{"id":58806,"date":"2023-05-21T11:30:44","date_gmt":"2023-05-21T11:30:44","guid":{"rendered":"https:\/\/naturpiedra.com\/es\/?page_id=58806"},"modified":"2023-05-21T11:46:45","modified_gmt":"2023-05-21T11:46:45","slug":"the-works-with-bernardos-slate-in-the-16th-and-17th-centuries","status":"publish","type":"page","link":"https:\/\/naturpiedra.com\/es\/en\/the-works-with-bernardos-slate-in-the-16th-and-17th-centuries\/","title":{"rendered":"The works with Bernardos slate in the 16th and 17th centuries"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"58806\" class=\"elementor elementor-58806\" data-elementor-post-type=\"page\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4c0cdcf elementor-hidden-tablet elementor-hidden-mobile elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4c0cdcf\" data-element_type=\"section\" 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elementor-widget-text-editor\" data-id=\"6535554\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h1 style=\"color: #54595f; font-size: 14px;\"><strong>Valor Hist\u00f3rico de las Pizarras de Bernardos<\/strong> &gt; <em>The works with Bernardos slate in the 16th and 17th centuries<\/em><\/h1>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2bd6660 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2bd6660\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-a157ab8\" 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class=\"jet-mega-menu-item__label\">Jos\u00e9 Ubaldo Bernardos Sanz &#8211; <em style=\"font-size:12px;\">Historian, author of the book \u00abHistorical Value of the Bernardos Slates\u00bb<\/em><\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58752\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58752\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/history\/jesus-bernardos-bartolome\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">Jes\u00fas Bernardos Bartolom\u00e9 \u2013 Pr\u00f3logo &#8211; <em style=\"font-size:12px;\">Fondateur de PIZARRAS JBERNARDOS<\/em><\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58763\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58763\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/origins-of-the-quarries-exploitation\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">1. Origins of the quarries exploitation<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58797\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58797\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/searching-for-the-material\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">2. Searching for the material<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58798\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58798\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/locating-and-selecting-the-deposits\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">3. Locating and selecting the deposits<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58799\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58799\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/organisation-and-exploitation-of-the-quarries-personnel-employed-and-tools\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">4. Organisation and exploitation of the quarries. Personnel employed and tools<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58805\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58805\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/costs-and-prices-of-the-slate-trade\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">5. Costs and prices of the slate trade<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58818\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58818\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/the-works-with-bernardos-slate-in-the-16th-and-17th-centuries\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">6. The works with Bernardos slate in the 16th and 17th centuries<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58836\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58836\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/the-19th-century-decline-in-the-constructions-with-slate\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">7. The 19th century. Decline in the constructions with slate<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58847\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58847\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/arrival-of-the-english-in-bernardos-and-recovery-of-activity-in-the-first-decades-of-the-20th-century\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">8. Arrival of the English in Bernardos and recovery of activity in the first decades of the 20th century<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-62515\" class=\"jet-mega-menu-item jet-mega-menu-item-type-custom jet-mega-menu-item-object-custom jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-62515\"><div class=\"jet-mega-menu-item__inner\"><a href=\"#\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">Bibliography<\/div><\/div><\/a><\/div><\/li>\n<li id=\"jet-mega-menu-item-58860\" class=\"jet-mega-menu-item jet-mega-menu-item-type-post_type jet-mega-menu-item-object-page jet-mega-menu-item--default jet-mega-menu-item--top-level jet-mega-menu-item-58860\"><div class=\"jet-mega-menu-item__inner\"><a href=\"https:\/\/naturpiedra.com\/es\/en\/annex-works-with-bernardos-slate-between-the-16th-and-early-19th-centuries\/\" class=\"jet-mega-menu-item__link jet-mega-menu-item__link--top-level\"><img decoding=\"async\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/free-arrow-right-icon.png\" alt=\"\" class=\"jet-mega-menu-item__icon\"><div class=\"jet-mega-menu-item__title\"><div class=\"jet-mega-menu-item__label\">Annex. Works with Bernardos slate between the 16th and early 19th centuries<\/div><\/div><\/a><\/div><\/li>\n<\/ul><\/nav><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-d624c9d\" data-id=\"d624c9d\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b00b9df elementor-widget