Pavilion of the Royal House Mudejar Pavilion
REAL HOUSE PAVILION Friday, April 16, 2010
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The Plaza of Honor, as it was called at first, which we know today as Plaza of America, was built at its lower side the Pavilion of the Royal Family or Royal Pavilion. This building originally designed as provisional constantly transformed by the decision of the Executive Committee chaired by D. Antonio Falcon, thus meeting the suggestion of the Royal Academy of Fine Arts, to give the set all the monumentality and grandeur to the Plaza required after construction of two pavilions facing the Fine Arts to Mudejar plaza being constituted by three pavilions on three sides and open to the Paseo de las Delicias in the room, and a design achieved fountains, gardens and gazebos.
The Pavilion project was drafted by the architect D. Aníbal González and Alvarez Ossorio in 1912, leaving no first public competition, being awarded in the second round on May 11, 1914, establishing the completion date of November 1, 1915 with a final cost of 293,522.76 pts.
If for the Pavilion of Fine Arts was inspired in the English Renaissance style, and the Hall of Manufactures and Decorative Arts (Mudéjar) opted for the traditional Moorish art to the Royal Pavilion opted for the so-called English Gothic, conceiving it as a cross inscribed in a square, symbolizing the triumph of Christianity on the Iceland under the monarchy of Ferdinand and Isabella, by carving out a small chest of brick and glazed ceramics, constituting the monuments of the plaza into a sublime manifestation of historicism that longed Aníbal González.
The building originally had in the basement and floor, with its polygonal shape, grouping four rectangles around an octagon and galleries linked by a field, all these elements at different heights.
One of the eagles access roundabout.
Of the four rectangular rooms that form the Latin cross, three of which were illuminated by monteras glass and used as exhibition halls, the fourth was the entrance and the roof consisted of wooden encasetonado, currently still preserved . The entrance had no doors.
The central octagonal body, rises above the rest of the building with a height of 15.60 m. and its roof was formed by an eight-paneled skirts finished these in a small octagon with a central golden finial was the almizate, with tracery of eight-pointed star and rectangular links illuminated side. The colors of the painting all the roofs of the building, were made by Manuel Cañas Martinez in 1913. Unfortunately, except the wooden ceiling of the lobby, they have lost all.
The outdoor gallery, cloister were open aspect and provided a walkway between the union and expositional different rooms. Using a module of three arches on columns decorated with ball fitting, connecting the rectangular bodies.
this regard deserves special mention the work of potters and painters Gustavo Bacarisas, Manuel Rodriguez and Perez de Tudela, Manuel García Montalvo, the Marques de Benamejí and Manuel Martínez Cañas, with outdoor sculptures designed by the sculptor Antonio drum and the painter Manuel de la Cuesta.
Aníbal González himself in the project report says have been inspired by examples of English architecture, on the so called Catholic Kings, consisting of the late Gothic style that had its peak during the reign of Ferdinand and Isabella, having the finest examples clear in the Royal Chapel of Granada, Santo Tomás de Avila and San Juan de los Reyes in Toledo
elevation of the main facade
Details front shield
paneled drawing the flag APPLICABLE
and exterior gallery. photography time
Floodlit flag.
Plant canopy and interior distribution
Upon entering the lobby, right and left, we find two beautiful ceramic panels executed by Gustavo Bacarisas and a series of badges related to the Order of Montesa, these sockets, higher than the rest of the flag are painted in bright colors.
is also noteworthy in this entrance hall, the notching of the bricks, plasterwork frieze Eduardo Muñoz and sgraffito of the walls and coffered ceiling paint made as previously discussed by Manuel Cañas.
scene is rendered one of the highlights of the history of the Order, when in 1399, merged the Order of St. George with the Montesa
ceramic This table shows the time of the consecration of D. Eril Guillen as the first Master in 1319.
Heraldry connected with the Order of Montesa
carved brick details, and Eduardo Muñoz plasterwork
View coffered ceiling and detail of the paintings by Manuel Cañas
Photo of the day, with one scene and graffito on the wall.
In this room right Tables are decorated with ceramic sockets for the Order of Calatrava, painted by Manuel Rodríguez de Tudela. They are played between scenes of battles and large format shields of the Order, the Masters arranged chronologically, and various kings who gave great impetus to it. For the decoration of this room, like the rest of them, the color palette is less diverse, focusing particularly on the shades of blue, white, yellow and some red accents.
Ceramic cloth with reference to 26 º D. Maestre Fernando Padilla 1443 and King Henry II.
