Spanish Renaissance
16th century
16th century
The Monterrey Palace is one of the best examples of civil architecture of the Spanish Renaissance and the greatest exponent of Plateresco. It has served as an example for other architectural styles such as Neoplateresque or the “Monterrey style”, and as an inspiration for other buildings such as the Cavalry Academy of Valladolid, the current Archaeological Museum of Seville or the Palencia Provincial Council Palace.
It was built by the will of Don Alonso de Acevedo y Zúñiga (1495-1559), 3rd Count of Monterrey, a noble of illustrious lineage of Galician origin with important resources, who was linked to the city of Salamanca, where he owned some houses and buildings.
It was built by the will of Don Alonso de Acevedo y Zúñiga (1495-1559), 3rd Count of Monterrey, a noble of illustrious lineage of Galician origin with important resources, who was linked to the city of Salamanca, where he owned some houses and buildings.
16th century
The construction of the Monterrey Palace
The construction of the Monterrey Palace
He commissioned the project of the future palace to the architects Rodrigo Gil de Hontañón and Fray Martín de Santiago in 1539, with a budget of 10 million Maravedís, a very high cost considering that the count's economy was not going through its best moment, after spending large sums in the construction of the fortress of Monterrey in Galicia or the aid provided for the defense of imperial Vienna against the Ottomans. That was the reason why the building was never completed as planned, in addition to the fact that his son, who was supposed to continue the work, died just three years after he did it, leaving as heir a young boy, Don Gaspar, 5th Count of Monterrey.
Numerous local artists, sculptors, tracalists and adornists participated in the construction. The façade, which can be seen from the Plaza de las Agustinas, is only part of what was planned, since it had to correspond to another symmetrical construction to the north. There are several theories about the final design. According to Chueca Goitia, the result was a quadrangular palace with four arcaded courtyards, although this thesis seems complicated, because such dimensions would force the church of Santa María de los Caballeros to be demolished. For John D. Hoag, the palace would have two parallel wings (one is the one built) closed by an eastern façade (only part of it was built) and a courtyard at the opposite end.
The main façade was decorated with beautiful crests and French-style fireplaces, a decoration that contrasts with the lower medieval structure. Without a doubt, the most beautiful part of the building are the towers, the crests, openwork and whimsical, and the chimneys, the former with authentic stone filigree, the latter, of French affiliation. In the corners of the upper bodies of the towers, you can see the coats of arms of the 3rd Count of Monterrey with the lineages of Acevedo and Fonseca.
The moment of incorporation of the palace into the Casa de Alba occurred after the marriage of Catalina de Haro and Guzmán (1672-1733), 8th Countess of Monterrey, 8th Marquise del Carpio, who inherited all the titles of the lineages of Olivares, Carpio and Monterrey, as well as the famous Salamanca palace, with Don Francisco Álvarez de Toledo y Silva (1662-1739), 10th Duke of Alba. They had only one daughter, Mrs. María del Pilar Teresa Álvarez de Toledo (1691-1755), 11th Duchess of Alba.
Numerous local artists, sculptors, tracalists and adornists participated in the construction. The façade, which can be seen from the Plaza de las Agustinas, is only part of what was planned, since it had to correspond to another symmetrical construction to the north. There are several theories about the final design. According to Chueca Goitia, the result was a quadrangular palace with four arcaded courtyards, although this thesis seems complicated, because such dimensions would force the church of Santa María de los Caballeros to be demolished. For John D. Hoag, the palace would have two parallel wings (one is the one built) closed by an eastern façade (only part of it was built) and a courtyard at the opposite end.
The main façade was decorated with beautiful crests and French-style fireplaces, a decoration that contrasts with the lower medieval structure. Without a doubt, the most beautiful part of the building are the towers, the crests, openwork and whimsical, and the chimneys, the former with authentic stone filigree, the latter, of French affiliation. In the corners of the upper bodies of the towers, you can see the coats of arms of the 3rd Count of Monterrey with the lineages of Acevedo and Fonseca.
