Digital Graphic Documentation and Architectural Heritage: Deformations in a 16th-Century Ceiling of the Pinelo Palace in Seville (Spain)


 International Journal of

Geo-Information

Article

Digital Graphic Documentation and Architectural Heritage:
Deformations in a 16th-Century Ceiling of the Pinelo Palace in
Seville (Spain)

Juan Francisco Reinoso-Gordo 1,* , Antonio Gámiz-Gordo 2 and Pedro Barrero-Ortega 3

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Citation: Reinoso-Gordo, J.F.;

Gámiz-Gordo, A.; Barrero-Ortega, P.

Digital Graphic Documentation and

Architectural Heritage: Deformations

in a 16th-Century Ceiling of the

Pinelo Palace in Seville (Spain).

ISPRS Int. J. Geo-Inf. 2021, 10, 85.

https://doi.org/10.3390/ijgi10020085

Academic Editors: Sara Gonizzi

Barsanti, Mario Santana Quintero and

Wolfgang Kainz

Received: 9 January 2021

Accepted: 17 February 2021

Published: 19 February 2021

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1 Architectural and Engineering Graphic Expression, University of Granada, 18071 Granada, Spain
2 Architectural Graphic Expression, University of Seville, 41012 Seville, Spain; antoniogg@us.es
3 Graphic Expression in Building Engineering, University of Seville, 41012 Seville, Spain; pbarrero@us.es
* Correspondence: jreinoso@ugr.es; Tel.: +34-958-249-485

Abstract: Suitable graphic documentation is essential to ascertain and conserve architectural heritage.
For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed
of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from
significant deformation. Although there are many publications on the digital documentation of
architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This
study starts by providing data on the palace history concerning the design of geometric interlacing
patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation
in the 20th century. Images were then obtained using two complementary procedures: from a 3D
laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates
the visualisation of details. In this way, this type of heritage is documented in an innovative graphic
approach, which is essential for its conservation and/or restoration with scientific foundations and
also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in
southern Europe.

Keywords: ceiling; 16th century; Pinelo; palace; Seville; deformation; scanner; photogrammetry

1. Introduction
1.1. Short History of the Pinelo Palace in Seville (Spain)

The Renaissance palace of the Pinelo family is located in an urban framework of me-
dieval origin, on a corner where Abades and Segovias streets intersect, near the Cathedral
of Seville and the popular neighbourhood of Santa Cruz (Figure 1a). It was built in around
1500 by a family of prosperous merchants from Genoa who played a prominent role in the
Casa de la Contratación in Seville and the commercial relationships between Spain and the
Americas [1–3].

In 1523, the Pinelo family sold the palace to the Cabildo Catedralicio. Nothing is
known about the subsequent transformations of the palace until it changed its usage in
around 1885, when it became Guest House Don Marcos [4]. In 1954 it was declared a
historical-artistic monument and in 1964 it was expropriated by the Seville City Council.
Between 1967 and 1971, some consolidation work was carried out by the municipal architect
Jesús Gómez-Millán, and between 1969 and 1981 major restoration was directed by the
architect Rafael Manzano Martos [5]. Since then, the building has been the headquarters
of the Real Academia de Buenas Letras and the Real Academia de Bellas Artes de Santa Isabel
de Hungría in Seville. Inside, the building is organised into three large courtyards in
accordance with the typical layout in Spanish medieval architecture [6] (Figure 1b): an
entrance courtyard, where the stables were located; a main courtyard, with a large staircase
located in one corner, from which the mezzanine can be accessed where the ceiling studied
in the present research is located; and a third courtyard/garden.

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ISPRS Int. J. Geo-Inf. 2021, 10, 85 2 of 17

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 2 of 17 
 

 

staircase located in one corner, from which the mezzanine can be accessed where the 

ceiling studied in the present research is located; and a third courtyard/garden. 

  

(a) (b) 

Figure 1. (a) Modern aerial photograph of the Pinelo Palace and its surroundings (overview through Google Earth). (b) 

Ground floor and mezzanine (indicated by the red circle). Authors’ own drawing, 2020. 

The lookout tower built in the corner between the two exterior façades of the 

building would be the first such tower built in Seville under the influence of the villas of 

the Italian Renaissance. Under the lookout tower is the entrance (Figure 2a). The main 

courtyard constitutes a prime example of Sevillian Renaissance architecture and contains 

three galleries on the ground floor and four on the first floor. The arches on the ground 

floor include original decoration with plasterwork and are supported by columns of 

imported Genoese marble (Figure 2b). These arches form part of an interesting evolu-

tionary sequence of the courtyards in the main palaces of Seville, and combine influences 

from Mudejar and Gothic art [7], ranging from the Palacio del Rey Don Pedro in the Real 

Alcázar, through the Casa de Pilatos, and the Palacio de las Dueñas [3]. The first-floor gallery 

of the courtyard was recovered and decorated in the second half of the 20th century, after 

being partitioned to create rooms when the building was Guest House Don Marcos [4]. 

In the ground-floor rooms, the ceilings with painted Renaissance decoration are 

preserved, as are the ceilings of the courtyard galleries. On the first floor, however, a 

large part of the 16th-century ceilings has disappeared [8]. The garden in the third 

courtyard has another gallery with two floors without decorative plasterwork. 

  

(a) (b) 

Figure 2. (a) Lookout tower on the façade. (b) Main courtyard view. Authors’ own photographs, 2020. 

Figure 1. (a) Modern aerial photograph of the Pinelo Palace and its surroundings (overview through Google Earth).
(b) Ground floor and mezzanine (indicated by the red circle). Authors’ own drawing, 2020.

The lookout tower built in the corner between the two exterior façades of the building
would be the first such tower built in Seville under the influence of the villas of the
Italian Renaissance. Under the lookout tower is the entrance (Figure 2a). The main
courtyard constitutes a prime example of Sevillian Renaissance architecture and contains
three galleries on the ground floor and four on the first floor. The arches on the ground floor
include original decoration with plasterwork and are supported by columns of imported
Genoese marble (Figure 2b). These arches form part of an interesting evolutionary sequence
of the courtyards in the main palaces of Seville, and combine influences from Mudejar and
Gothic art [7], ranging from the Palacio del Rey Don Pedro in the Real Alcázar, through the
Casa de Pilatos, and the Palacio de las Dueñas [3]. The first-floor gallery of the courtyard was
recovered and decorated in the second half of the 20th century, after being partitioned to
create rooms when the building was Guest House Don Marcos [4].

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 2 of 17 
 

 

staircase located in one corner, from which the mezzanine can be accessed where the 

ceiling studied in the present research is located; and a third courtyard/garden. 

  

(a) (b) 

Figure 1. (a) Modern aerial photograph of the Pinelo Palace and its surroundings (overview through Google Earth). (b) 

Ground floor and mezzanine (indicated by the red circle). Authors’ own drawing, 2020. 

The lookout tower built in the corner between the two exterior façades of the 

building would be the first such tower built in Seville under the influence of the villas of 

the Italian Renaissance. Under the lookout tower is the entrance (Figure 2a). The main 

courtyard constitutes a prime example of Sevillian Renaissance architecture and contains 

three galleries on the ground floor and four on the first floor. The arches on the ground 

floor include original decoration with plasterwork and are supported by columns of 

imported Genoese marble (Figure 2b). These arches form part of an interesting evolu-

tionary sequence of the courtyards in the main palaces of Seville, and combine influences 

from Mudejar and Gothic art [7], ranging from the Palacio del Rey Don Pedro in the Real 

Alcázar, through the Casa de Pilatos, and the Palacio de las Dueñas [3]. The first-floor gallery 

of the courtyard was recovered and decorated in the second half of the 20th century, after 

being partitioned to create rooms when the building was Guest House Don Marcos [4]. 

In the ground-floor rooms, the ceilings with painted Renaissance decoration are 

preserved, as are the ceilings of the courtyard galleries. On the first floor, however, a 

large part of the 16th-century ceilings has disappeared [8]. The garden in the third 

courtyard has another gallery with two floors without decorative plasterwork. 

