Ge ny Spanish Interiors - Furniture and Details from the 14th to the 17th Century With an Introduction by HAROLD DONALDSON EBERLEIN 136 PLATES WITH MORE THAN 450 PHOTOGRAPHS New York Architectural Book Publishing Company, Inc. PAUL WENZEL AND MAURICE KRAKOW 31 East Twelfth Street Printed in the U. S, A. By The Lent and Graff Co., N. Y. \QQ2 LI, ed dain a. Snes | tb Ma AOMAR- Aris + oh INTRODUCTION HE Spanish element has entered conspicuously into American architecture and interior decoration. In both it has taken a definitely recognised place. Furthermore, it has unquestionably come to stay. It has long since passed the experimental stage when it might, perhaps, have been regarded with some suspicion as a more or less ephemeral fancy. The permanence of its position is assured beyond all peradventure. In California and the Southwest, indeed, Spanish architecture is, so to speak, indigenous and the Spanish tradition, grounded in the days of the early Missions, has never really died out, although at times it has suffered neglect or even almost total eclipse. Not a great many years ago there was a vigorous recrudescence and the favour with which the Spanish mode is now regarded not only continues unabated, but is very perceptibly increasing. In the domestic field it is not too much to say that it dominates the situation. Along the Atlantic seaboard, in the Middle West and in the South, although there was no such anciently implanted tradition, save in a small area of Florida, the sterling qualities of things Spanish have so manifestly commended themselves that in comparatively recent years the Iberian vogue has quickly taken root in a kindly soil and rapidly shot up into the robust tree we now behold. Spanish architecture and the Spanish mode of interior decora- tion exhibited characteristics that were obviously appropriate to a broad variety of local conditions, and people were not slow to recognise their substantial value. The present collection of Spanish interiors, furniture and details, gathered by the pub- lishers and presented in the following plates, will therefore be welcomed by the public as a valuable addition to material hitherto available. The subject matter contained in this volume will be found full of apposite suggestion for use not only by the architect and dec- orator, but also by the layman, whose appreciation has reached a stage of intelligent discrim- ination undreamed of not many years since. . - Thorough familiarity with authentic precedent is essential to a sympathetic and under- standing employment of the examples we choose as patterns to emulate or to adapt. And such familiarity can be gained in no more lasting and effectual way than through the eye. Whatever may have been the habit of earlier generations, the present generation, at least, learns vastly more from pictures than it does from the printed word. Hence it is that ample illustration is the most fruitful and most stimulating means of conveying that sort of suggestion which later takes visible, concrete shape in finished performance. Eclecticism is one of the most conspicuous qualities in the practice of American archi- tecture and decoration. And this eclecticism is wholly justified both in principle and on the score of results achieved. It is justified in principle because it is of the very essence of constructive originality to assimilate, adapt and wisely combine all manner of precedents iil drawn from a varied repertoire, according as need or opportunity invite. It is justified by results because none with keener discrimination, none more successfully than the Amer- ican architect and decorator have made use of inspiration derived from the widest diver- sity of sources. Spanish precedent, rightly perceived and rightly used, cannot fail to enrich our outlook to a marked degree. Let us, then, review the salient characteristics of the interiors, furni- ture and details to be found in the ensuing pages and endeavour to arrive at some construc- tive generalisations from the analysis. Many of the examples from which we can deduce the most representative features are to be found amongst the interiors. We shall, therefore, begin with them. In appraising the values of Spanish interiors it will help to clarity of perception if we note first the dominant qualities of the fixed or architectural characteristics and afterwards take account of the manner in which the movables are employed to effect compositions. Last of all, we may survey the distinguishing peculiarities of the movable objects themselves and mark the features of structure and embellishment that impart national individuality. The typical Spanish interior of the Renaissance, and even of the Baroque age that fol- lowed it, was always virile and distinctly positive in tone. Oftentimes, indeed, its