301
ing the exterior perimeter. It includes the representation of scallop-
shaped semi-circular arches whose hollows hold different scenes,
some of thempartial. There, we can see people,
putti
or animals, many
of themmaimed because of their poor conservation state.
Marín Fidalgo, A .:
El Alc
á
zar de Sevilla bajo los Austrias.
T.II. Ed. Gua-
dalquivir, Sevilla, 1990; p. 799.
“In 1615,(Diego)Esquivel painted on the
vault of the ‘Palacio del Crucero’; that is to say, the area located in the
passage leading from the ‘Jard
í
n de la Danza’ to the ‘Jard
í
n del Crucero’ (…
). This vault, painted during the sixteenth century, was possibly restored”.
Marín Fidalgo, A .:
El Alc
á
zar de Sevilla bajo los Austrias.
T.II. Ed. Gua-
dalquivir, Sevilla, 1990; p. 810
Marín Fidalgo, A .:
El Alc
á
zar de Sevilla bajo los Austrias.
T.II. Ed. Gua-
dalquivir, Sevilla, 1990; p. 799.
“In 1615,(Diego)Esquivel painted on the
vault of the ‘Palacio del Crucero’; that is to say, the area located in the
passage leading from the ‘Jard
í
n de la Danza’ to the ‘Jard
í
n del Crucero’ (…
). This vault, painted during the sixteenth century, was possibly restored”.
This small fragment, placed on the northern wall of the vault on its
west side, was completely covered by mortar and ochre lime, the same
color covering the whole central gallery. Because of having been pro-
tected, its making and pictorial characteristics have been preserved
with very fewmodifications, keeping a high color intensity.
Valle Fernández, T.:
Un Proyecto para la recuperaci
ó
n de pinturas
murales en el Real Alc
á
zar.
Revista Apuntes del Alcázar, nº 2, 2001.
p.50-63
Baceiredo Rodríguez, I.:
Proyecto de Conservaci
ó
n y Restauraci
ó
n
de las pinturas murales y revestimientos de los Ba
ñ
os de D
ñ
a. M
ª
de
Padilla del Real Alc
á
zar de Sevilla. Estudio de Patolog
í
as y Planim
é-
trico.
2003-04 (unpublished).
During the fieldwork, the restoration team which collaborated with
this study was composed by the Fine Arts graduates, conservators-
restorers Macarena Samada Morillo, Ana Malo de Molina, Aureliano
García Rentero, Rocío Márquez Garrido, Lucía Ariza Molina, under
the technical coordination of Mª Isabel Baceiredo Rodríguez.
The team responsible for the analysis of the samples of mortar, load
and pigments during the study and the research project was formed
by the chemists Mª B. Sigüenza Carballo, José L. Pérez Rodríguez, Án-
gel Justo Erbez, Mª C. Jiménez de Haro and A. Durán Benito, com-
ing from the
Instituto de Ciencia de Materiales
(Institute of Materials
Science) of the
Consejo Superior de Investigaciones Cient
í
ficas
(Spanish
National Research Council) of the
Universidad de Sevilla
. The results of
their analysis are attached to the
Restoration Plan
as
Estudios Comple-
mentarios, Anexo I
(Complementary Studies, Annex I), called
Estudio
Cient
í
fico de Muestras procedentes de las pinturas murales de los Ba
ñ
os
de D
ñ
a. Mar
í
a de Padilla
(Scientific Analysis of Samples Coming from
the Mural Paintings of the
Ba
ñ
os de D
ñ
a. Mar
í
a de Padilla
).
The study and characterization of the flora that was affecting themu-
ral paintings were carried out by the team of biologists composed by
José A. Mejías Gimeno, Zoila Díaz Lifante and José González Batan-
ero, coming from the
Departamento de Biolog
í
a Vegetal y Ecolog
í
a
(Department of Plant Biology and Ecology) of the
Universidad de
Sevilla
. The results of their analysis are attached to the Restoration
Plan as
Estudios Complementarios, Anexo II
(Complementary Stud-
ies, Annex II), called
Estudio y Caracterizaci
ó
n de la flora que afecta a
las pinturas murales de los Ba
ñ
os de D
ñ
a. Mar
í
a de Padilla
(Study and
Characterization of the Flora Affecting the Mural Paintings of the
Ba
ñ
os de D
ñ
a. Mar
í
a de Padilla
).
The planimetric documentation has been elaborated under the di-
rection of Víctor Baceiredo Rodríguez, Topographic Engineering
graduate, on the basis of the previous planimetric documentation
elaborated by A. Almagro Gorbea (2000).
Baceiredo Rodríguez, Mª I. y LópezMadroñero, M:
Restauraci
ó
n de
las pinturas murales de las galer
í
as porticadas perimetrales del Patio
Bajo del Crucero.
Revista Apuntes del Alcázar, Nº 11, 2010, p. 102-131
TECHNICAL SHEET
PROMOTER:
Patronato del Real Alcázar y Casa Consistorial de Sevilla
PROJECT MANAGEMENT OF INTERVENTIONS ACCORDING
TO IMPLEMENTATION PERIODS:
• 2002-2008: José Mª Cabeza Méndez. Arquitecto Técnico. Direc-
tor Conservador
• 2008-2011: Antonio Balón Alcalá. Arquitecto. Director Conservador
• 2011-2015: Jacinto Pérez Elliott. Arquitecto. Director Conservador
• 2015: Isabel Rodríguez Rodríguez. Arqueóloga. Directora Con-
servadora
INTERVENTION:
Awarded company: CREST ARTE, S.L.
Technical Management:
• Mª Isabel Baceiredo Rodríguez, Conservadora Restauradora, Lda.
BBAA
• Mauricio J. López Madroñero, Conservador Restaurador, Ldo. BBAA
Implementation period:
From 2002 to the present time
Conservation and Restoration Team:
Technical Coordination:
• Mª Isabel Baceiredo Rodríguez
Intervention Team:
• Mauricio J. López Madroñero. Art Conservator- Restorer
• Macarena Samada Morillo. Art Conservator- Restorer
• Aureliano García Rentero. Art Conservator- Restorer
• Mª Isabel Baceiredo Rodríguez. Art Conservator -Restorer
• Esther Páez Mejías. Art Conservator- Restorer
• Rocío Díaz Lozano. Art Conservator- Restorer
• Noelia Payán Soria. Undergraduate Degree in Conservation and
Restoration of Cultural Heritage Student Apprentice
Photography:
• CREST ARTE, S.L. ( all of them, except for the specified by a dif-
ferent author)
• Daniel Salvador- Almeida González , Photographer (Pics. 80, 83
to 89, 96 to 98)
Inphographics:
• Daniel Baceiredo Rodríguez . Technical Inphography Profes-
sional (Pics. 1, 22, 28 and 95)
