Description

 

It was built by Don Luis de Cardenas Aguilar at the end of the 16th century. On this site there was originally the oratory of the Blessed of St. Ana and from 1514 the convent of the brothers of St. Francisco de Asis, so Don Luis de Cardenas delivered to this order of land that he owned outside the walls, not away from Little Arc, on the aforementioned site. From 1708 it was the seat of the counts of the Quinteria and from 1970 of the palace of Justice. It has undergone two major actions, one in the first half of the eighteenth century, when its tower-viewpoint was built, and the remodeling of the seventies to accommodate its new reality of the Palace of Justice.

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With the construction of the palace (completed in 1600) it was possible to produce the widening of Santa Ana Street, conforming the hillock of St. Ana in its final form. With this, the facade was given a brightness that the street denied him.

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The link palace-square is very narrow, because there is no other facade, claimed for itself all the prominence as the only dominant element of that public space. In the eighties of the last century, this role is shared with the facade of the Perez de Vargas and Gormaz.

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The facade is the result of the juxtaposition of two elements: The chapel of St. Ana and the palace itself, whose cover is displaced to the southeast with the intention of centering it with respect to the space of the square. The horizontality of this one is broken by the incrustation in the 18th century of a tower-viewpoint, contiguous to the cover, that altered its primitive project.

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Whitewashed facade, which reserves the prominence of the stone for the noble parts of the building: front and viewpoint of the tower. The cover develops a scheme that will be the usual civil architecture of Andujar throughout the baroque: organized around the doorway and the balcony. In the first body, the jambs support a padded lintel that has a radial arrangement. Tuscan columns flanked on a pedestal support an entablature altered by the padding of the lintel. The party fronton houses a poster with a legend alluding to the Cardenas (ALTIORA PETIMUS). Above the vertices an anthropomorphic mask that serves as the base for the coat of arms with eagle.

 

In the second body, the balcony, flanked by shields and resting its cantilever over the split pediment of the doorway. The jambs and lintel, padded. The split and curved pediment supported by three corbels, reading on the sides: "year 1600". It is decorated with the Cardenas lineage with a tapering eagle and a zoomorphic mask. The roof line, which coincides with the cover, is organized to two waters to accommodate the upper shield, interrupting its linearity.

 

The interior space is organized around two courtyards. Corresponding to the axis of the cover of the palace the smaller, very simple design. The main patio, of Renaissance style, to the west of the vestibule with which communicates by means of a corridor, with arches of half point in its two floors that rest in columns of Tuscan order.

 

On the east side of the facade is the chapel of St. Ana that has internal communication with the Palace. Its rectangular floor is organized in two sections. The first section, conceived as a presbytery, is covered with a half-orange vault on pendentives. The vault decorated with polychrome reliefs in which the busts of Octavio and Livia and St. Joshep and Mary are represented. In the pendentives the evangelists are represented with their symbols (tetramorphs). On the sides of the disappeared reredos of the chapel, the plaster shields of the Cardenas and Valenzuela lineages. The latter corresponds to Mrs. Ignacia Maria Quero y Valenzuela, wife of Don Eugenio Francisco de Paula Cardenas Miranda, second count of the Quinteria (second third of the 18th century). The second open section with a beautiful Mudejar coffered ceiling of "par y nudillo".

 

The cover, padded in brick, is organized in two bodies that are marked with a slight cornice. The padding of the jambs, arranged by rope and blight; the one on the lintel, radially. The door with artistic knockers, hinges and ball head nails. In the second body a niche topped by a triangular pediment and framed by two fins. Under it, the Cardenas shield. On the roof, the bulrush, with balls vitrified in green and arranged in groups of two on both sides of the semicircular vain.

 

The palace underwent a remodeling in the first half of the 18th century. Fruit of the same is the lookout tower and the vault of the portico patio staircase. The lookout, with a triple arcade of half a point The half-orange vault of the aforementioned staircase is of Baroque style. Made in plaster on hurdle and decorated with fleshy leaves. In the pendentive, split shields, with the lineages of the holders: Cardenas-Palomino and Miranda-Gamboa. Be last with the motto: "THESE ARMS AND SIERPE BLAZON GREEN AND MAIDENS WITH FIVE BEAUTIFUL VENERAS".

 

That remodeling was completed in 1730, in the days of Don Manuel Francisco Cardenas and Palomino, the first Cardenas who held the title of Count of the Quinteria. Title granted by Felipe V to Don Eugenio Jose de Miranda y Gamboa and which would cede to his daughter María Francisca Eugenia Miranda Gamboa, born in the city of Carmona in the year 1690, wife of the aforementioned Don Manuel Francisco Cardenas and Palomino

 

It counted the palace in its later part with ample gardens to which it was acceded by means of a beautiful semicircular arch framed with an alfiz of century XVII. This patio today is occupied by the school group Francisco Estepa; persisting the bow that is blinded.

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Association of Friends of the Patrimony of Andujar