„Esgrafiado segoviano” jako wyraz regionalnej tradycji i tożsamości miasta

Daria Bręczewska-Kulesza

doi:10.37190/arc220108

Streszczenie

Historyczne centrum Segowii obfituje w budynki z elewacjami w całości lub w części pokrytymi dekoracją wykonaną w technice sgraffito. Spójna forma zdobienia elewacji budynków, konsekwentnie stosowana i rozwijana przez stulecia, stała się elementem wyróżniającym architekturę miastan i całego regionu. Celem artykułu jest zbadanie segowiańskiego sgraffito jako wyrazu regionalnej tradycji i tożsamości miasta. W trakcie badań przeprowadzono studia historyczne nad rozwojem tradycji sgraffito w Hiszpanii. Pozwoliły one na uwypuklenie odrębności tej formy dekoracji w Segowii na tle innych ośrodków. Dokonano krytycznej analizy literatury przedmiotu i źródeł oraz opracowań architektoniczno-konserwatorskich. Na podstawie rezultatów badań in situ, podczas których zebrano bogaty materiał fotograficzny, przeprowadzono analizę formalną tych dekoracji. Następnie zbadany został wpływ sgraffito na spójność architektury miasta. W końcu rozważono problem, czy sgraffito może stać się elementem tożsamości miasta i jego wizytówką. W artykule skupiono się na dekoracyjnej funkcji sgraffito jako elementu regionalnej architektury. Po przeanalizowaniu aspektów historycznych i współczesnych rozwoju sgraffito w Segowii można uznać tę formę dekoracji za regionalne zjawisko, będące czynnikiem budowania tożsamości miasta, które tak jak akwedukt może stać się symbolem Segowii.

Słowa kluczowe:
segowia
sgraffito
elementy-tożsamości-miasta

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2022

1(69)

Daria Bręczewska-Kulesza*

“Esgrafiado segoviano”

as an expression of the city’s regional tradition and identity

Introduction

Segovia is an example of a city whose historic center

abounds in buildings with façades entirely or partially

covered with geometric sgrato. Consistently applied and

developed for centuries, this form of façade decoration

can become a distinguishing element of the architecture of

a city or an entire region. The reason for taking up this top-

ic was to draw attention to the historical and formal conti-

nuity of the technique used and to the eect of architectur-

al coherence that resulted from its use over the centuries.

The origins of sgrato in Segovia are associated with

the local alcazar and date back to the turn of the 11

and

centuries

. They were created in the following cen-

turies depending on fashion and periods of prosperity or

economic stagnation of the city. After a short break in the

quarter of the 20

century, sgrato in Segovia was re-

vived, with renovations and restorations of damaged deco-

rations. It is a good example of a tradition constantly alive,

resulting from an interesting multicultural history. Given

the history of the city and the continuity of the tradition of

decorating buildings with this technique

, as well as the

large amount of both historical and contemporary sgrato

reconstructed or creatively restored on the façades, it can

be considered a regional phenomenon that can be a factor

* ORCID: 0000-0002-9281-0312. Faculty of Civil Engineering,

Architecture and Environmental Engineering, J. and J. Śniadecki Uni-

versity of Technology in Bydgoszcz, Poland, e-mail: daria.breczewska-

kulesza@pbs.edu.pl

The royal palace in Segovia was rst documented in 1122,

although it may have existed earlier.

The turbulent history of Spain and Segovia, the economic cri-

ses aecting the city since the 17

century, and the changing fashions

caused periods of abandonment of the use of sgrato. However, after

they were overcome, it became a very popular technique again. More on

the history of Segovia [1].

in building the identity of the city and, along with the aq-

ueduct, should become a symbol of Segovia.

The aim of the article is not only to present the sgrato

of Segovia, its forms, motifs and threads of meaning, but

also an attempt to place them in the context of this type of

decoration used in other cities and regions of Spain. The

paper discusses the problem of the originality of Segovia

sgrato and its importance in building the identity of the

city, including its contemporary identity. All the presented

analyses are the result of research conducted by the author

in situ.

Research status and methods

Segovia sgrato has been the subject of inquiry by local

scholars, but few have devoted more attention to the topic.

