The palace of Charles V in the Alhambra: graphic analysis of the ‘large plan’ (circa 1532)

Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 https://doi.org/10.1186/s43238‑024‑00136‑1 RESEARCH ARTICLE Open Access © The Author(s) 2024. Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/. Built Heritage The palace ofCharles V intheAlhambra: graphic analysis ofthe‘large plan’ (circa 1532) Antonio Gámiz‑Gordo1* and Antonio‑Jesús García‑Ortega1 Abstract Around 1526, Emperor Charles V decided to build a new Renaissance palace in addition to the Nasrid palaces in the Alhambra of Granada, a monumental site currently included in the United Nations Educational, Scientific and Cultural Organisation (UNESCO) World Heritage List. In that period, a large floor plan, which is preserved today at the Library of the Royal Palace of Madrid, was drawn to represent the building and its surroundings. Although this anonymous drawing has attracted considerable historiographic interest, a study of the graphical aspects analysed here, namely, paper assemblage, drawing technique, representation system, metrology, graphical scale, dimension‑ ing, and labelling, is lacking. To accomplish this analysis, the original document was carefully examined and digitalised with high definition. This process allowed a comprehensive graphic analysis, utilising other drawings from the same period as a comparative reference and studying for the first time the major characteristics of one of the most relevant architectural drawings of the 16th century. Keywords Drawing, Architecture, Renaissance, The 16th century, World Heritage 1 Introduction The library of the Royal Palace in Madrid has preserved a singular, undated plan by an anonymous author1 (Fig.1) that originated in the 16th century and that represents the Alhambra in Granada. The document is known as the ‘large plan’ due to its large size, 1307 × 669mm. The plan depicts the implementation in the medieval citadel of the new Renaissance palace that Emperor Charles V funded after his stay in the Alhambra in 1526 during his honeymoon with Isabella of Portugal. The drawing was probably completed before 1532, since the execution of the palace works began on that date (Marías 2018, 137), and the definitive location of the new palace was not depicted, as it was ultimately built slightly eastwards (Fig.2). The layout shows the palace with a square floor, a circular courtyard and arcaded squares southwards and westwards. Some parts constructed from the medieval period were also represented and labelled: the fortified enclosure of the Alcazaba, several towers, walls, and relevant Nasrid palaces. In addition to the new palace, westwards, a blank indicated the place occupied by the mosque, used then as a Christian church. Another area not depicted was the eastern part of the citadel or medina, where other Nasrid palaces and edifices were located. The ‘large plan’ is the earliest known graphic representation of the Alhambra citadel. Numerous details of the monumental site at that particular time were illustrated, facilitating the comprehension of its subsequent transformations. It was discovered in 1912 and was partially reproduced by Lampérez (1922, 493) in a reduced size, which probably impeded analysis of its details in the major restorations that were accomplished during the 20th century. There were no accurate reproductions until 1963, when the document was traced from a fullsized photograph by Manuel López Reche, draughtsman for the public technical bureau Oficina Técnica del Patronato (plano n° 2170, Archivo Planos Alhambra) (Gámiz *Correspondence: Antonio Gámiz‑Gordo [email protected] 1 University of Sevilla, Avd. Reina Mercedes nº 2, 41012 Seville, Spain 1 Madrid (Spain), Royal Library, ref. IX/M/242/2(1). Page 2 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 1998, 333). For this reason, the architect Leopoldo Torres Balbás eliminated a wall drawn in the layout (Rosenthal 1988, 42) (Vilchez 1988). Notably, since the mid-20th century, there has been an outstanding enhancement of architectural heritage as an essential part of cultural identity itself. To that end, accurate graphic documentation is essential for understanding, communicating, and preserving this heritage, according to the 1966 ICOMOS guidelines.2 This is why it is necessary to compile and study all kinds of historical images of our architectural heritage. Although no image provides a completely objective view of reality, its graphic signs contribute valuable data on the perceptions of its creators, their interests and their skills, just by observing the graphic technique they used. Thus, graphic analysis provides new ‘windows to