clean-cut, articulate emphasis was carried to the extent of ruggedness. Mere “prettiness” was a thing never aimed at, nor even conceived of as the remotest possibility or as a thing to be desired. There was none of that feminine daintiness and suave pliability, none of that polished elegance of a multitude of little perfections, in which the French interior of the eighteenth century excelled. Life was stern, splendid, gorgeous or imposing, as the case might be, but it was not filled up with a host of complex and artificial trivialities. Even when life was luxurious, it was luxurious in a broad and simple fashion, and always attended with stately dignity. The course of events moved forward with majestic and deliberate tread. If luxury and sumptuous display were in evidence, they appeared ina masculine manifestation, This view of life was plainly reflected by the Spanish interior in all its phases. Ordinarily the Spanish interior, whether in the great villa and castle or in ihe smaller and humbler country house, was apt to be austere in its general aspect. At times it was aus- tere even to the extent of positive severity. Its architectural character was always evident, and no one could be unconscious of the dominating quality of walls, floor and ceiling. It could be gorgeous—intensely gorgeous—as it often was, with splendid carving, painting and magnificent hangings, but the gorgeousness, by whatever means it might be encompassed, was tempered by judicious restraint. It was rich in dramatic values and dramatic contrasts. Spain is a land of sharp contrasts in nature, and this extraordinarily clear-cut definition of environment could not well help but find an echoing note in the architecture. Furthermore, the Spanish interior was essentially simple in its organism in that it was unmistakably artic- ulate and free of all complexities. And this simplicity could go hand in hand with the richest decoration, which never lost its coherence; simplicity, in this respect, was not incompatible with opulent ornament. Strong architectural lines supplied the requisite balance, and the decoration, however intricate in itself, only served to stress the structural straightforward- ness. Above all, there was an air of spacious tranquillity quite irrespective of the size of the rooms. This atmosphere of disciplined repose was due in no small measure to the height of the ceilings—a striking example of the great importance of that dimension which is too generally overlooked in modern design. Without making provision for appropriate height, it is altogether futile to design interiors in the Spanish mode and expect them to possess the same breadth and dignity of bearing as the prototypes after which they are presumably patterned. The characteristic qualities just enumerated as belonging conspicuously to the Spanish interior are admirably exemplified in the illustrations of the house of El Greco, in Toledo. In them may be seen not only the markedly national ensemble embodying the distinctions that give the Spanish interior its rare charm, but likewise those particular items that enter into the composition and are essential to it. They are there plainly in view, so that their effects may be fully weighed and analysed. In studying the early Spanish interior there is one fact that it is important to keep in mind. In many instances the Moorish influence is clearly traceable, and this influence, through the traditions and conservatism of the craftsmen, continued as an appreciable factor up-to the beginning of the seventeenth century, and even later. Indeed, the impress of Moorish tradition was so enduring that even long after the employment of unmistak- ably Mohammedan motifs had waned and the direct touch of the Moorish craftsman had been obscured by the influx of Italian and other foreign types of design, many of the methods that remained in common use were reminiscent of the age of Mohammedan supremacy in architecture and all the other arts. . To the Moors, for example, may be ascribed the type of wooden ceilings chiefly met with, the method frequently seen of panelling doors, the free use of polychrome tiles for mural enrichment, and the general austerity of arrangement and avoidance of needless complexities. In some of the old interiors the Moorish element is altogether dominant; in others the methods of the Renaissance have been carried out to the exclusion of Moorish factors; in others, still, the Moorish and Renaissance influences have been curiously merged and blended, and these last are often amongst the most engaging that Spain has to offer. It was a common practice at the time of the Renaissance for the Spaniards to accept and incorporate in their creations the good things of Moorish provenance so far as they could consistently do