In studies on Segovia from the early 20

century, one can

nd references on the subject linking the origins of the

technique to the Middle Ages. For example, the topic was

discussed by Marques de Lozoya in a study on the typology

of residential houses in Segovia [2]. Luis Peñalosa, among

others, has drawn attention to the artistic aspect of Segovia

sgrato [3]. The models of sgrato and their typology in

the province of Segovia have been dealt with by Aurora de

la Puente Robles [4]. Since the 1990s, extensive research

on the phenomenon of sgrato in the city and region of

Segovia has been carried out by Rafael Ruiz Alonso. The

author devoted his doctoral dissertation to this topic, in

which he presented research on the history and origin of

this technique in Segovia, its technical and stylistic evolu-

tion, discussed the materials and tools used by the artists,

and made an extensive analysis of the motifs and forms

used. In addition, he included in the work a very extensive

and comprehensive bibliography [5]. The researcher is also

the author of a number of articles and books dealing with

sgrato both in Europe and the world, as well as in the

DOI: 10.37190/arc220108

Published in open access. CC BY NC ND license

92 Daria Bręczewska-Kulesza

Segovia region [6], [7]. A broader view of the city’s archi-

tecture and urbanism was provided by José Antonio Ruiz

Hernando [8] and Miguel Ángel Chaves Martín [9] in their

publications. The ornamentation of the Segovian sgrato

also interested mathematicians, who studied the decora-

tions in terms of crystallographic symmetry groups [10].

In the course of the research, historical studies on the

development of the sgrato tradition in Spain were car-

ried out to highlight the distinctiveness of this form of

decoration in Segovia from other centers. A critical anal-

ysis of the literature and sources as well as architectural

and conservation studies was made. In situ research was

also carried out, during which, among other things, rich

photographic material was collected that was necessary

for the formal analysis of the decorations studied.

Wall sgraffito

The technique of wall sgrato has given and still gives

many possibilities for formal solutions of façade and inte-

rior decoration. Used in both ocial and residential archi-

tecture or bourgeois or folk, it changed depending on the

historical period and region. It gained its greatest popular-

ity in Europe during the Renaissance, especially in Italian

works. However, sgrato accompanied the architecture

from ancient times through subsequent eras. It was pres-

ent in the Middle Ages, Baroque, Classicism, 19

and ear-

ly 20

centuries, as well as in the 20

and 21

centuries.

Decorations made in this technique recurred in dierent

forms and with dierent frequency

. They could perform

two basic functions. The rst one was the protection of the

wall against external factors and the second one was the

decoration of the walls of the building, both the elevation

and the interior. Sgrato was often used to cover walls

erected in cheap techniques and not very representative.

This paper examines the decorative function of sgrato.

When we take a closer look at this decorative technique

we can see a great variety of patterns and motifs, icono-

graphic content, textures, colors and materials or tools

used, which gives great creative possibilities and diverse

eects. Also the choice of decorated architectural element,

such as lintels, window frames or the entire façade, gives

a completely dierent result. In its diversity, sgrato may

be perceived as a fresco or a drawing created by grooving

and scratching. Gotfried Semper wrote that the style of

sgrato resembles niello in magnication

Sgrato decorations used various means of artistic ex-

pression. They could create the illusion of visually chang-

ing architectural elements or create their imitations, such

as rustications, plastic framing of openings, etc. The use

of geometric ornamental motifs in sgrato was a very

common practice. The use of such motifs on the entire

surface of the façade could create the impression of deli-

cate, “lacy”, almost unreal walls. Figural representations

were often a manifestation of religious beliefs or progres-

sive views of the owner of the building, they could also

have moralistic overtones.

Sgraffito in Spain

Sgrato in Spain has a long tradition dating back to

antiquity, varying from region to region. The origins of

this technique are quite dicult to determine. The ear-

liest traces of sgrato were found in Mérida, where the

contrast between smooth and rough surfaces was used,

another in Medina Elvira [14]. Decorations with geomet-

ric forms were used in the interiors of the caliph palaces

of Andalusia as early as the 11

century. Among various

decorative techniques used in the Alhambra complex in

Granada, one can also nd sgrato (e.g., in Patio de los

Leones, in Generalife) (Fig. 1).

In Spain, especially in areas that were for hundreds of

years under Arab rule, cheap and eective Muslim decora-

tive techniques were adopted. They were used mainly in the

For more on sgrato, e.g.: [11]–[13].

An extensive article on sgrato techniques and technology as

well as motifs and themes used in its historical aspect was published by

Marzanna Jagiełło-Kołaczyk in “Architectus” journal. However, it con-

cerned mainly sgrato in Italy and German-speaking countries, which

were under their cultural inuence [13].