memory’, which allows us to understand and appreciate the value of heritage and transformation over time by integrating them into interdisciplinary approaches. For these reasons, this research aims to highlight the heritage value of the ‘large plan’ as a foundational document to understand, preserve, and disseminate the most important palace of the early Spanish Renaissance, unfinished until the 20th century, together with its medieval surroundings. In addition to its architectural Fig. 1 c. 1532: layout showing the western area of the Alhambra citadel (north upside). (Source: Library of the Royal Palace of Madrid, ref. IX/M/242/2[1]) Fig. 2 c. 1930: Aerial photograph of the western area of the Alhambra citadel, showing that the palace of Charles V was still incomplete (north upside). (Source: unknown photographer, authors private collection) 2 https :// ww w. icomos . org/ en/ 116- engli shcateg ories/ res ou rces/ publi catio ns/ 382- collo quesur- lecentre- dedocum entat ionconfe renceon- theico- mosdocum entat ioncentre- 1966 (accessed 16 March 2024). Page 3 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 interest, the graphic document conveys great heritage value, being one of the most important architectural plans in 16th century Europe, though its comprehension would be incomplete without the graphic aspects discussed here. 2 State oftheart The ‘large plan’ is one of the few known graphic documents illustrating the design process of the new Renaissance palace of Charles V in Granada. Due to its great value and preservation requirements, the piece is currently safeguarded in the safety vault at the Royal Palace of Madrid. There are two other 16th century plans depicting a smaller area, both anonymous and without specific dates. One of them represents only the palace and is preserved in the National Historical Archive3 (Fig.3). The other plan includes the new edifice together with the arcaded squares that were never built, and it is considered the last of the three plans known. It is also preserved at the Library of the Royal Palace of Madrid4 (Fig.4). In addition, two elevations of the Palace of Charles V in the 16th century are also preserved, both anonymous and without a specific date. One of them is the west façade, which is known as the ‘Burlington’5 elevation. The other is an eastern foyer façade that was included in an album of drawings by Fray Eugenio de la Cruz in 1688.6 Among the numerous studies on the origins of the palace and its 16th century plans, the fundamental book by Rosenthal (1988) must be mentioned first, following the line of Gómez-Moreno (1885) and his son Gómez-Moreno Martínez ([1941] 1983). Other works by Tafuri (1987), Marías (1989, 369–387; 2018), Galera (1995), and Rodríguez (2000; 2001) contributed hypotheses on the poorly understood process of the genesis and implementation of the new palace in the Alhambra and its unknown designer. Additional sources include a monographic seminar on relevant historical data (Galera Fig. 3 c. 1528‑1532: Floor layout of the Palace of Charles V (north upside). (Source: Archivo Histórico de la Nobleza de Toledo, Osuna, CP, 10, D.20) Fig. 4 c. 1532–1536: Floor layout of the Palace of Charles V (north upside). (Source: Library of the Royal Palace of Madrid, IX/M/242/2[2]) 3 Toledo (Spain), Archivo Histórico de la Nobleza, Osuna, CP, 10, D.20. 4 Madrid (Spain), Royal Library, IX/M/242/2(2). 5 New York (USA), Metropolitan Museum of Art, num. 1981.1213. 6 San Lorenzo de El Escorial (Spain), Royal Library, Monastery of San Lorenzo de El Escorial, sign. 28-II-7, fol. 1. Page 4 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 2000), a book by several authors (VV.AA. 2001, 226–234) with a comprehensive bibliographic review and exhibition catalogues such as the one by Galera and Frommel (2018), with important chronological data provided by Marías (2018). Some graphic aspects of the 16th century palace plans were analysed by Rosenthal (1988, 23–46), Marías (2000, 420–425), Rodríguez (2001, 434), and Ortega (2001, 394). Gámiz-Gordo (1998) studied them together with other historical views of the Alhambra and analysed different architectonic aspects of the ‘large plan’ (Gámiz, 2001; 2008). Ramón-Laca (2004) compared the dimensions between the layouts, and an article by García and Gámiz (2022) examined the incised lines of the plan preserved in the National Historical Archive. In addition, another recent article from these authors (García and Gámiz, 2024) studies the other plan preserved at the Library of the Royal Palace of Madrid (Fig.4). There are not enough data to confirm the authorship of the palace or its layout plans. Rosenthal (1988, 31) conjectured that