so. These blendings of Renaissance and Moorish elements are usually characterised as Mudéjar. The floors of old Spanish houses are to be found paved with tile, stone or brick or, again, they may be constructed of wood. Wooden flooring was apt to be used in rooms on the upper floors, whither the occupants mostly resorted in winter for the sake of warmth, while tiles, stone and brick were generally reserved for the ground floor, partly because of coolness in hot weather and partly as protection against the attack of insects that confine their worst ravages to the lower storeys. Although vivid-hued polychrome tiles play such an important role in the equipment of old Spanish interiors, it is on the walls and not on the floors that we must look for the most characteristic display of glowing colour and vigorous pattern. The floor tiles, for the most part, were devoid of pattern and their prevailing colour was that of ordinary baked clay. Asa relief to the expanse of dull red, smaller tiles with pattern and varied colour were not seldom set between the large red tiles at convenient intervals for accent. In Plate 12, showing an interior of the “Cau Ferrat,”’ at Barcelona, may be seen a floor of this description, where most of the units are large, red brick quarries, set round with lines of smaller tiles, those at the crossings or intersections of the lines exhibiting varied colour and pattern. Again, in the seventeenth century interior, in the Castillo de los Condes de Perelada, at Gerona (Plate 13) appears a black and white chequered floor of tiles, while in the seventeenth century interior at Torla (Plate 20) the flooring is of stone. In the Casa Cabanyes, at Argentona (Plate 26) the floors are of plain brick. One of them is diago- nally jointed so that the general effect approximates an herring-bone pattern, the other is jointed longitudinally and transversely to the lines of the room, but both floors are made subjects of interest. In the plates showing the interiors of the house of El Greco (2 and 3) are to be seen both tiled and brick-paved floors, one of the latter disclosing a pleasing and unusual pattern made by setting the bricks on edge in a chevron or herring-bone device of exceptionally large scale. The floors just referred to are thoroughly representative so that there is no occasion to multiply instances. It will be seen from all of the examples cited, as well as from numerous others that might be adduced, that the floors, while exhibiting a certain restrained interest of pattern and colour, were not ordinarily made the vehicle of brilliant and high-keyed poly- chrome treatment. If brilliant polychrome effects were employed, they were apt to be reserved for rather special accent of limited areas. When we come to the walls, we encounter an altogether different usage with respect to both the colour and the pattern of tile encrustations. The plates illustrating the interiors of the “Cau Ferrat,” at Barcelona, give abundant evidence of the wealth of pattern that could be brought into play in the tiling applied to walls. When we add to pattern the manifold resources of glowing, gorgeous colour, it is easy to see that under certain condi- tions the effect could be positively dazzling. It was not until the seventeenth century that single tiles were decorated with complete pictorial subjects. Prior to that time the tiles bore some geometrical pattern or some con- ventionalised flower device or other subject that lent itself to conventionalised treatment. These conventional or geometrical patterns might be complete on one tile unit or, again, they might require two or more units—very often four, as a matter of fact—to complete the design. It is scarcely necessary to add that the older and purely decorative method of tile design was inherently appropriate to the purposes and technique of tile enrichment while the later pictorial perversions were exactly the reverse. It is only the tiles of altogether decorative type with which we need at all concern ourselves. Polychrome tiling, besides occurring in the form of dadoes, was often employed as a vi facing for doorways and windows, the covering of window reveals and window seats, the facing and lining of cupboard niches, the embellishment of fountains, the lining of lavabo niches in dining-rooms, and the enrichment of steps, the risers and sometimes the treads, too, exhibiting tile inlay. Such an employment of tiles is well exemplified in Plate 3, which shows the hall and staircase in the house of El Greco. Notwithstanding the temptation to excess with such an accommodating medium as polychrome tiling ready to hand—temptation to excess of quantity as well as temptation to excess in pattern and riotous colour—the moderation displayed in most Spanish interiors is admirable. In