Fig. 1. Various techniques of decoration in arabic architecture

– Generalife, Alhambra, Granada (photo by D. Bręczewska-Kulesza)

Il. 1. Różne techniki dekoracji w architekturze arabskiej

– Generalife, Alhambra, Granada (fot. D. Bręczewska-Kulesza)

 “Esgraadosegoviano”asanexpressionofthecity’sregionaltraditionandidentity 93

The next phase of sgrato decoration bloom was

brought by Barcelona’s “modernism” at the turn of the

and 20

centuries. Within its framework, three trends

can be distinguished. Modernisme de La Reinaxença

movement referred to the romantic and nationalistic Cata-

lan cultural movement from the beginning of the 19

cen-

tury willingly using medieval motifs. The second trend

was more eclectic, assimilating European architectural

and decorative forms. The third stemmed from the work

of Antonio Gaudi, who used sgrato decoration in a very

diverse and unconventional way [18, p. 57].

The common denominator for these three trends was

the use of sgrato, both as a supplement of other forms

of decoration or as a superior motif covering the whole

façades, but here also in combination with other materials

and decorative techniques.

In Art Déco architecture, Madrid became the leading

center, where the tone was set by the Callao Cinema, a 1926

work by Luis Gutiérrez Soto with somewhat neo-Baroque

and neoclassical forms. A sgrato reminiscent of a tapes-

try lled large surfaces of panels.

In the 2

half of the 20

and into the 21

century,

sgrato became a renewed interest in Spanish cities.

There has been an increased interest from municipal au-

thorities looking for regional traditions and center iden-

tities. The town of Matorell in Catalonia was named

“pueblo de los esgraados” (sgrato town), the mayor

of Valdefuentes in Cáceres proclaimed his town “capital

mundial del esgraado” (sgrato capital of the world).

Teaching centers for this technique have been established,

numerous scientic studies are being carried out, and the

decorations arouse the interest of artists and builders. The

tradition of covering the walls of buildings with sgrato

is also cultivated in Segovia, where this decoration cov-

ers a signicant part of the buildings, often entire walls,

which is why it is called “la piel de Segovia” (the skin of

Segovia) [19].

“Esgrafiado segoviano”

ThemulticulturalsgraffitotraditioninSegovia

The original forms associated with sgrato in Segovia

were discovered during work carried out in 1987 at the

castle, where irregular, polygonal forms were exposed on

the lower parts of a wall made of unhewn stones (mam-

postería). In the higher parts, increasingly regular shapes

were found, diverging from the grouted gaps and turning

into regular circles at the top. In addition, small pieces of

slag were embedded in the joints of the mortar lines. The

investigated walls date to the end of the 12

century [20].

This type of masonry decoration consisting of various

sized rounded forms with relief shapes existed in many

buildings from the 11

–13

centuries such as the church-

es of Santa Eulalia, San Marcos, San Justo, Torre de Her-

cules (in the Dominican convent) and others. Nowadays

only few traces remain, many decorations were destroyed,

often during renovations [20].

The eect of “writing or drawing”, which is created

on the wall by combining dierent shapes of stones with

Mudejar style combining Islamic with Christian elements

– Romanesque and Gothic, popular since the 12

centu-

and still found in the 18

century in Aragon, Toledo,

Madrid or Segovia. The decorations covered large parts

of the elevation or only emphasized its fragments. They

were also used in patios, cloisters (e.g., Casa de los Picos

in Segovia) or building interiors [15

, pp. 151–153]. Es-

pecially popular were the yeseria and sebqka techniques,

related to sgrato, which later can still be found in real-

izations in the spirit of neomudejar, such as in the “estilo

sevillano”.

The 16

century brought novelties from Italy that

were applied in parallel to the traditional decoration in

the spirit of Gothic and mudejar. They concerned both

the technique and the motifs used. On the façades, g-

ural scenes appeared that dealt with moralistic themes,

among others from Aesop’s fables, Renaissance ornamen-

tation in the form of mermaids, bucranions, medallions or

horns of plenty. Sgrato moved from a typically “plaster”

technique to the eld of wall painting. However, decora-

tions in the spirit of the Renaissance were relatively few,

used mainly in private architecture, such as Palacio de los

Condes de Valdelagrana (Trujillo, Cáceres), where Renais -

sance forms were combined with elements from the “New

World”.