royal architect Luis de Vega participated in the first design, as he mentioned in documents prior to 1530. In the payments for the works accomplished after 1537, there are records of the name of the sculptor and architect Diego de Siloé, as an appraiser for Charles V, and painter Pedro Machuca, who was a master builder, although no other architectural works are documented under his name (Rosenthal 1988). Both had worked in Italy, and for this reason, Marías (1989), García and Gámiz (2022) attributed to Diego de Siloé the design of the floor plan preserved in the National Historical Archive. The ‘large plan’ object of this research has been attributed to Diego de Siloé and/or Machuca by Gámiz (2008), while Rosenthal (1988, 23–46) and Marías (1989, 369–387) ascribe it to Pedro Machuca. It should be considered that the architectonical forms of the palace represented in the ‘large plan’ entailed an innovation in Spanish architecture during the first half of the sixteenth century, showing a clear association with the Italian Renaissance style of that moment, as explained by Rosenthal (1988, 169–235). The studies by Tafuri (1987; 1992) and Fiori and Tafuri (1993, 386–89) assume the existence of previous designs from the artistic circle of Rafael de Sanzio, possibly by Giulio Romano. This artist has also been suggested as a possible author by, among other scholars, Rodríguez (2001, 429–431). Another plausible inspiration of the layout is Baldassarre de Castiglioni, nuncio of Pope Clement VII, who cultivated a solid friendship with Rafael de Sanzio. Castiglioni accompanied Charles V to Granada, together with the Venetian ambassador Andrea Navagiero and outstanding men of letters such as Boscán and Garcilaso de la Vega (Rosenthal 1988, 10). In addition, Tafuri (1987) and Galera (1995, 19; 2000, 215) have considered Villa Madama as a precedent model of the Palace of Charles V. The singular Roman palace was commissioned by Giulio de Medici, later Pope Clement VII, and its design by Raphael de Sanzio towards 1518 was known to Castiglione. Gómez-MorenoMartínez (1983) noted certain dimensional similarities between the two circular patios in both edifices. However, Rosenthal (1988, 171, 243–244, 267) considered that the coincidences may be derived from other previous drawings by Francesco di Giorgio and that the formal analogies are not foundational enough to establish a direct influence or a solid hypothesis on authorship. 3 Objectives andmethodology As previously discussed, the most recent and relevant research on the origins of the Palace of Charles V and its layouts has focused on historical and artistic aspects, the unknown authorship or possible formal references to its architecture. To date, there has been no comprehensive analysis of the graphic aspects of the ‘large plan’, which are essential to understanding. Thus, the main objective of this research is to analyse the graphic characteristics of the ‘large plan’, considering other contemporary drawings as a reference. From the results obtained, a better understanding of the design process of the ‘large plan’ and the professional profile of the artist will provide an additional step towards solving this complex dilemma. The proposed graphic analysis followed a methodology that started with the direct examination of the original layout. A new, high-quality scan (600 PPI) was obtained from both sides of the document, with a much higher precision than the prior reproductions available. Different details of the layout were also photographed using a Canon EOS 100D reflex camera provided with an EF-S 60mm f/2.8 Macro USM lens for high-precision close-ups. The computer-aided design software used (AutoCAD Architecture/Autodesk) allowed us to relate both paper sides and to study the cutouts and overlaps among the different papers, as well as the relative rotation between them. Other elements considered were the folding marks, the direction in which the paper was laid, the existence and position of the manufacturer’s watermark, the different and unnoticed graphic scales, and the relative rotation between papers. This study has opened a line of research that aims to provide new data about the ‘large plan’, taking other 16th century drawings located in several museums and institutions as comparative analytical references. The computer technologies of the 21st century have made it possible to consult these references online and Page 5 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 to obtain digital reproductions to study them. Only a few of them were selected to illustrate this article, considering their relevance in relation to the aspects of the layout analysed here. The drawings