  

(a) (b) 

Figure 2. (a) Lookout tower on the façade. (b) Main courtyard view. Authors’ own photographs, 2020. Figure 2. (a) Lookout tower on the façade. (b) Main courtyard view. Authors’ own photographs, 2020.

In the ground-floor rooms, the ceilings with painted Renaissance decoration are
preserved, as are the ceilings of the courtyard galleries. On the first floor, however, a large
part of the 16th-century ceilings has disappeared [8]. The garden in the third courtyard has
another gallery with two floors without decorative plasterwork.

From the landing of the main staircase there is access to a mezzanine room that is
currently used as the plenary hall for the Real Academia de Bellas Artes of Seville, where the
ceiling with a geometric decoration that is studied in this research is located (Figure 3).



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From the landing of the main staircase there is access to a mezzanine room that is 

currently used as the plenary hall for the Real Academia de Bellas Artes of Seville, where the 

ceiling with a geometric decoration that is studied in this research is located (Figure 3). 

The first known historical document that refers to this room is a text written in 1542, 

which is located in the Archive of the Seville Cathedral (sección IV, Fábrica, Libro nº 377, 

fol. CCXCV-CCCII vto) and provides essential information regarding the state of the 

palace in the 16th century [9] [10]. This document describes the room, and confirms that 

the remarkable ceiling already existed: “E tiene un saquiçami de nueve y doze con sus deçen-

didas...”. A “saquiçami” is a ceiling that hides its structural elements under the geometric 

decoration. The term “deçendidas” refers to the sloping sides. There is a mistake in the 

description however, since it speaks of a ceiling with interlocking patterns of nine-point 

and 12-point stars, although there are only interlocking patterns of eight-point and 

12-point stars, as explained later. 

 

Figure 3. Mezzanine ceiling. Authors’ own photograph, 2020. 

1.2. General Objectives 

The present research is the first to be carried out on the most important ceiling of 

this outstanding Renaissance palace. Its current situation seems fragile due to the exist-

ence of major deformations that can be observed with the naked eye and that form the 

object of this study. 

In order to conserve the architectural heritage, it is essential to possess up-to-date 

and accurate graphic documentation. A well-documented monument has a better chance 

of surviving over time and through unpredictable adversity. Even in the case of its de-

struction, its intangible values would be safeguarded if there were graphic documents 

that allowed its reconstruction and virtual recreation or diffusion. 

For this reason, the main objective of this research is to provide a new and precise 

graphic documentation on a fragile architectural element, to be better known, suitably 

conserved, or restored on a scientific basis, and for its digital dissemination. For the first 

time, this ceiling is represented by two complementary digital graphic technologies: a 3D 

Figure 3. Mezzanine ceiling. Authors’ own photograph, 2020.

The first known historical document that refers to this room is a text written in 1542,
which is located in the Archive of the Seville Cathedral (sección IV, Fábrica, Libro nº 377,
fol. CCXCV-CCCII vto) and provides essential information regarding the state of the
palace in the 16th century [9,10]. This document describes the room, and confirms that the
remarkable ceiling already existed: “E tiene un saquiçami de nueve y doze con sus deçendidas
. . . ”. A “saquiçami” is a ceiling that hides its structural elements under the geometric
decoration. The term “deçendidas” refers to the sloping sides. There is a mistake in the
description however, since it speaks of a ceiling with interlocking patterns of nine-point
and 12-point stars, although there are only interlocking patterns of eight-point and 12-point
stars, as explained later.

1.2. General Objectives

The present research is the first to be carried out on the most important ceiling of this
outstanding Renaissance palace. Its current situation seems fragile due to the existence of
major deformations that can be observed with the naked eye and that form the object of
this study.

In order to conserve the architectural heritage, it is essential to possess up-to-date and
accurate graphic documentation. A well-documented monument has a better chance of
surviving over time and through unpredictable adversity. Even in the case of its destruction,
its intangible values would be safeguarded if there were graphic documents that allowed
its reconstruction and virtual recreation or diffusion.

For this reason, the main objective of this research is to provide a new and precise
graphic documentation on a fragile architectural element, to be better known, suitably
conserved, or restored on a scientific basis, and for its digital dissemination. For the first
time, this ceiling is represented by two complementary digital graphic technologies: a
3D laser scanner that quantifies the existing deformations, and photogrammetry, which
accurately visualises its details.

The bibliography regarding Pinelo Palace and its history has been reviewed, as men-
tioned in the introduction, as well as the design of this type of wooden ceiling in the 16th
century, especially regarding the treatise by Diego López de Arenas of 1633. In addition,



ISPRS Int. J. Geo-Inf. 2021, 10, 85 4 of 17

the documentation of several major architectural interventions of the 20th century that
affected the ceiling has been uncovered in the Municipal Archives of Seville.

The importance of graphic representation in architectural documentation is shown
in the numerous manuscripts published in the proceedings of the latest “Graphical Her-
itage” International Congress held in 2020 [11]. Heritage documentation techniques must
avoid damaging it during data collection tasks and this objective is achieved using digital
techniques such as photogrammetry and laser scanning [12]. The importance of these tech-
niques, included in the field of geomatics, in the sustainable conservation of heritage has
been proved [13]; and they are also especially useful in the reconstruction of architectural
heritage when it is damaged by natural disasters such as earthquakes [14].

Documenting heritage by means of laser scanners can be considered as one of the
best techniques to reliably represent architectural assets [15–17], and the cloud of points
derived from these scanners provides a useful tool for the evaluation of the measured
objects [18]. Photogrammetry is a technique complementary to scanning when used in
heritage documentation [19,20], and it is able to give images with accurate details thanks to
the textural resolution. Scanning has been particularly useful in the detection of deforma-
tions, for example, in the muqarnas of the Alhambra [21,22] and as a basis for generating
BIM (Building Information Modelling) models [23], as well as in architectural parametric
modelling [24] and engineering [25]. This suggests that combining laser scanning and
photogrammetry can provide accurate documentation of this 16th-century ceiling and
its deformations, thereby developing a graphic methodology with no precedents in the
literature on this type of architectural element.

The application of photogrammetry to wooden ceilings has been used in [26], although
possible deformations were not a reason for study. In order to understand and interpret
the data obtained through geomatics, it is necessary to review the studies of Renaissance
wooden ceilings: the layout and modulation of ceilings similar to the one we analyse in this
manuscript [27,28], the historical evolution concerning the way of building the wooden
ceilings [29] and a relevant example [30].

2. Materials and Methods
2.1. The Design of the Ceiling According to the Book by López de Arenas (1633)

There are numerous studies on ceilings with wooden interlocking patterns in Spain
and the Americas that present interesting examples [31,32]. One of the most extensive and
well-known documents on the geometric layout of interlocking patterns is that of Prieto
Vives [33], which brought together an uneven set of previously written articles, although
it focused on mathematical speculations that failed to agree on the craft origins of these
designs and therefore failed to formulate a coherent theory.

Another outstanding study on interlocking patterns appeared in a short article by
Fernández-Puertas [34] concerning the eight-point stars and was developed in another
article by Donaire-Rodríguez [35]. Both stated that these designs were undertaken taking
as a reference a unit of measurement that relates all the magnitudes, without the need to
employ a compass, with simple geometric lines that give rise to various designs obtained
solely using bevels.

These ideas are now well-known and accepted thanks to the studies of Nuere-
Matauco [36–38], and based on the book by Diego López de Arenas that included dif-
ferent rules on interlocking patterns that the carpenters used in Hispano-Muslim and
Mudejar art. After a first manuscript in around 1619, it was published in 1633 with the title
Breve compendio de la carpintería de lo blanco y Tratado de Alarifes [39] (Figure 4a). Interlocking
patterns were also dealt with in another contemporary document by Fray Andrés de San
Miguel that remained unpublished until the 20th century [40]: folios 72 to 92 include a
section on carpentry based on documents that are now missing but have nothing to do
with the book by López de Arenas.