The following centuries saw an evolution towards the

demands of Baroque and Rococo, whose rst works ap-

peared in the Valencia region between 1642 and 1710.

At that time, numerous buildings in many towns in the

province received decoration with Baroque and Rococo

forms in various combinations. A wider range of colors

was also introduced to sgrato [16]. Among the temples,

the interior of the church of San Esteban in Valencia stood

out, covered between 1678 and 1683 with a sgrato dec-

oration of stylized oral forms in white placed on a blue

background [17].

The new currents spread to other regions, including

Catalonia, where they aroused great interest. Barcelona

became the main center of sgrato from the 18

century

onwards, a period of economic boom in the city associat-

ed with free trade and business conducted in the colonies.

The innovations of Catalan sgrato in the 18

century

inuenced the further development of this technique. At

that time, motifs such as monumental human gures

showing gods and historical gures, as in Masía Masfer-

rer near Barcelona, or atlantes and caryatids, as in Barce-

lona’s Casa dels Velers, a building decorated in 1763, or

Casa Moixó, were used. Scenes referring to arts or crafts

were also depicted. Among many gural representations

placed on the façade of St. Martin’s Church in Barcelona,

there were musical angels and cantors (made in 1762) [15,

pp. 167–169]. Such traditional approach in the following

century inuenced the decoration of building walls in

smaller centers, which lacked wide artistic discourse and

used patterns known for centuries [15, pp. 172, 173].

The author has extensively characterized the development of

sgrato in Spain, noting the signicant dierences between dierent

regions. He has also included an extensive bibliography of the subject.

94 Daria Bręczewska-Kulesza

few surviving Islamic sgrato may attest to the inuence

of Islamic art

As in the rest of Spain, Renaissance forms were rarely

found in the decoration of buildings in Segovia and were

rather used for interior decoration as, for example, in

Torreón de Lozoya, where grotesque forms, stylized ele-

ments of ora and fauna, and bucranions were used [15,

pp. 157–159].

The Baroque period marks the beginning of the city’s

economic crisis which was associated with the end of the

previously prevailing large building movement. In addi-

tion, in Spanish architecture at this time one can see a very

strong inuence of the austere and purist forms of the Es-

corial. There was a return to the use of smooth plastering

of walls, without relief decoration, which was replaced

by illusionist painting decoration, imitating architectural

elements [5, pp. 245–247]. The sgrato technique was

still used in other cities of the province, but it no longer

enjoyed such great popularity.

In the following centuries, Segovia’s economic situa-

tion did not improve. The constant political tensions of the

half of the 19

century did not serve the development

of the city, whose population was lower than at the end of

the 16

century and the buildings were in a worse con-

dition. Until the 18

century, the construction of private

houses often used materials that were not very durable,

such as adobe

, which was used to ll the frame structure,

resulting in the destruction of the walls, especially since

many buildings remained unoccupied [20].

From about the middle of the 19

century, a movement

of urban remodeling and beautication began in major

Spanish centers (e.g., Madrid, Barcelona). In Segovia, the

“renovation” of the city began with paving and lighting

the streets and bringing in water. The issue of cleaning

up the buildings and renovating the façades was raised

during the session of the City Council in 1856. However,

due to the poor economic situation, much of the cost was

to be borne by the building owners, who protested against

such decisions. In addition, attention was drawn to the

possibility of destroying the traditional Segovian walls of

stone, brick or frame construction by plastering them. The

dispute, which reached as far as the Ministry of the Inte-

rior, ended only in 1859. It was decided that all buildings

were to be plastered according to the design prepared by

the town architect. Only buildings constructed of hewn

stone were excluded [5, pp. 272–285], [22]. Eventually,

thanks to the City Council’s decision, Segovia changed its

appearance, becoming, as Antonio Ruiz Hernando wrote,

[…] acitythatwasstuckinthe16

centuryanddressed

innewclothesattheendofthe19

century [8, p. 148].

Among the façades renovated in the 2

half of the

and early 20

centuries, those covered with sgrato

looked best. Sometimes, it was combined with stucco or

painted elements. Most often stencils with traditional mo-

tifs were used and the decoration was placed on the whole

For more on the anity of Segovian sgrato and Islamic art

(mentions in [2] and [6]).

