Author
Juan Rodriguez, Diego Hernandez and Diego Rodriguez (builders); Cristobal Sanchez, Alonso Gallego, Andre, Pedro de Juara and Pedro Arias (carpenters); Anton Perez (gilded); Diego and Juan Pulido (potters).
Author Original
خوان رودريجيز، دييجو إيرنانديز ودييجو رودريجيز بناءون؛ كريسطوبال سانشيز، وألونسو جاليجو، وأندري وبيدرو دي خوارا وبيدرو أرياس نجارون؛ أنتون بيريز مُذهب؛ دييجو وخوان بوليدو فخاران
Type
Other
Language
Undetermined
Digital
Yes
Manuscript
No
Library
Museum With No Frontiers
Record ID
monument;ISL;es;Mon01;35;ar
Library Location
Seville, Spain
Notes
In 1483, Pedro Enrique and his wife, Catalina de Ribera, began purchasing lands on which they would build one of the most important palaces of the Andalusian aristocracy. According to Islamic custom, the entire perimeter was surrounded by a smooth brick wall, with an entrance in the axis and a recessed interior. On the small sides of the rectangular courtyard was a portico composed of a central arch supported by two narrower side arches. In the northwestern corner, we still preserve two smaller arches and one larger arch, in which we clearly know the “Almohad composition,” with well-known similarities in the courtyard of the bridesmaids in the Palace of Seville. These arches were supported by brick buttresses in the Mudejar tradition. On the longer sides of the nave, which consisted of compartments without porticoes, windows opened with lozenges topped by columns crowned with Corinthian capitals. It is a one-level building, in which the rooms open onto the courtyard without communicating between them. The reception halls were located on the smaller sides of the courtyard; It is necessary to imagine halls with multiple functions, covered with curtains, rugs, and gilded leather, with little furniture. The church is in a Gothic and Mudéjar style; The interior currently shows little damage. The decoration is based on a system of abstract plaster panels and a base decorated with interlaced ceramic inlay. The entry arch has Gothic and Mudejar elements, with a wide alfizade decorated with abstract decorations. On the outside, we find an inscription drawn from the Islamic tradition, with Arabic letters, reminiscent of the founder of the site, Pedro Enrique. The political and economic power of this family, which was proud of the Marquisate of Tarifa and the Duchy of the Castle, will be reflected in the various modifications that the palace will undergo. After Fadrique Enrique, the son of the founder, made a pilgrimage to Jerusalem, and after touring Italy, he asked Genoa for marble columns to replace the twelve brick pillars in the nave; He also renovated the gilded hall and the skating hall with architectural works, and added the coffered ceiling, completed by Andre de Juara. The staircase was also covered with a semicircular dome, inspired by the Ambassadors' Hall in the Palace of Seville. He expanded the palace towards the west, and added a floor to it in which he built the glass gallery. His grandson, Pere Avan de Ribera, Viceroy of Naples, succeeded him and continued the program of modifications, adding galleries to the longer sides of the courtyard; He brought Benveneto Tortello from Naples to renovate the palace in the Renaissance style and to install inside it the collection of ancient sculptures that he had collected in Italy. In 1861, the windows overlooking the courtyard were changed to lozenge windows - for this reason, the bodies of the Gothic columns present in the first palace of Don Pedro were reused. Finally, the entrance to the main courtyard, which was on the axis and refracted according to the Mudejar tradition, was replaced by another central entrance that allowed a comprehensive view of the whole.
Sample Text
M.ª del Carmen Alonso Rodríguez “Pilatus House” in Discover Islamic Art. Museum Without Borders, 2026. 2026. https://islamicart.museumwnf.org/database_item.php?id=monument;ISL;es;Mon01;35;ar
