Palacio Buenavista Sevilla
History of the Palacio Buenavista Seville (The house of one night)
This seventeenth century manor house located in Cano y Cueto street, has been rehabilitated in 2018 maintaining the characteristics of this unique building in Seville. The facade with its balconies and large windows, but above all its interior patio is a sample of typical Sevillian architecture. The renovation has returned to the building and its tile all its splendor. If we look at the upper left part of the facade we can see a ceramic representing San Fernando, patron of the city of Seville.
This tile recalls that Ferdinand III, according to legend, spent the night here in an inn that existed at the time after the conquest of the city, hence the name by which it was known, "The house of one night". As the treatment he had had had been so good, he gave them something that for the time was unthinkable for anyone who was not of the nobility, have clean water in their establishment and free.
The City Council extended this royal grace to all the inhabitants of the building until El Toboso restaurant was located there.
The building has global protection B in the General Urban Development Plan due to its high historical value.
Logically the building of the time had no floors like the one that is currently but there is certainty of the place where the inn was and it was there.
Even shots hit him to the altarpiece of ceramic trianera of the street Cano and Cueto that represents to San Fernando in the mythical place known like House of a night. About three centuries ago he managed to endure (not too well) attacks, inclemency and wear and tear, until finally he is again flamboyant after a restoration that has returned health to this small but valuable relic of the history of the city.
The historian and conservator of cultural goods José León Calzado refers to this newspaper that was in the year 2016 when the rehabilitation works of the house located at number 7 Cano Street and Cueto de Sevilla began, according to the architect's project Francisco Granero Martín and under the direction of the works of Francisco Orellana Albertos. "The actions that the building required at the facade level", according to the expert, "required the extraction of his famous ceramic altarpiece dedicated to San Fernando". Considered not only part of the building but also as "a very important element" to protect, "this performance was seen as an excellent opportunity to restore the piece and restore the splendor that had been lost by the passage of time and by a previous intervention, entrusting its restoration to the specialized company Dédalo Bienes Culturales SL ».
"This ceramic work can be considered as a unique example", continues José León Calzado, "because after revolts such as La Gloriosa in the middle of the 19th century and other edicts approved by the City Council during that century there was a generalized elimination of sacred images and public altars that were in the streets and squares of Seville. Few are the works of this type that have managed to be preserved, so that the ceramic altarpiece is an artistic and historical creation of the first order for its values and also for its technical characteristics, since it has revealed many aspects about the production of pottery I was doing in Triana in the seventeenth and eighteenth centuries ».
The historian emphasizes that precisely these technical characteristics and the analogies that the altarpiece presents with other preserved works, such as the altarpiece of San Fernando de San Clemente and that of fallen Christ, today in the Museum of Fine Arts, are "those that have allowed it to be cataloged. as a fully baroque work dating from the mid-eighteenth century. Various signs have revealed that at a given moment in its history was torn from its original place and placed on the facade where it has been known throughout the twentieth century, place to which the popular legend grants the nickname of the House of One Night, for supposedly being where King Ferdinand III spent the night on the eve of his triumphal entry into Seville. "
"The ceramic altarpiece was in a bad state of conservation, since its pathologies were caused by human action," continues the historian. «It presented a multitude of fragmentations due to the previous extraction, in addition to very deep perforations caused by shots received during the Civil War revolts, which in turn had generated fissures through which moisture penetrated directly, thus causing deterioration of the tiles ».
The restoration "has been developed with an important theoretical base composed of a thorough examination of its state of conservation and its technical characterization. The intervention has been developed for five weeks. Throughout this process cleaning work was carried out in all its facets, the union of fragments, the restitution of flakes in their original layout and the volumetric and chromatic reintegration with scientific criteria of the gaps that they presented. Especially important for its final contemplation have been the reorganization actions of original fractions that were arranged in an erroneous way and the express execution of the upper fringe, taking as a model the original preserved in the lower area. Thus, the restoration has concluded not only with the correction of its deterioration, but with the recovery of its original Baroque composition, which can be seen in all its splendor on the facade ».
This tile recalls that Ferdinand III, according to legend, spent the night here in an inn that existed at the time after the conquest of the city, hence the name by which it was known, "The house of one night". As the treatment he had had had been so good, he gave them something that for the time was unthinkable for anyone who was not of the nobility, have clean water in their establishment and free.
The City Council extended this royal grace to all the inhabitants of the building until El Toboso restaurant was located there.
The building has global protection B in the General Urban Development Plan due to its high historical value.
Logically the building of the time had no floors like the one that is currently but there is certainty of the place where the inn was and it was there.
Even shots hit him to the altarpiece of ceramic trianera of the street Cano and Cueto that represents to San Fernando in the mythical place known like House of a night. About three centuries ago he managed to endure (not too well) attacks, inclemency and wear and tear, until finally he is again flamboyant after a restoration that has returned health to this small but valuable relic of the history of the city.
The historian and conservator of cultural goods José León Calzado refers to this newspaper that was in the year 2016 when the rehabilitation works of the house located at number 7 Cano Street and Cueto de Sevilla began, according to the architect's project Francisco Granero Martín and under the direction of the works of Francisco Orellana Albertos. "The actions that the building required at the facade level", according to the expert, "required the extraction of his famous ceramic altarpiece dedicated to San Fernando". Considered not only part of the building but also as "a very important element" to protect, "this performance was seen as an excellent opportunity to restore the piece and restore the splendor that had been lost by the passage of time and by a previous intervention, entrusting its restoration to the specialized company Dédalo Bienes Culturales SL ».
"This ceramic work can be considered as a unique example", continues José León Calzado, "because after revolts such as La Gloriosa in the middle of the 19th century and other edicts approved by the City Council during that century there was a generalized elimination of sacred images and public altars that were in the streets and squares of Seville. Few are the works of this type that have managed to be preserved, so that the ceramic altarpiece is an artistic and historical creation of the first order for its values and also for its technical characteristics, since it has revealed many aspects about the production of pottery I was doing in Triana in the seventeenth and eighteenth centuries ».
The historian emphasizes that precisely these technical characteristics and the analogies that the altarpiece presents with other preserved works, such as the altarpiece of San Fernando de San Clemente and that of fallen Christ, today in the Museum of Fine Arts, are "those that have allowed it to be cataloged. as a fully baroque work dating from the mid-eighteenth century. Various signs have revealed that at a given moment in its history was torn from its original place and placed on the facade where it has been known throughout the twentieth century, place to which the popular legend grants the nickname of the House of One Night, for supposedly being where King Ferdinand III spent the night on the eve of his triumphal entry into Seville. "
"The ceramic altarpiece was in a bad state of conservation, since its pathologies were caused by human action," continues the historian. «It presented a multitude of fragmentations due to the previous extraction, in addition to very deep perforations caused by shots received during the Civil War revolts, which in turn had generated fissures through which moisture penetrated directly, thus causing deterioration of the tiles ».
The restoration "has been developed with an important theoretical base composed of a thorough examination of its state of conservation and its technical characterization. The intervention has been developed for five weeks. Throughout this process cleaning work was carried out in all its facets, the union of fragments, the restitution of flakes in their original layout and the volumetric and chromatic reintegration with scientific criteria of the gaps that they presented. Especially important for its final contemplation have been the reorganization actions of original fractions that were arranged in an erroneous way and the express execution of the upper fringe, taking as a model the original preserved in the lower area. Thus, the restoration has concluded not only with the correction of its deterioration, but with the recovery of its original Baroque composition, which can be seen in all its splendor on the facade ».