plate 3 of the hall and stairway in the house of El Greco can be seen the trenchant chequery pattern defining the boundary lines of the tiled dado with peculiar emphasis. Yet such vigorous figuring is rarely employed along with an amount of strong colour great enough to make the result overpowering. A nice balance of accent was usually preserved without redundancy of stress. The field of the wall above the dado, when there was one, was ordinarily plain, at least so far as its fixed character was concerned, irrespective of what movable adornments might be hung upon it. Some of the later walls were frescoed, it is true, but the really typical Spanish wall was plain between dado and frieze or between dado and ceiling when the frieze was omitted, as it often was. Such walls may be seen in plate 10, already men- tioned as exemplifying other characteristics, plate 19, showing the hall and stair in the house of the Marqués de Villavieja, at Madrid, plate 13, of an interior in the Castillo de los Condes de Perelada at Gerona, and plate 26 of interiors in the Casa Cabayanes, at Argentona, not to mention any others. The value of severely plain walls was evidently well recognised as a foil for the brilliant tiled decorations, for the carved enrichments and opulent modelling in plaster and for the intricately panelled doors. Richly modelled plasterwork, called yeseria, was often employed for friezes and also for the decoration of doorways and window openings. A good example of such modelled plasterwork for a frieze above a perfectly plain wall may be seen in plate 13, already men- tioned, showing a seventeenth century room in the Castillo de los Condes de Perelada. These plaster decorations were ordinarily left uncoloured. Then, again, some of the inte- riors contained certain areas embellished with elaborate stone carving. oie xcelent instance of this sort of decoration is to be seen in plate 88, showing the sixteenth century Renaissance staircase in the Cathedral of Leon. It will be noticed that the whole carved expanse is divided into comparatively small panels of exquisite workmanship. Although the motifs used are unmistakably of pure Renaissance character, the method of panel divi- sion is of Moorish origin and was derived from the Moorish practice of wood carving and joinery. It was frequently transferred to stone, however, as in the instance just mentioned. The habit of minute and intricately patterned panel divisions is best seen in the pan- elled doors, such as that shown in plate 20, of an interior at Torla, where the decoration consists of a great diversity of geometrical motifs ingeniously combined. The same methods are to be seen also in a number of other plates contained in this volume. The Vil ceilings of panelled pine, which constitute one of the chief enrichments of old Spanish roonis, exhibit the same system of intricate shapes and small divisions and are peculiarly charac- teristic of Spanish interiors, as they are not found elsewhere. The use of colour and gild- ing for the further enrichment of carved wood and panelling was much less general than is commonly supposed. Elaborate wood carving, especially the carving of figures, though not absolutely confined to churches and religious houses, is most commonly to be found in those places. The small and varied panelling of doors and shutters in domestic interiors was ordinarily considered an adequate decoration without the addition of carving or colour. One of the most conspicuous characteristics of old Spanish interiors is the scantness of movable furnishings they contain when compared with the contemporary interiors of other countries. The relatively few pieces, however, are of such scale and quality that they possess a certain intrinsic sufficiency and are quite adequate to the occasion. Indeed, they demand space—one may say almost isolation—to be fully appreciated, and their fewness is no detriment to the general composition, but rather the reverse, for 1f they were more numerous the ensemble would not be nearly so articulate. Distinct articulation in the fur- nishing of a Spanish interior is one of its chief charms. Despite the austerity of early Spanish interiors, they were in no wise lacking in richness or even gorgeousness, for there were the splendid fabrics for hangings and upholstery, the tapestries, and the stamped and engraved leather, coloured and gilt, which all together or singly were sufficient to impart an almost regal aspect to even a simply furnished room. When we come to examine Spanish furniture itself, we find that the items in common use were not nearly so numerous as they were in other countries. They were, in fact, little more than the articles dictated by absolute necessity, but there was great flexibility in the way in which they were used