Large blocks formed from mud mixed with straw and dried in

the sun [21].

convex, contrasting colored mortar, can be considered the

stylistic genesis of sgrato, although of course the tech-

nique of execution has nothing to do with sgrato [5,

pp. 184–187]. The walls of the Alcazar and the Torreón de

Lozoya tower (the entrance to the palace) can be consid-

ered as places where the transition from the technique of

decorative stone grouting to sgrato with serial motifs is

evident [5, pp. 190, 191, 244] (Fig. 2).

The 15

century was probably the period when the

“rst sgrato” was created, the decoration began to be

“separated” from the stone base and forms similar to

Gothic masquerade such as drops or “sh bladders” were

used. This type of decoration has been preserved in the pa-

tio and tower of the Casa de los Picos [5, p. 190]. Further

development of the discussed technique in the 15

and

centuries led to the use of repetitive, regular motifs

placed on the entire façades. At that time, thanks to the

Trastamar family, many mudejar decorations were created

in the castle chambers. The similarity of the forms and the

Fig. 2. The Alcázar in Segovia

(photo by D. Bręczewska-Kulesza)

Il. 2. Alcázar w Segowii

(fot. D. Bręczewska-Kulesza)

 “Esgraadosegoviano”asanexpressionofthecity’sregionaltraditionandidentity 95

and smaller circles with radial “tears”. The zone above

is occupied by circles arranged in strips with inscribed

4 crooked “tears” connected with a small circle in the

middle (Fig. 4). Such motifs were popular in later sgrato

decorations until the 20

century.

The popularity of sgrato technique in Segovia is evi-

denced by the fact that even the façades of farm buildings

were nished in this way. A well-preserved example from

the 16

century is the former granary belonging to the

Palacio del Conde de Alpuente complex (10 de la Alhon-

gida Street), which is now the municipal archive [25]. The

façade was covered with sgrato in 3 strips, at the bottom

there is a pedestal in the form of imitation of stone blocks,

further there is a strip of “sh scale”, and the remaining

part is decorated in a way similar to the decoration of the

palace ground oor (Fig. 5).

The most numerous group are the sgrato with geo-

metric ornaments, which were made with stencils in the

and 20

century. By means of various combinations

of gures, by reversing the arrangement of stencils in

a continuous series, alternately, according to the horizon-

tal or vertical symmetry or by using dierent arrangements

of gures, a lot of heterogeneous combinations were ob-

tained. Motifs imitating stone claddings such as rustica-

tion or simple “cuts” of agstones or other architectural

elements are also quite common. Houses covered with

façade. Motifs taken from the forms of historicism archi-

tecture or Spanish “modernism” were used less frequent-

ly. Unfortunately, individual designs of the whole façade

were not usually carried out, and a coherent elaboration of

all elements is rare [5, p. 285].

In this way, sgrato became an element that gave co-

herence to the architecture of Segovia, inuencing the

unication of the façades of buildings erected in dierent

constructions. Francisco de Alcántara wrote about “Sego-

via plaster” in 1909: […] although itisnot exclusiveto

Segovia,itistheonewherethemostoldspecimenscanbe

foundanditisstillusedasadurablenish,abletoaccept

dierentdecorations [23, p. 7]. Sgrato was used until

the 1980s. Because of the high cost of execution, the lack

of contractors skilled in this technique, and the aversion to

ornament in new architecture, this form of façade decora-

tion disappeared. However, thanks to the eorts of the city

and provincial government, it is now making a comeback

and a number of façades are still being renovated using

sgrato.

Motifsandforms

Analyzing the motifs and shapes that make up the sgraf-

to decorations found on the façades of Segovia build-

ings, one can observe their evolution from irregular forms

resembling a drop of water to circles and their fragments,

variously situated, other geometric gures, and stylized

o ral forms: tendrils, rosettes, and sh scales. From these

initial simple models, a great number of sgrato sequenc-

es were created by enriching and dierentiating the mo-

tifs. 169 dierent models have been found in Segovia

alone, and as many as 664 in the whole province [20].

Rafael Ruiz Alonso divided the motifs found in Sego-

vian sgrato into geometric ornaments, forms imitating

architectural elements such as rustications, battered walls,

joints, zoomorphic ornaments inspired by Renaissance

patterns of arabesques and grotesques, and “objects”: sun-

dials, dials, inscriptions [5, pp. 313–381]. In some geo-

metric ornaments, pieces of cinders were incorporated

into the tangent points of lines, as seen in the façade of

the Alkazar.