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terlocking patterns were also dealt with in another contemporary document by Fray 

Andrés de San Miguel that remained unpublished until the 20th century [40]: folios 72 to 

92 include a section on carpentry based on documents that are now missing but have 

nothing to do with the book by López de Arenas. 

According to López de Arenas, the design was made using only bevels, first draw-

ing a pattern of lines as the basis for the type of interlocking pattern chosen. The thickness 

of the linear elements was then determined and repeated at intervals. After drawing 

these elementary modules, the set is obtained by its juxtaposition, with common units of 

measurement and proportion. 

  

(a) (b) 

Figure 4. (a) Cover of the book by Diego López de Arenas (1633; reissue 1727). (b) Plate 15r. 

The ceiling studied in the current research has no structural function in the building 

as a whole. It has two well-differentiated parts: the load-bearing elements, and the geo-

metric decorative elements. The load-bearing elements, “girders” and “braces”, are hid-

den in its upper part, and perpendicular to these are the smaller load-bearing elements, 

called “belts” or “battens”. These smaller elements support the flat wooden surface upon 

which the geometric ornamentation modules are arranged. 

This ceiling belongs to a type of mixed interlocking pattern of eight-point and 

12-point stars. In other words, the 12-point star is a variation of the modules generated by 

the eight-point star, as encountered in other examples in the Iberian Peninsula, such as 

the ceiling of the central nave of the Church of Santa Catalina in Seville. The drawing of 

the aforementioned modules called “cuartillejos”, appears in the book by Diego López de 

Arenas (Figure 4b) and also in that of Fray Andrés de San Miguel. 

The “cuartillejos” are square modules in which the eight-point stars can be traced by 

various methods using bevels with different angles, called “cuadrado”, “ocho” and 

“ataperfiles”. The first two are created by dividing 180° by the number that defines them 

(180°/4 and 180°/8). The third is computed from the formula 45° − 90/n, where n is the 

number of points of the star in the interlocking pattern, in this case n = 8 (Figure 5). The 

complete geometric construction of the eight-point and 12-point stars (Figure 6) is 

well-known and explained in the aforementioned publications. Finally, the size and 

number of ceiling modules are fitted to the dimensions of the room to be covered. 

 

Figure 5. Bevels to trace the eight-point star, according to López de Arenas (1633). Authors’ own drawing, 2020. 

Figure 4. (a) Cover of the book by Diego López de Arenas (1633; reissue 1727). (b) Plate 15r.

According to López de Arenas, the design was made using only bevels, first drawing
a pattern of lines as the basis for the type of interlocking pattern chosen. The thickness
of the linear elements was then determined and repeated at intervals. After drawing
these elementary modules, the set is obtained by its juxtaposition, with common units of
measurement and proportion.

The ceiling studied in the current research has no structural function in the building as
a whole. It has two well-differentiated parts: the load-bearing elements, and the geometric
decorative elements. The load-bearing elements, “girders” and “braces”, are hidden in
its upper part, and perpendicular to these are the smaller load-bearing elements, called
“belts” or “battens”. These smaller elements support the flat wooden surface upon which
the geometric ornamentation modules are arranged.

This ceiling belongs to a type of mixed interlocking pattern of eight-point and 12-point
stars. In other words, the 12-point star is a variation of the modules generated by the
eight-point star, as encountered in other examples in the Iberian Peninsula, such as the
ceiling of the central nave of the Church of Santa Catalina in Seville. The drawing of the
aforementioned modules called “cuartillejos”, appears in the book by Diego López de
Arenas (Figure 4b) and also in that of Fray Andrés de San Miguel.

The “cuartillejos” are square modules in which the eight-point stars can be traced
by various methods using bevels with different angles, called “cuadrado”, “ocho” and
“ataperfiles”. The first two are created by dividing 180◦ by the number that defines them
(180◦/4 and 180◦/8). The third is computed from the formula 45◦ − 90/n, where n is the
number of points of the star in the interlocking pattern, in this case n = 8 (Figure 5). The
complete geometric construction of the eight-point and 12-point stars (Figure 6) is well-
known and explained in the aforementioned publications. Finally, the size and number of
ceiling modules are fitted to the dimensions of the room to be covered.

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 5 of 17 
 

 

terlocking patterns were also dealt with in another contemporary document by Fray 

Andrés de San Miguel that remained unpublished until the 20th century [40]: folios 72 to 

92 include a section on carpentry based on documents that are now missing but have 

nothing to do with the book by López de Arenas. 

According to López de Arenas, the design was made using only bevels, first draw-

ing a pattern of lines as the basis for the type of interlocking pattern chosen. The thickness 

of the linear elements was then determined and repeated at intervals. After drawing 

these elementary modules, the set is obtained by its juxtaposition, with common units of 

measurement and proportion. 

  

(a) (b) 

Figure 4. (a) Cover of the book by Diego López de Arenas (1633; reissue 1727). (b) Plate 15r. 

The ceiling studied in the current research has no structural function in the building 

as a whole. It has two well-differentiated parts: the load-bearing elements, and the geo-

metric decorative elements. The load-bearing elements, “girders” and “braces”, are hid-

den in its upper part, and perpendicular to these are the smaller load-bearing elements, 

called “belts” or “battens”. These smaller elements support the flat wooden surface upon 

which the geometric ornamentation modules are arranged. 

This ceiling belongs to a type of mixed interlocking pattern of eight-point and 

12-point stars. In other words, the 12-point star is a variation of the modules generated by 

the eight-point star, as encountered in other examples in the Iberian Peninsula, such as 

the ceiling of the central nave of the Church of Santa Catalina in Seville. The drawing of 

the aforementioned modules called “cuartillejos”, appears in the book by Diego López de 

Arenas (Figure 4b) and also in that of Fray Andrés de San Miguel. 

The “cuartillejos” are square modules in which the eight-point stars can be traced by 

various methods using bevels with different angles, called “cuadrado”, “ocho” and 

“ataperfiles”. The first two are created by dividing 180° by the number that defines them 

(180°/4 and 180°/8). The third is computed from the formula 45° − 90/n, where n is the 

number of points of the star in the interlocking pattern, in this case n = 8 (Figure 5). The 

complete geometric construction of the eight-point and 12-point stars (Figure 6) is 

well-known and explained in the aforementioned publications. Finally, the size and 

number of ceiling modules are fitted to the dimensions of the room to be covered. 

 

Figure 5. Bevels to trace the eight-point star, according to López de Arenas (1633). Authors’ own drawing, 2020. Figure 5. Bevels to trace the eight-point star, according to López de Arenas (1633). Authors’ own
drawing, 2020.



ISPRS Int. J. Geo-Inf. 2021, 10, 85 6 of 17
ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 6 of 17 
 

 

 

  

(a) (b) 

Figure 6. Ceiling details: (a) Eight-point star and “cuartillejos”. (b) “Cuartillejo” with a 12-point star. Authors’ own pho-

tographs, 2020. 

The ceiling also includes heraldic coats of arms and other decorative elements, 

“florones” or “piñas”, which refer to the names of the Pinelo and De la Torre families 

who commissioned the construction of the building (Figure 7). 

 

Figure 7. Details of the heraldic coat of arms (Pinelo and De la Torre families). Authors’ own pho-

tographs, 2020. 

2.2. The Ceiling Consolidation in the 20th Century 

As the municipal architect, Jesús Gómez-Millán directed the consolidation work 

funded by the Seville City Council in the Pinelo palace between 1967 and 1971. Until 

1981, other major restorations were carried out in the same building, directed by the ar-

chitect Rafael Manzano Martos and promoted by the Dirección General de Bellas Artes. 

Documentation concerning the nine phases of the work directed by Gómez-Millán is 

preserved in the Municipal Archive of Seville, two of which, performed on the mezza-

nine, are the files titled “Comisión Administradora del Impuesto para la Prevención del 

Paro Obrero, nº 19/1967. D/1368; 32/1968. D/1371”. 