The moment of incorporation of the palace into the Casa de Alba occurred after the marriage of Catalina de Haro and Guzmán (1672-1733), 8th Countess of Monterrey, 8th Marquise del Carpio, who inherited all the titles of the lineages of Olivares, Carpio and Monterrey, as well as the famous Salamanca palace, with Don Francisco Álvarez de Toledo y Silva (1662-1739), 10th Duke of Alba. They had only one daughter, Mrs. María del Pilar Teresa Álvarez de Toledo (1691-1755), 11th Duchess of Alba.
19th and 20th centuries
Regarding the interior, there is little data, although in the 19th century it housed a public school and today it is the residence of the Duke of Alba, it was declared an “Architectural-Artistic Monument” on May 6, 1929.
During the 19th and 20th centuries, there is evidence of certain renovations to the building. Well known are those made during the time of the 17th Duke Don Jacobo Fitz-James Stuart and his daughter the 18th Duchess Doña Cayetana and the 18th Duke Don Luis. In the 1940s, refurbishment works were carried out on the towers, roofs and the house, until, in 1949, the house was reopened. The 1952 work was very interesting, when Manuel Cabanyes prepared a project and report for the works on the façade-entrance. The setback of the front door is eliminated, leaving the ornaments and medallions on the first and second floors visible. A year later, the main gate is placed.
From 1956 to 1960, the monument underwent a major change, and they decided to carry out refurbishment works on the top floor, and the gallery was closed. The 14-panel coffered ceiling, purchased from the nuns of the Salamanca Domestic Service (Daughters of Mary Immaculate), is placed in the upper gallery. In 1958, Talavera ceramic pieces were ordered for the Talavera bathroom and the windows, stained glass windows, stairs and paintings on the upper floor were purchased. Minor reforms and repairs will follow in the following years. The last major intervention was carried out in 2017 at the initiative of the 19th Duke of Alba.
During the 19th and 20th centuries, there is evidence of certain renovations to the building. Well known are those made during the time of the 17th Duke Don Jacobo Fitz-James Stuart and his daughter the 18th Duchess Doña Cayetana and the 18th Duke Don Luis. In the 1940s, refurbishment works were carried out on the towers, roofs and the house, until, in 1949, the house was reopened. The 1952 work was very interesting, when Manuel Cabanyes prepared a project and report for the works on the façade-entrance. The setback of the front door is eliminated, leaving the ornaments and medallions on the first and second floors visible. A year later, the main gate is placed.
From 1956 to 1960, the monument underwent a major change, and they decided to carry out refurbishment works on the top floor, and the gallery was closed. The 14-panel coffered ceiling, purchased from the nuns of the Salamanca Domestic Service (Daughters of Mary Immaculate), is placed in the upper gallery. In 1958, Talavera ceramic pieces were ordered for the Talavera bathroom and the windows, stained glass windows, stairs and paintings on the upper floor were purchased. Minor reforms and repairs will follow in the following years. The last major intervention was carried out in 2017 at the initiative of the 19th Duke of Alba.
Foundation
Casa de Alba
Casa de Alba
The Casa de Alba Foundation, chaired by the 19th Duke of Alba, Carlos Fitz-James Stuart and Martínez de Irujo, and with the support of their two sons as patrons, Fernando, Duke of Huéscar and Carlos, Count of Osorno, has dedicated great efforts to the dissemination and opening of the Casa de Alba collection together with its palaces, the Duke's current residences, to offer the opportunity to enjoy and learn about his legacy. The Duke of Alba defends a policy of openness and closeness between Casa de Alba and the citizens of Madrid, of Spain and of any visitor motivated by cultural concerns. The Foundation was created after several years of work in 1973 by his parents, the XVIII Dukes of Alba, Don Luis and Doña Cayetana, who began with this step the work of conserving and disseminating the historical-artistic collections.
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