Among these motifs, the oldest group is made up of

rounded shapes, then turning into circles on mortar ap-

plied to the stone walls. An example of such sgrato is

the Torreón de Lozoya at Plaza San Martín 5 / Plaza de

Medina del Campo. The tower is the surviving part of a pal-

ace built in the 15

century [24] (Fig. 3). The remains of

sgrato imitating stone blocks and motifs of interlocking

circles and “sh bubbles” can be found on the façades of

Casa de los Peces at 46-48 San Francesco Street,

con-

structed in the 15

century [25]. A beautiful sgrato, of

varied form, consisting of 3 models, covers Palacio del

Conde Alpuente [25], constructed at the end of the 15

century at 3 la Alhondiga Street. The decoration was

placed above the ground oor. The corners of the build-

ing and the areas next to the windows were decorated

with a “linear” modeling of rectangular areas (imitation

of stone blocks?). In the ground oor up to the windows

of the second story, the ornamentation consists of larger

Fig. 3. The Torreón de Lozoya

at 5 Plaza San Martín / Plaza de Medina del Campo

(photo by D. Bręczewska-Kulesza)

Il. 3. Torreón de Lozoya

przy Plaza San Martín 5 / Plaza de Medina del Campo

(fot. D. Bręczewska-Kulesza)

96 Daria Bręczewska-Kulesza

decorations in the form of seashells

, with corners and ar-

eas above windows decorated with candelabra ornaments,

medallions and plant tendrils look very nice (Fig. 6). An-

other decorative motif is the sundial, a beautiful example

of which is a slightly older house at 11 Plaza la Merced,

which was the former seat of the bishop (Fig. 7).

The arrangements of the sgrato decoration on the

façades of particular buildings also dier signicantly.

They cover the whole façade or selected parts or storeys.

Most often they are used from the second storey upwards,

leaving the ground oor zone plain. In richer solutions

These include contemporary decorations made with traditional

methods on traditional plasters, such as the sgrato with seashells on

the tenements at 1 Plaza del Corpus and 7 Isabela Catolica Street [25].

separate borders were placed around window openings,

other models were applied on each storey, and sometimes

storeys and corners were separated with strips (Fig. 8).

The decoration of the large zones of the façade, especial-

ly if the motif is strongly convex, gives an impression of

a “lace”, unreal wall, which at the juxtaposition of many

such façades gives a very interesting eect. In more mod-

est façades only particular elements are decorated such as

windows or entrance frames, building corners or elevation

fragments. Often the richer borders around the windows

are combined with simpler sgrato imitating rustication

(Fig. 9).

Chiaroscuro plays a very important role in this tech-

nique, deeper in case of more plastic and convex sgra-

to. In the discussed decorations, the dierences are quite

big; in some works with plastic relief, its height reaches

Fig. 4. The Palacio del Conde Alpuente

at Plaza Platero Oquendo

(photo by D. Bręczewska-Kulesza)

Il. 4. Palacio del Conde Alpuente

przy Plaza Platero Oquendo

(fot. D. Bręczewska-Kulesza)

Fig. 5. Sgraffito decoration on the façade of the former farmhouse,

now the Municipal Historical Archives, 10 de la Alhongido Street

(photo by D. Bręczewska-Kulesza)

Il. 5.

Dekoracja sgraffito na fasadzie dawnego budynku gospodarskiego,

obecnie Miejskie Archiwum Historyczne, ul. de la Alhongido 10

(fot. D. Bręczewska-Kulesza)

 “Esgraadosegoviano”asanexpressionofthecity’sregionaltraditionandidentity 97

ca. 2 cm, while in the attest ones, the convexity of the

surface layer is at most a few millimeters. Color contrast

plays a similar role. The same motif looks completely dif-

ferent in deepened and contrasted sgrato than in shallow

and similarly colored layers of plaster. In Segovia, both

versions are encountered.

There are also dierent technical variants such as em-

bossed and scratched sgrato, consisting of two or more

layers, can also be made with dierent materials and with

dierent tools. Finally, dierent stencils were used, such

as metal or stone

. Thus, even using the same pattern, the

nal eect on the wall can be very dierent, making the

seemingly unied façades of the buildings considerably

This was described in detail by Ruiz Alonso [5] tools pp. 36–44;

materials pp. 46–64 and technique pp. 66–87.

dierent, resulting in a very interesting and unprece-

dented solution in the aspect of the entire Segovia center

(Fig. 10).