for varied purposes. The material chiefly used was walnut, although oak, pine and other woods were employed to a lesser extent, and after mahogany and other woods were imported from Spain’s colonial possessions they likewise were employed to some degree, especially in the eighteenth cenntury. The structure was prevailingly rectili- near and the contours were robust. Apart from the interiors of the varguero cabinets and papeleras, which were elaborately enriched with carved and inlaid bone, coloured and gilt, the wrought iron and brass mounts, often underlaid with red velvet, velvet strained over chests, leather and velvet upholstery, and carving of various descriptions formed the usual decorative resources. The wrought and fretted iron mounts, and the various wrought-iron accessories, such as candelabra and grilles, formed a most important and characteristic feature of equipment. However interesting Spanish interiors and furniture may be in themselves, indepen- dently of all other considerations, their great value to us lies in the wealth of inspiration they afford for adaptation to our own modern conditions. |More can be learned from a careful scrutiny of plates than from volumes of text, and the material for just such scrutiny, provided by the plates in this volume, speaks for itself in all particulars of actual appearance. HAROLD DONALDSON EBERLEIN. New York, November, 1925. Vill INDEX PAGE MitenG—— new ld otisero! sblvGrecO... ¢ nk ak cae ie ase eles Sie ee lc ee hb eb orn deen 1 Toledo—Views of Patio and Interior in the House of El Greco............ 2 eeao—lralliand Staircase inithe House oft El Greco... )..c sci ec eee 4) Toledo—16th Century Renaissance Interiors in the House of El Greco....... 4 eo —amieriorsan. ine Elouse of 41 Grec0... 6. ce ne te ss ee ewes 5 Perec. tall im athe Museum of “Cau Perraty..... ccc. cece ew ee ee 6 ere ona—Kitchen in the Museum ot “Cau Ferrat”. .. 1c... 6002. 0s es cues Zi Barcelona—Detail of Interior in the Museum of “Cau Ferrat”............. 8 ence tora —ititerior in the Museum of Cau Ferrat”®.«. 5.8.23. 363% ged 9 ioeciona—_» Room in the Museum of “Cau Ferrat”.......0..0..020+03-° 10 Barcelona—l6th Century Bedchamber in the Museum of “Cau Ferrt’”....... 11 barcelona—tInterior Detail in the Museum of “Cau Ferrat”............... i Gerona—17th Century Interior in the Castillo de los Condes de Perelada...... 13 Gerona—17th Century Interior in the Castillo de los Condes de Perelada...... 14 Gerona—16th Century Gothic Interior in the Castillo de los Condes de Pere- rl Re ORO eye er stray ane eine has: Dis aeAY Hate th Gate Peto ee ES Gerona—17/th Century Interior in the Castillo de los Condes de Perelada...... 16 1 Escorial—16th Century Renaissance Interior and Furniture of Charles V. 17 Fl Escorial 16th Century Renaissance Bedchamber and Reception Room of TEV Bape dlls soc ie Steg a gaia: Cetra hte sae Da IDE x08 aria er ere aie Pearce, Fine e 18 Madrid—Renaissance Interiors in the House of the Marques de Villavieja... 19 Po laselrov. tiuesca)— 17th Century Renaissance Interior..... .......2..0 20 Riudabella—1l6th Century Renaissance Interior in the Castillo of Sr. Pedro Gil ReCOMOLclemViC Nk atest koma ae Mean ea, hoc Oe 3 ney ta ah eca eae ee 21 Riudabella—1l6th Century Renaissance Interior in the Castillo of Sr. Pedro Gil PREG NCC OLA a. 8s. agn Siok Bore chalet hae ait ot for ween A oe cea nash el eee ee 22 Riudabella—16th Century Renaissance Interior in the Castillo of Sr. Pedro Gil PE irerlOn Ie mV OTA Cpe tk) tir ae 112 15th Century Gothic Candelabrum, Chest and Wrought Iron Work ......... 143 XIl PAGE 16th Century Renaissance Objects Belonging to the Cathedrals of Leon, Burgos SUP aL TRIN th, DRONE woes te tees atin Pau ere re 114 Madrid—Wrought Iron Work of the 15th and 16th Centuries in the Archae- re Miers Me CS CUT mMUMen EMRE ee etd rast gs tee gent 82 SPs a gisiod sree Sue Se Ti Madrid—Wrought Iron Work of the 14th, 15th and 16th Centuries in the 2) einai ef aster ACS RES eABTaMy Sousa ok bie regen a ce ee en ba ne ce 116 Granada—Wrought Iron Work of the 16th Century in “El Ayuntamiento”... 117 Seville—Wrought Iron Work of the 16th Century in the Cathedral ......... 118 Seville—Wrought Iron Work of the 16th Century in the Cathedral....... 119 Seville—Details of 16th Century Wrought Iron Work in the Cathedral..... 120 Siem Ootovoentury Grule im the Cathedral oo... 6. eo. esse co es eee enn 121 Toledo—17th Century Baroque Front of Altar in the Collection of Sr. Mau- ec eiemee De cal ODER LC yee We ese n ergs rum vad e.g tiie, cea Rs etic whe auch uuilay hoe Walk Barcelona—Wrought Iron Work from the 14th to the 16th Century in the Mu- Semen mC CT 2) Meee ae «hn chee ate fy i PCE Te OUT dey ara e a Sulcea > Glace ¢ Ore 122 Barcelona—Wrought Iron Gothic Door Knockers from the 14th to the 16th MoMMicmOtiony iSeuilon (au lerfat, (fs)... 