page_title: Palacio de Fabio Nelli
section_title: Palace construction
hierarchical_section_title: Palacio de Fabio Nelli / Palace construction
caption_attribution_description: Español: Palacio clasicista llamado de Fabio Nelli. Valladolid (España). Patio construido bajo la dirección de Pedro de Mazuecos el Mozo y la ejecución del escultor Francisco de la Maza que talla escudos y relieves de decoración. English: Classicist palace named Fabio Nell in Valladolid, Spain. Yard built under the direction of Pedro de Mazuecos el Mozo and the making of the sculptor Francisco de la Maza who carves coats of arms and decoration reliefs.
context_page_description: The Palacio de Fabio Nelli is, according to the critics and historians, the Renaissance building of the most important classical period of the city of Valladolid. According to the architect Antonio Bustamante García, «it's considered this palace the best exponent and work of first row inside the Classicism of the civil architecture of Valladolid». The art critics ensure that had much to do with the result of the work, the good relations and understanding between the sponsor, the banker Fabio Nelli, and the genius and mastery of the author Pedro of Mazuecos El Mozo.
  Built in a period in which Valladolid became more decadent, its construction lasted some twenty years, succeeding periods of inactivity in the work and a change of architect due to the death of Juan de la Lastra, the original architect.
  Decorated and finished following Italian classicist style, its facade, playground and stairs are the epitome of this type of architecture in Valladolid. After the death of the banker the Palacio had several uses, until in the 20th century it became headquarters of the Valladolid Museum, an institution destined to collect all the archaeological and artistic remains of the province.
context_section_description: The works of the palace initiated in 1576 in the solar of the main houses already quoted. April 15 of the same year the banker Fabio Nelli and the teacher of stonework Juan de la Lastra signed an agreement to carry out the foundations of the walls of the building. In this document were perfectly determined measures, materials and how to work them:
  Juan de la Lastra built the foundations and the corresponding areas. The plan was the usual one for Valladolid palaces: a hallway on the left side of the frontage, with the doors of the street and of the playground misaligned forming an oblique line without taking into account an axis of symmetry. He placed the access door to the playground from the hallway in steep form to avoid all vision from the external door.
  Juan de la Lastra took as a model to carve the door of the hallway which led to the playground, the architect Baldassare Peruzzien and his work of restoration of the Maximum Colonne palace, both in form and location. The works continued during the following six years according to the traces of the palace in Valladolid tradition, with the typical offset hallway, as was made in the Berruguete's house, Escudero-Herrera palace, Pimentel palace and in so many others. But the work of Juan de la Lastra was truncated by the illness and death of the artist who, in January 1582 gave testament shortly before his death.
  From that year the sculptor Francisco de la Maza and the architect Pedro de Mazuecos el Mozo were commissioned to continue the construction of the building. It has news of the respective agreements thanks to the document of the Process of Hierarchical Analysis. appearing with the signature of the notary Miguel Palacios, (year of 1582, leg. 531, fol. 100). In these documents are all sorts of instructions and details for style of columns and stairs of the main playground, from traces of Pedro de Mazuecos el Mozo. That year began the works of playground and stairs, which lasted four months as is demanded in the agreement.
  In 1589 Fabio Nelli decided to personally deal with the management of the works of his palace (until the moment his brother had addressed) staying in the rear section which was the only ones finished even with decoration. The first step was the completion of the frontage and cover which turned to the young and promising Diego de Praves accepted, counting as guarantors with Juan de Nates and Juan de Mazarredonda and witness Pedro de Arce. In the agreement referred to at the time which should provide the works and the established price:
  In the month of December still were working in the bay of the front, so the occupants of the palace had big difficulties to go out; Fabio Nelli asked permission to his neighbour, the bricklayer Domingo de Azcutia to be able to use an alley of his property that had access to the Bridge street (current Expósitos).
  Works was stopped for five years. The historians do not have very clear ideas about the cause, although it may have been the economic crisis that began in the last decade of the century, compared to previous years (80's decade) when everything had been prosperity and abundance. After those five years, Fabio Nelli commissioned works of the forward and cover to Pedro de Mazuecos El Mozo, giving all his trust. Between the beginnings of the works of the palace in 1576 and the new agreement, had released new ideas in the world of the architecture in Italy. Solutions that gave Mazuecos for the location of the hallway and size and position of the playground and for the construction of the cover were inspired by the Treaty of Sebastián Serlio, Of the Antiquity, Third Book. Pedro de Mazuecos was one of the most influential architects inside the Valldadolid classicistic focus.
  The new trace based on the principles of symmetry and centrality offered by Renaissance, following at the same time theories and Sebastián Serlio tips.
  In the case of the Fabio Nelli Palace it was not to restore a Gothic building but to conclude a frontage and cover in a building whose interior did not exactly meet the new fashions. According to th
caption: Playground built under the direction of Pedro de Mazuecos el Mozo and the execution of the sculptor Francisco de la Maza.
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