“Esgrafiado segoviano”

as part of the city’s identity

Cities have long had a need to emphasize their own

distinctiveness and individuality. Nowadays, in the era

of globalization, such aspirations have intensied. Con-

scious attempts to shape the identity of a city or region

are increasingly important in the policy of promoting

urban centers. The identity of a city should be based on

the unique character of the local culture or the physical

features of a given place. A very important role is played

by a well exposed cultural heritage. In other words, the es-

sence of a city’s identity can be described as “a set of his-

torically conditioned characteristics” [26, pp. 37, 38]. Ac-

cording to another denition, the distinguishing features

of a city’s identity can be called features that signicantly

distinguish it by creating its uniqueness, individuality and

character [27, p. 55].

Sgrato in Segovia, present for centuries in the archi-

tectural culture of the city, has become an authentic el-

ement of its identity and meets the criteria of a unique

Fig. 6. Sgraffito with seashells on the tenements

at 1 Plaza del Corpus and 7 Isabela Catolica Street

(photo by D. Bręczewska-Kulesza)

Il. 6. Sgraffito z muszelkami na kamienicach

przy Plaza del Corpus 1 i ul. Izabeli Katolickiej 7

(fot. D. Bręczewska-Kulesza)

Fig. 7. Sundial on the façade of the house at 11 Plaza la Merced

(photo by D. Bręczewska-Kulesza)

Il. 7. Zegar słoneczny na elewacji domu przy Plaza la Merced 11

(fot. D. Bręczewska-Kulesza)

98 Daria Bręczewska-Kulesza

Finally, it is worth mentioning the specialization “Mu-

ral Techniques and Procedures” opened in 1985 at the

School of Applied Arts and Artistic Professions of Sego-

via (Escuela de Artes Aplicadas y Ocios Artísticon de

Segovia), in which sgrato is an essential part of the cur-

riculum [29]. Art education in Segovia dates back to the

century, when the scholar Espinosa de los Monteros

created a drawing school to spread artistic knowledge

among artisans and workers in the area. This tradition has

remained today, adapted to new functions and require-

ments for artistic studies. This is a commendable concern

for the survival of vanishing professions and shows the

interest of the city council and provincial government in

the future of this technique, so closely related to Segovia.

The school cooperates closely with the city authorities. As

part of their internship, students restore sgrato in Sego-

via and make new decorations such as the staircase in the

Dirección Provincial de Educación de Segovia [30].

Summary

The sgrato technique in the decoration of buildings

has a long tradition and a great number of multiple stylis-

tic and technical forms. It has accompanied mankind since

antiquity and changed with the subsequent epochs. The

sgrato decorations placed on Spanish buildings, popular

also in small towns, have such a variety of faces. Both tra-

ditional designs made with stencils and stylish innovations

from dierent historical periods can be seen here. Against

this background, the sgrato decorations in Segovia are

Fig. 8. A late 19

-century building with decoration on the entire façade,

14 Isabela Catolica Street

(photo by D. Bręczewska-Kulesza)

Il. 8. Kamienica z końca XIX w. z dekoracją na całej fasadzie,

ul. Izabeli Katolickiej 14

(fot. D. Bręczewska-Kulesza)

Fig. 9. A banded window with sgraffito decoration,

32 Cervantes Street

(photo by D. Bręczewska-Kulesza)

Il. 9. Okno w opasce z dekoracją sgraffito, ul. Cervantesa 32

(fot. D. Bręczewska-Kulesza)

cultural heritage. This way of decorating buildings, with

such intensity, a certain unication and, at the same

time, a variety of designs is found only in Segovia. Due

to its original form and its numerous applications on the

façades of the majority of the buildings in the city cen-

ter, it is a striking element that is associated with Segovia

and, consequently, it is undoubtedly its distinctive feature.

Analyzing the sgrato found in other cities and regions

of Spain, one can see a clear distinctiveness of the forms

and motifs used in Segovia. Segovia’s sgrato decora-

tion may be more modest and rarely combined with other

decorative techniques, as is the case, for example, in Bar-

celona.

In addition, this technique was used not only in archi-

tecture but also in applied arts, which oers great oppor-

tunities for the production of various local goods, “under

the sign” of sgrato as the second “icon” of the city next

to the aqueduct.

As part of the activities to promote “esgraado sego-

viano”, geometric motifs from the façades of buildings

were used in an interesting way to design the lighting for

Christmas 2013. Enlarged stencils of sgrato fragments,

made of lamps placed on racks were located in dierent

places in the old town. This “glowing sgrato” designed

by local artist Adrian Cugar, was an interesting form of

reference to urban traditions [28].

