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Museo del Romanticismo
Mus
eo d
el
Rom
antic
ismo
Itine
rary
The
Mus
eo d
el R
oman
ticism
o, th
e cu
ltura
l and
pol
itica
l m
ovem
ent
that
rea
ched
its
pea
k in
the
ear
ly 1
9th
C.
and
signi
fied
a ne
w v
iew
of
the
wor
ld, i
s ho
used
in a
ne
w-c
lass
ical
man
sion
built
in 1
776,
und
er th
e di
rect
ion
of th
e ar
chite
ct M
anue
l Rod
rígu
ez.
Its
foun
der,
Beni
gno
Vega
-Inc
lán
(Val
lado
lid
1858
-Mad
rid
1942
), c
arri
ed o
ut n
umer
ous
cultu
ral
proj
ects
, an
d in
192
4,
with
the
supp
ort o
f suc
h le
adin
g in
telle
ctua
ls as
Jos
é O
rteg
a y
Gas
set,
he o
pene
d th
e M
useo
Rom
ántic
o, in
itial
ly d
ispla
ying
his
pers
onal
col
lect
ion,
whi
ch in
clud
ed n
ot o
nly
pain
ting
but
also
fu
rnitu
re a
nd d
ecor
ativ
e ite
ms.
The
rec
ent
reno
vatio
n ha
s en
com
pass
ed b
oth
the
build
ing
and
the
exhi
bitio
n pr
ojec
t, in
clud
ing
the
inte
rior
itin
erar
ies,
the
se
rvic
es, a
nd e
ven
the
nam
e to
the
Mus
eo d
el R
oman
ticism
o,
to u
nder
line
its r
oles
as a
pla
ce fo
r pu
blic
enj
oym
ent d
edic
ated
to
the
com
preh
ensiv
e ap
prec
iatio
n of
an
era,
by
mea
ns o
f new
hi
stor
iogr
aphi
cal a
nd m
useo
logi
cal a
ppro
ache
s.
As a
mus
eum
-man
sion
it in
vite
s the
visi
tor t
o le
arn
abou
t asp
ects
of
a s
ocie
ty a
nd o
f the
Rom
antic
per
iod
–whi
ch in
Spa
in c
oin-
cide
d w
ith t
he r
eign
of
Isab
el I
I (1
833-
1868
)– w
hile
sho
win
g de
tails
of e
very
day
life
in th
e pe
riod
: tas
tes;
dec
orat
ive
tren
ds,
fash
ion,
bel
iefs
, soc
ial h
iera
rchi
es, r
ecre
atio
n, t
echn
olog
y, e
tc.
The
exh
ibiti
on o
ffers
seve
ral l
ayer
s of i
nfor
mat
ion
via
two
basic
to
urs,
one
gea
red
to th
emat
ic cr
iteri
a, a
nd fo
cusin
g on
hist
oric
al
and
polit
ical
issu
es a
s w
ell a
s ar
t, an
d th
e ot
her
exam
inin
g th
e at
mos
pher
e of t
he p
erio
d, a
s exe
mpl
ified
by
deco
ratio
n an
d sig
ns
of d
aily
life
.
The
Mus
eo
del R
oman
ticism
o
ITIN
ERA
RY
T he
ves
tibul
e is
the
entr
ance
hal
l to
the
finer
par
ts o
f the
hou
se. A
s the
fir
st s
pace
see
n by
the
visi
tor,
it is
in
tend
ed to
sum
mar
ise so
me
of th
e in
nova
-tio
ns a
nd fe
atur
es o
f the
Isab
ellin
e ho
me,
as
dist
inct
from
thos
e of
the
prev
ious
Fer
nan-
dine
era
. It w
as m
ore
dens
ely
furn
ished
and
deco
rate
d, a
nd a
lso “s
ofte
ned”
by
the
abun
-da
nce
of c
ushi
oned
furn
iture
and
fabr
ics.
It
feat
ured
an
ecle
ctic
ism t
hat
drew
indi
scri
-m
inat
ely
on o
lder
styl
es, f
orei
gn it
ems,
and
a di
vers
ity o
f aes
thet
ic tr
ends
.
The
hom
e w
as a
lso a
pla
ce fo
r re
crea
tion,
co
nver
satio
n, g
ossip
, m
usic
, an
d th
e co
m-
plex
ritu
als o
f for
mal
visi
ts. T
he d
ecor
atio
n of
thi
s ar
ea is
sob
er a
nd t
he f
urni
shin
gs in
clud
e m
any
piec
es t
hat
are
char
acte
rist
ic o
f th
e R
oman
tic p
erio
d: t
he c
hair
s, t
he p
edes
tal
tabl
e,
pend
ulum
clo
ck, e
tc.
From
the
the
mat
ic v
iew
poin
t th
ere
is an
exp
lana
tion
of t
he p
robl
ems
arisi
ng o
ver
the
righ
ts o
f su
cces
sion
of I
sabe
l II,
who
was
onl
y th
ree
year
s ol
d at
the
dea
th o
f her
fath
er,
Kin
g Fe
rnan
do V
II, in
183
3, a
nd
who
beg
an h
er r
eign
und
er t
he r
egen
cy o
f her
mot
her,
Que
en M
aría
C
rist
ina.
To
mak
e th
is po
ssib
le,
the
late
kin
g ha
d nu
llifie
d th
e Sa
lic
law
, whi
ch b
anne
d su
cces
sion
to th
e th
rone
by
wom
en. B
ut c
ontr
over
-sy
ove
r th
e su
cces
sion
set o
ff th
e so
-cal
led
Car
list W
ars,
wag
ed b
y th
e su
ppor
ters
of
the
Kin
g Fe
rnan
do’s
bro
ther
Car
los
Mar
ía I
sidro
, w
ho
also
cla
imed
the
thro
ne.
IT
he V
estib
ule
In th
e en
tran
ce h
all i
s the
stai
rcas
e le
adin
g to
mai
n su
ite o
f the
bui
l-di
ng, w
ith a
cen
tral
pla
tform
whe
re th
e m
usic
ians
onc
e pl
ayed
du-
ring
form
al so
irée
s.
The
man
sion
was
a se
para
te w
orld
forb
idde
n to
all
but a
sele
ct fe
w, a
nd
ador
ned
with
sym
bols
of p
ower
and
wea
lth:
obje
cts,
furn
ishin
gs,
and
deco
ratio
n w
ere
all f
or s
how
. an
d w
ere
dens
ely
arra
nged
, w
ith li
ttle
ro
om b
etw
een
them
.
On
both
sid
es o
f the
sta
irca
se w
e ar
e w
elco
med
by
the
key
play
ers
in
this
stor
y: t
he n
ouve
au r
iche
, po
rtra
yed
in t
wo
impo
sing
life-
size
por-
trai
ts p
aint
ed b
y th
e C
ádiz
-bor
n Á
ngel
Mar
ía C
orte
llini
, in
whi
ch w
e gl
imps
e la
vish
inte
rior
s, n
ot u
nlik
e th
ose
we
can
adm
ire
in th
e M
useu
m
itsel
f. In
the
ir e
ager
ness
to
mim
ic t
he n
obili
ty,
show
off
thei
r w
ealth
, an
d be
com
e a
new
elit
e, th
e bo
urge
oisie
beg
an to
com
miss
ion
port
raits
an
d to
col
lect
art
to a
dorn
thei
r man
sions
, hig
hlig
ht th
eir s
ocia
l dist
inc-
tion,
and
cul
tivat
e th
eir
tast
es.
T
he S
tair
case
IIIT
he A
nter
oom
The
fir
st a
nter
oom
adj
oins
the
Gre
at B
allr
oom
and
is
lavi
shly
de
cora
ted.
The
impr
essiv
e pa
inte
d ce
iling
was
also
take
n fr
om
the
Casin
o th
e la
Rei
na a
nd r
epre
sent
s an
Alle
gory
of N
ight
.
The
fur
nitu
re i
s in
Fer
nand
ine
styl
e, d
eriv
ed f
rom
Fre
nch
Empi
re,
whi
ch a
rriv
ed la
te to
Spa
in b
ecau
se o
f the
War
of I
ndep
ende
nce.
