a Deposition (16th century) from the Italian school and which presided over the Chapel of the College of Blood.

Etymologically, a loggia is a gallery or succession of arches.

From the loggia before us we can say that after the culmination of the Renaissance Garden of the Palacio de los Ribera, the lords of Bornos built an open-air art gallery; private museum where they could intimately recreate or show their guests, with the pride of their owners, those jewels that were Roman statues from the 1st century, restored by Giuliano Meniquini, or the new ones, sculpted by him, with the purest and most perfect forms of the 15th century Italian.

Years later, when some of the Ribera infants were educated in Bornos, it would be useful for their tutors to put beautiful examples of Greek and Latin mythology giving life to the cold forms of marble and alabaster.

When we say that this loggia is the only 16th-century Pompeian imafront in Andalusia, we are referring to a balanced and brilliant architectural composition by Benvenuto Tortello: a composition of arches topped with a classical Roman frieze (although clearly Greek-inspired), whose decoration alternate triglyphs and metopes.

Tortello came to Spain from Italy called by the Riberas to build new buildings in their possessions, as well as to improve or restore existing ones: with a very clear objective; import the most recent currents of the Italian Renaissance.

The Riberas helped create a growing interest in art and letters among the nobility. The architect Tortello became highly regarded in Spain among his contemporaries; and among his works, apart from those carried out in Bornos, he highlighted the construction of the facade of the Seville City Hall in the Plaza de San Francisco.

At present, the statues that were displayed in this lodge are kept by their legitimate owners in the Casa de Pilatos in Seville and have been declared Artistic Heritage of Andalusia.

Therefore, this lodge is offered to us as an evocative place in a designated environment of great historical and artistic value, such as the Gardens of the Ribera de Bornos Castle-Palace.

It was founded in 1505 by the Mayor of Andalusia, D. Francisco Enríquez de Ribera. It occupied a space of approximately eight squares, almost square. The building consisted of a cloister with 56 Genoa marble columns with openwork stone skylights, around which the different rooms would be distributed, and a Church without a transept. In this, two altarpieces were built in 1572: one for San Jerónimo and another for Santa Ana. Its builders were the carver Pedro Becerril and the imagery painter Luis Hernández.

It had great splendor during the s. XVIII, due to the wisdom of its monks, among whom Fray Pedro Mariscal de San Antonio, Fray Esteban Rallón, Fray Rodrigo de Carmona, Fray Bartolomé de Cádiz, etc. stood out.

In the year 1895, due to the confiscation of Mendizábal, which brought with it the disappearance of many religious orders, it was abandoned, ending here the life of the Jerónimos in Bornos. Before, in the s. XVIII, also had to be abandoned, due to the damage caused in it, the tsunami of Cádiz. At present, very little of its structure is preserved: only a tower and part of its walls and orchards.