belonging to the Iberian Peninsula Gothic tradition were catalogued in comprehensive work by Ibáñez (2019). Among them, there is an interesting layout by Juan de Torollo for the Royal Monastery of Santa María de Guadalupe (Cáceres, Spain).7 The Portuguese selection from the early 16th century contains some interesting plans—due to their graphic characteristics and techniques—included in the book Livro das fortalezas by Duarte de Armas.8 The comparison of the document with other drawings by possible Spanish authors of the ‘large plan’ would have been very useful, but there are no similar documents by Diego de Siloé or Pedro Machuca, just a plain floor plan by Luis de Vega for a palace extension in Úbeda (Jaen, Spain).9 Another crucial step in this research was the consultation of the vast quantity of sources available at the Gabinetto dei Disegni e delle Stampe de la Galería degli Uffizi in Florence (Italy).10 A drawing by Baldassarre Peruzzi for a palace in Italy with a circular patio11 has been located there, plus another two drawings by Antonio di Sangallo il Giovani for the Villa Madama (c. 1518)12 (Figs.5, 6) with an arcaded patio similar to the one in the Palace of Charles V. Some of these drawings have been studied by Eiche (1992), facilitating their comparison with the ‘large plan’ analysed here. The results of the graphic analysis are presented below, focusing on the main characteristics of the ‘large plan’: conformation of the graphic support with different papers, technique and graphics used to draw the architectural elements, representation system, metrology, graphical scale, aspects of dimensioning—such as units of measurement, Arabic or Roman notations, and the level of precision—and explanatory labels. 4 Graphic characteristics ofthe‘large plan’ 4.1 Assemblage ofthedifferent pieces ofpaper The ‘large plan’ of the palace of Charles V almost has the shape of a rectangle with irregular edges. The piece measures 1307 × 669 mm and is composed of nine pieces of laid paper cut from an original sheet with an estimated size of 587 × 435mm, which is greater than the usual size (440 × 320mm). Ortega (2001, 394) estimated a size of 570 × 415mm, which this research calculated in a more precise manner by comparing the different pieces, the position of their original folding, and their watermarks. The piece shows small patches used for reparation and reinforcement. The direction of the pattern in which the paper was laid, the folds in the pieces, and the irregular perimeter of the plan evince the different orientations of the assemblage of papers. Fig. 5 Antonio da Sangallo il Giovane. ‘Pianta per Villa Madama a Roma’. (Source: Gabinetto dei Disegni e delle Stampe degli Uffizi. inv. 1054 A) 7 Madrid (Spain), National Historical Archive, Clero, MPD, 28. 8 Lisbon (Portugal), Arquivo Nacional Torre de Tombo PT/TT/CF/159. https:// digit arq. arqui vos. pt/ detai ls? id= 39097 07 (accessed 15 January 2024). 9 Simancas (Spain), Archivo General de Simancas, Mapas, planos y dibujos, 38, 083. 10 https:// euplo os. uffizi. it/ (accessed 15 January 2024). 11 Florence (Italy), Gabinetto dei Disegni e delle Stampe de la Galería degli Uffizi, inv. 456A. 12 Florence (Italy), Gabinetto dei Disegni e delle Stampe de la Galería degli Uffizi, inv. 314A; inv. 1054A. Page 6 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 After years of going missing, when this layout was rediscovered and acquired for the Library of the Royal Palace of Madrid in 1912, it was bound together with other historical drawings (Rodríguez 2001, 420). This would explain the holes on the left margin and the overall folds, one longitudinal and two transversals. There are also folds that affect only one piece of paper, which would result from the folding of the original sheet of paper from which they were cut: on the larger papers, the folds are located towards the centre, perpendicular to the direction of the laid paper and at a similar distance from the watermarks on some of the pieces. Close, direct observation of the original layout and its digital reproduction, comparing both of its sides, has allowed us to identify for the first time all the pieces of paper and their overlap (Fig.7). The overlapping strip was marked in both parts with incised dots to fix the cutting lines and the part to be glued. The overlapping area did not exceed 4 to 5mm, probably to facilitate the process of rolling the plan up. Watermarks from the manufacturer forming the initials MI have been detected in four papers, as indicated in Fig.7a, b, d, e and Rosenthal (1988, 30) identified this as a paper elaborated in Genoa in the decade starting Fig. 6 Antonio da Sangallo il Giovane. ‘Progetto