The first-phase report (August 1967–November 1967) describes the interventions 

projected on the mezzanine ceilings. Disassembly of the two roof skirts on the wooden 

Figure 6. Ceiling details: (a) Eight-point star and “cuartillejos”. (b) “Cuartillejo” with a 12-point star. Authors’ own
photographs, 2020.

The ceiling also includes heraldic coats of arms and other decorative elements, “florones”
or “piñas”, which refer to the names of the Pinelo and De la Torre families who commis-
sioned the construction of the building (Figure 7).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 6 of 17 
 

 

 

  

(a) (b) 

Figure 6. Ceiling details: (a) Eight-point star and “cuartillejos”. (b) “Cuartillejo” with a 12-point star. Authors’ own pho-

tographs, 2020. 

The ceiling also includes heraldic coats of arms and other decorative elements, 

“florones” or “piñas”, which refer to the names of the Pinelo and De la Torre families 

who commissioned the construction of the building (Figure 7). 

 

Figure 7. Details of the heraldic coat of arms (Pinelo and De la Torre families). Authors’ own pho-

tographs, 2020. 

2.2. The Ceiling Consolidation in the 20th Century 

As the municipal architect, Jesús Gómez-Millán directed the consolidation work 

funded by the Seville City Council in the Pinelo palace between 1967 and 1971. Until 

1981, other major restorations were carried out in the same building, directed by the ar-

chitect Rafael Manzano Martos and promoted by the Dirección General de Bellas Artes. 

Documentation concerning the nine phases of the work directed by Gómez-Millán is 

preserved in the Municipal Archive of Seville, two of which, performed on the mezza-

nine, are the files titled “Comisión Administradora del Impuesto para la Prevención del 

Paro Obrero, nº 19/1967. D/1368; 32/1968. D/1371”. 

The first-phase report (August 1967–November 1967) describes the interventions 

projected on the mezzanine ceilings. Disassembly of the two roof skirts on the wooden 

Figure 7. Details of the heraldic coat of arms (Pinelo and De la Torre families). Authors’ own
photographs, 2020.

2.2. The Ceiling Consolidation in the 20th Century

As the municipal architect, Jesús Gómez-Millán directed the consolidation work
funded by the Seville City Council in the Pinelo palace between 1967 and 1971. Until 1981,
other major restorations were carried out in the same building, directed by the architect
Rafael Manzano Martos and promoted by the Dirección General de Bellas Artes.

Documentation concerning the nine phases of the work directed by Gómez-Millán is
preserved in the Municipal Archive of Seville, two of which, performed on the mezzanine,
are the files titled “Comisión Administradora del Impuesto para la Prevención del Paro
Obrero, nº 19/1967. D/1368; 32/1968. D/1371”.

The first-phase report (August 1967–November 1967) describes the interventions
projected on the mezzanine ceilings. Disassembly of the two roof skirts on the wooden
ceiling was planned, together with the removal of the old wooden beams that made up its
slopes and their replacement with new metal girders, to later complete the gabled tile roof.



ISPRS Int. J. Geo-Inf. 2021, 10, 85 7 of 17

However, the third-phase report (May 1968–September 1968) changed the projected
proposal and the gabled roofs were replaced by a flat roof. According to this document, it
was planned to reinforce the heads of the old ceiling beams. In addition, two new metal
girders supported by the perimeter walls were introduced, arranged as two perpendicular
axes of the room, that is, parallel to the two lateral walls. The shorter transverse girder was
placed at a lower elevation and the longer longitudinal girder placed above it.

These new girders served as anchors for metal tensioners, fixed to the old wooden
beams that support the weight of the older ceiling. From these beams, also supported on
the side walls, other wires were hung to tighten the wooden boards (Figure 8).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 7 of 17 
 

 

ceiling was planned, together with the removal of the old wooden beams that made up 

its slopes and their replacement with new metal girders, to later complete the gabled tile 

roof. 

However, the third-phase report (May 1968–September 1968) changed the projected 

proposal and the gabled roofs were replaced by a flat roof. According to this document, it 

was planned to reinforce the heads of the old ceiling beams. In addition, two new metal 

girders supported by the perimeter walls were introduced, arranged as two perpendic-

ular axes of the room, that is, parallel to the two lateral walls. The shorter transverse 

girder was placed at a lower elevation and the longer longitudinal girder placed above it. 

These new girders served as anchors for metal tensioners, fixed to the old wooden 

beams that support the weight of the older ceiling. From these beams, also supported on 

the side walls, other wires were hung to tighten the wooden boards (Figure 8). 

    

(a) (b) 

Figure 8. Hidden structural elements. (a) Anchorages of the 16th-century wooden beams on the wall/new metal girders 

and roof tie rods. Photographs by Ramón Queiro Quijada, 2016. (b) Schematic sections (hand drawn): hypothesis inclined 

roof of disappeared wood (left)/current state with new concrete slab and metal beams (right). 

A report on the Technical Inspection of the Building (ITE), drawn up in June 2016 by 

the architect Ramón Queiro Quijada for the Urban Planning Management of the Seville 

City Council, warned about the possible imminent danger of collapse of the ceiling. It 

detected a deflection of approximately 0.15 m, which far exceeds that which is allowed 

for this type of material, and also uncovered cracks and small fissures in the wood. It was 

stated that this could be due to the deterioration of the upper anchors to the ceiling and 

together was seen as an indication that a collapse could occur with fatal consequences. 

The artworks housed in the room were transferred to other units of the building it-

self and the state of conservation of the fastening elements was evaluated, with a pre-

cautionary shoring of the ceiling being planned. After reviewing the metal girders placed 

by the architect Gómez-Millán and the cables from which the old wooden beams hang, it 

was estimated that the risk of detachment seemed limited. 

Taking all these considerations into account, and in order to ensure suitable con-

servation and monitoring in the future, it was decided to utilise digital graphic technol-

ogies to quantify the current deformations: a first for this type of ceiling. 

2.3. Graphic Survey: Material and Method 

Two graphic surveys of the ceiling have been carried out, based on 3D laser scanners 

and photogrammetry, respectively, which have both proven to be effective [21,24,25]. 

The first method aimed to quantify the deformations, with an approach similar to 

that in previous work [22,23]. Vertical deformations are better observed if the walls, 

window, and floor of the room are also included in the survey. The scans carried out al-

low us to ascertain the whole room with homogeneous precision. 

On the other hand, the photogrammetric method has been used to achieve a tex-

tured three-dimensional model with a higher image resolution, in such a way that or-

thophotos can be derived and material details can be visualised. 

Figure 8. Hidden structural elements. (a) Anchorages of the 16th-century wooden beams on the wall/new metal girders
and roof tie rods. Photographs by Ramón Queiro Quijada, 2016. (b) Schematic sections (hand drawn): hypothesis inclined
roof of disappeared wood (left)/current state with new concrete slab and metal beams (right).

A report on the Technical Inspection of the Building (ITE), drawn up in June 2016 by
the architect Ramón Queiro Quijada for the Urban Planning Management of the Seville
City Council, warned about the possible imminent danger of collapse of the ceiling. It
detected a deflection of approximately 0.15 m, which far exceeds that which is allowed
for this type of material, and also uncovered cracks and small fissures in the wood. It was
stated that this could be due to the deterioration of the upper anchors to the ceiling and
together was seen as an indication that a collapse could occur with fatal consequences.

The artworks housed in the room were transferred to other units of the building itself
and the state of conservation of the fastening elements was evaluated, with a precautionary
shoring of the ceiling being planned. After reviewing the metal girders placed by the
architect Gómez-Millán and the cables from which the old wooden beams hang, it was
estimated that the risk of detachment seemed limited.

Taking all these considerations into account, and in order to ensure suitable conserva-
tion and monitoring in the future, it was decided to utilise digital graphic technologies to
quantify the current deformations: a first for this type of ceiling.

