The ceiling covering this gallery is a testament to the resilience and persistence of traditional Islamic design in Andalusia after the Christian Reconquista. This so-called mudéjar style was especially prevalent in the Aragon and Castile-León regions of Spain, where many Christian churches incorporate similar ceilings. The ceiling is comprised of thirty carved, painted, and gilded pinewood panels. The ceiling originally was designed for a smaller space; it was later expanded, explaining its somewhat uneven geometric pattern. In addition to the Islamic-inspired star pattern, a whimsical frieze of gilded running animals, flying birds and swirling vine scrolls decorates the cornice.
[ Arthur Byne, Madrid, until 1930; sold to Hearst]; William Randolph Hearst (American), San Simeon, CA (1930–d. 1951; The Hearst Foundation, 1951–56;gifted to MMA)
New York. The Metropolitan Museum of Art. "Making the Invisible Visible," April 2, 2013–August 4, 2013, no catalogue.
Shtrum, Batyah, Melanie Brussat, Miguel Garcia, Timothy Hayes, and Stephanie Massaux. "The Metropolitan Museum of Art's 'Spanish Ceiling' Project: Interpretation and Conservation." Journal of Architectural Conservation vol. 16, nr. 3 (2010). pp. 29-50.
Artist: Date: late 15th–early 16th century Accession Number: 68.215.2 Date: late 15th–early 16th centuryMedium: Earthenware; molded, luster-painted on opaque white glazeAccession: 68.215.2On view in:Not on view
Artist: Date: second half 15th century Accession Number: 94.4.394 Date: second half 15th centuryMedium: Earthenware; molded, cobalt-painted on an opaque white glaze powdered with gold under a transparent glazeAccession: 94.4.394On view in:Gallery 457