The interior of the church of the former convent Dominican of San Paul possesses an extensive iconographic program of pictorial nature, designed in a conscientious way by an as of yet unidentified mentor, but could be safely said to form a part of the Preachers' Order.
The painter Clemente de Torres from Cadiz (1662-1730), trained artistically in Valdés Leal's workroom, is credited with six of the apostles painted on the pillars of the temple, corresponding with Saint Peter, Saint Paul, Saint Andrés, San Matthew, Santiago the Minor and Santiago the Major, formed in full body, in solemn and monumental figures provided with an emotive spiritual expression. Another two apostles, Saint Philip and Saint Thomas, reflect the palette of Lucas Valdés (1661-1725), whereas the remaining ones would belong to an anonymous collaborator from his workshop.
Lucas Valdés's paintings in San Paul, created in 1709, constitute the culmination of his path as muralist. There, in the vault of the presbytery, he creates the Victory of Faith, demonstrating his mastery in the development of perspective, and at the same time a great compositional mastery in an allegoric religious scene of certain complexity. In the eight gallones of the intradós of the vault he painted pairs of angels who carry attributes of the Lauretana Litany and hold medallions with letters that they compose the words Bird Maria. On the Corinthian pilasters that are next to the pillars of the cross he painted a wide repertoire of holy and blessed Dominicans. Atop the lateral walls of the transept are arranged, painted in tempera, Saint Fernando's Triumphal Entry in Seville and an Auto-da-fé in Times of San Fernando, that are among the best of his creations. Another historical scene painted by the same artist, as is the case of The Battle of Lepanto, reminds us, from the wall of the epistle, of the institution of the holiday of the Virgin of the Rosario on October 7, 1571 for the Dominican Pope Pious V, coinciding with the naval victory of the Christian armies against the Turks. In the vault of the sotocoro he formed eight veterotestamentarias scenes, whereas on the ceiling of the sacristy, he had the opportunity to paint in the center The Adoration of the Baby Jesus in the Sky, between medallions with Saint Paul's conversion and Saint Paul's apotheosis.
Lucas Valdés, between 1710 and 1715, was also the maker of both spectacular paintings that hang on either side of the major chapel, with David's scenes and the movement of the Arc of the Alliance and The Reconstruction of the Temple of Jerusalem in Times of the Prophet Ageo, taken from the Old Testament, and showing wide and painstaking displays of architecture. But, undoubtedly, the two most significant oil paintings that the parish guards, proceeding from the collection kept by San Paul's convent, are those exhibited in the sacramental chapel, the episodes of Saint Domingo in Soriano and The Miraculous Treatment of the devout Reginaldo of Orleans, which Francisco de Zurbarán (1598-1664) contracted with the Dominican community in 1626 forming part of a more extensive series, in which magnificent naturalistic effects appear, as do the excellent treatment of the textures of the fabrics and the varied details of still life. From a previous generation, Francisco Pacheco (1564-1644) left a beautiful table in the parochial office from around 1612 in which the Virgin of the Rosario with the Souls of the Purgatory plays a leading role. Fully baroque, as coordinated in 1659, in the chapel of the Quinta Angustia would be the paintings of Juan de Valdés Leal (1622-1690). The interesting painting that presides at the altarpiece is dedicated to the Blessed Souls of Purgatory, painted around 1772 and accurately attributed to the late Baroque painter Vicente Alanís (1730-1807).