Out
s-ta
ndin
g is
the
diva
n w
ith e
lega
nt l
ines
, co
mpl
emen
ted
by t
he c
hair
s w
ith c
ircu
lar
seat
s an
d le
gs e
ndin
g in
lion
’s c
law
s –s
ymbo
l of p
ower
– an
d th
e ge
ntle
man
’s d
ress
ing
tabl
e of
mah
ogan
y. T
he im
port
ance
of
mus
ic a
t so
cial
gat
heri
ngs
in t
he R
oman
tic p
erio
d is
indi
cate
d by
the
ch
arm
ing
pian
o of
rose
wo-
od m
arqu
etry
, w
hich
won
a
priz
e at
the
Pari
s Ex
hibi
-tio
n of
184
4.
The
mat
ical
ly,
this
room
se
rves
to
expo
und
the
his-
tori
cal
and
polit
ical
ant
e-ce
dent
s of S
pani
sh R
oman
-tic
ism, a
nd p
artic
ular
ly th
e W
ar o
f Ind
epen
denc
e, t
he
Con
stitu
tion
of 1
812,
and
th
e Fe
rnan
do V
II’s r
esto
ra-
tion
of a
bsol
ute
mon
arch
y in
181
4.
IIT
he A
ntec
ham
ber
The
ant
echa
mbe
r is
“the
mir
ror
of t
he h
ouse
”, i
nsof
ar a
s it
is in
tend
ed to
info
rm th
e vi
sitor
of t
he h
igh
soci
al a
nd e
cono
mic
st
andi
ng o
f the
ow
ners
. T
he p
aint
ed c
eilin
g, d
esig
ned
to r
es-
embl
e th
at o
f an
orie
ntal
pav
ilion
, w
as b
roug
ht fr
om t
he C
asin
o de
la
Rein
a, a
man
sion
whi
ch th
e C
ity o
f Mad
rid
had
give
n to
Que
en Is
abel
de
Bra
ganz
a, F
erna
ndo’
s se
cond
w
ife, w
ho d
ied
in 1
818.
The
mat
ical
ly,
this
room
now
fo-
cuse
s on
the
mat
urity
of I
sabe
l II.
The
re is
an o
utst
andi
ng p
ortr
ait o
f th
e qu
een
by C
harl
es P
orio
n, w
ho
port
raye
d he
r as c
hief
of t
he ar
my,
ac
com
pani
ed b
y he
r ge
nera
ls an
d he
r hu
sban
d, D
on F
ranc
isco
de
Asís
, rev
iew
ing
the
troo
ps.
From
the
ant
echa
mbe
r w
e re
ach
the
fines
t pa
rt o
f th
e ho
use,
the
G
reat
Bal
lroo
m w
ith tw
o sm
alle
r sp
aces
at
each
sid
e, w
here
the
m
ost o
pule
nt fu
rnitu
re a
nd d
eco-
ratio
n ar
e di
spla
yed,
inc
ludi
ng c
loth
wal
l co
veri
ngs,
cry
stal
cha
nde-
liers
, ta
ssel
led
drap
es,
dam
asks
, gi
lded
por
cela
in,
and
larg
e m
irro
rs
that
ref
lect
the
lig
ht f
orm
the
lam
ps a
nd m
ultip
ly t
he i
mag
es,
crea
-tin
g th
e se
nsat
ion
of a
larg
er a
nd m
ore
open
spac
e. In
thes
e pr
ecin
cts,
ap
pear
ance
s pre
vail
over
intim
acy,
and
each
room
ope
ns d
irec
tly to
the
next
one
, w
ithou
t ha
llway
s, s
o th
ere
is an
uni
nter
rupt
ed v
iew
of t
he
entir
e ho
use,
from
one
ext
rem
e to
the
othe
r.
The
bal
lroo
m w
as u
sual
ly t
he la
rges
t an
d m
ost
lavi
sh s
pace
in
Rom
antic
-era
man
sions
, and
was
use
d so
lely
for
ente
rtai
ning
. Lu
xury
and
ost
enta
tion
wer
e th
e m
ost o
bvio
us fe
atur
es. G
old
and
silk
shon
e fr
om th
e gr
eat m
irro
rs o
n th
e w
alls,
whi
le th
e sp
arkl
ing
crys
tal
chan
delie
rs a
ccen
ted
the
fanc
iful
ceili
ng,
an A
llego
ry o
f D
awn,
al
so fr
om th
e Ca
sino
de la
Rei
na a
nd d
esig
ned
by th
e sa
me
pers
on a
s the
ot
hers
.
The
mah
ogan
y Is
abel
line
chai
rs w
ere
orig
inal
ly o
wne
d by
gov
ernm
ent
min
ister
Ant
onio
Mar
ia F
abié
, who
se p
arlo
ur h
ad b
een
the
site
of a
lite-
rary
salo
n at
tend
ed b
y su
ch lu
min
arie
s as G
usta
vo A
dolfo
Béc
quer
and
G
ómez
de
la A
vella
neda
. T
he c
onso
le t
able
, sm
all t
able
s an
d m
ante
l-pi
ece
wer
e pe
rfec
t sup
port
s for
the
disp
lay
of sm
all o
bjec
ts an
d tr
inke
ts
–por
cela
ins,
lant
erns
, m
usic
box
es,
cloc
ks,
etc.
– w
hich
mad
e up
the
fa
mily
’s s
ouve
nir
colle
ctio
n. M
usic
was
pla
inly
the
pro
tago
nist
in t
his
area
: the
har
p sig
ned
by S
ebas
tián
Erar
d is
a ty
pica
l Rom
antic
art
efac
t,
bear
ing
neo-
Got
hic
ador
nmen
t. T
he p
iano
, sh
owin
g th
e ro
yal,
coat
of
arm
s on
its
lid, w
as b
uilt
expr
essly
for
Que
en Is
abel
II b
y Pl
eyel
in
Pari
s, a
nd th
e sm
alle
r pi
anof
orte
is a
love
ly E
nglis
h in
stru
men
t ant
ici-
patin
g th
e up
righ
t pia
no.
As r
egar
ds p
aint
ing,
the
emph
asis
in th
is ro
om in
on
the
port
rait,
a ge
n-re
that
rea
ched
its
peak
in th
e R
oman
tic p
erio
d. F
emal
e po
rtra
its te
n-de
d to
dep
ict
dist
ingu
ished
wom
en d
ress
ed t
o sh
ow t
heir
soc
ial r
ank
or th
at o
f the
ir h
usba
nds.
Men
, how
ever
, wer
e no
rmal
ly d
epic
ted
en-
gage
d in
inte
llect
ual a
ctiv
ities
or
abou
t to
leav
e th
eir
hom
es, r
efle
ctin
g th
eir
mor
e pu
blic
nat
ure.
Fam
ily p
ortr
aits
wer
e di
ffere
nt fr
om t
hose
of
age
s pa
st,
since
the
y w
ere
inte
nded
to
show
the
link
s of
affe
ctio
n be
twee
n th
eir m
embe
rs. I
n ro
yal p
ortr
aits
, tho
ugh,
the
purp
ose
was
to
show
the
con
tinui
ty o
f the
dyn
astic
line
, al
ong
with
cer
tain
sym
bols,
su
ch a
s the
cro
wn
or th
e sc
eptr
e.
IVT
he G
reat
Bal
lroo
m
Hav
ing
visit
ed th
e m
ost l
avish
and
st
atel
y ro
oms
of t
he m
ansio
n,
we
now
ent
er th
e m
ore
intim
a-te
and
priv
ate
quar
ters
, tho
ugh
they
wer
e al
so u
sed
to e
nter
tain
trus
ted
frie
nds.
Eac
h ro
om h
ad a
diff
eren
t use
and
was
use
d by
di
ffere
nt p
eopl
e.
In t
his
atm
osph
ere
we
see
few
er s
igns
of
the
affe
ctat
ions
of
the
bour
geoi
sie,
and
the
deco
ratio
n is
less
form
al.
The
chai
rs,
mad
e of
wal
nut
and
bulr
ush,
are
a g
ood
imita
tion
of th
e Em
pire
sty
le, w
ith o
bvio
us E
nglis
h in
fluen
ce (
Sher
aton
ty
pe).