2458s. tae es co eae 123 Barcelona—Wrought Iron Gothic Door Knockers from the 14th to the 16th Merits Bi er Viniceiii Ole Call Orrate cm at acc. ciate oe see os NS 124 Barcelona—Wrought Iron Gothic Door Knockers from the 14th to the 16th Mee Migvelil peas LUSeuiin Ory sc Atl LCi Tatas Oe fies neater geeks sc tseo yeahs we 125 Barcelona—Gothic Door Knockers of the 14th, 15th and 16th Centuries in the Rec AN Cn eae TLIBECC EGA Leas OBE nt avin ee la er ae Se toe Segre oe Otel cee 126 Barcelona—Gothic Door Knockers of the 14th, 15th and 16th Centuries in the Pails CUO Re CFA PINCUI AL gues dears ote) a cco ae esa cet Rete ee WE Barcelona—Gothic Door Knockers of the 14th, 15th and 16th Centuries in the PeSe UTI Or, arti H CCT a tae hana rine le conn oe, keen Poe cies tae eee er ae 128 Barcelona—Gothic Door Knockers of the 15th and 16th Centuries in the Mu- BomimOrss CA Pierrat s. l.t.t we. eres akg 1d a) asia ah cee ti A ee nn koe aa 129 Madrid—Door Knockers and Furniture Hardware of the 16th Century..... 130 Barcelona—Furniture Hardware from the 14th to the 17th Century in the Mirseui sore Can Merratas ot. can. ctnese aha tortie ane ee eee awl Barcelona—Furniture Hardware from the 14th to the 17th Century in the VMS OTIMISOLS Cate Craik!” a waste: es Oe, Se erica aac ce eee re nr 132 Barcelona—Furniture Hardware from the 14th to the 17th Century in the (Vbuseum. of “Can Hercat (eis 0 1.2.5 ose ee eae eee ee ier Madrid—Furniture Hardware from the 14th to the 18th Century in the -Coilection=- olor, sAdoliog Herter des 9 ett nae cee ee en are aa ere 134 Madrid—Furniture Hardware from the 14th to the 18th Century in the Collection vot Sr Adolfo: Elerrerac set oe eater ee ee ae 135 Madrid—Furniture Hardware from the 14th to the 18th Century in the “Collection? of Sr. Adolto:Herterav sss. see eee eee ee 136 Xill OOdND TA AO ASNOH AHL—OCATIOL TOLEDO—VIEWS OF PATIO AND INTERIOR IN THE HOUSE OF EL GRECO 2 ie or ey tn ERAS TOLEDO> HALE AND STAIRCASE, IN THE SHOUSE. OF sEiiGRECGO G2 TOLEDO—16TH CENTURY RENAISSANCE INTERIORS IN THE HOUSE OF EL GRECO TOLEDO—INTERIORS IN THE HOUSE OF EL GRECO ee We MUSE 4 ae ae i I} «LVUddH OVO, FO NONASOW AHL NI NHHOLIS_VNOTHOUVa Rae sCAU HERT 4 OM MUSEUM ( E on Za aa 5) O (aa ] _ i a = & IANO, (6 q BARCELONA—DI AU FERRAT” SEU MORE BARCELONA—INTERIOR IN THE MU % CIN © Tis ) Su = =) r= Gal a ae Z HH eS Oo a ARG LONA— E aw * - a he . 7 EES Ce ae as ¥ Bre a BS deal A asides ee SSS, 11 AU FERRAT” MOF: BARCELONA—16TH CENTURY BEDCHAMBER IN THE MUSEU BARCELONA—INTERIOR DETAIL IN THE MUSEUM OF “CAU FERRAT” -~ = Sel cing tedleey tbe acs, Ch ee ee ADA REL DES, DE PE INTERTORS INS THE CAS TLLORDESLOS AGO NTURY NA—17TH CE GERO Vda ldddd 4d SHANOD SOIR AGC SORES Wi sl | ® HHL NI YOIWHLNI AYNLNAD HLZI-VNOWED 14 VdVldaddd Ad SHANOD SOT Ad OTIILSVO AHL NI YOIYHLINI OIHLOD AYNLNAD HL9I—-VNOUAD eo he SRT oe EST winke re ey PIE SALE Oe he gg eee eM wm Vu T#add Ad SHGNOD SOT Ad OTILISVO SARL NI HOLS ENT AYOINEO® BiZi—VNOdaD y RNITURE OF CHARLES V AND FU ERIOR IND NAISSANC TIGRIS EE AL—16TH CEN BE ESCORI 17 iil diliHd HO WOOU NOLLda (i Siaes treaty JAN AUNV ada ay NI V HOdYd HONVSSIVNAY AYNLINAD HLII—ITVINXOOSH TH oe mee ebay, 18 ARQUES DE VILLAVIEJA M NAISSANCE INTERIORS IN THE HOUSE OF THE MADRID—RE 19 MOMs ay NI a 2) NVSSIVNGY AMNLNAD HLZI—(VOSANH * | id y ma AOWd) VIMOL 20 V4YOW Ad ONHYOW US OUdad “YS AO OTIILSVD AHL NI YOIMALNI AONVSSIVNAY ANNLNAD HL9I—VTI1aavania : é ¢ .. i& : 21 VYOW Ad ONHXOW TID OAdHd US AO OTIILSVO AHL NI YOIMALNI ADNVSSIVNEY AYNLINAD ALII—VITAIVGNIa RIUDABELLA—16TH CENTURY RENAISSANCE INTERIORS IN THE CASTILLO OF SR. PEDRO GIL MORENO DE MORA 23 RIES ENTU NIDURE OFS TEES Dit eAN DF Glia ND FUR IAL VIEW OF TWO INTERIORS A a MADRID—PAR 24 w a 12 : eo a MADRID—INTERIORS AND FURNITURE OF THE 16TH AND 17TH CENTURIES IN THE COLLECTION OF SR. LAZARO GALDEANO 25 ARGENTONA (PROV. BARCELONA)—16TH CENTURY RENAISSANCE INTERIORS IN THE CASA CABANYES 26 a well gf pe hones al Ve Be > es ee: ts ado IMHLINI HD NV S S IVNa wd VY HOPIINI wHaNy ad AAILLOdd S wad 27 28 PERSPECTIVE RENDERING OF A RENAISSANCE INTERIOR Be ape RET TS YOIWHLINI HOINVSSIVNAA V AO z nei cm FE IMHQNHY HAILLOYdSdad 29 wt 30 IOR =R CE INTI PERSPECTIVE RENDERING OF A RENAISSA} YOIWALNI ADNVSS IVNHa V AO ONISHCNAY HAILLOAd Saad 31 THE COLLEGE SAN IsIDORO OF RCH = O ca RIOR OF TH ORY TUNE N—16TH CENT O It, ‘- te Meee eae Neo PO mia et sed Abani 2: een hi i be be ba MADRID—16TH CENTURY RENAISSANCE DESK AND CHAIRS IN THE COLLECTION OF SR. LAZARO GALDEANO 33 ONVHCTVS OUVZVI AS AO NOILOATIOO AHL NI SYSHAQ AD S SIV N da A YOINA 5 HL9 [LS GLiG.vIN 34 WNAHSAW TVOIDOTOXVHOUV AH. [Ale <1 HIRI LIRIIEee i L NI SXSaHd yah} WAAAY ie ele = HOINVSSIV I r | au AYNINAD HLII—dlddvn isc sia hahihakd ee ol