Apuntes del Alcázar de Sevilla. Nº 16, 2015 - page 302

300 Apuntes del Alcázar de Sevilla
English version
NOTES
Baceiredo Rodríguez, Mª I. y LópezMadroñero, M: Restauraci ón
de las pinturas murales de las galerí as porticadas perimetrales del
Patio Bajo del Crucero. Revista Apuntes del Alcázar, Nº 11, 2010,
p. 102-131.
Baceiredo Rodríguez, Mª I. y Baceiredo Rodríguez, D.: Las pinturas
murales de las galerí as perimetrales del Patio Bajo del Crucero. Aprox-
imación al estudio iconográfico. Revista Apuntes del Alcázar, Nº 13,
2012, p. 54-89.Here, an iconography study and the itemization of
the subjects and motives represented in the 37 areas composing the
perimeter galleries are suggested.
Marín Fidalgo, A .: El Alcá zar de Sevilla bajo los Austrias. T.I. Ed.
Guadalquivir, Sevilla, 1990; p. 271.
Marín Fidalgo, A .: El Alcá zar de Sevilla bajo los Austrias. T.I. Ed.
Guadalquivir, Sevilla, 1990; p. 272.
Marín Fidalgo, A .: El Alcá zar de Sevilla bajo los Austrias. T.I. Ed.
Guadalquivir, Sevilla, 1990; p. 273.
“The painter Bartolomé de Maqueda represents in this wall some
emblems near an officer. This work was started on March 5th and
was finished on March 22nd. He used the next colors: ochre, green,
red and glaze (… ). The painter Gonzalo Pérez also collaborated in
this work and, in October, he affirmed that he “painted three and
a half emblems in the arches of the balconies looking to the gar-
dens”.
Marín Fidalgo, A .: El Alc ázar deSevilla bajo los Austrias. T.I.Ed. Gua-
dalquivir, Sevilla, 1990; p. 275.
“… The works started in January 1576, when it is a fact that two
construction workers started to work on the entry passage to the
gardens and the ‘Estanque de Mercurio’”.
Marín Fidalgo, A .:El Alcá zar de Sevilla bajo los Austrias. T.I. Ed.
Guadalquivir, Sevilla, 1990; p. 283.
Marín Fidalgo, A .: El Alcázar de Sevilla bajo los Austrias. T.I. d. Gua-
dalquivir, Sevilla, 1990; p. 287.
“… Around the same time (1577) the bar forger Juan Fernández was en-
trusted with the making of gates that would be placed at the entrance
of the passage. (… ) They finally cost 16.920mrs”.
Marín Fidalgo, A .: El Alcázar de Sevilla bajo los Austrias. T.I. Ed.
Guadalquivir, Sevilla, 1990; p. 287
“… By June 24th, the construction workers were whitewashing the
passage and the vaults of the Palacio del Crucero and, in early July,
the painters Juan Díaz and Juan de Saucedo started to paint the
passage “from end to end”. This work was possibly finished by the
beginning of November, from when the last line item linked to this
work was dated. It was ordered by the Deputy Mayor Juan Antonio
del Alcázar, who, between the 1st the 6th of July, commanded that
they were payed with the first 200 reals in advance”.
Marín Fidalgo, A.: El Alcázar de Sevilla bajo los Austrias. T.I. Ed.
Guadalquivir, Sevilla, 1990; p. 287
“… By August 19th, the construction workers were “whitewashing
the walls of the ‘Jardín del Crucero’”. At the beginning of this month,
the Deputy Mayor hired the painter Juan Chacón to decorate an al-
cove that would be placed at the end of this passage of the ‘Jardín
del Crucero’. It was one of the first alcoves of the ‘Real Alcázar’. The
painter started to work on it since August 5th until the beginning
of April of the next year (… )” “(… ) it cost 210 ducats (… ) and it was
decorated with many baked-mug figures painted in different colors,
everything made by the aforementioned painter”.
These passaged were restored in 2010 together with the cistern and the
groin vaultplaced behind the fountain. Also, in 2012, the galleries of the
exterior arches of the north-easternpatio and ceramic pipes going across
the baseboard and providing the cistern with water were restored. Both
interventions were performed by the company Crest Arte, S.L.
Marín Fidalgo, A .: El Alcázar de Sevilla bajo los Austrias. T.I. Ed. Gua-
dalquivir, Sevilla, 1990; p. 287
Marín Fidalgo, A .: El Alcázar de Sevilla bajo los Austrias. T.I. Ed. Gua-
dalquivir, Sevilla, 1990; p. 287-288.”… The bar forger Juan Fernández
was entrusted on November 18th 1577 with the making of two gates “in
order to protect the alcove placed behind the pond of the ‘Jardín del Cru-
cero’” (… ) They cost 15.000 mrs.”
Marín Fidalgo, A .: El Alcázar de Sevilla bajo los Austrias. T.I. Ed. Gua-
dalquivir, Sevilla, 1990; p. 291.
Marín Fidalgo, A .: El Alcázar de Sevilla bajo los Austrias. T.I. Ed. Gua-
dalquivir, Sevilla, 1990; p. 288”… Around this time (July and August
1578) the painter Gonzalo Pérez started to decorate the arches located
in the ‘Jardín del Crucero’.”
Baceiredo Rodríguez, Mª I. y Baceiredo Rodríguez, D.: Las pinturas
murales de las galer ías perimetrales del Patio Bajo del Crucero. Aproxi-
mación al estudio iconográfico. Revista Apuntes del Alcázar, Nº 13,
2012, p. 54-89.The study of every sector has been considered by ana-
lyzing the percentage of preserved painting, the study of the picto-
rial composition, the interpretation of the topic according to the
preserved painting and the location and description of the pictorial
remains placed on the different walls composing the 37 areas of the
perimeter galleries. Once they had been restored, an orthoimage of
each mural painting located in every area was included in this analy-
sis. They were taken by Daniel Baceiredo Rodríguez.
Marín Fidalgo, A .: El Alcázar de Sevilla bajo los Austrias. T.I. Ed. Gua-
dalquivir, Sevilla, 1990; p. 288.“(Gonzalo Pérez)… started to work on
the ornamentation between the 4th and the 9th of August. (… ) The sub-
ject of these paintings was the representation of “the emblems of each
month, starting from March”. He received 12 ducats for each emblem
and the work went on until the week lasting from the 12th to the 17th of
January 1579, when he finished the last emblem “.
Baceiredo Rodríguez, Mª I. y Baceiredo Rodríguez, D.: Las pinturas
murales de las galerías perimetrales del Patio Bajo del Crucero. Aproxi-
mación al estudio iconográfico. Revista Apuntes del Alcázar, Nº 13, 2012,
p. 85-89.The pictorial decorations of the northern gallery are placed
between the blind semi-circular arches and on the transversal walls
located at the barrel vaults. Few pictorial fragments are preserved, but
they are generously sized. In comparisonwith the compositions of the
lateral galleries, these paintings are placed as baseboards finished with
a cresting running through the whole extension of the walls compos-