In th
is pe
riod,
indu
stria
l exh
ibiti
ons h
elpe
d po
pula
rise
mas
s-pr
o-du
ced
furn
iture
, suc
h as
the
port
able
Vito
ria c
hairs
, with
can
e or
str
aw
seat
s and
a st
ruct
ure
of tu
rned
woo
den
rods
.
Them
atic
ally
, Roo
ms V
I, V
II an
d V
III a
re d
edic
ated
to co
stum
brism
o pa
in-
ting,
pic
ture
sque
dep
ictio
ns o
f so
cial
life
and
cus
tom
s ca
terin
g m
ade
chie
fly t
o sa
tisfy
fore
igne
rs’
tast
es fo
r th
e ex
otic
and
a d
omes
tic b
our-
geoi
sie th
at p
refe
rred
to a
vert
its g
aze
from
rea
l soc
ial c
ondi
tions
of t
he
low
er c
lass
es.
The
And
alus
ian
scho
ol o
f cos
tum
brism
o te
nded
to
pret
tify
and
idea
lise
its s
ubje
cts,
and
was
pla
inly
influ
ence
d by
Mur
illo.
The
di-
vers
ity o
f reg
iona
l Spa
nish
dre
ss w
as h
ighl
ight
ed in
thes
e pa
intin
gs, a
nd
man
y sc
enes
wer
e se
t in
inns
or t
aver
ns.
VI
And
alus
ian
Costu
mbr
ista
Pain
ters
VT
he A
nter
oom
The
las
t of
the
fin
e ro
oms
is de
cora
ted
to a
ccom
mod
ate
less
fo
rmal
soc
ial g
athe
ring
s, s
uch
as t
he te
rtul
ias o
r liv
ely
disc
us-
sion
grou
ps t
hat
met
reg
ular
ly.
The
inte
rior
of t
he h
ome
be-
cam
e in
crea
singl
y at
trac
tive
and
it w
as g
radu
ally
alte
red
for
the
sake
of
com
fort
, a r
elat
ivel
y ne
w c
once
pt. H
eavy
furn
iture
that
cou
ld h
ardl
y be
bud
ged
was
rep
lace
d by
ligh
ter
piec
es, s
uch
as th
e so
-cal
led
"fly
ing
chai
rs"
that
wer
e no
rmal
ly p
lace
d ag
ains
t the
wal
l but
cou
ld q
uick
ly b
e m
obili
sed
for
gath
erin
gs.
The
se a
re m
ade
of m
ahog
any
and
orig
inal
ly
belo
nged
to th
e w
rite
r an
d po
et J
uan
Ram
ón J
imén
ez. T
hey
coul
d be
co
mbi
ned
with
oth
er li
ght
chai
rs t
o be
pla
ced
arou
nd a
car
d ta
ble,
or
for m
ore
intim
ate
conv
ersa
tions
. The
furn
ishin
gs a
re c
ompl
eted
by
the
pian
o, b
uilt
in 1
827
in M
adri
d by
Jos
é C
olm
enar
ejo,
and
dec
orat
ed
with
coa
ts o
f arm
s and
pic
ture
s of o
ther
mus
ical
inst
rum
ents
.
The
mat
ical
ly, t
his r
oom
addr
esse
s so
me
of t
he m
ore
seri
ous
polit
i-ca
l iss
ues
of t
he r
eign
of I
sabe
l II,
such
as
the
Car
list
War
s an
d th
e w
ar i
n A
fric
a. O
n th
e fr
ont
wal
l is
the
Eque
stria
n po
rtra
it of
Gen
eral
Pr
im b
y A
nton
io M
aría
Esq
uive
l, a
hero
of b
oth
thes
e co
nflic
ts, a
nd a
pr
ogre
ssiv
e w
ho h
elpe
d sp
earh
ead
the
mov
emen
t tha
t end
ed Is
abel
’s
reig
n in
186
8.
VIII
Mad
rid
Costu
mbr
ista
Pa
inte
rs
In th
is sm
all r
oom
we
find
sam
ples
of t
he M
adri
d sc
hool
of c
ostu
m-
brist
a pa
intin
g, w
hose
exp
onen
ts –
Euge
nio
Luca
s, F
ranc
isco
Lam
e-ye
r an
d Le
onar
do A
lenz
a– fo
und
insp
irat
ion
in G
oya,
and
who
se
wor
k w
as m
ore
hars
h an
d le
ss se
ntim
enta
l tha
n th
at o
f the
ir A
ndal
usia
n co
unte
rpar
ts.
The
se p
aint
ers
drew
fir
e fr
om a
cade
mic
cr
itics
for
sev
eral
rea
sons
, am
ong
them
th
eir
relia
nce
on i
mag
inat
ion
or i
nven
-tio
n, w
hich
wer
e th
en a
ssoc
iate
d w
ith
seco
nd-r
ate
artis
ts, a
nd al
so th
eir s
ketc
hi-
ness
and
lac
k of
pol
ish.
Thi
s, c
ombi
ned
with
the
appa
rent
spee
d w
ith w
hich
they
pa
inte
d, w
as r
egar
ded
as b
orde
ring
on
“inde
cenc
y” b
y ac
adem
ic c
ritic
s.
But
thes
e “d
efec
ts”
coul
d be
tra
ced
to
Goy
a hi
mse
lf, a
s co
uld
muc
h of
the
sub
-je
ct m
atte
r, fo
r the
Ara
gone
se g
eniu
s was
w
ont t
o de
pict
the
“ups
ide-
dow
n Sp
ain”
, in
whi
ch a
ll is
conf
usio
n, a
nd
ratio
nal c
reat
ures
beh
ave
absu
rdly
. The
subj
ects
mos
t ofte
n ad
dres
sed
in t
hese
wor
ks a
re u
nequ
al m
arri
age,
the
Spa
nish
Inq
uisit
ion,
Sce
nes
of
band
its, M
aske
d ba
lls, a
nd h
uman
s be
havi
ng li
ke a
nim
als,
as
in A
lenz
a’s
Mon
o er
mita
ño [“
Mon
key
mon
k”] a
nd L
a cr
ítica
. The
disp
lay
also
sho
ws
the
stre
ets
of M
adri
d in
Ale
nza’
s Ca
pric
hos
and
the
wor
ks b
y Fr
an-
cisc
o La
mey
er,
whi
ch d
o no
t di
sgui
se t
he m
edio
crity
and
pov
erty
of
ever
yday
life
.
VII
And
alus
ian
Costu
mbr
ista
Pain
ters
Lik
e th
e pr
evio
us r
oom
, thi
s spa
ce is
furn
ished
with
a c
omfo
rta-
ble
bulr
ush
arm
chai
r and
mat
chin
g st
raig
ht c
hair
. Tw
o sh
owca
-se
s di
spla
y an
impo
rtan
t col
lect
ion
of c
lay
stat
uett
es r
epre
sen-
ting
typi
cal c
hara
cter
s fro
m G
rana
da, M
álag
a an
d M
urci
a.
The
mat
ical
ly,
othe
r A
ndal
usia
n co
stum
brism
o su
bjec
ts a
re i
ntro
duce
d,
such
as
the
high
way
man
and
the
smug
gler
, of w
hich
fore
ign
trav
elle
rs
in S
pain
wer
e so
ena
mou
red,
alo
ng w
ith th
e bu
llfig
hter
and
the
mou
n-te
d pi
cado
r. T
he m
ost
Rom
antic
of
Span
ish b
ullfi
ghte
rs w
as s
urel
y Fr
anci
sco
Mon
tes,
nic
knam
ed "
Paqu
iro"
, who
cod
ified
the
rule
s of t
he
art i
n a
book
pub
lishe
d in
183
6.
