Most of the Seville churches exhibit the art itself, or at least the artistic influence, of the Moorish designer. The reconciled and converted Morisco had to live among his conquerors. Why should he not set his hand to the building of their temples? The Christians were pleased to borrow from his designs, to imitate his half-orange cupolas, his graceful arches, his glazed tiles, ribbon decorations and _ajimez_ windows. Why should he refuse to design churches, and erect and adorn them, for the good pay that the Christians offered? The _Mudéjares_, or 'reconciled' Moors, became, therefore, the chief and most lavishly-remunerated artisans of Seville. In building the churches and mansions of the city, they no doubt experienced a compensation for their subjection in the thought that they were permitted to labour with a free hand, and to design and embellish sacred or secular buildings after the manner of their own nation. They had no faith to inspire them; the religion foisted upon them was repugnant to their consciences and minds. But they possessed a potent stimulus to good execution--the love of art for art's sake. This was their inspiration, and we may see its effect in many details of ecclesiastic architecture in the Sevillian churches. [Illustration: Minaret of San Marcos.] _San Marcos._--This church is of exceptional interest on account of its tower, a fine example of Morisco architecture, and its beautiful _Mudéjar_ portal. The tower is in the minaret form, and was no doubt built in imitation of the Giralda, which it resembles in miniature. It is seventy-five feet in height, and ten feet wide, the loftiest tower in the city, except, of course, the stupendous Giralda, which is reared over all other edifices. The church is of Gothic design, and dates from 1478, though the much older tower and the chief portal are Arabian. The interior is not of much importance. It is said that the love-sick Miguel Cervantes used to ascend the tower of San Marcos to gaze around for one Isabel, a Sevillian beauty, who had entranced him. The church of San Marcos is approached from the Feria by the Calle de Castellar. _The Church of the Convent of Santa Paula_ is behind San Marcos, and within a few steps of that church. The _azulejos_ covering the walls are fine examples of sixteenth-century workmanship from the potteries of Triana. The reliefs of saints on the Gothic portal of the nunnery are from the design of Pedro Millan, a famous sculptor, and are the work of Niculoso of Pisa. From the convent we may retrace our steps to San Marcos, turn to the right, and follow the Calle San Luis to _Santa Marina._ The handsome Gothic portal of this church has some notable sculptures. It is said that the tower and the chapels are the remains of a mosque.