Aa salto bi ELE CS apposed Beene AISA EU HNORREI 35 ts ee erotic MADRID—RENAISSANCE WRITING DESKS 36 Serre eee A 7} Gy y Y YOAT HLIM CIVINI ay YIVHO GNV Ss) YI S Ad HONVSSIVNAY AYNLNAD [BIL V N OTHOUV ad an SSS 37 bei co il ene HYNLINYNA ADNVSSIVNAYA AMNLNAD HL9I—dIyadvw neers ae Wess] iF rafts + Hite (ee Hf HAL cere ey ede add (ide AE pete { {Gs U4 {i t TER t st { -* TRERS RULE ined - 38 AONVAA SIMVd © WOASNWN ANOTO AHL NI MON SMSAd HONVSSIVNHY AYNLINED HLT = oT ecad SoS 39 WNAHSNIW TVOIDO TORE VHOUV HHL NI YIVHD TIVH GNV ASHC ONILIYM AIVHO AYNLINAD 13 VE 4 i l J y OY a; HL9I—dlaadvw 40 HONHONTANI NVITIVLII DONIMOHS MSHC AMNLINAO HILZI AYOAI HLIM CIWINI MSHdC LANIVM GHAYVD AYNLINAD HL9I-dINGVN ~ 41 SYSHd AINVSSIV Na a AYONLINAD HLZI—dlaidvn anes tn estan rsvp omemenaletemsectases cipcentenanspareicntsssniseiinreanint s = bea i =5 $"< 7 ry iF a ly * J q x ie “ See a " ‘ ‘ i Oe | . on ae Pied °s, root ; ‘ +. a a ss , _ ; 7 ; - : - . ; : : é i ’ ; ‘ > , ‘ ’ * ‘ ; aa “ SMSHd a ON VSSIV N Gia A a IML N a J HIZI—dlaaqvwn 43 “+ LECTION OF COI THE MADRID—17TH CENTURY WALNUT DESK AND DETAILS IN AZARO GALDEANO ys Ske AE 44 PALMA DE MALLORCA—I5STH CENTURY GOTHIC CHEST GERONA—17TH CENTURY BAROQUE FURNITURE IN THE CATHEDRAL 45 3 ‘ ‘ ° ; os 7 + , . 4 ' ' a “tf P ‘ = ° , ; ‘ + s Ni * ‘ ns + ' ' + ¢ ; in : ; ; . ‘ e = " ¥ ‘ ~ , : . Ke gs ee eC St | MADRID—16TH CENTURY RENAISSANCE TABLES 46 MADRID—16TH CENTURY RENAISSANCE CHAIRS AND TABLE OF CARVED WALNUT 47 ~ alike [ores Ons rekener anu aveicn pas eet ean Ne hear ¢ Ak a “SoS ivertomae ate ‘ wt ’ UPAR NIM DAA EES Ete WAAL GALE Shee reaeeeer? Pte Ce ae O RAK SHEENA EE ORS Ben? 7171 oo MADRID—l16TH CENTURY RENAISSANCE CHEST AND TABLE IN THE MUSEUM OF DECORATIVE ARTS : f | ; Sul, UV AAILVYOONd AO WOESNW AHL NI HYNLINANA AONVSSIVNEY AYNLINAD AL9I—dIddvn yD hei thcth Month. dete A te de eee 4 ™ OF DECORATIVE ARTS ul AIRS IN THE MUSEUN a O Qa Z < ca 4 mg < H ea) O z < HULLAC if RENAISS y THLELETHER EHR EULE ENTUR FEGEELE H C itt MADRID—16TH j oy i : ) . } ee : > : \¢. - eS ‘ 1 ~ ’ . as ry . ing . - rs ¥ . ¢ 4 a ‘ be * ~ 4 . a , » ; } a % iN « . v . ‘ wv S q F . ’ MIVHD GNV HIEVL ADNVSSIVNEY AYNLINAD HL9T—dlddvt Pte erRidantaes rs oA ahi, Recent ceeth stink te A eaNpaas tre een, TER REESE ELS PIT = Ft A SACI ui ee a a AN A y MADRID—RE AISSANCE TABLE, CHEST AND BENCH IN THE ARCHAEOLOGICAL MUSEUM 52 - . * ® - , e . . + + ‘ ‘ , 5 . 4 < Ba 1 ‘ “, 4 ’ “ ahs b ' é MADRID—FURNITURE OF THE 16TH AND 17TH CENTURIES IN THE COLLECTION OF SR. LAZARO GALDEANO 53 ney MADRID—17TH CENTURY BAROQUE TABLES IN PRIVATE COLLECTIONS 2 TRRe ree? 5 . a GEC ELSE Ste Cae es eC ES SE SSE Naas, a ee wes i i a4 | | 3 } PALMA DE MALLORCA—FURNITURE OF THE 17TH CENTURY on or SALAMANCA—17TH CENTURY BAROQUE CHAIR IN THE PROVINCIAL MUSEUM SALAMANCA—17TH CENTURY BAROQUE CHAIR AND TABLE IN THE CATHEDRAL 56 _* Se eet erenesanconecnsi BURGOS—DETAILS OF THE CORONATION STAIRCASE IN. THE CATHEDRAL MADRID—16TH CENTURY STALL IN THE CONVENT DEL PAULAR WOHSNAW AHL NI SdIVHOD OIHLOD AYNLINSD HIVE VONOTIVN 4d VNIVd Ba 58 ji sina tintin en cme exe yee 1 ect orem \apey WOAS AW TWOIDOTOAVHOUY ae CE speed cat) spite cxom coll 208 yak HHL NI YIVHD CNV ASHC HONVSSIVNEY AMNLINAD HL9I—dIdadvNt agen TRUER ARE: 59 W NAS NIN AVOIDOLOa VOR aw annggnens OR ai NI YIVHOD GNV HdOUdAVM AONVSSIV Naa nail Uudadviv 60 MADRID—DETAIL OF 16TH CENTURY WARDROBE MADRID—16TH CENTURY CHAIR IN THE ARCHAEOLOGICAL MUSEUM 61 eS) tes A Ne NN ‘iin i g BARCELONA—CHAIRS OF THE 16TH AND 18TH CENTURIES IN THE MUSEUM OF “CAU FERRAT” o . hii 2a ‘ 7" a4 S ROOMS OF CHARL PIXTURES IN THE a co rr = = Q Z, (4 =< ‘i O Oo <9 = iz =o op) 68 ; NILUVW NVS AG SHNOU V W HHL HO ie Ol 2) ATIOO HHL NI SYIVHD GNV dad AYNLINA)O HLZI—VNNYOD 69 Yt at ee a ee ty aye se we one AYNLINYNA os WOOU DNINIG ADNVSSIVNEY—_CIYGVIN ee Rh ooh oh 4 StS Se SSS Me's Ramee se = 4 x . . \ ante ‘, e Seed abe Reo ca Sv ee ee ee MS TN SP a He Loe eal ag eG le scr a i eC an i Sega RSUL GR Aes ieee ape E radiate pons zi aos 2 E, ib Si gmt Ps ite Set SEVILLE RENAISSANCE AND BAROQUE BENCHES OF THE 17TH CENTURY 71 YN aa oe =) a fa a = ES A Zi a ae, a ae ea an = ty oO S = NCHE BE EVILLE— vO “. gn ON all yas: 4 Me ae Fr * TAS SAVA WAS Ss OK ste uF Wit ter Po de, a ae aut ys, mS «2 ‘ ARTS E ASL, ECOR RDROBE IN THE MUSEUM OF D AISSANCE WA ID—REN MADR 73 ATE COLLECTION FN AR NCE WARDROB MADRID—16TH CENTURY RENAISSA 74 ¢ PAREDES DE NAVAS—16TH CENTURY RENAISSANCE WARDROBE IN THE PAROCHIAL CHURCH DEL PUEBLO 75 Pace RTAES, SARI EA « 6 oats b 76 17TH CENTURY RENAISSANCE WARDROBES OF CARVED WALNUT SLUV AAILVYOOAUd AO WNASNW AHL NI APONCUVM ANV VAEVIAGNVD ANOOUVA ANYNLNAD HLZI—GIadvw TTT sa 77 " ru ~ BARCELONA—I5TH AND 16TH CENTURY GOTHIC CHESTS IN THE MUSEUM OF “CAU FERRAT” 78 TIVUGHHLVS HHL AO ALSIYOVS HHL . “shana 14s ae. xt NI SYHMVUC