elementor-widget-image\" data-id=\"b00b9df\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"768\" height=\"490\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/palacio-real-del-pardo-768x490.jpg\" class=\"attachment-medium_large size-medium_large wp-image-43464\" alt=\"\" srcset=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/palacio-real-del-pardo-768x490.jpg 768w, https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/palacio-real-del-pardo-280x180.jpg 280w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/>\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Atribuida a Jusepe Leonardo, Vista del Palacio Real de El Pardo, a\u00f1o 1630<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-b2a733c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"b2a733c\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-5f7732d\" data-id=\"5f7732d\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d7b4587 elementor-widget elementor-widget-text-editor\" data-id=\"d7b4587\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p align=\"justify\">It is a difficult task to list all the works which used slate extracted in Bernardos, not due to a lack of documentation, but because there is a risk of not being exhaustive. It is even more complicated to indicate the type of carried out \u2212 whether it was a new construction or repair work \u2212 since the introduction of slate as roofing material did not lack of problems. Although slate could boast a long lifespan, it was still vulnerable to the passage of time and to accidents such as fires and storms which often could destroy roofs, the most exposed part of the building. It is noteworthy that buildings such as the Monastery of El Escorial had to be repaired several times because of fires, such as the terrible fire of 1671 or in 1732, not to mention all the buildings which were left in ruins or disappeared. In some instances, the demand for slate manifests itself in the state of ruin of the building\u2019s spires, as was the case in 1716 with the Palace of Cardinal Espinosa in Mart\u00edn Mu\u00f1oz de las Posadas.<\/p>\n<p align=\"justify\">In any case, it is necessary to meticulously read through the documents, as slate was usually used as decorative element to cover towers or spires. Its high cost meant that it was difficult to completely cover a building with slate only. It is true that the buildings sometimes underwent transformations which led to a replacement of the spires\u2019 covering material: either originally covered in slate before the latter was substituted for brick tiles \u2212 as was the case with the palace of the Duke of Lerma, or the opposite scenario, as was done in the Casa del Pardo in the 1560s. Therefore, a careful study of the various constructions undertaken must take into account these elements in order to clarify whether it was a case of maintenance, repair, new roofing or reconstruction following an incident.<\/p>\n<p align=\"justify\">In this sense, it is must be borne in mind that other specialised sectors contributed to this new construction style, for example, the carpenters who built the wooden frames, and the slate masters who placed the slate as well as other complementary materials such as lead. It has previously been mentioned that, in 1562, eight slate masters had been contracted, brought in from Flanders, mainly from Brussels and Liege. Later documentation indicates the presence of French slate masters and the first Spanish ones, such as Gonzalo L\u00f3pez and Pedro Mu\u00f1oz. From the early 1570s, the name of Ant\u00f3n de Barruelos appears, as he took care of the roof for the Palace of El Escorial, and later on, during the first decades of the 17th century, many more Spanish slate masters are mentioned, such as Juan Garc\u00eda de Barruelos, who contributed to important buildings such as the Imperial College of the Society of Jesus or the Palace of the Duke of Uceda in Madrid, or Pedro de Segovia or Pedro Mart\u00edn de Monesterio.<\/p>\nHowever, the appendix contains a reference to the works undertaken with slate from Bernardos between the 16th and 19th century. In the coming pages, we will detail some of the most important constructions and establish the context surrounding them.\n<h2 id=\"paso1\" class=\"tagline\"><span style=\"color: #333; text-transform: uppercase; font-size: 24px;\">CONSTRUCTIONS WITH SLATE DURING THE 16TH CENTURY<\/span><\/h2>\n<p align=\"justify\">As previously mentioned, the opening of the Bernardos quarries coincided with the renovation of a great portion of the royal buildings situated in the vicinity of Madrid, which Philip II eventually converted into the Kingdom\u2019s capital city in 1561. For this reason, the list of buildings with slate roofs is very much linked to this renovating process. There are three constructions which simultaneously received the first deliveries of slate: the palace of Valsa\u00edn in the forest of Segovia, the palace of El Pardo and the Royal Alc\u00e1zar of Madrid and its annexes (royal stables and armoury). It is thought that the first completed autonomous piece made with slate was the so-called Golden Tower, on the south-west corner of the Royal Alc\u00e1zar of Madrid. However, although it seems that the intention was to renovate all the roofs, this was not always done with slate. Lead was used in Aranjuez and brick tiles in Aceca. Similarly, it appears that the roof of the Alc\u00e1zar of Segovia was also made of lead, particularly in the first phase of its renovation.<\/p>\n<p align=\"justify\">In the construction of the Palace of Valsa\u00edn \u2212 the so-called \u201cForest House\u201d \u2212 which was led by Gaspar de Vega, the roofs and towers started being built at the beginning of the 1560s. In this respect, the paintings of Anton van de Wyngaerde from his stay at the Palace in 1562 are very illustrative. Anton van de Wyngaerde was a draftsman and natural landscape painter from Antwerp who was commissioned by Philip II to tour Spain and paint landscapes of various cities. The painting depicting Valsa\u00edn captures, thanks to the magnificent detail of the drawing and the choices of colour, the substitution of the existing roof with a slate covering. Another witness of the works in 1562 is the canon Juan Rodr\u00edguez, quoted by Llaguno, who spoke of the placement of slate on the towers of the Palace of Valsa\u00edn and mentioned the possibility of using it for the Cathedral of Segovia.