The
use
of o
ne o
r m
ore
spac
es a
s pr
ivat
e sit
ting
room
s fo
r th
e en
tire
fam
ily r
efle
cted
the
nee
d fo
r a
less
form
al s
pace
in t
he
hous
ehol
d. T
he te
rm cu
arto
de e
star o
r “liv
ing
room
” gai
ned
cu-
rren
cy a
t mid
-cen
tury
. In
the
win
dow
s, h
eavy
silk
dra
pes p
aint
ed d
ark
blue
see
m t
o in
dica
te t
hat
the
inha
bita
nts
wer
e af
raid
tha
t to
o m
uch
sunl
ight
mig
ht d
amag
e th
e fu
rnitu
re,
or r
evea
l the
ir d
eepe
st fe
elin
gs.
Tw
o bu
ilt-in
sho
wca
ses
on t
he fr
ont
wal
ls, a
nd a
cur
ious
gro
up o
f li-
thop
hane
s –ca
st p
orce
lain
shee
ts w
ith p
ictu
res t
hat a
ppea
r w
hen
light
is
shon
e th
roug
h th
em–.
The
mat
ical
ly,
this
spac
e fo
cuse
s on
the
land
scap
e an
d pa
intin
gs o
f ar-
chite
ctur
e. O
utst
andi
ng h
ere
is th
e w
ork
of J
enar
o Pé
rez
Vill
aam
il (1
807-
1854
) who
, ins
pire
d by
the
mist
s and
den
se at
mos
pher
es u
sed
in
the
Span
ish p
ictu
res o
f suc
h En
glish
pai
nter
s, b
ecam
e Sp
ain’
s mos
t bri
-lli
ant l
ands
cape
pai
nter
. He
prep
ared
his
fam
ous a
lbum
of l
ithog
raph
s,
Espa
ña a
rtíst
ica
and
mon
umen
tal (
The S
pain
of A
rt a
nd M
onum
ents)
, spo
nso-
red
by G
aspa
r de
Rem
isa (w
hose
por
trai
t han
gs in
Roo
m X
XII)
. Oth
er
pain
tings
, in
keep
ing
with
this
huge
and
lavi
shly
illu
stra
ted
trav
el b
ook,
al
so d
epic
ted
the
publ
ic w
orks
car
ried
out
by
the
mon
arch
y, a
nd h
ence
ar
e am
ong
the
earl
iest
exa
mpl
es o
f man
aged
pol
itica
l pro
paga
nda.
IXT
he N
ook
Her
e ar
e di
spla
yed
seve
ral i
tem
s re
latin
g to
mas
culin
e hy
gien
e (a
them
e th
at is
com
plet
ed in
Roo
m X
XI)
. Gen
tlem
en o
f thi
s pe
riod
thou
ght i
t unn
eces
sary
to r
etir
e to
a s
peci
al r
oom
for
thei
r to
ilet,
and
use
d w
ashb
asin
s an
ywhe
re a
nd e
ven
cham
ber
pots
, w
hen
ther
e w
ere
no la
dies
pre
sent
.
The
show
case
at t
he ri
ght c
onta
ins K
ing
Fern
ando
VII’
s lav
ator
y, o
rigi
-na
lly p
lace
d in
a s
mal
l clo
set f
or r
oyal
use
with
in w
hat i
s to
day
Roo
m
39 o
f th
e Pr
ado
Mus
eum
, w
here
the
Goy
a pa
intin
gs a
re d
ispla
yed.
M
ade
of m
ahog
any,
the
sea
t of
thi
s th
rone
had
an
cent
ral o
rific
e fo
r th
e ro
yal
busin
ess.
The
kin
g’s
lava
tory
was
a l
uxur
ious
dev
ice,
dul
y ad
orne
d an
d up
holst
ered
.
At l
eft i
s Fe
rnan
do V
II’s
trav
el c
ase
and
a pr
etty
woo
den
bott
le s
et, a
sm
all
dres
sing
tabl
e, s
ever
al t
oile
t ca
ses,
and
per
sona
l hy
gien
e ite
ms
(on
loan
from
the
Nat
iona
l Mus
eum
of D
ecor
ativ
e A
rts,
Mad
rid)
whi
ch
furn
ish a
bet
ter
idea
of t
he m
atte
r at
han
d.
The
mat
ical
ly,
and
in s
ome
rela
tion
to t
he p
revi
ous
room
, he
re w
e fin
d so
met
hing
clo
sely
ass
ocia
ted
with
the
land
scap
e: th
e ru
in. M
onu-
men
ts o
f med
ieva
l art
wer
e us
ed to
evo
ke th
e an
cien
t and
lost
spir
itual
w
orld
s, a
s wel
l as h
uman
mor
talit
y.XT
he C
orri
dor
XII
The
Cha
pel N
ook
Thi
s lit
tle r
oom
lead
s to
the
fam
ily o
rato
rio o
r ch
apel
, and
from
it
we
can
view
the
mag
nific
ent
Goy
a th
at p
resid
es o
ver
it. In
fa
ct,
it is
an a
ntec
ham
ber
that
also
ser
ved
as a
sm
all
sittin
g ro
om.
Mos
t pr
omin
ent
amon
g th
e fu
rnish
ings
is t
he s
ober
div
an w
ith
mat
chin
g ch
airs
. In
the
cent
re is
a v
ery
odd
faux
med
ieva
l Got
hic
circ
u-la
r pe
dest
al ta
ble,
who
se w
hite
mar
ble
top
is m
ade
from
a to
mbs
tone
of
the
peri
od.
The
mat
ical
ly,
in
this
room
and
the
adj
oini
ng
chap
el w
e fin
d ne
arly
al
l th
e re
ligio
us
pain
-tin
g in
th
e M
useu
m
colle
ctio
n,
and
whi
ch
can
be d
ivid
ed r
ough
ly
into
th
ose
influ
ence
d by
Spa
nish
17t
h C
. ba
-ro
que
pain
ting
such
as
that
of
Mur
illo
and
of
even
glo
omie
r pa
inte
rs,
feat
urin
g dr
amat
ic c
on-
tras
ts,
and
thos
e th
at
depi
cted
mor
e co
ntem
-po
rary
sce
nes,
but
see
n th
roug
h th
e pr
ism
of
costu
mbr
ismo,
whi
ch w
as i
nten
ded
to s
how
wha
t w
as r
egar
ded
as t
he
mos
t cha
ract
erist
ic a
nd a
uthe
ntic
asp
ects
of d
aily
life
in S
pain
.
In th
e Is
abel
line
peri
od, t
his
room
took
on
new
impo
rtan
ce w
ithin
th
e ho
useh
old.
It w
as u
sed
prin
cipa
lly fo
r th
e ev
enin
g m
eal,
since
ot
her
mea
ls co
uld
be s
erve
d in
the
sm
alle
r br
eakf
ast
room
s. P
ost-
pran
dial
con
vers
atio
n w
ith o
ur w
ithou
t co
ffee
or l
ique
urs
coul
d al
so
take
pla
ce in
oth
er r
oom
s. B
ut t
he d
inin
g ro
om w
as w
here
the
fam
ily
asse
mbl
ed to
din
e fo
rmal
ly.
The
cei
ling,
also
take
n fr
om th
e Ca
sino
de
la R
eina
, is a
dorn
ed w
ith th
e co
ats o
f arm
s of
all S
pani
sh p
rovi
nces
, and
is il
lum
inat
ed
by a
love
ly c
ryst
al c
hand
elie
r fro
m th
e pa
-la
ce o
f La
Gra
nja
(Seg
ovia
). T
he fu
rnitu
re
incl
udes
the
obl
igat
ory
mar
ble
firep
lace
, th
e ta
ble
(the
sam
e on
e at
whi
ch G
ener
al
Prim
o de
Riv
era
ente
rtai
ned
the
Cou
ncil
of t
he L
eagu
e of
Nat
ions
in
Mad
rid
in 1
929)
, the
con
sole
tabl
e or
side
boar
d, an
d th
e lig
ht c
hair
s and
se
rvin
g ta
bles
. T
he f
urni
ture
, Pa
risia
n ch
ina
tabl
ewar
e, a
nd e
ven
the
man
ners
, em
ulat
ed fo
reig
n m
odel
s, a
nd e
spec
ially
the
Fren
ch.
The
mat
ical
ly, t
his r
oom
is a
dorn
ed w
ith st
ill li
fes,
whi
ch w
ere
the
pre-
ferr
ed g
enre
in b
ourg
eois
dini
ng ro
oms o
f the
per
iod.
