Postcard from Sevilla, Spain: A trio of Mudejar-Renaissance palaces

Elderly and disabled priests needed a suitable place to live out their lives, so the Brotherhood of Silence undertook construction of an elegant residence to accommodate them in 1675 – Hospital de los Venerables Sacerdotes, or the Hospital of Venerable Priests. No expense appears spared during the Baroque palace, with altars and murals by some of Spain’s most famous artists. The project was completed under the direction of architect Leonardo de Figueroa (1650-1730), who designed San Luis de los Franceses. The former residence of aging priests was restored by the Focus Foundation in the late 1980s and now serves as the foundation’s headquarters and as an elegant exhibition space for the impressive artwork of the collection of its Velazquez Centre as well as contemporary acquisitions.

Among the numerous private palaces open to the public by its owners is Casa de Salinas. The 16th-century Mudejar-Renaissance style palace was purchased and restored by the Salinas family in the 20th-century. As in Casa Lebrija, Roman mosaic flooring found its way from an ancient site into a private home.

Another palace with origins in the 15th century is the Casa de las Duenas. In 1496, the house was sold to a member of the de Ribera family, and its rich combination of mudejar and Renaissance architectural details resembles the family’s Casa de Pilatos. Later, a Ribera descendant married a Duke of Alba, transferring the palace to the House of Alba.

The architectural interest of the house is perhaps overshadowed by the flamboyance of one of its owners, the 18th Duchess of Alba, who died in 2014 at the age of 88. The long-named María del Rosario Cayetana Paloma Alfonsa Victoria Eugenia Fernanda Teresa Francisca de Paula Lourdes Antonia Josefa Fausta Rita Castor Dorotea Santa Esperanza Fitz-James Stuart y de Silva Falco y Gurtubay also was multi-titled. According to Cayetana’s obituary in The Telegraph:

According to the Guinness Book of Records, she had more titles than any other person on the planet, being a duchess seven times over, a countess 22 times and a marquesa 24 times. Yet the Duchess always insisted she was not rich: “I have a lot of artworks, but I can’t eat them, can I?” she once said. Apart from thousands of paintings by Goya, Velazquez, Titian and others lining the walls of her numerous palaces, her collection included a first edition of Don Quixote, Columbus’s first map of America and the last will and testament of Ferdinand the Catholic, the father of Catherine of Aragon.

Her first wedding in 1947 to a son of the Duke of Sotomayor was held in the Cathedral of Seville, according to The Telegraph, the opulent ceremony:

…cost an estimated £2 million in today’s terms and was described at the time as “the most expensive wedding in the world.” The ceremony was so grand that there was concern it would overshadow the nuptials of Britain’s future Queen, held a month later in austerity Britain. The bride wore a white satin gown (view here) modelled on the dress worn by Napoleon III’s bride Empress Eugenie (1826-1920).

The couple had six children, with only one rumored to be fathered not by her husband but by a flamenco dancer. After her husband’s death in 1972, she next wed a former Jesuit priest 11 years younger than she. Outliving him as well, she shocked society, and her children, by marrying a civil servant 24 years younger in 2011. By then, much plastic surgery had transformed her former natural beauty into an almost cartoonish mask. The obituary includes photos of her with her final husband.

Most of her vast fortune, running into the billions, was divided amongst her children. One of her sons opened the first floor of the family residence to the public in 2016.

Postcard from Sevilla, Spain: The house that made Mudejar-Renaissance mashups fashionable

When the governor of Andalusia, Pedro Enriguez de Quinones (1435-1492) began construction of his palace, most of the building expertise in the neighborhood was provided by Mudejar craftsmen.

A two-year grand tour of the Holy Land and Italy by his son, Fadrique Enríquez de Rivera (1476 – 1539), brought Renaissance influences into the home but not at the expense of Mudejar architectural details and azulejos. More than 100 different tile designs from the 1530s by the Pulido brothers color the interiors and its multiple courtyards. The first marques of Tarifa, Fadrique set a trend for mixing these styles among the wealthy in Sevilla, and that influence is reflected in a multitude of house museums now open to the public.

In 1521, Fadrique also established the Semana Santa tradition of a Lenten procession he was exposed to in Jerusalem, the Holy Way of the Cross. The route of La Via Crucis began in his chapel and proceeded 1,321 paces to a pillar just outside the city walls. The number represents the purported number of steps Jesus tread from the House of Pontius Pilate in Jerusalem to the crucifixion awaiting him. Possibly this association is what led Sevillanos to refer to the home as the Casa de Pilatos.

Casa de Pilatos was made a national monument in 1931, but it remains the residence of the family of the Duke of Medinaceli, who retain portions as their private quarters.

I feel guilty including the portrait of “The Bearded Woman” by the famous Joseph de la Ribera, except it does jump off the wall at you. Instead of trying to explain the painting or my inclusion of it, I offer a translation of Ribera’s inscription on it. This is provided by WTF Art History (great blog title):

Look, a great miracle of nature. Magdalena Ventura from the town of Accumulus in Samnium, in the vulgar tongue Abruzzo in the Kingdom of Naples, aged 52 and what is unusual is when she was in her 37th year she began to go through puberty and thus a full growth of beard appeared such that it seems rather that of a bearded gentleman than a woman who had previously lost three sons whom she had borne to her husband, Felici de Amici, whom you see next to her. Joseph de Ribera, a Spaniard, marked by the cross of Christ, a second Apelles of his own time, by order of Duke Ferdinand II of Alcalá, Viceroy at Naples, depicted in a marvelously lifelike way. 17th February 1631.