"We are facing the oldest access to the Cathedral, there is evidence of it for the first time at the end of the 12th century, when this building had nothing to do with Christianity. It was the emir Abu Yusuf, who planned the expansion of the esplanade of the Mosque, and it was his intention, although he finally gave up, to separate this building with its recently walled minaret from the rest of the city.
This element, the Minaret, is neither more nor less than the genuine monument that represents this city 9 centuries later, with many structural modifications and architectural interventions, since this gate had a military function in its origins.
It was not until the first years of the 15th century that this access began to be known as the Puerta del Perdón, this name is widespread among the covers of cathedral entrances. Citizens persecuted by justice who showed manifest repentance were introduced to sacred ground here, and it was probably this circumstance that caused the name of this property.
The upper part of this entrance, seen both from Calle Alemanes and from the Patio de los Naranjos until the time of the Catholic Monarchs, was a roof terrace that protruded a little from the profile of the rest of the façade where there were a couple of rooms rented to the Clergy and so it was until 1496.
A relief stands out on the top of the Door, it represents the expulsion of the Merchants from the Temple. This work is assigned to Miguel Florentín and was carried out between 1519 and 1522.
At the beginning of the last quarter of the 16th century, the tabernacle was located between this very Gate and Placentines street. A kind of small protruding body decorated with wood was built on the portal that lasted until 1838, being replaced by the relief of the Giralda along with two jars of lilies that are distinguished today, and that represent the coat of arms of the ecclesiastical council."
The two leaves that make up the door itself are the oldest element that remains in the whole complex. They are made of cedar wood and are lined with bronze, showing small elongated hexagons over the entire door with octagonal figures, representing four-pointed stars along with floral themes and inscriptions that repeat verses from the Koran such as "power belongs to Allah" and “eternity belongs to Allah”. The whole set is made up of a geometric design, so helpful in the Mozarabic elements. On the other hand, the original knockers are not the ones on display but are preserved in one of the Giralda's chambers."
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