Abo
ve th
e m
irro
r on
the
opp
osite
wal
l is
one
of t
he m
ost
embl
emat
ic p
aint
ings
of
the
Span
ish R
oman
tic p
erio
d, L
a fa
mili
a de
Don
Jor
ge F
laqu
er (
The
Fam
ily o
f D
on Jo
rge
Flaq
uer),
by
the
Cat
alon
ian
artis
t Joa
quim
Esp
alte
r i R
ull.
The
Fl
aque
r fam
ily w
as a
mon
g th
e an
cest
ors o
f the
foun
der o
f thi
s Mus
eum
, an
d th
e pa
intin
g pr
ovid
es u
s with
inva
luab
le in
sight
s int
o pr
ivat
e do
mes
-tic
life
in th
e pe
riod
.
XI
The
Din
ing
Roo
m
XIV
The
Chi
ldre
n's P
layr
oom
The
gre
ater
pre
senc
e of
chi
ldre
n on
the
hou
se b
roug
ht a
bout
a
chan
ge in
intim
ate
fam
ily li
fe:
the
mot
her
mig
ht s
hare
her
e be
droo
m w
ith l
ittle
chi
ldre
n, b
ut t
he o
lder
one
s no
w s
lept
in
sep
arat
e ro
om.
The
chi
ldre
n’s
bedr
oom
mig
ht a
lso o
pera
te a
s th
e pl
ayro
om,
as lo
ng a
s it
coul
d be
rea
ched
inde
pend
ently
, w
ithou
t di
s-tu
rbin
g th
e ac
tiviti
es o
f the
adu
lts.
The
atm
osph
ere
of fe
min
ine
influ
ence
was
clo
sely
con
nect
ed to
the
ro-
oms u
sed
by th
e la
dy o
f the
hou
se. T
heir
furn
ishin
gs w
ere
less
form
al,
and
dive
rse
obje
cts a
nd tr
inke
ts w
ere
disp
erse
d th
roug
h th
e sp
ace
and
in th
e sh
owca
ses.
The
yel
low
wal
ls id
entif
ied
the
room
as a
hap
py a
nd
prac
tical
pla
ce.
Port
raits
of c
hild
ren
wer
e ve
ry p
o-pu
lar
in t
he R
oman
tic a
ge,
whe
n ch
ildre
n w
ere
cher
ished
. The
gen
-re
also
int
rodu
ces
us t
o ot
her
as-
pect
s of l
ife, s
uch
as fu
n an
d ga
mes
, le
sson
s,
fash
ion,
pe
ts,
hobb
ies,
et
c. O
ther
them
es ar
e th
e af
fect
ion
betw
een
mot
her
and
daug
hter
, or
th
e de
ath
of c
hild
ren,
whi
ch w
as a
ve
ry c
omm
on o
ccur
renc
e ow
ing
to d
iseas
e, a
nd t
he s
till
prim
itive
st
ate
of m
edic
al p
ract
ice,
and
from
w
hich
not
eve
n th
e ro
yal
fam
ily
was
spar
ed.
The
or
ator
io
or
chap
el
–whi
ch
appe
ars t
o ha
ve b
een
used
as su
ch
since
the
man
sion
was
bui
lt– w
as
the
site
of s
ocia
l eve
nts
as w
ell a
s fa
mily
w
orsh
ip.
We
know
tha
t th
e in
habi
tant
s at
the
tim
e, t
he f
amily
of
the
Cou
nt o
f la
Pue
bla
del
Mae
stre
, em
belli
shed
and
de
cora
ted
this
room
, w
here
the
cou
nt’s
fir
st-b
orn
son,
the
Mar
quis
of B
acar
es,
lay
in st
ate
on 2
4th
Apr
il de
181
6.
The
neo
-cla
ssic
ism o
f th
e pl
aste
r m
oul-
ding
s an
d th
e ge
omet
ry o
f th
e flo
orin
g re
flect
ed t
he d
omin
ant
tast
es o
f th
e la
te
18th
C.
Both
the
fur
nitu
re –
such
as
the
outs
tand
ing
velv
et-u
phol
ster
ed m
ahog
any
prie
-die
u th
at b
elon
ged
to
Que
en Is
abel
II–
and
the
relig
ious
scul
ptur
e an
d lit
urgi
cal i
tem
s, in
vite
m
edita
tion.
In th
e ce
ntre
, abo
ve th
e al
tar,
is F
ranc
isco
de G
oya’
s m
agni
ficen
t can
-va
s Sa
n G
rego
rio M
agno
(Sai
nt G
rego
ry, t
he G
reat
), w
hich
bel
onge
d to
the
exec
utor
of
the
esta
te o
f th
e M
useu
m’s
fou
nder
, an
ear
ly a
dmir
er o
f th
e br
illia
nt p
aint
er fr
om A
rago
n, w
ho is
now
reg
arde
d as
a p
recu
rsor
of
Rom
antic
ism.
It is
flank
ed b
y a
num
ber
of B
aroq
ue p
aint
ings
with
th
e sa
me
orig
in,
alon
g w
ith R
oman
tic p
aint
ings
tha
t w
ere
insp
ired
by
the
Baro
que
Fran
cisc
o R
iber
a’s
chia
rosc
uros
and
wel
l-sha
ped
form
s, o
r M
urill
o’s
soft,
war
m c
olou
rs a
nd b
eaut
iful f
emal
e fig
ures
with
sw
eet
expr
essio
ns.
XIII
The
Cha
pel
XV
IT
he L
ady'
s Bed
room
The
lad
y’s
bedr
oom
had
a s
peci
al
sym
bolic
pow
er,
since
it is
whe
-re
a w
oman
enj
oyed
the
grea
test
fr
eedo
m,
whe
re s
he c
ould
eng
age
in a
ll th
ose
“mys
teri
ous a
ctio
ns”,
from
kee
ping
a
love
lett
er o
r a
spec
ial s
ouve
nir,
to r
ea-
ding
or g
room
ing.
The
fact
that
a la
dy h
ad
her
own
room
indi
cate
d a
grea
ter
awar
e-ne
ss o
f in
divi
dual
ity,
pers
onal
life
, an
d th
e ne
ed to
exp
ress
this
indi
vidu
ality
in a
ph
ysic
al m
anne
r.
In t
his
refu
ge o
f m
emor
ies
and
of l
arge
an
d pe
tty
secr
ets,
a p
orta
ble
wri
ting
desk
w
as in
disp
ensa
ble,
alo
ng w
ith a
dre
ssin
g ta
ble
with
its
jars
of s
kin
lotio
ns a
nd p
er-
fum
es,
the
"paj
e",
a dr
essin
g m
irro
r on
a
high
sta
nd w
ith a
she
lf fo
r gr
oom
ing
item
s, a
nd t
he s
omno
, a
nigh
t st
and
with
a c
upbo
ard
for
the
cham
ber
pot.
The
bat
eau
bed
was
mad
e in
the
Empi
re st
yle,
and
was
cov
ered
by
a la
rge
cano
py w
hich
hel
ped
keep
it w
arm
. The
pre
vale
nce
of u
phol
s-te
ry in
the
roo
m m
ade
it fe
el li
ke a
cos
y re
fuge
. N
ext
to t
he b
ed is
a
char
min
g ba
by’s
cra
dle
in F
erna
ndin
e st
yle,
and
a c
orne
r of
the
room
w
as u
sed
for
med
itatio
n an
d pr
ayer
, with
a sm
all p
rie-
dieu
and
seve
ral
deco
rativ
e el
emen
ts w
ith sy
mbo
lic a
nd e
mot
iona
l val
ue.
The
mat
ical
ly, t
his r
oom
refe
rs to
the
fam
ily, t
he m
othe
r-ch
ild re
latio
n-sh
ip, m
arri
age,
and
the
wed
ding
.
Her
e be
gins
the
tour
of t
he ro
oms i
n w
hich
the
lady
of t
he h
ouse
w
as fu
lly in
cha
rge,
and
she
endo
wed
them
with
a w
elco
min
g ai
r, a
s a
cent
re o
f fee
lings
and
sen
timen
tal e
ncou
nter
s, a
nd a
sp
iritu
al h
aven
from
the
mor
e pu
blic
spac
es.