in pianta della Villa Madama in Roma, con misure e note autografe’. (Source: Gabinetto dei Disegni e delle Stampe degli Uffizi, inv. 314A) Fig. 7 The pieces of paper composing the ‘large plan’, overlapping (thin line), direction in which the paper was laid, and watermarks. (Source: the author, based on Fig. 1) Page 7 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 in 1520. These marks reveal that the papers were not all used in the same position: the eastern part of the Alcazaba [b] and the Nasrid palaces [d] were drawn on the front (the latter was drawn by rotating the paper 180 degrees), while the western part of the Alcazaba and the new palace and arcaded squares were drawn on the back part of the paper [a, e]. This would explain some of the differences in the watering ink technique applied to the walls given the contrasting texture of the paper on both sides. Notably, some papers include architectural areas with a certain degree of autonomy. This is the case for the Nasrid palaces drawn on a single paper [d] or for the new Palace of Charles V with its porticoed squares [e]. The Alcazaba seems to have been drawn on two pieces of paper previously joined together [a, b]. Therefore, considering the relative rotation between some papers and the numerous incised graphic scales that have been detected, it seems that some areas would have been drawn before being joined together. This seems logical considering the complexity and extent of the area to be represented. In several instances [a, b, c, d], the drawing represented has the same orientation as the original paper fold and its laid texture (Fig.7). Other layouts of the same period reveal that the assemblage of different pieces of paper was a simple method to obtain more support material, as observed in two of the drawings for the Cathedral of Segovia (Spain)–attributed to Rodrigo Gil de Hontañón and completed between 1562 and 1577 − located in the archives of this cathedral (Ibáñez 2019, 474and 576). A similar process is observed in several drawings of the Villa Madama, such as the one coded 314A, which consists of seven papers glued together (Fig.6). In other drawings, this joining would allow us to trace an occasional reform, as is the case for the extension of the apse of the parish church of Azcoitia (Guipuzkoa, Spain), towards 1522, and preserved in the council archives of this town (Ibáñez 2019, 474and 576). The same technique was used to fold an elevation represented in a floor layout for a chapel of the church San Martín de Mendoza (Capilla de la Concepción in Álava, Spain)13 around 1550–1575 (Ibáñez 2019, 398). The papers composing the ‘large trace’ were joined together to provide support of a greater size, but the assemblage is quite singular in the link between the Nasrid palaces and the new palace with its arcaded squares. The overlap was irregularly cut, and some of the buildings or walls were drawn on different pieces of paper, revealing a much more complex process than simply joining finished drawings. The directions of the laid paper did not coincide, and the previous folds of the different papers were rotated towards each other. This procedure allowed us to test different options to try to address the complexity of the edifice implementation (Fig.8). All this seems to indicate that there was a design process that applied the collage method to assemble different partially drawn paper pieces and that they were completed once they were joined together. This innovative graphic resource, with no precedents known, would facilitate the representation of the vast complex of the Alhambra and the location of the new palace of Charles V in addition to the Nasrid palaces, which was not the final one. However, the union of old and new edifications was not accurately executed, and in the eighteenth century, architect José de Hermosilla lamented the extravagant irregularity of the building assemblage (Rodríguez 1992, 106). Likewise, the Arabist Emilio García Gómez wittily expressed, towards the end of the twentieth century, that the Palace of Charles V had impolitely ‘nudged the old Nasrid palaces’ (García 1988, 200). 