page_title: Mudéjar art
section_title: Iberian Peninsula
hierarchical_section_title: Mudéjar art / Mudéjar style in architecture / Iberian Peninsula
caption_attribution_description: Español: Interior Iglesia Parrquial de Nuestra Señora de Loreto, Algezares (Murcia) siglo XVI, artesonado mudéjar, pinturas barrocas siglo XVIII This is a photo of a monument indexed in the Spanish heritage register of Bienes de Interés Cultural under the reference RI-51-0009086.
context_page_description: Mudéjar art refers to a type of ornamentation and decoration used in the Iberian Christian kingdoms, primarily in the 13th, 14th and 15th centuries though it continued being used as late as the 18th century. It was applied to Romanesque, Gothic, and Renaissance architectural styles as constructive, ornamental and decorative motifs derived from those that had been brought to or developed by Muslims in Al-Andalus.
  Mudéjar elements were developed in Iberia specially in the context of historicist architecture; there was a revival in the late 19th to early 20th century Spain as Neo-Mudéjar style. These motifs and techniques are also present in the art and crafts, especially Hispano-Moresque lustreware that was once widely exported across Europe from southern and eastern Spain. The term "arte mudéjar" was coined and described by the Spanish art historian José Amador de los Ríos y Serrano in his induction discourse El estilo mudéjar, en arquitectura at the Academia de Bellas Artes de San Fernando in 1859.
context_section_description: Mudéjar first developed by the Kingdom of Leon in the town of Sahagún, León as an adaptation of architectural and ornamental motifs, especially through decoration with plasterwork and brick. Mudéjar then extended to the rest of the Kingdom of León, Toledo, Ávila, Segovia, etc., giving rise to what has been called brick romanesque style. Centers of Mudéjar art are found in other cities, such as Toro, Cuéllar, Arévalo and Madrigal de las Altas Torres. While international interest tends to emphasize Mudéjar masonry, including the sophisticated use of bricks and tiles, Spanish scholars also note Mudéjar carpentry, as well as the combination of the two. Several churches have slanting wooden ceilings supported by transverse arches of stone, called diaphragms.
  It became most highly developed in Aragon, especially in Teruel but also in towns such as Zaragoza, Utebo, Tauste, Daroca, and Calatayud. During the 13th, 14th and 15th centuries, many grand Mudéjar towers were built in the city of Teruel, and these unique features have survived to the present day. A particularly fine example of Mudéjar-Renaissance style is the Casa de Pilatos, built in the early 16th century at Seville. Seville includes many other examples of Mudéjar. The Alcázar of Seville is considered one of the greatest surviving examples of Mudéjar Gothic and Mudéjar Renaissance architecture. 
  Portugal commissioned fewer and simpler examples of mudéjar elements incorporated into its architecture. The Church of Castro de Avelãs in Braganza features classic mudéjar brick work. Mudéjar also tended to be applied to the gothic Manueline style in Portugal, which was very lavish and ornate. Portuguese use of mudéjar developed particularly in the 15th and 16th centuries, and structures such as the Palace of the Counts of Basto and the Royal Palace feature characteristic mudéjar wooden roofs that are also to be found in some churches in towns such as Sintra and Lisbon. Since trade was an essential part of Portugal's culture in the 16th century, imported mudéjar decorated tiles from Seville appear in churches and palaces, such as the Royal Palace of Sintra.
caption: Nuestra Señora de Loreto, Algezares, city of Murcia: wooden ceiling on "diaphragm" arches
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