2.3. Graphic Survey: Material and Method

Two graphic surveys of the ceiling have been carried out, based on 3D laser scanners
and photogrammetry, respectively, which have both proven to be effective [21,24,25].

The first method aimed to quantify the deformations, with an approach similar to that
in previous work [22,23]. Vertical deformations are better observed if the walls, window,
and floor of the room are also included in the survey. The scans carried out allow us to
ascertain the whole room with homogeneous precision.

On the other hand, the photogrammetric method has been used to achieve a textured
three-dimensional model with a higher image resolution, in such a way that orthophotos
can be derived and material details can be visualised.

The material used to obtain these surveys included the following:
Leica C10 and BLK360 laser scanners were used. The C10 has a dual-axis compen-

sator with 1” accuracy and with 6 mm accuracy in position determination. The software



ISPRS Int. J. Geo-Inf. 2021, 10, 85 8 of 17

used for the registration and for the processing of the point cloud were Cyclone 360 and
3DReshaper, respectively.

The photogrammetry was carried out with a Sony Alpha 7 ILCE-7K Full frame (35 mm)
24.3 Mpix camera and a 28-70 mm F3.5-5.6 lens. In order to obtain photographs with a
greater approximation and resolution, the camera was mounted on a pole of approximately
2.5 m in height. In addition, supplementary lighting was necessary due to the lack of
natural light in the room and the dark colour of the ceiling itself. To this end, a focus of
0.60 × 0.60 m was mounted on an auxiliary pole. The data processing was carried out
using the photogrammetric software Agisoft Metashape version 1.5.2.

2.3.1. Scanner Laser

Most of the scans were carried out with the BLK360 scanner due to its faster speed
and its ability to capture images in Hight Definition Range (HDR), although it does not
capture levelled scans. To obtain the whole set in the same reference and levelled system,
the scanning process started from the E-1 and E-2 stations of the C10 scanner, which can
be levelled and oriented to a predetermined direction (in our case, the courtyard gallery
where E-1 was located).

The C10 capture parameters both in E-1 and E-2 included the following: capture of
points at medium spatial resolution at which each point is separated from its neighbours
by 1 cm assuming a plane located 10 m away; the image resolution captured by the scanner
was 1920 × 1920 pixels. The remaining scans were carried out with the following BLK360
parameters: medium spatial resolution (1 cm at 10 m) while the images were taken in HDR
at those scan stations where the lighting conditions were scarce or where there was a lot of
light contrast.

The registration between the C10 and BLK360 scans was made through the C10 located
in E-1 and the BLK360 located in BLK-1. Figure 9 shows the path followed by the BLK
scanner until reaching the mezzanine where the ceiling under the study is located (Figure 9).
Figure 10 shows a detail of the scan distribution inside the mezzanine room (Figure 10).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 8 of 17 
 

 

The material used to obtain these surveys included the following: 

Leica C10 and BLK360 laser scanners were used. The C10 has a dual-axis compen-

sator with 1’’ accuracy and with 6 mm accuracy in position determination. The software 

used for the registration and for the processing of the point cloud were Cyclone 360 and 

3DReshaper, respectively. 

The photogrammetry was carried out with a Sony Alpha 7 ILCE-7K Full frame (35 

mm) 24.3 Mpix camera and a 28-70 mm F3.5-5.6 lens. In order to obtain photographs with 

a greater approximation and resolution, the camera was mounted on a pole of approxi-

mately 2.5 m in height. In addition, supplementary lighting was necessary due to the lack 

of natural light in the room and the dark colour of the ceiling itself. To this end, a focus of 

0.60 × 0.60 m was mounted on an auxiliary pole. The data processing was carried out 

using the photogrammetric software Agisoft Metashape version 1.5.2. 

2.3.1. Scanner Laser 

Most of the scans were carried out with the BLK360 scanner due to its faster speed 

and its ability to capture images in Hight Definition Range (HDR), although it does not 

capture levelled scans. To obtain the whole set in the same reference and levelled system, 

the scanning process started from the E-1 and E-2 stations of the C10 scanner, which can 

be levelled and oriented to a predetermined direction (in our case, the courtyard gallery 

where E-1 was located). 

The C10 capture parameters both in E-1 and E-2 included the following: capture of 

points at medium spatial resolution at which each point is separated from its neighbours 

by 1 cm assuming a plane located 10 m away; the image resolution captured by the 

scanner was 1920 × 1920 pixels. The remaining scans were carried out with the following 

BLK360 parameters: medium spatial resolution (1 cm at 10 m) while the images were 

taken in HDR at those scan stations where the lighting conditions were scarce or where 

there was a lot of light contrast. 

The registration between the C10 and BLK360 scans was made through the C10 lo-

cated in E-1 and the BLK360 located in BLK-1. Figure 9 shows the path followed by the 

BLK scanner until reaching the mezzanine where the ceiling under the study is located 

(Figure 9). Figure 10 shows a detail of the scan distribution inside the mezzanine room 

(Figure 10). 

 

 

 

(a) (b) 

Figure 9. Scan path and distribution. (a) General view. (b) Fit and error values of the scans. Figure 9. Scan path and distribution. (a) General view. (b) Fit and error values of the scans.



ISPRS Int. J. Geo-Inf. 2021, 10, 85 9 of 17
ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 9 of 17 
 

 

 

Figure 10. Detail of the scanner station positions within the mezzanine room. 

The global point cloud composed of scan stations E-1, BLK-1, and ET-1 to ET-11 is 

made up of 124,093,128 points, while the cloud corresponding only to the room contains 

60,168,936 points and is made up of the ET-6 to ET-11 scan stations. 

The registration of the scans was carried out visually using Cyclone 360 software in 

order to maintain greater control over the results (Figure 9b). For each contiguous pair of 

scans, their plan projections were visually aligned (Figure 11a), and then displayed in 

elevation and, if necessary, levelled (Figure 11b; in this image the slope of the lower scan 

has been intentionally exaggerated). After levelling (Figure 11c), the lower scan was 

moved vertically until the two scans were roughly aligned (Figure 11d), to finally activate 

the optimisation algorithm which completed the alignment with more accuracy and re-

ported the fitting error, which in our case was 1.6 mm (Figure 11e). The two scan regis-

tered with its true colour are shown in Figure 11f where the yellow triangles represent 

their scan positions. 

 

Figure 11. Manual recording of two scans with indication of the fitting error. 

In the optimisation phase, the software strives to make the best registration using 

points from overlapping scans and if it succeeds, then it marks the links that took part in 

the registration with straight lines. The colour of the links indicates the registration 

suitability, whereby green is the indicator of a good registration. In this case, the error 

made in the whole set (Bundle) was 3 mm (Figure 9b). Other quality parameters regard-

ing the registration refer to the existing overlap between scan stations (% of object sur-

faces covered by two scans), registration strength (the better the three directions of space 

(x, y, z) are covered, the greater the registration strength) and cloud-to-cloud error. 

Figure 10. Detail of the scanner station positions within the mezzanine room.

The global point cloud composed of scan stations E-1, BLK-1, and ET-1 to ET-11 is
made up of 124,093,128 points, while the cloud corresponding only to the room contains
60,168,936 points and is made up of the ET-6 to ET-11 scan stations.

The registration of the scans was carried out visually using Cyclone 360 software in
order to maintain greater control over the results (Figure 9b). For each contiguous pair
of scans, their plan projections were visually aligned (Figure 11a), and then displayed in
elevation and, if necessary, levelled (Figure 11b; in this image the slope of the lower scan
has been intentionally exaggerated). After levelling (Figure 11c), the lower scan was moved
vertically until the two scans were roughly aligned (Figure 11d), to finally activate the
optimisation algorithm which completed the alignment with more accuracy and reported
the fitting error, which in our case was 1.6 mm (Figure 11e). The two scan registered
with its true colour are shown in Figure 11f where the yellow triangles represent their
scan positions.