Influ
ence
d by
Par
is fa
shio
ns, t
he e
lega
nt la
dy c
ould
not
do
with
out h
er
our
sittin
g ro
om fo
r vi
sits
from
her
clo
sest
con
fidan
tes.
In t
he b
oudo
ir sh
e m
ight
also
rea
d, w
rite
, or
sew
in t
he in
form
al s
ettin
g, c
lutt
ered
w
ith b
eaut
iful a
nd p
reci
ous t
hing
s, w
hich
wer
e sy
mpt
oms o
f a w
oman
’s
irra
tiona
lity,
cha
ngea
blen
ess a
nd c
apri
ciou
snes
s. T
he sh
owca
ses a
re re
-pl
ete
with
acc
esso
ries
and
trin
kets
.
The
mat
ical
ly, t
he r
oom
spe
aks
of s
ome
of t
he m
ost
char
acte
-ri
stic
asp
ects
of
the
Rom
antic
fe
min
ine
idea
l: m
othe
rhoo
d,
the
nude
–an
unc
omm
on g
en-
re–,
whi
ch,
alon
g w
ith s
educ
-tio
n, w
as c
ircu
msc
ribe
d to
the
w
orld
of
the
engr
avin
g an
d to
ce
rtai
n fe
mal
e po
rtra
its
that
m
anag
ed to
evo
ke th
e pe
riod
’s
idea
l of
fra
gile
, et
here
al,
and
eleg
ant b
eaut
y.
XV
The
Bou
doir
XV
IIIT
he L
itera
ture
an
d th
e The
atre
Roo
m
The
obj
ects
her
e ar
e st
eepe
d in
the
affe
ctiv
e an
d se
ntim
enta
l va-
lues
, ref
lect
ing
the
rela
tions
of t
he p
eopl
e w
ho d
wel
led
in th
e ho
use
and
mai
ntai
ned
with
them
an
alm
ost p
sych
olog
ical
rel
a-tio
nshi
p. F
urni
ture
also
had
a s
ymbo
lic fu
nctio
n: d
epen
ding
on
whe
re
and
how
it w
as p
lace
d, it
indi
cate
d th
e di
ffere
nt d
egre
es o
f for
mal
ity.
The
not
ion
that
som
e fu
rnish
ings
are
mas
culin
e an
d ot
hers
fem
inin
e un
derl
ines
a s
ocia
l rea
lity
that
was
also
evi
dent
in p
eopl
es’
dres
s an
d cu
stom
s.
Tot
ally
fem
inin
e is
the
love
ly c
hest
of
draw
ers
that
bel
onge
d to
the
po
etes
s Car
olin
a C
oron
ado.
In th
is pe
riod
ther
e w
as a
slig
ht c
hang
e in
w
omen
’s s
tatu
s, a
nd w
hile
rea
ding
, w
ritin
g, a
nd t
hink
ing
cont
inue
d to
be
rega
rded
as
out
of b
ound
s fo
r th
e fe
mal
e se
x, t
here
wer
e m
any
exce
ptio
ns.
The
mat
ical
ly,
the
room
foc
uses
on
li-te
ratu
re a
nd t
he t
heat
re,
by w
ay o
f th
e po
rtra
it. S
ocia
l ga
ther
ings
and
fri
ends
-hi
ps i
nvol
ving
art
ists
of d
iffer
ent
genr
es
wer
e qu
ite c
omm
on d
urin
g th
e R
oman
tic
age,
whi
ch s
ough
t to
bre
ak d
own
trad
i-tio
nal b
arri
ers
betw
een
the
arts
. Wri
ters
sh
owed
a n
ew v
isual
sen
sibili
ty w
hich
, in
cer
tain
Rom
antic
aut
hors
suc
h as
the
D
uke
of R
ivas
(R
oom
IV
) or
Béc
quer
(R
oom
V),
was
wed
ded
to a
tec
hnic
al
and
expe
rim
enta
l kno
wle
dge
of p
aint
ing.
M
eanw
hile
, lite
rary
them
es –
such
as
deat
h, th
e m
aide
n, o
r th
e de
vil–
al
so in
form
ed th
e vi
sual
art
s.
The
act
iviti
es c
orre
spon
ding
to th
e tw
o ge
nder
s wer
e ca
rrie
d ou
t in
diff
eren
t ro
oms.
Her
e w
e re
ach
the
mas
culin
e pa
rt o
f th
e ho
use,
dec
orat
ed m
ore
serio
usly
and
aust
erel
y: a
sobe
r arm
chai
r (w
ith th
e or
igin
al u
phol
ster
y) in
Fer
nand
ine
styl
e, tw
o ch
ests
of d
raw
ers
from
aro
und
1830
and
with
a s
peci
fical
ly m
ascu
line
func
tion,
and
, in
th
e ce
ntre
, a sm
all a
nd so
ber
pede
stal
tabl
e of
med
ieva
l ins
pira
tion.
Thi
s sm
all r
oom
is d
edic
ated
to
Ma-
rian
o Jo
sé d
e La
rra
(180
9-18
37),
w
ho a
lso u
sed
the
pseu
dony
ms
Fíga
-ro
and
El P
obre
cito
Hab
lado
r, a
nd w
as
Spai
n’s
grea
test
wri
ter
of l
itera
ture
an
d jo
urna
lism
dur
ing
the
Rom
an-
tic e
ra.
His
sarc
astic
tem
pera
men
t an
d bi
tter
disa
ppoi
ntm
ent
with
his
coun
try,
agg
rava
ted
by a
tur
bule
nt
love
affa
ir w
ith D
olor
es A
rmijo
, le
d hi
m to
com
mit
suic
ide.
In ad
ditio
n to
pa
intin
gs an
d ot
her o
bjec
ts b
elon
ging
to
Lar
ra –
lent
to th
e m
useu
m in
192
4 by
his
desc
enda
nts–
thi
s ro
om fo
cu-
ses o
n bo
oks a
nd n
ewsp
aper
s, a
nd o
n th
e pr
emat
ure
deat
h by
his
own
hand
of S
pain
’s R
oman
tic g
eniu
s.
Rom
antic
lite
ratu
re w
as fr
augh
t with
the
them
e of
dea
th, a
nd e
spec
ially
th
e id
ea o
f sui
cide
. But
not
eve
ryon
e w
as so
ent
ranc
ed b
y th
is lu
gubr
ious
“f
ashi
on”.
The
pai
nter
Leo
nard
o A
lenz
a m
ocke
d it
in h
is tw
o sm
all p
ain-
tings
–Sá
tiras
del
sui
cidio
rom
ántic
o (S
atire
of
the
rom
antic
lov
er's
suici
de)–
w
hich
hav
e co
me
to sy
mbo
lise
the
entir
e R
oman
tic p
erio
d in
Spa
in.
XV
IILa
rra's
Roo
m
XX
The
Stu
dy
The
stu
dy –
in t
he m
ascu
line
do-
mai
ns o
f th
e ho
use–
was
in
fact
a
room
for
rece
ivin
g gu
ests
. Pre
-va
iling
fash
ions
dic
tate
d th
at it
sho
uld
be
full
of a
var
iety
of f
urni
shin
gs w
ith d
iffe-
rent
sty
les
and
uses
. Ind
ispen
sabl
e in
this
“tem
ple”
of
conv
ersa
tion
and
intim
ate
gath
erin
gs w
as t
he p
iano
fort
e, a
n in
stru
-m
ent f
or e
nter
tain
men
t par
exce
llenc
e. T
he
smal
l tab
les t
ook
up a
cen
tral
zon
e of
the
room
, w
hich
also
fea
ture
d “o
ccas
iona
l” ch
airs
, lig
ht a
nd a
rmle
ss,
and
the
chai
se
voye
use d
esig
ned
to b
e se
ated
ast
ride
, fac
ing
the
back
, per
haps
to w
atch
a
card
gam
e or
a m
usic
rec
ital.
