308 Apuntes del Alcázar de Sevilla
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All of this seems to suggest a greater degree of importance of the
space, corresponding to smaller sized zellij tiles, greater virtuosity
and a larger manufacturing cost. This also appears to be true in
the Patio de Doncellas and the Sala de Audencias, although not so
much so as in the important space known as the Salón de Emba-
jadores, which leads us to think that there could be a problem with
the dating of this area and perhaps with issues of another nature
which we will not be addressing at this time.
4 GLAZED COVERING
4. 1. Number and variety of colors
One of the most prominent and essential elements which make
us aware of the different manufacturing phases is the coloring of
the tile-work. We assume that ceramicists from the same period
in history, in the same production center that was Seville-Triana,
became accustomed to making their glazing in a very similar
way
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.
Over time, some of the colors from the range of the five basic
ones used in this type of tile covering offer a comparatively con-
stant image. This is the case for colors like black (magnesium)
or for honey (iron) but others like white (tin), blue (cobalt) and,
above all, green (copper) show a huge variability depending on
the components which were not always the same in their nature
nor in proportion
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.
In this way, sometimes intruding pieces in a panel can be identi-
fied, although when they increase in number doubts may arise as
to which of them are the originals and which are replacements.
Well programmed tests performed with colorimeters, starting ini-
tially with the parts with assured chronology, will eventually allow
us to identify replacements.
The number of colors used in a tile covering could indicate a cer-
tain level of quality although sometimes economic factors may
have come into play which could have influenced the color choice,
as not all the coloring oxides were priced the same. For example,
we know that white and blue were the most expensive, since tin
and cobalt often had to be imported.
It is a fact that the tile-work we consider to be the oldest is made
up of the greatest number of colors. For example, the Patio de las
Doncellas and the door-posts in the Salón de Embajadores use 5
colors as well as different shades of golden highlights; the Dormi-
torio del Rey Don Pedro, 4; the Sala de los Pasos Perdidos and the
Techo de los Reyes Católicos, 4; the Dormitorio de los Reyes Moros
and the Salas de los Infantes, 3.
4.2. Tone variability
Regardless of the number of colors used in the plinths in each
room, another aspect which is easily confirmed allows for the tra-
ditional tile-work to be differentiated from industrial, just as with
the cutting accuracy and mounting. This is the absence of tone
variability in those produced industrially against the presence of a
range of tones indicative of hand-made procedures, which would
oblige the installed master builder to avoid the concentration of
similar toned pieces in one area, to try to avoid a “stain-like” effect
by dispersing them as much as possible.
4.3. Other indications
The presence or absence of other indications related with the fir-
ing procedures used sometimes allows groups of similar pieces to
be identified. Among the most significant are, as we mentioned
before, the signs of tear from the stilts used during the firing pro-
cess but also of interest the absence or presence of stains caused by
glaze that dripped from other differently colored pieces, the age of
the perceived damage, the gloss and surface texture, the presence
or absence of pores, craters, wrinkles or blisters from excessive
glaze boiling or even the type and degree of dirt accrued.
5.- INSTALLATION
The peculiarities of this last stage could only be perceived in the
event that the tile covering were dismantled
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.
As previously commented, it is very important to verify if the edges
of the zellij tiles were modified by the traditional “trimming” pro-
cedure or if the inclined edge was created by a mold.
The robustness of the covering depends on three types of adhe-
sives and three types of mortars: that which joins each zellij tile
with its neighboring tiles, that of all the zellij tiles which forms a
plaque, and finally, that which attaches the plaque to the wall. But
also the analysis of other application methods like, for example,
wrought iron nails which hold the bonding mortar to the wall
should be analyzed as they could reveal the building traditions of
each time and place
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.
CONCLUSIONS
On the basis of the documentary information summarized in our
work published in the previous journal edition, and supported by
the material evidence previously detailed, we would like to suggest
a generic temporary reading of the plinths of the Mudéjar Palace
for which we can mark out at least six phases, to some of which we
can attribute more or less concrete dates and more rarely, manu-
facturers names
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(Fig. 10). A more detailed subsequent analysis
will probably suggest an increase in the number of phases or in-
terventions and above all, further detail the numerous pieces from
different times, which should assist in the restoration of the dam-
aged original plinths.
During the initial phase those on the ground floor, the galleries
of the Patio de las Doncellas and perhaps in the Salón de Emba-
jadores appear to have been covered with tiles and on the top floor
in the Sala de Audencias (Phase 1).
During the 15th century it would appear that a general operation to
cover all the rooms surrounding the Patio de las Doncellas, includ-
ing the Patio de las Muñecas was undertaken (Phase 2). Some parts
of this work must have been removed during the 16th century
when the
“cuerda seca”
tiles were made to imitate the previous tile-
work (Phase 3). Finally, to accommodate the rooms on the top floor
for the residence of Queen Isabel II, tile-covered plinths from the
upper quarters were ordered fromManuel Montaño by the Queen
in 1856 (Phase 4). At the initiative of José Gestoso, the deteriorated
plinths on the lower floor experienced an important replacement
operation for those complete panels which had survived until the