In the Hall of the left, representing the Knights of the powerful Order of Alcantara, with their coats of arms of families within the church, painted by Manuel García Montalván.
sockets with images of the Knights of the Order of Alcántara
The back room is dedicated to the Order of Santiago, was painted by the Marquis of Benamejí. Through a series ceramic altarpieces tells the story of this Order, they describe the appearance of the Virgin to Santiago, the statement as Santa's Pilgrimage, and the intersection of the Apostle in various battles. All scenes are done in shades of blue and white, surrounded by beautiful Gothic border.
ceramic cloths with the shield of the Order of Santiago
Different scenes that reflected the history of the Order of Santiago painted by the Marquis de Benamejí
In the absence of doors, the building was always open, so inside it was very deteriorated, mainly the coffered central body disappeared today.
Central Hall, now fully transformed, was covered by a hipped alfarje impressive four stained glass windows, painted by Manuel Cañas like tile baseboards shields representing the monarchy richly ornamented, the four doors giving access to different rooms around it, were carved Brick by José Roldán and Francisco Reyes.
This beautiful room is nothing, because in 1964 he created works of consolidation and the need to accommodate some municipal services, the interior is solid, rising four floors in the central body, opening a hole at an angle of light, and two in the four halls and galleries. Outwardly
his condition is quite good in relation to the brick factory, with deplorable state of the ceramic elements of both the crest with stability problems and landslides, and the sharp deterioration of the shields and statues that require urgent restoration.
current state of the central hall .
assignment in 1978 by Hall, ranked the Provincial Office of Education of the Junta de Andalucía, years later they municipal agencies occupying the building, being today the Delegation of Economy and Employment and the headquarters of the Biennale Flamenco.
has been disastrous changes, following the adjustment in the seventies as a municipal office, from a place for art, a bureaucratic among the modifications we are, the removal of the balconies, with a shutter that serve the function of offices, placement of air conditioning systems, have broken pieces of tiles and lattices, without their recovery and have even lost some bases of the columns used on balconies, being replaced by bricks stacked.
current view of a corner of the building.
ceramic sculpture of the facade of Antonio Drum
The content is presented in this ward was focused primarily on the treasures of the royal family, with parts of the Armoury and Stables Royal, weapons, porcelain, ivory and paintings from various sites Royals rarely exposed.
So in Room I, outlining harness horse and foot of Charles V, swords and Roel as the "Plus Ultra" and the German war harness Mühlberg call. In a central case, they were mittens Gothic burgonet, running boards, guns and shields, including that of Philip II made with feathers of various birds amantecas drawn up by the Indians of Mexico and considered one of the most important parts of the existing European museums.
Celada Morion.
apparently represents the head of Carlos V, with golden curls in relief, encircled by a crown of laurel (1533)
In Hall II shows objects Royal Stables, with a great coach carved black, known as "Dona Juana la Loca" the seventeenth century. Sedan chair rococo paintings of Philip V. On exhibit showcases embroidered pieces in cabinets, vestments, plumes and holsters from different eras.
Rodela. Form game with his helmet in the center and embossed lion's head, and fine edge with six medallions and columns of Hercules with the Plus Ultra
thick harness belts . It belonged to Charles V, is accompanied by eight pieces of change and reinforcement. Bring carved into the effigy of Our Lady in the chest and back Santa Barbara
burgonet movable visor with gold fantastic animal in relief, clutching bald head.
Rodela. Call of the Plus Ultra
The Chamber III was occupied mainly carpets, and especially the canopy incomparable Carlos V and Felipe II consists of three parts, completing the room with the tapestries called the Foundation of Rome.
Carlos V Canopy XVI century. It consists of three panels. The roof or ceiling represents God the Father with the Spirit Saint surrounded by seraphim. The vertical cloth top, is represented Jesus crucified on Flemish landscape, accompanying Mary, St. John the Divine Justice and the Magdalena. In the lower tapestry represents the departure of Jesus to the holy women.
The rest of the flag was made up of three small rooms with furniture, clocks and brass chandeliers, crystal chandeliers of the period of Carlos IV, Goya tapestries and other cartons Louis XVI, and precious carpets from the Royal Sites and the Escorial.
SOURCES - THE HALL OF THE HOUSE REAL. José Carlos Alvarez de los Corrales Babiano. Magazine SURVEYOR No. 23
-EL CICERONE SEVILLE, MONUMENTS AND FINE ARTS, Alejandro Guichot and Sierra
- HISTORY American Exhibition in Seville in 1929,
Eduardo Rodríguez Bernal
- Flags of the Latin American Exhibition, Alberto Villar Movellan
The American Exhibition "Newspaper Municipal Funds"
- the site of the Ibero-American Exhibition, urbanized area, FLAGS AND CONSERVATION, José María Méndez
Head Andalucía and America in the Twentieth Century, Proceedings of the Sixth Conference of Andalusia and Latin
1987 - Exhibit Guide 1929-1930 IBERO
- Regionalism ARCHITECTURE .- Alberto Villar Movellán 1900-1935.
- CATALOGUE OF THE ROYAL PAVILION
link to download the PDF file
- h ttp: / / www.megaupload.com/?d=D4JOGUQ3
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