AO LSHHO YONVSSIVNAA Ad NR TSE Nan ane: aaa a ae a Pir fee RAS As Pit eee ee een SAAS MAS 6-0-4 S8 SAA NINA) HLS Vos feel 79 SLSHHO HONVSSIVNYY AYNINAD HL9II—-dINadvn AR a, y Daf) WP) a) I y 4, 2 80 Fal “J Byer ee jb i el COON PRET S He REE wy ey: bsp ae 2 4 I i ie wan. Cd AceLeOnA LAS BA ee EOe AAS EER * ; ae US et ‘om, — vat oe PUNE PREV PSR LENE EET SL avevenyererrvrsr ess yy ered if Vour er eeeee re wy 1 bi { 2 Pama Saal : ok eT rd a Pe é : , : we iP a® r+G Se Ow Te TEE OUT RP rere tr en lt 5 sas ee B nwa. Pere ro a Aseee tee Ee. : eS a ae ed ode i &; aed A. wa, ay FTI EC CSTE TH TET TEES 4 % “ay ay ? la is ri Eee Uree wT cegerET Pr Keeeeeeret FEE Spa wr 8 ifaw ae ween eel ee! eet a > he hehe Ae be bind peaae eee eee R as SAR d Ey ‘coe ee a Sa TEVTTS LCT HV ee + asa ehee See PPerper yi T ee a2 ke Fe See SV TTS BS Rs eer es cr tet aera nae ses nd ds K. 4 — Cr a al OD ree EES a ht laid MGS nae eee ve . aaene at a if Tk. et ee ls es es Serre 2%) Spare eae 0 Lp ee TERRE a ee Ea aa Ah tach aes And de pada eAe te Se Ppa Aatetetetintee “CeRR EVES CUTE ESTELLA—16TH CENTURY CHEST IN THE CHURCH OF SAN MIGUEL PALMA DE MALLORCA—16TH CENTURY CHEST INLAID WITH IVORY 81 d r INTCY fe If GNV HdONdCUYVM WOAYEVIFGNVD AYNLNG AAVAAAANUATAAIGY KSEE L, Sa: ES eT LLL EFS SPPPIPP een eed * Sb Aare) yee Rp ta acm fae ee ee ee RS SISSN MACOS, SS oo ee POPE EFI EE POP IOP LL IFS hapa nian aareeneraremeres Py 11S IDILAOIP ALWIL IPIPIOIO/LIOIE AS RFAECECELEE “a all al sal a al ob. (na mae dh nl ad ) POO LM, I OCS S Ta Oe ee es a 8 em, Sere eee ee Sey aren TASES Ta dq] udvi N . WONHSOWN TVOIDOTOAVHOYV SERS MC a a sea y HHL NI SHIYOLNAD HLT GNV HIST AHL AO SLSHHD_GIaaqvW 83 “~ “4 i] “7, * he = oh cad re v > wy * & coL V wadA NV, 40 Wo ASOW HHL NI SHIALS SNOTYVA AO SLSHHD~V OTHOUVaA Paes, 84 «OVNHNG, SVI AG OIOVIVd HHL NI SAVMYUOOG—aTiMAdsS HONVSSIVNAY AYNINAD HLT HSIYOONW AYNLNAD HOLST 1) loa) rc NAS” NEANCIGY IBS, WANS) PIDIGES JONG INE 12 GALLERY MOORISH NTURY i | ibe Anahi see bri 6-2 Ngee AT DPE Up Ahnt ry 86 aie VALENCIA—16TH CENTURY STAIRCASES IN THE HOUSE OF THE MARQUES DE LA ESCALA 87 A ro %m —l6TH CENTURY RENAISSANCE STAIRCASE IN THE CATHEDRAL ON LE -“ “ My HAOV1IVd SdOHSIGHOUV AHL NI ASVOUMIVLS AONVSSIVNAY AYNLINAD HLYI-SHYVNAH AC VIVOIV 89 OYOCISI NVS AO HOYTIOD AHL NI ASVOUNIVLS ADNVSSIVNAY AYNINAD HLNAALXIS AHL AO STIVLHG—NOdT 90 “ AMATIVS WaddN AO STIVLHG AYNINAHD HLII-SHAVNHH Ad WIVOTV 9] =e pBadod, wre Blk: ES 5. 10 DETAILS OF PATIOS—16TH CENTURY 92 = eo Fe 4 Fh 6 PROM EM ES AO TROT FLITE ID TH NTE MOH OT OLR LOM MENTOR ORME S LOM OM OM OSS X.. MEP AS IES iat aS EL kU La FF See # + Fen SEVILLE—I6TH CENTURY RENAISSANCE DETAIL IN THE SACRISTY OF THE CATHEDRAL, EXECUTED BY DIEGO DE RIANO AND MARTIN DE GAINZA 93 ae) oy ae a Pt Siaae ¥ \ ; ‘a . 2 = : “ U 7 7 “ * >» ? a = f ‘ ‘ ‘ er.. ss ed ' ; 4 e ’ vat Fated tie ct ¥ fee . ‘ ; me ‘i ‘ : a 4 wa : c § r i i f : - ‘ L 4 1 t 4 = f € ' Z segs RE REP ON ET A MADRID—16TH CENTURY RENAISSANCE WOOD CARVINGS FROM AN OLD CONVENT NOW IN THE ARCHAEOLOGICAL MUSEUM 94 J IN NOW N TOLEDO EN Glies FRANCE A CONV LS FROM E ANCE CARVED PAN MUSEUM OF DECOR TURY RENAISS EN Noel PARIS, ’ ATIVESARTS (ose 95 fee AM ion ok AN Bui i SORT Sa : jee ee ALCALA DE HENARES—DETAIL OF THE 16TH CENTURY CARVED CEILING IN THE ARCHBISHOP’S PALACE 96 as et ‘ * = = F 7 ‘ . . J ‘ “a - ? ‘ ‘ af ' ‘ ’ : ' , - 7 o . 9 , f a ' - j , ri ‘ a 1 i ws i j ' ah “4 om ¥ 9 ' . . ‘* ; = - Ds | ‘ 4 | I ’ : ’ 4 . . / j 4 - - . . ’ h « yt y > ‘ . a et , ‘a “ s 3 : , ¥ 4 ¢ ro a a a — Pee ee rte H a el ne ho, pp De rr ae: ; 0 y em a sag CORE BOS NAP A og eg sgt HAN ah 8 BG IOAN ATED EG NE BA PDEA EIS ah abeatewe se ata eta ie abe shee al Fad Sid\'/ ae abe Sab Ped } We Wa vad ed J i 4 : fa Ea peers ot y seid Mid a nef HUESCA—16TH CENTURY RENAISSANCE WOODWORK IN THE CATHEDRAL 97 ¢ IWAGHHLVD AHL NI SONIGTIOW AMNINAD HLII—STTIIANS ELIE SEI LY PINOLE LET L LS! NAD aS ER ERLE IO LE | ESI Bi ETA MOTE EA HELEN SE ESTE SSRI Ih NS A ELT ING TCT RETO ea” nee: SN NNN eNENens nese aimininninthansatinen acs nee nee s » i « 1 i \ - é . “ - - b. > * ey ay b - % - ~ ‘ i m ‘ ‘ q é F, ' . 1 . ' ‘ +s ¢ =< > «SVNANG,, SVT Ad O1IOV1IVd AHL NI SNYHXLNVT ADNVSSIVNEY AMNLNAD HL9I—-ATIIAGS 1 iN i] 2 ee ae S 0 11 SSeLGe tHe i eC cx ) ¢ ae A. fl RIES IN THE M el eA DEG LHe GEN) U Sy if a8} HH cy Oo WN (az fy wv O Oo z ea) ~ O S Q BARCELONA—GOTHIC ~* «wLVadat NWO, JO WNASOAW AHL NI SHIYNLINAD HLIT GNV HIST ‘HL?tl HHL AO SHHMOONM WOOd DIHLOD—VNOTSOUVEA 127 BARCELONA—GOTHIC DOOR KNOCKERS OF THE 14TH, 15TH AND 16TH CENTURIES IN THE MUSEUM OF “CAU FERRAT” 128 «wLVdddd VO, JO WNESONW AHL NI SHIYNLINAD HLT GNV HLS? HHL HO SHHMODONM WOOd COIN LOD _VYNOTsHOavVa + a . 16TH CENTURY THE OF HARDWARE As C4 = lon Z, ps = aa a) Z, < W) ~~ aa jaa nA ©) (2) Z M4 Mm (aa Oo ie) A — A _— oe QA