268 Apuntes del Alcázar de Sevilla
E
nglish
version
• Conservation State, as a simple approximation based on a visual
observation. This part is not in every document included in the
section of “Study” due to the difficulty of reaching a certain degree
of knowledge in some cases. Such is the case of some roofs owing to
their height or as a result of defective lightening of some rooms.
• Plan of Action, where some minimum contents can be found
according to the type of action selected in each document. If the
action was an intervention, this plan of action would include some
small parameters on the basis of the indicated conservation state.
In each document, depending on the kind of action, the neces-
sity of a previous study is mentioned, as well as the need of the
documentation related to the performed intervention and of the
writing of a maintenance plan.
• Bibliography, that has been included in each document instead
of writing just one general bibliography. This way, each cata-
logued element can be read independently.
The content. Visual part of the work
From the beginning, we believed that supplementing the textual
part with a visual part was necessary, so we divided every page in
two. We did that in order to capture by means of pictures every cata-
logued element so it was easier and more understandable the read-
ing of this work. Also, efforts have been made to collect and repro-
duce old images, maps, engravings, paintings or postcards, as they
help understand the transformations of the complex or of some of
its parts —figure 8.
Images have been preferred over planimetry, only used for the pur-
pose of location.
Record and actions
In several cases, the record only mentions one action, so the nota-
tion of the document would be the same as its Identification. This
is the case of the mural painting of the
Cuarto de las Bombas
(docu-
ment 2.6) -figure 9. Here, the record only mentions the pictorial re-
mains, an only material that we can catalogued as so.
However, as the current complex of the
Real Alcázar
has been form
by adding more buildings from different periods, this last example
is not usual. While we were making this work, we have found two
situations that contrast with what we said before.
One of them is the fact that a room or area can gather more than
one element that has to be catalogued. The
Sala de la Justicia
and the
Patio del Yeso
(document 1.1), for example, have been catalogued in
just one document, including its Background, nine different Identi-
fications, which also join their respective parts of Conservation State
and Plan of Action. This way, we can register and photograph tiles,
roofs, plasterwork, etc., but in a contextualized way according to the
room or the area in which the area placed.
The second situation is more linked to the creation of “restoration
plans for each room”—figure 10—. Some have already been carried
out by restoring the roofs of the
Palacio Mudéjar
or the cycle of paint-
ings of the
Baños de María Padilla
. Some suggestions have been made
about doing the same with the roofs of the
Cuarto de la Montería
and
the tiles, plasterwork, columns and flooring of the
Palacio Mudéjar
.
Clearly, each one of the named elements adheres to just one area, ei-
ther the
Cuarto de la Montería
or the
Palacio de Pedro I
, and the situa-
tion could be compared with the condition explained for the
Sala de
la Justicia
and the
Patio del Yeso
. Still, here the situation is different. In
comparisonwith the anterior case, here we have tiles, columns or plas-
terwork in different rooms of the same enclosure. Therefore, in this
last case, we only have one document again, the document belonging
to the roofs of the
Palacio Mudéjar Bajo
, for instance (document 6.1.1),
composed by twenty-three Identifications —figure 11.
3. RESULTS
The attached summary tables —figure 13— show the quantita-
tive part of this inventory work. A three-column chart has been
included and is used to mark the type of action that has been re-
quired for each record. There is also a forth gap used to write any
possible comments. Thirty-eight documents have been created, in
which a total of 154 Identifications and Records have been includ-
ed. Of these documents, 15 are Studies, 29 are Interventions and
there are five Maintenance documents (some of them are classified
into more than one type of action, which explains the difference
between the addition result and the total number of documents).
Regarding Records, 66 are Studies, seventy are Interventions and
nineteen are classified as Maintenance. In the first category, the
presence of restoration plans for the
Palacio Mudéjar
is obvious.
There is a total of seven subordinated interventions, five Mainte-
nance actions, five Integrated Projects of Intervention and eight
restoration plans for each room (three of them are already under
way and the remaining five has been suggested).
By dividing the documents taking into account the materials —figure
14—andwithout including the records of the restoration plans for each
room, we can perfectly see that the predominant materials are stone
and ceramics. Metal, plasterwork and the interventions related to para-
mental archaeology are the less representative ones, in that order.
4. COLLABORATORS AND DOCUMENTARY SOURCES
Other inventories
In order to elaborate this Restoration Plan, we have used some previ-
ous cataloguing pieces of work as guide. The “
Inventario de Pinturas
Murales y Revestimientos
” (Mural Paintings and Facing Inventory),
started by Teresa Valle in 1997, set the stage for taking into consid-
eration mural paintings and it led to the restoration of the cycle of
paintings of the
Baños de María Padilla
, among other things. Anoth-
er similar work is the “
Dossier y estado de las fuentes del Real Alcázar
de Sevilla”
(Dossier and State of the
Real Alcázar
Fountains), made in
2013 by Maribel Baceiredo. It provides a full view of all the fountains
of the enclosure and gives a lot of information of every one of them.
More or less specialized, but certainly useful as initial contacts, we
can find the
Trabajos de Fin de Carrera
(degree Project in the final
year) directed by the Professor Juan Castro: “
Arquitectura, técnica y
agua en los jardines del Alcázar de Sevilla
” (Architecture, Technique
and Water in the Gardens of the
Real Alcázar
), from 1998 and about
the fountains of the enclosure; and “
Las columnas en el Palacio del
Rey Don Pedro. Recintos bajos. Real Alcázar de Sevilla. Análisis, estudios
gráficos y patologías
” (The Columns in the
Palacio del Rey Don Pedro
.
Recintos bajos. Real Alcázar
of Seville
.
Analysis, Graphic Studies and
Pathologies) from 2002, an excellent contribution about the marbles
of the
Palacio Mudéjar
.