4.2 Drawing technique The use of lines incised with a stylus as auxiliary lines prior to inking was a common graphic technique in the layouts of the time (Ibáñez 2019, 32–35). Sanguine was also used in auxiliary lines, though rarely in Spain. A palace by Peruzzi, also including a circular, arcaded patio, traced an auxiliary grid using sanguine prior to the drawing (Fig.9). The ‘large plan’ was traced first with thin incised lines with the help of a stylus; for auxiliary and main lines, the latter were then inked in sepia using a ruler or a compass divider. The smaller elements, particularly the curved ones, were drawn freehand following a common technique of that time. Thus, distances, line directions, corners, openings, or centres of circles were marked using incised dots. The possibility that the plan is a transcription of a previous drawing should be ruled out, as no ‘transference points’ or tracing incisions were detected. Walls and other architectural elements were drawn using two types of filling, namely, watered-ink fillings to identify existing architecture and oblique hatching for new architectural proposals, although there are exceptions to this approach (Fig.8). The watered-ink technique was applied once the whole drawing was completed, as many areas with this watered-ink filling were drawn between two pieces of paper. Such fillings in drawings were rare in Spain and were only located in the other two palace layouts (Fig.2). A schematic plan for the extension of a palace in Úbeda (Spain) by the royal architect Luis de Vega—the only known extant plan by this architect— used an ink with a lighter shade for a previous, auxiliary delineation, and the final design was marked with more intense ink (Fig.10) without filling in the walls. 13 Toledo (Spain), Archivo Histórico de la Nobleza, Osuna, cp. 11, d. 23. Page 8 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 The filling technique in wall sections was rarely used in the Iberian Peninsula until the mid-16th century. Except for minor elements and details, the first example was dated from 1537, and was a plan of the Royal Chapel of the Cathedral of Seville (Spain)14 (Ibáñez 2019, 312–15). Nevertheless, it was a standard practice in Italian Renaissance drawings, as it was a much clearer and more expressive way to represent the new architectural forms and interiors (Castellanos 2010, 172), as illustrated in the drawing by Baldassarre Peruzzi (Fig.9). 4.3 Representation system The ‘large plan’ used exclusively orthographic projection. Other resources common to the Gothic tradition in the Iberian Peninsula, such as drawings using several levels or superimposed floor plans or superposed drawings of vertical elements, were discarded. This graphical technique, where vertical shapes are folded to depict them together with horizontal projection, was frequently used for doors, as in the plans of the cited book Livro das fortalezas by Duarte. The profile of the vaults was rabatted in some instances, as in the case of the layout by Torollo for the Royal Monastery of Santa María de Guadalupe (Fig.11). The constructions of several floors represented in the ‘large plan’ were represented mainly through their floor plan, although sometimes the upper floor appears, such as in the chambers attached to the Cuarto Dorado, in the Patio del Harem at the Palacio de los Leones, or in the new rooms in the Patio de Lindaraja. 4.4 Metrology andgraphical scale One of the labels observed in the ‘large plan’ that is of a strictly technical nature refers to the unit of measurement used for the annotated dimensions: ‘toda la quenta desta traça son pies de a terçia de vara cada pie’ [all the dimensions in this plan are feet of third of a vara]. This expression was frequently used in Fig. 8 Details of the ‘large trace’ papers showing the Nasrid palaces and the new palace (the irregular assemblage and paper folding can be observed in the image). (Source: Library of the Royal Palace of Madrid, ref. IX/M/242/2[1]) 14 Seville (Spain), Archives of the Ducal House of Medinaceli (Casa de Pilatos), Partido de Sevilla, legajo 9, doc. 64. Page 9 of 15 Gámiz‑Gordoand García‑Ortega Built Heritage (2024) 8:23 Spanish plans from the 16th century to specify the type of foot, given the heterogeneity in the metrological systems at that time. Although it is not specified which kind of vara was used, it would probably be Castilian (83.59cm); therefore, the indicated pie would measure 27.86cm. This hypothesis is supported by a similar expression that appears under the graphical scale of a 1594 floor plan, ‘casa del Conde de Lemos en La Coruña’,15 indicating that the third of a foot specifically refers to the vara castellana. Fig. 9 Baldassarre Peruzzi, c. 1530. ‘Pianta di grandioso palazzo per Conde di Pitigliano con misure e indicazioni’. (Source: Gabinetto dei Disegni e delle Stampe degli Uffizi, inv. 456A) Fig. 10 Luis de Vega, 1532. Palace extension by Francisco de los Cobos in Úbeda (Jaén, Spain). (Source: Archivo General de Simancas, Spain, Mapas, planos y dibujos, 38, 083) 15 Simancas (Spain), Archivo General de Simancas, Mapas, planos y dibujos, XVI-177, http:// www. mcu. es/ ccbae/ es/ consu lta/ regis tro. do? id= 180436 (accessed 15 January 2024).