The
con
fidan
te –
with
two
oppo
sed
and
faci
ng s
eats
– w
as t
he a
rmch
air
of s
ecre
ts,
and
was
kno
wn
in S
pain
as
the
vis à
vis.
Cha
irs w
ere
mad
e to
imita
te th
e or
ient
al la
cque
red
vari
ety,
an
d th
e Ph
ilipp
ine
styl
e w
as in
fas
hion
dur
ing
Isab
el I
I’s r
eign
, al
ong
with
the
pede
stal
tabl
es a
nd th
e th
ree
pret
ty c
onso
le ta
bles
.
As r
egar
ds th
e th
emat
ic it
iner
ary,
the
disc
ours
e co
ntin
ues h
ere
that
was
be
gun
in R
oom
s X
VII
and
XV
III,
dedi
cate
d to
the
art
ist in
lite
ratu
re,
on th
is oc
casio
n sh
owin
g th
e im
age
of th
e vi
sual
artis
t, h
is ne
w v
ision
of
the
wor
ld, a
nd th
e co
ncep
t of g
eniu
s. A
rtist
s, e
mul
atin
g th
e bo
urge
ois,
al
so a
sser
ted
them
selv
es t
hrou
gh t
he p
ortr
ait
and
the
self-
port
rait,
in
whi
ch th
ey d
efin
ed th
emse
lves
and
show
ed h
ow th
ey w
ished
to b
e se
en
by o
ther
s. In
this
peri
od th
e no
tion
bega
n to
em
erge
that
a m
an’s
gre
at-
ness
lay
sole
ly in
his
qual
ities
and
the
bene
fit c
onfe
rred
by
as a
ctio
ns o
n so
ciet
y as
a w
hole
, as m
erit
bega
n to
supp
lant
line
age
in th
e pr
evai
ling
valu
e sy
stem
.
In th
is pe
riod
tob
acco
was
gra
dual
ly i
nvad
ing
publ
ic a
nd p
riva
te
spac
es, a
s bot
h w
itnes
s and
sym
bol o
f the
mas
culin
isatio
n of
soci
al
life.
We
shou
ld r
ecal
l tha
t som
e ph
ysic
ians
in th
e pe
riod
bel
ieve
d th
at sm
oke
had
heal
thfu
l pro
pert
ies.
The
sm
okin
g ro
om w
as a
n in
-no
vatio
n th
at s
uppl
ied
the
pa-
ter
fam
ilias
with
an
atm
osph
e-re
tha
t w
as n
ot s
o fo
rmal
, bu
t th
at r
athe
r ev
oked
sle
epin
ess
and
wel
l-bei
ng.
It w
as a
pla
ce
whe
re o
ne r
etir
ed i
n or
der
to
smok
e, a
nd t
hat
invi
ted
one
to r
epos
e, a
spa
ce f
or o
nese
lf an
d on
e’s m
ost t
rust
ed fr
iend
s.
Ori
enta
l an
d pa
rtic
ular
ly A
ra-
bic
mot
ifs w
ere
favo
ured
in th
e de
cora
tion.
The
res
tora
tion
of
the
Alh
ambr
a of
Gra
nada
in
the
1860
s fu
elle
d th
is fa
shio
n am
ongs
t the
bou
rgeo
isie.
The
mat
ical
ly,
this
room
giv
es u
s an
opp
ortu
nity
to
show
the
influ
en-
ce o
f Ori
enta
lism
and
exo
ticism
on
the
Rom
antic
mov
emen
t. E
gypt
, M
oroc
co,
and
even
Spa
in’s
ow
n M
uslim
pas
t w
ere
now
fas
hion
able
th
roug
hout
Eur
ope,
and
thi
s br
ough
t a
wav
e of
for
eign
tra
velle
rs f
or
who
m th
is ill
usor
y w
orld
, str
addl
ing
the
med
ieva
l and
the
pict
ures
que,
an
d w
hich
they
bel
ieve
d ex
isted
in S
pain
, was
vita
l.
XIX
The
Sm
okin
g R
oom
XX
IIT
he O
ffice
The
offi
ce w
as th
e w
ork
room
, so
its d
ecor
atio
n w
as v
ery
limite
d an
d se
riou
s. T
he v
ery
Engl
ish-
look
ing
wal
lpap
er h
ad s
ober
mot
ifs,
and
the
furn
iture
com
bine
s th
e au
ster
e Fe
r-na
ndin
e st
yle
with
Isa
belli
ne p
iece
s at
th
e op
posit
e ex
trem
e an
d w
hich
sou
ght
com
fort
thr
ough
cus
hion
ing
and
fluffy
su
rfac
es,
alon
g w
ith a
cer
tain
deg
ree
of
oste
ntat
ion,
tho
ugh
this
did
not
man
age
to c
once
al th
e gr
adua
l im
pove
rish
men
t of
mat
eria
ls an
d te
chni
ques
.
Out
stan
ding
is t
he F
erna
ndin
e-st
yle
ma-
hoga
ny o
ffice
des
k w
ith m
arqu
etry
aro
und
the
keyh
ole
and
two
secr
et
draw
ers a
t the
side
s. It
onc
e be
long
ed to
the
Mar
quis
of R
emisa
–w
ho
is sh
own
next
to
a po
rtra
it of
him
self–
and
was
acq
uire
d fr
om I
sabe
l R
egoy
os,
win
dow
of
the
pain
ter
and
dire
ctor
of
the
Prad
o M
useu
m,
Aur
elia
no d
e Be
ruet
e.
The
mat
ical
ly, t
his r
oom
is a
con
tinua
tion
of th
e hu
man
gal
lery
that
be-
gan
in th
e pr
evio
us o
ne th
roug
h a
dive
rsity
of p
erso
nage
s hav
ing
to d
o w
ith t
he m
ascu
line
prot
otyp
es o
f the
age
: m
ilita
ry m
en,
bank
ers,
and
th
e no
uvea
ux r
iche
s. A
ver
y co
mm
on t
ype
was
the
mon
ied
bour
geoi
s,
norm
ally
a b
usin
essm
an o
r hi
gh o
ffici
al.
Thi
s ty
pe w
as o
ften
an in
te-
llect
ual,
and
a co
llect
or, s
ensit
ive
to a
nd r
emai
ning
abr
east
of c
ultu
ral
tren
ds.
His
high
soc
ial
posit
ion
was
ref
lect
ed in
the
atm
osph
ere
that
su
rrou
nded
him
.
The
mas
ter
bedr
oom
has
a m
ore
serio
us a
nd s
ever
e as
pect
. Th
e w
alls
are
deco
rate
d w
ith a
wid
e ba
sebo
ard
pain
ted
to r
esem
ble
the
woo
den
ones
we
can
see
thro
ugh
open
ings
mad
e in
the
wal
l.
The
fur
nish
ings
are
muc
h le
ss
eleg
ant
and
mor
e pr
actic
al:
a C
arlo
s IV
-sty
le b
ed;
a co
mfo
r-ta
ble
dres
sing
tabl
e or
bas
in
whi
ch s
aved
spa
ce s
ince
whe
n cl
osed
its h
ygie
nic
func
tion
was
no
t evi
dent
: a ta
ble
for
hold
ing
groo
min
g ite
ms;
a
cham
ber
pot;
a n
ight
sta
nd w
ith w
ater
bo
ttle
, an
d a
full-
leng
th p
siqué
or
tilt
ing
mir
ror,
with
can
dle
hold
ers s
o th
at it
cou
ld b
e us
ed
at n
ight
.
In th
is ro
om m
ale
port
raits
are
sh
own,
mak
ing
up a
sm
all
ga-
llery
of
the
vari
ed p
roto
type
s of
the
per
iod,
suc
h as
the
Rom
antic
“re
bel”,
with
sha
des
of t
he n
oble
ba
ndit
whi
ch,
alon
g w
ith a
rtist
s, c
ompr
ised
the
grea
t spi
ritua
l fam
ily o
f vi
siona
ries,
who
, aw
are
of t
heir
gift
s, m
ade
of t
heir
ow
n ex
isten
ce a
pr
ivat
e ad
vent
ure;
the
sailo
r, sy
mbo
l of f
reed
om a
nd d
arin
g, w
ith a
life
be
yond
con
vent
ion
and
rout
ine:
the
dan
dy,
obse
ssed
by
fash
ion;
and
ev
en “o
ffici
al” t
ypes
, with
pol
itica
l and
soci
al im
port
ance
.
