270 Apuntes del Alcázar de Sevilla
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nglish
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Figura 4b. Detail of the conservation state of the façade. Generalized
erosion, powdering of the rock surface, perforation or fragmenta-
tion of edges
Figure 5a.
Estanque de Mercurio
, which joins the works made during
the reign of King Felipe II —configuration of the sidewalks, central
statue and balustrade of the E
stanque de Mercurio —
, those directed
by the master Vermondo Resta — façade of the G
alería del Grutesco
and its north vantage — and those managed by Sebastián Van der
Borcht after the earthquake of 1755 — staircase leading to the
Jardín
de la Danza
.
Figure 5b. Detail of the conservation state of the balustrade placed
in the north side of the
Estanque de Mercurio
. This balustrade is
composed by four lions holding emblems, eighteen spheres, twenty-
two pedestals and four hundred and nine balusters. These lions and
spheres were made by Bartolomé Morel and gilded by Carlos de la
Cruz, using some Diego de Pesquera’s work as model.
Figure 6. Integrated Projects of Intervention included in the Resto-
ration Plan
Figura 7. Maintenance actions of the Restoration Plan
Figure 8.a. Image of the patio of the house number 2 placed in the
Apeadero
(south wing of the
Patio del Yeso
) as it was found by Fran-
cisco Tubino in 1885. The author rediscovers and chronologically
locates the
Palacio del Yeso
(Marqués de la Vega Inclán,
Comisaría
Regia
, Madrid, 1915)
Figure 8.b. Image of the south wing of the
Patio del Yeso
after the re-
covery achieved by Marqués de la Vega Inclán (Marqués de la Vega
Inclán,
Comisaría Regia
, Madrid, 1915)
Figure 8.c. Image of the south wing of the
Patio del Yeso
in its cur-
rent state. After the recovery achieved by Marqués de la Vega Inclán,
Rafael Manzano completed a large part of the plasterwork that can
be seen today in the
Patio del Yeso
.
4
Figure 9a. Pictorial remains of the
Cuarto de las Bombas
. Representation
of a Virgin of the Rosary holding Jesus. Teresa Valle, after the restoration
in 1998, says that it probably dates from the seventeenth century
Figure 9b. Detail of the conservation state of the mural painting.
According to Valle, the main cause of deterioration is the human
activity, as, in theory, the room conditions were adequate for its con-
servation
Figure 10. Restoration plans for each room included in the Restora-
tion Plan
Figure 11.a. Detail of the roof of the eastern
Alhanía
(bedroom) lo-
cated in the
Salón del Príncipe
of the
Palacio Mudéjar Bajo
(octagonal
polychrome framework in its modality
apeinazada
(ribbon traced),
sustained by wooden knee braces. Hipped roof in 8 parts.
Almizate
- plane formed by collar beams). This roof is included in the restora-
tion plans for each room of the
Palacio Mudéjar
(Study)
Figure 11.b. Detail of the
alfarje
ceiling (paneled) of the
Sala de los Pa-
sos Perdidos
of the
Palacio Mudéjar Bajo
(polychrome wooden
alfarje
ceiling in its modality
ataujerada
-ribbon nailed). in the restoration
plans for each room of the
Palacio Mudéjar
(Maintenance)
Figure 12.a. Example of Study document. Document of the mural
painting of the
Torre del Agua
. Zone 3
Figure 12.b. Example of restoration plans for each room and Inter-
vention document. Flooring of the
Palacio Mudéjar Bajo
. Zone 6
Figure 13. Summary tables including all the Identifications of each
zone and the type of action
Figura 14. Summary tables of the Identifications depending on ma-
terials
Figure 15. Detail of the plasterwork ornamentation of the gallery
located in the
Patio de las Doncellas
. Buttress which supports the
central arch of the gallery placed next to the
Alcoba Real
(royal bed-
room), built at the end of the sixteenth century. Inner side decorated
with arabesque elements and framed by plateresque balusters with a
great variety of composition