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 9 of 17 
 

 

 

Figure 10. Detail of the scanner station positions within the mezzanine room. 

The global point cloud composed of scan stations E-1, BLK-1, and ET-1 to ET-11 is 

made up of 124,093,128 points, while the cloud corresponding only to the room contains 

60,168,936 points and is made up of the ET-6 to ET-11 scan stations. 

The registration of the scans was carried out visually using Cyclone 360 software in 

order to maintain greater control over the results (Figure 9b). For each contiguous pair of 

scans, their plan projections were visually aligned (Figure 11a), and then displayed in 

elevation and, if necessary, levelled (Figure 11b; in this image the slope of the lower scan 

has been intentionally exaggerated). After levelling (Figure 11c), the lower scan was 

moved vertically until the two scans were roughly aligned (Figure 11d), to finally activate 

the optimisation algorithm which completed the alignment with more accuracy and re-

ported the fitting error, which in our case was 1.6 mm (Figure 11e). The two scan regis-

tered with its true colour are shown in Figure 11f where the yellow triangles represent 

their scan positions. 

 

Figure 11. Manual recording of two scans with indication of the fitting error. 

In the optimisation phase, the software strives to make the best registration using 

points from overlapping scans and if it succeeds, then it marks the links that took part in 

the registration with straight lines. The colour of the links indicates the registration 

suitability, whereby green is the indicator of a good registration. In this case, the error 

made in the whole set (Bundle) was 3 mm (Figure 9b). Other quality parameters regard-

ing the registration refer to the existing overlap between scan stations (% of object sur-

faces covered by two scans), registration strength (the better the three directions of space 

(x, y, z) are covered, the greater the registration strength) and cloud-to-cloud error. 

Figure 11. Manual recording of two scans with indication of the fitting error.

In the optimisation phase, the software strives to make the best registration using
points from overlapping scans and if it succeeds, then it marks the links that took part
in the registration with straight lines. The colour of the links indicates the registration
suitability, whereby green is the indicator of a good registration. In this case, the error
made in the whole set (Bundle) was 3 mm (Figure 9b). Other quality parameters regarding
the registration refer to the existing overlap between scan stations (% of object surfaces
covered by two scans), registration strength (the better the three directions of space (x, y, z)
are covered, the greater the registration strength) and cloud-to-cloud error.



ISPRS Int. J. Geo-Inf. 2021, 10, 85 10 of 17

To better understand the spatial environment, a perspective view of the point cloud
was obtained, from the gallery to the mezzanine floor passing through the main staircase
(Figure 12).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 10 of 17 
 

 

To better understand the spatial environment, a perspective view of the point cloud 

was obtained, from the gallery to the mezzanine floor passing through the main staircase 

(Figure 12). 

 

Figure 12. 3D orthographic views extracted from the point cloud to better understand the different 

levels for the mezzanine (a) and the tower above the staircase (b). Central image shows the po-

lygonal sections (yellow) and the viewpoints VP1 and VP2; the left image was observed from VP1 

and the right image was observed from VP2.  

2.3.2. Photogrammetry 

Ceiling photographs were taken by bringing the camera closer with a pole, with 

additional lighting provided on another pole (Figure 13a). In this way, 89 photographs 

were obtained (Figure 13b). 

  

(a) (b) 

Figure 13. Photogrammetry on the mezzanine: (a) Data capture. (b) 3D photogrammetric model. 

The focal length of the camera was set to 28 mm and the resolution to 24.3 Mp for 

each image. The photograph alignment was computed using Metashape software with 

the Accuracy parameter set to medium. The dense point cloud was obtained with medium 

quality that computed 30,957,566 points, and the model mesh was processed setting the 

Faces count parameter to high, thereby obtaining a total of 6,191,513 faces. Finally, the 

texture was computed by setting the following parameters: Mapping mode (Generic), 

blending mode (Mosaic) and Texture size/count (8000 × 1). The alignment adjustment was 

carried out by means of control points whose coordinates were obtained from the scans 

recorded in the previous phase; those coordinates were extracted using the 360º visual 

capabilities of Jetstream software for each scan station. The total (bundle) mean error was 

6.5 mm (Figure 14). This figure also offers an orthogonal image of the ceiling with the 

location of the control points that were employed in the adjustment. 

Figure 12. 3D orthographic views extracted from the point cloud to better understand the different levels for the mezzanine
(a) and the tower above the staircase (b). Central image shows the polygonal sections (yellow) and the viewpoints VP1 and
VP2; the left image was observed from VP1 and the right image was observed from VP2.

2.3.2. Photogrammetry

Ceiling photographs were taken by bringing the camera closer with a pole, with
additional lighting provided on another pole (Figure 13a). In this way, 89 photographs
were obtained (Figure 13b).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 10 of 17 
 

 

To better understand the spatial environment, a perspective view of the point cloud 

was obtained, from the gallery to the mezzanine floor passing through the main staircase 

(Figure 12). 

 

Figure 12. 3D orthographic views extracted from the point cloud to better understand the different 

levels for the mezzanine (a) and the tower above the staircase (b). Central image shows the po-

lygonal sections (yellow) and the viewpoints VP1 and VP2; the left image was observed from VP1 

and the right image was observed from VP2.  

2.3.2. Photogrammetry 

Ceiling photographs were taken by bringing the camera closer with a pole, with 

additional lighting provided on another pole (Figure 13a). In this way, 89 photographs 

were obtained (Figure 13b). 

  

(a) (b) 

Figure 13. Photogrammetry on the mezzanine: (a) Data capture. (b) 3D photogrammetric model. 

The focal length of the camera was set to 28 mm and the resolution to 24.3 Mp for 

each image. The photograph alignment was computed using Metashape software with 

the Accuracy parameter set to medium. The dense point cloud was obtained with medium 

quality that computed 30,957,566 points, and the model mesh was processed setting the 

Faces count parameter to high, thereby obtaining a total of 6,191,513 faces. Finally, the 

texture was computed by setting the following parameters: Mapping mode (Generic), 

blending mode (Mosaic) and Texture size/count (8000 × 1). The alignment adjustment was 

carried out by means of control points whose coordinates were obtained from the scans 

recorded in the previous phase; those coordinates were extracted using the 360º visual 

capabilities of Jetstream software for each scan station. The total (bundle) mean error was 

6.5 mm (Figure 14). This figure also offers an orthogonal image of the ceiling with the 

location of the control points that were employed in the adjustment. 

Figure 13. Photogrammetry on the mezzanine: (a) Data capture. (b) 3D photogrammetric model.

The focal length of the camera was set to 28 mm and the resolution to 24.3 Mp for
each image. The photograph alignment was computed using Metashape software with the
Accuracy parameter set to medium. The dense point cloud was obtained with medium quality
that computed 30,957,566 points, and the model mesh was processed setting the Faces count
parameter to high, thereby obtaining a total of 6,191,513 faces. Finally, the texture was
computed by setting the following parameters: Mapping mode (Generic), blending mode
(Mosaic) and Texture size/count (8000 × 1). The alignment adjustment was carried out
by means of control points whose coordinates were obtained from the scans recorded in
the previous phase; those coordinates were extracted using the 360º visual capabilities
of Jetstream software for each scan station. The total (bundle) mean error was 6.5 mm
(Figure 14). This figure also offers an orthogonal image of the ceiling with the location of
the control points that were employed in the adjustment.



ISPRS Int. J. Geo-Inf. 2021, 10, 85 11 of 17

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 11 of 17 
 

 

By using the parametric values indicated above, an orthophotograph of high spatial 

and spectral resolution with a pixel size of 0.5 mm was reached. 

  

(a) (b) 

Figure 14. Photogrammetric adjustment: (a) Coordinates and error adjustment. (b) Control-point location. 

3. Results and Discussion 

The results are derived from the point cloud obtained with the scan and from the 

photogrammetric 3D model. The scan provides a 3D structure that integrates the walls 

and the ceiling, thereby enabling their deformations to be measured. Photogrammetry 

allows material details to be visualised thanks to the high-resolution texturing of the 3D 

surface model. 