XX
IT
he G
entle
man
's Be
droo
m
XX
IVT
he C
onse
rvat
ory
Alo
ve o
f pla
nts
and
natu
re w
as a
impo
rtan
t fe
atur
e of
the
Ro-
man
tic a
ge.
The
idea
lisat
ion
of c
ount
ry l
ife b
y ci
ty d
wel
lers
im
plie
d th
e ea
rlie
st cr
itici
sm o
f the
mod
ern
city
. Con
sequ
ently
th
e es
tufa
or
“hot
hous
e”,
for
whi
ch t
he F
renc
h w
ord
serr
e w
as o
ften
used
, was
de
rigue
ur in
city
man
sions
, and
con
tain
ed n
umer
ous p
lant
s,
espe
cial
ly e
xotic
one
s to
delig
ht th
e cu
riou
s and
enh
ance
the
repu
tatio
n of
the
owne
rs. I
n ad
ditio
n, th
e co
nser
vato
ry p
rovi
ded
a ref
uge
from
the
clam
our
of u
rban
life
.
The
sho
wca
se a
t th
e le
ft co
ntai
ns
delic
ate
milk
y gl
ass
mad
e at
the
Rea
l Fá
bric
a de
La
Gra
nja
in
Sego
via,
(on
loa
n fr
om
the
Nat
iona
l M
useu
m
of D
ecor
ativ
e A
rts,
Ma-
drid
), a
nd th
e on
e on
the
righ
t hol
ds c
urio
us p
iece
s of
pai
nted
chi
na m
ade
af-
ter
the
then
-fas
hion
able
En
glish
tec
niqu
e in
Car
-ta
gena
, Sa
rgad
elos
, th
e Pi
ckm
an p
lant
in S
evill
e,
etc.
R
ound
ing
off
the
deco
ratio
n ar
e so
me
love
ly o
rien
tal p
orce
lain
s an
d at
trac
tive
Fren
ch-
influ
ence
d st
ools.
Ano
ther
spac
e fo
r m
ale
soci
alisi
ng
was
the
bill
iard
roo
m,
norm
ally
sit
uate
d ne
ar t
he m
ain
draw
ing
room
and
the
din
ing
room
–th
e ga
me
was
ofte
n pl
ayed
afte
r lu
nch
duri
ng t
he
long
afte
rnoo
ns o
ff–.
Mod
ern
billi
ards
re
ache
d Sp
ain
with
the
Bou
rbon
dyn
asty
an
d w
as a
gam
e as
soci
ated
with
the
ari
s-to
crac
y. T
he b
illia
rd ta
ble
beca
me
know
n as
the
mes
a de
truc
os o
r “t
rick
tab
le”.
Thi
s on
e w
as m
ade
by th
e m
ost f
amou
s man
ufac
ture
r of
the
day,
Fra
ncisc
o A
mor
ós o
f Bar
celo
na,
who
also
wro
te a
maj
or b
ook
entit
led
Mem
oria
so
bre
la co
nstr
ucci
ón d
e m
esas
de
billa
r (Re
port
on
billi
ard
tabl
e co
nstr
uctio
n).
Alo
ng w
ith th
e ta
ble
we
see
the
cue
rack
, a b
ridg
e fo
r cue
s, a
nd se
vera
l se
ts o
f cue
s, a
long
with
the
abac
us o
r co
unte
r.
The
thr
ee-p
iece
sui
te is
in t
he I
sabe
lline
sty
le a
nd w
as m
ade
arou
nd
1860
. It f
eatu
res s
oft c
urve
s, sy
mbo
lisin
g th
e ne
w re
ligio
n of
“com
fort
” an
d th
e ar
mch
airs
see
m t
o di
scre
etly
env
elop
e th
e pe
rson
who
sits
in
them
. It
mig
ht b
e sa
id t
hat
they
are
del
iber
atel
y cu
rved
, in
kee
ping
w
ith th
is co
ncep
t of w
elco
min
g am
iabi
lity.
In th
is at
mos
pher
e of
exc
lusiv
ely
mas
culin
e en
tert
ainm
ent i
ts w
as c
om-
mon
to a
dorn
or
even
line
the
wal
ls w
ith e
xclu
sivel
y fe
mal
e po
rtra
its,
for
such
a r
oom
affo
rded
a sp
lend
id o
ppor
tuni
ty to
disp
lay
a ga
llery
of
such
a R
oman
tic g
enre
. T
oday
the
y af
ford
an
oppo
rtun
ity t
o se
e ho
w
fash
ions
–ha
irdo
s an
d ac
cess
orie
s– d
evel
oped
and
evo
lved
, alo
ng w
ith
the
idea
l of b
eaut
y, in
the
cour
se o
f the
cen
tury
.
XX
IIIT
he B
illia
rd R
oom
In th
e tw
o la
st ro
oms o
n ou
r tou
r we
reac
h th
e en
d of
the
Mus
eum
’s
perm
anen
t ex
hibi
tion
and
com
e to
a z
one
in w
hich
we
can
lear
n m
ore
abou
t so
me
of t
he t
hem
es t
ouch
ed u
pon
duri
ng t
he t
our.
By
exa
min
ing
orig
inal
pri
nts
from
the
per
iod,
alo
ng w
ith b
ook,
mo-
nogr
aphi
c ca
talo
gues
, an
d us
ing
the
com
pute
r, w
e ca
n ex
pand
the
ir
know
ledg
e or
pla
y a
vari
ety
of in
tera
ctiv
e ga
mes
.
We
end
with
a la
rge
mod
el o
f the
mus
eum
bui
ldin
g in
whi
ch w
e ca
n ta
ke a
peek
at h
ow d
aily
life
pro
ceed
ed in
som
e of
its r
oom
s. S
uch
man
-sio
ns w
ere
norm
ally
div
ided
into
terr
itori
es a
nd d
istri
bute
d by
leve
ls,
so a
ctiv
ities
wer
e se
para
ted
vert
ical
ly.
The
gro
und
floor
was
ent
ered
by
mea
ns o
f a la
rge
hall,
with
a g
ate
for
carr
iage
s, a
s we
can
see
in th
e m
odel
. T
his
floor
was
use
d m
ainl
y fo
r se
rvic
es –
the
kitc
hen,
pan
try,
ce
llars
, ser
vant
s’ h
all,
laun
dry,
fire
woo
d, ta
ckle
roo
m, e
tc–.
On
the
mai
n flo
or w
ere
the
mos
t im
port
ant
room
s, in
clud
ing
rece
p-tio
n ro
oms,
form
al s
ittin
g ro
oms,
the
ballr
oom
, the
din
ing
room
, and
th
e m
aste
r be
droo
ms.
The
att
ic fl
oor w
as re
serv
ed fo
r the
serv
ants
’ sle
epin
g qu
arte
rs, a
nd th
e ir
onin
g an
d se
win
g ro
oms.
The
serv
ant’
s roo
ms w
ere,
like
the
serv
ants
th
emse
lves
, wer
e ke
pt o
ut o
f sig
ht to
eve
ry p
ossib
le e
xten
t. T
he m
ini-
mum
num
ber
of s
erva
nts
for
a la
rge
hous
e w
as t
en,
but
fam
ily m
em-
bers
ofte
n liv
ed w
ith t
hem
. T
hey
had
thei
r ow
n st
airc
ase
at t
he r
ear,
ex
tend
ing
from
the
cel
lars
to
the
attic
floo
r, w
hile
the
mai
n st
airc
ase
asce
nded
from
ent
ranc
e ha
ll to
the
prin
cipa
l flo
or.
XX
V a
nd
XX
VI
The
Inte
ract
ive
Roo
m
and
the V
irtu
al S
tage
Plea
se
leav
e th
is co
py
on th
e re
cept
ion
desk
Wri
tten
by
Bego
ña To
rres
Gon
zále
z Ill
ustr
ated
by
Estu
dio
G_c
ero
San Mateo, 13 28004 Madrid
Recommended