 “Esgraadosegoviano”asanexpressionofthecity’sregionaltraditionandidentity 99

undoubtedly an original product of the local, medieval

building tradition. The decorations, based on geometric

gures, cover the façades of the buildings or highlight the

architectural elements of most of the houses in the histor-

ic buildings of the city. Apparently similar patterns show,

however, a great variety and at the same time these decora-

tions set the tone for the whole architecture, creating a very

original whole that distinguishes Segovia’s buildings from

other urban centers and is undoubtedly part of the city’s

identity.

The analysis of the historical and contemporary aspects

of the development of sgrato in Segovia, as well as its

form and style in comparison with other Spanish centers

of this art, leads to the recognition of this form of decora-

tion as a regional phenomenon that is a factor that builds

the identity of the city and its symbol on a par with the

famous aqueduct.

Translatedby

JanUrbanik

Fig. 10. Examples of sgraffito decoration on tenements (photo by D. Bręczewska-Kulesza)

Il. 10. Przykłady dekoracji sgraffitowej na kamienicach (fot. D. Bręczewska-Kulesza)

100 Daria Bręczewska-Kulesza

Abstract

“Esgrafiado segoviano” as an expression of the city’s regional tradition and identity

The historic centre of Segovia abounds in buildings with façades entirely or partially covered with sgrato decoration. Consistently applied and

developed over the centuries, this consistent form of façade decoration has become a distinctive feature of the architecture of the city and the region.

The aim of the article is to investigate Segovian sgrato as an expression of the regional tradition and identity of the city.

During the research, historical studies were carried out on the development of the sgrato tradition in Spain. They allowed to emphasize the

distinctiveness of this form of decoration in Segovia compared to other centers. A critical analysis of literature and sources as well as architectural

and conservation studies was performed. In situ tests were also carried out, during which a rich photographic material was collected, necessary for

the formal analysis of the tested decorations.

The article follows the development of the sgrato technique in Segovia against a historical background. A brief analysis of the formal decoration

was carried out based on the in-situ studies carried out by the author. Subsequently, the inuence of sgrato on the cohesion of the city’s architecture

was investigated. Finally, it was considered whether sgrato could become part of the identity and business card of the city. The article focuses on the

decorative function of sgrato as part of regional architecture. After analysing the historical and contemporary aspects of the development of sgrato

in Segovia, this form of decoration can be considered as a regional phenomenon, representing a factor for the identity of the city, which, together with

the aqueduct, can become the symbol of Segovia.

Key words: Segovia, sgrato, elements of city’s identity

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 “Esgraadosegoviano”asanexpressionofthecity’sregionaltraditionandidentity 101

Streszczenie

„Esgraado segoviano” jako wyraz regionalnej tradycji i tożsamości miasta

Historyczne centrum Segowii obtuje w budynki z elewacjami w całości lub w części pokrytymi dekoracją wykonaną w technice sgrato. Spójna

forma zdobienia elewacji budynków, konsekwentnie stosowana i rozwijana przez stulecia, stała się elementem wyróżniającym architekturę miasta

i całego regionu. Celem artykułu jest zbadanie segowiańskiego sgrato jako wyrazu regionalnej tradycji i tożsamości miasta.

W trakcie badań przeprowadzono studia historyczne nad rozwojem tradycji sgrato w Hiszpanii. Pozwoliły one na uwypuklenie odrębności tej

formy dekoracji w Segowii na tle innych ośrodków. Dokonano krytycznej analizy literatury przedmiotu i źródeł oraz opracowań architektoniczno-

-konserwatorskich. Na podstawie rezultatów badań in situ, podczas których zebrano bogaty materiał fotograczny, przeprowadzono analizę formalną

tych dekoracji. Następnie zbadany został wpływ sgrato na spójność architektury miasta. W końcu rozważono problem, czy sgrato może stać się

elementem tożsamości miasta i jego wizytówką. W artykule skupiono się na dekoracyjnej funkcji sgrato jako elementu regionalnej architektury.

Po przeanalizowaniu aspektów historycznych i współczesnych rozwoju sgrato w Segowii można uznać tę formę dekoracji za regionalne zjawisko,

będące czynnikiem budowania tożsamości miasta, które tak jak akwedukt może stać się symbolem Segowii.

Słowa kluczowe: Segowia, sgrato, elementy tożsamości miasta