The first analysis detected significant geometric deformations that may have already 

existed in the original construction, as often occurs in historic buildings. The image ob-

tained from the point cloud shows a plan that theoretically should be rectangular, but 

actually has different lengths on its parallel sides: the longest sides differ by 0.065 m. and 

the smaller ones differ 0.091 m (Figure 15). 

 

Figure 15. Ceiling dimensions from point cloud (orthogonal projection). 

Figure 14. Photogrammetric adjustment: (a) Coordinates and error adjustment. (b) Control-point location.

By using the parametric values indicated above, an orthophotograph of high spatial
and spectral resolution with a pixel size of 0.5 mm was reached.

3. Results and Discussion

The results are derived from the point cloud obtained with the scan and from the
photogrammetric 3D model. The scan provides a 3D structure that integrates the walls
and the ceiling, thereby enabling their deformations to be measured. Photogrammetry
allows material details to be visualised thanks to the high-resolution texturing of the 3D
surface model.

The first analysis detected significant geometric deformations that may have already
existed in the original construction, as often occurs in historic buildings. The image
obtained from the point cloud shows a plan that theoretically should be rectangular, but
actually has different lengths on its parallel sides: the longest sides differ by 0.065 m. and
the smaller ones differ 0.091 m (Figure 15).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 11 of 17 
 

 

By using the parametric values indicated above, an orthophotograph of high spatial 

and spectral resolution with a pixel size of 0.5 mm was reached. 

  

(a) (b) 

Figure 14. Photogrammetric adjustment: (a) Coordinates and error adjustment. (b) Control-point location. 

3. Results and Discussion 

The results are derived from the point cloud obtained with the scan and from the 

photogrammetric 3D model. The scan provides a 3D structure that integrates the walls 

and the ceiling, thereby enabling their deformations to be measured. Photogrammetry 

allows material details to be visualised thanks to the high-resolution texturing of the 3D 

surface model. 

The first analysis detected significant geometric deformations that may have already 

existed in the original construction, as often occurs in historic buildings. The image ob-

tained from the point cloud shows a plan that theoretically should be rectangular, but 

actually has different lengths on its parallel sides: the longest sides differ by 0.065 m. and 

the smaller ones differ 0.091 m (Figure 15). 

 

Figure 15. Ceiling dimensions from point cloud (orthogonal projection). Figure 15. Ceiling dimensions from point cloud (orthogonal projection).



ISPRS Int. J. Geo-Inf. 2021, 10, 85 12 of 17

The differences in measurements on the room floor are not visible to the naked eye
from inside the room. However, the ceiling deformations are indeed perceptible. In order
to provide a clearer first view of the deformations, two perpendicular interior section-
elevations were obtained, cutting through the centre of the room (Figure 16).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 12 of 17 
 

 

The differences in measurements on the room floor are not visible to the naked eye 

from inside the room. However, the ceiling deformations are indeed perceptible. In order 

to provide a clearer first view of the deformations, two perpendicular interior sec-

tion-elevations were obtained, cutting through the centre of the room (Figure 16). 

  

(a) (b) 

Figure 16. Sections through the mezzanine centre: (a) Longitudinal. (b) Transversal. 

To quantify the magnitudes of the main deformations, three longitudinal sections 

(parallel to the longest sides of the room) were made and different heights were sampled 

therein, whereby the most significant data was chosen (Figure 17). 

  

(a) (b) 

Figure 17. Mezzanine sections: (a) Sections AA′, BB′, CC′. (b) Heights in sections AA′, BB′, CC′. 

The measurement data is unexpected, since it would be logical to find the greatest 

deformation in the ceiling centre. However, when observing section BB′ or its orthogonal 

view (Figure 18), it is verified that the greatest height differences are found 1.05 m from 

the centre of the room with height differences of 0.238 m from B and 0.239 m from B′. The 

difference in height from both B and B′ to the centre is 0.220 m. Therefore, between the 

lowest point of the ceiling and the centre there is a height difference of 0.018 m. These 

results are coherent with the existence of anchors placed in the 1968 consolidation work 

directed by Goméz-Millán to alleviate the stresses derived from its own weight. 

Figure 16. Sections through the mezzanine centre: (a) Longitudinal. (b) Transversal.

To quantify the magnitudes of the main deformations, three longitudinal sections
(parallel to the longest sides of the room) were made and different heights were sampled
therein, whereby the most significant data was chosen (Figure 17).

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 12 of 17 
 

 

The differences in measurements on the room floor are not visible to the naked eye 

from inside the room. However, the ceiling deformations are indeed perceptible. In order 

to provide a clearer first view of the deformations, two perpendicular interior sec-

tion-elevations were obtained, cutting through the centre of the room (Figure 16). 

  

(a) (b) 

Figure 16. Sections through the mezzanine centre: (a) Longitudinal. (b) Transversal. 

To quantify the magnitudes of the main deformations, three longitudinal sections 

(parallel to the longest sides of the room) were made and different heights were sampled 

therein, whereby the most significant data was chosen (Figure 17). 

  

(a) (b) 

Figure 17. Mezzanine sections: (a) Sections AA′, BB′, CC′. (b) Heights in sections AA′, BB′, CC′. 

The measurement data is unexpected, since it would be logical to find the greatest 

deformation in the ceiling centre. However, when observing section BB′ or its orthogonal 

view (Figure 18), it is verified that the greatest height differences are found 1.05 m from 

the centre of the room with height differences of 0.238 m from B and 0.239 m from B′. The 

difference in height from both B and B′ to the centre is 0.220 m. Therefore, between the 

lowest point of the ceiling and the centre there is a height difference of 0.018 m. These 

results are coherent with the existence of anchors placed in the 1968 consolidation work 

directed by Goméz-Millán to alleviate the stresses derived from its own weight. 

Figure 17. Mezzanine sections: (a) Sections AA′, BB′, CC′. (b) Heights in sections AA′, BB′, CC′.

The measurement data is unexpected, since it would be logical to find the greatest
deformation in the ceiling centre. However, when observing section BB′ or its orthogonal
view (Figure 18), it is verified that the greatest height differences are found 1.05 m from
the centre of the room with height differences of 0.238 m from B and 0.239 m from B′. The
difference in height from both B and B′ to the centre is 0.220 m. Therefore, between the
lowest point of the ceiling and the centre there is a height difference of 0.018 m. These
results are coherent with the existence of anchors placed in the 1968 consolidation work
directed by Goméz-Millán to alleviate the stresses derived from its own weight.



ISPRS Int. J. Geo-Inf. 2021, 10, 85 13 of 17
ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 13 of 17 
 

 

  

(a) (b) 

Figure 18. Longitudinal cross-section through the room centre including measurement of deformations: (a) Section BB'. 

(b) Section-perspective view. 

The lack of uniformity in the deformations is also observed in the north-south 

transverse direction. While in section A′B′C′ there is a descending slope from north to 

south, in section ABC there is an ascending slope from A to B and descending from B to C 

with different values of increments: 0.034 m and 0.012 m respectively. This is also ex-

plained by the placement of various anchors during the consolidation work in the late 

20th century. 

On the other hand, the roof surface (Figure 19) has also been reconstructed through 

photogrammetry, and a textured 3D model was obtained that may be of great interest for 

future conservation or restoration work, and for the heritage communication. 

 

 

 

 

(a) (b) 

Figure 19. General view and details of the mezzanine ceiling from photogrammetry: (a) 3D surface model. (b) 3D tex-

tured model. 

The 3D photogrammetric model has made it possible to obtain orthophotographs 

from the central horizontal part of the ceiling and from its tilted planes so that their de-

tails can be visualised with a high resolution (Figure 20). The tilted planes are laid flat in 

their true magnitude along with the central part. Geometric irregularities or defor-

mations of the horizontal and tilted planes are clearly visible on the edges. 

Figure 18. Longitudinal cross-section through the room centre including measurement of deformations: (a) Section BB’.
(b) Section-perspective view.

The lack of uniformity in the deformations is also observed in the north-south trans-
verse direction. While in section A′B′C′ there is a descending slope from north to south,
in section ABC there is an ascending slope from A to B and descending from B to C with
different values of increments: 0.034 m and 0.012 m respectively. This is also explained by
the placement of various anchors during the consolidation work in the late 20th century.

On the other hand, the roof surface (Figure 19) has also been reconstructed through
photogrammetry, and a textured 3D model was obtained that may be of great interest for
future conservation or restoration work, and for the heritage communication.

ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 13 of 17 
 

 

  

(a) (b) 

Figure 18. Longitudinal cross-section through the room centre including measurement of deformations: (a) Section BB'. 

(b) Section-perspective view. 

The lack of uniformity in the deformations is also observed in the north-south 

transverse direction. While in section A′B′C′ there is a descending slope from north to 

south, in section ABC there is an ascending slope from A to B and descending from B to C 

with different values of increments: 0.034 m and 0.012 m respectively. This is also ex-

plained by the placement of various anchors during the consolidation work in the late 

20th century. 

On the other hand, the roof surface (Figure 19) has also been reconstructed through 

photogrammetry, and a textured 3D model was obtained that may be of great interest for 

future conservation or restoration work, and for the heritage communication. 

 

 

 

 

(a) (b) 

Figure 19. General view and details of the mezzanine ceiling from photogrammetry: (a) 3D surface model. (b) 3D tex-

tured model. 

The 3D photogrammetric model has made it possible to obtain orthophotographs 

from the central horizontal part of the ceiling and from its tilted planes so that their de-

tails can be visualised with a high resolution (Figure 20). The tilted planes are laid flat in 

their true magnitude along with the central part. Geometric irregularities or defor-

mations of the horizontal and tilted planes are clearly visible on the edges. 

Figure 19. General view and details of the mezzanine ceiling from photogrammetry: (a) 3D surface model. (b) 3D textured model.

The 3D photogrammetric model has made it possible to obtain orthophotographs
from the central horizontal part of the ceiling and from its tilted planes so that their details
can be visualised with a high resolution (Figure 20). The tilted planes are laid flat in their
true magnitude along with the central part. Geometric irregularities or deformations of the
horizontal and tilted planes are clearly visible on the edges.



ISPRS Int. J. Geo-Inf. 2021, 10, 85 14 of 17
ISPRS Int. J. Geo-Inf. 2021, 10, x FOR PEER REVIEW 14 of 17 
 

 

 

Figure 20. Ceiling orthoimage with the tilted side planes laid flat. 

4. Conclusions 

In order to ascertain, conserve, and disseminate architectural heritage, it is essential 

to attain suitable digital images. A graphically well-documented landmark will always 

have a better chance of surviving the passage of time, an unpredictable catastrophe, or 

unfortunate human interventions. In the worst scenario, when the architectural heritage 

is destroyed by some misfortune, its memory can be preserved if there are images that 

facilitate its material reconstruction or virtual recreation. 

For the documentation and analysis of this 16th-century ceiling in the Pinelo Palace 

in Seville, this research has considered its historical background and has followed a 

methodology based on two complementary digital data captures: using a 3D laser scan-

ner, and photogrammetry. 

Figure 20. Ceiling orthoimage with the tilted side planes laid flat.

4. Conclusions

In order to ascertain, conserve, and disseminate architectural heritage, it is essential
to attain suitable digital images. A graphically well-documented landmark will always
have a better chance of surviving the passage of time, an unpredictable catastrophe, or
unfortunate human interventions. In the worst scenario, when the architectural heritage
is destroyed by some misfortune, its memory can be preserved if there are images that
facilitate its material reconstruction or virtual recreation.

For the documentation and analysis of this 16th-century ceiling in the Pinelo Palace
in Seville, this research has considered its historical background and has followed a
methodology based on two complementary digital data captures: using a 3D laser scanner,
and photogrammetry.

It has been found that in a room that should theoretically be rectangular, there are
differences of 0.065 m when comparing the longest sides and 0.091 m on the shortest
sides. These irregularities suggest that the Renaissance palace was able to reuse the



ISPRS Int. J. Geo-Inf. 2021, 10, 85 15 of 17

walls of a previous medieval building, in accordance with historical studies referred in
the introduction.

After having analysed several geometric modules of the ceiling, it was found that it is
made up of interlocking patterns of eight-point and 12-point stars, and not, as a text from
1542 erroneously describes it, of nine- and 12-point stars. In the final orthoimage (Figure 20),
it can easily be observed that the ceiling is composed of “cuartillejos” or modules with
a square base, but its modulation is altered in the central part, where a small strip is
duplicated, to fit the design to the room dimensions. From this it follows that there was no
unitary project for the whole building: the ceiling design had to be fitted to a room whose
walls were probably deformed.

According to the historical documentation consulted, the ceiling was consolidated
under the direction of the architect Jesús Gómez-Millán in around 1967–1970. The tile
roof was replaced with a flat concrete floor and the ceiling was hung from two new metal
beams. The deformations came into existence when this consolidation was completed
approximately 50 years ago, but until now it had not been accurately quantified.

In the sections, the maximum ceiling deformation does not occur in the centre: the
lowest point is at 1.05 m on both sides from the centre. This is explained by the placement
of anchors that released stress due to their weight, although the maximum deformations are
large: 0.238 and 0.239 m. A lack of uniformity has also been detected in the deformations:
in the cross-sections towards the eastern end the deformations are descending, and towards
the western end they are staggered. Therefore, under the direction of Gómez-Millán, wire
rods were placed that successfully improved safety and stability, but also caused the current
irregular deformations.

The high-resolution orthoimage provided allows the details of the ceiling to be viewed
with precision. Without a thorough knowledge of what is to be preserved or restored, it
remains impossible to propose suitable measures for its protection. The rigorous digital
graphic documentation is expected to serve as a starting point for a future scientific plan
for the conservation of this unique deformed ceiling and to disseminate on the web the
image of a beautiful architectural element of the rich heritage of southern Europe.

Author Contributions: Juan Francisco Reinoso-Gordo, Antonio Gámiz-Gordo and PPedro Barrero-
Ortega all took part in the entire research process. All authors have read and agreed to the published
version of the manuscript.

Funding: This research has been funded by internationalisation grants to the Instituto Universitario
de Arquitectura y Ciencias de la Construcción (IUACC) of the VII Plan Propio de Investigación y
Transferencia in the University of Seville.

Institutional Review Board Statement: Not applicable.

Informed Consent Statement: Not applicable.

Acknowledgments: The present research has been made possible thanks to the collaboration of
members and staff of the Real Academia de Bellas Artes de Santa Isabel de Hungría de Sevilla and
Real Academia Sevillana de Buenas Letras; Carpintería Los Tres Juanes; Ramón Queiro Quijada; Rafael
Manzano Martos. The authors are also grateful for the support from the research group Expregrafica,
Lugar Arquitectura y Dibujo (PAIDI-HUM-976), Programa de Doctorado en Arquitectura, Instituto
Universitario de Arquitectura y Ciencias de la Construcción from the University of Seville; the
research group Ingeniería Cartográfica (PAIDI-TEP-164) from the University of Jaén; and the Survey
and Modelling Laboratory (SMlab) from the University of Granada.

Conflicts of Interest: The authors declare there to be no conflict of interest.

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https://cutt.ly/ufJO6fN

	Introduction 
	Short History of the Pinelo Palace in Seville (Spain) 
	General Objectives 

	Materials and Methods 
	The Design of the Ceiling According to the Book by López de Arenas (1633) 
	The Ceiling Consolidation in the 20th Century 
	Graphic Survey: Material and Method 
	Scanner Laser 
	Photogrammetry 


	Results and Discussion 
	Conclusions 
	References