<\/p>\n<p align=\"justify\">Slate was simultaneously sent to Madrid for the works which were underway in the stables located in the vicinity of the Royal Alc\u00e1zar and in the roof of the Golden Tower. The Palace of El Pardo, a country house located close to Madrid and used since the Middle Ages because the nearby forest of the same name was a royal hunting ground, is another of those early constructions which received slate for the roof. taking into account that in this case, the previous roof was completely dismantled to make way for the new material. Another edification which probably started in the early 1560s was the Eraso House \u2212 nowadays left in ruins \u2212 located in the mountain pass of Fuenfr\u00eda, in the mountains of Guadarrama between Segovia and Madrid. Although there is no record of direct witnesses of the slate works in this case, we do know that the slate master Pedro Mu\u00f1oz repaired the roofs of the house in 1607.<\/p>\n<p align=\"justify\">It is difficult to measure the quantity of slate that was required for these works, but there is data which allows us to gauge the weight of the material sent to the constructions and thus to make estimations about the pace of exploitation. For example, for the construction of the Royal stables, more than eleven thousand arrobas were brought in between 1563 and 1566. Translating this weight into kilograms and taking into account the above-mentioned information on the weight of the slate pieces \u2212 around one kg each, it would mean 126.5 tons, that is, 126.000 pieces of slate.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d4a4a26 elementor-widget elementor-widget-image\" data-id=\"d4a4a26\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"1500\" height=\"469\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/casa-eraso-puerto-de-la-fuenfria-1.jpg\" class=\"attachment-full size-full wp-image-43481\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2f311c0 elementor-widget elementor-widget-text-editor\" data-id=\"2f311c0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p align=\"justify\">The construction of this period par excellence \u2212 in which slate stands out as a distinctive element and which represents the bulk of the quarry exploitation for many years \u2212 is undoubtedly Monastery of San Lorenzo de El Escorial. Two earlier constructions in the same area had also used slate: La Herrer\u00eda and La Fresneda, two country houses with slate roofs. The Monastery of San Lorenzo was, however, the most impressive building, standing out as the model of the new style and representing a full identification with the monarch who promoted this style. The words of Jonathan Brown \u2212 one of the world\u2019s most renowned authorities in art history \u2212 summarise the significance of El Escorial in the definition of a personal style preference imposed by the King:<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d93a864 elementor-widget elementor-widget-text-editor\" data-id=\"d93a864\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>\u201cThe unadorned style of El Escorial was the creation of King Philip himself, expressed through the work of his architects. The style was based partly on a rejection of existing Castilian models and a drive towards Italian models. However, the Italian Renaissance style was drastically adapted in Spain to eliminate anything that could be perceived as ornamental, superfluous or sensual. The only elements that were preserved were those related to scale, mass and proportionality, which were freely manipulated to produce an effect of austere grandeur as envisioned by the King. The unusual and odd combination of these characteristics with the Flemish-style slate roofs is an unmistakable reflection of the Philip\u2019s personal taste\u201d.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e608fd4 elementor-widget elementor-widget-text-editor\" data-id=\"e608fd4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p align=\"justify\">The undeniable author of the Escorial style in terms of the roofs and towers is Juan de Herrera, an architect who took over the management of the works in El Escorial following the death of Juan Bautista de Toledo. Juan de Herrera contributed with his own personal vision \u2212 different from the ones underlying earlier constructions \u2212 in the style of the towers which served as a model for later architectural works carried out by Francisco de Mora and Juan G\u00f3mez de Mora in the first half of the 17th century.<\/p><p align=\"justify\">The amount of slate extracted for this construction considerably exceeds the quantities used for previous works. For this reason the quarries of Bernardos met the demand followed the orders of the authorities administrating the construction of the monastery by designating overseers and adapting the daily management of the quarries, as can be seen in the various instructions sent out in the 1570s and 1590s to regulate the functioning of the quarry and the shipment of slate to the construction site. This link between El Escorial and the Bernardos quarries continues undisrupted since the 16th century into the present day thanks to the successive alterations and roof maintenance works.<\/p><p align=\"justify\">The expansion of the Habsburg style with the slate roofs and towers was not limited to royal works. When it came to erecting palaces, many people in the royal milieu opted to copy the new fashion and the slate from Bernardos was thus also transported to other places. The King granted his authorisation for the material to be used in palaces commissioned by his close collaborators. In 1570, the Cardinal Diego de Espinosa \u2212 president of the Council of Castile \u2212 requested slate for the roof of the palace which he was building in Mart\u00edn Mu\u00f1oz de las Posadas and was granted the royal permit not only for the slate but also for the related ironwork. The slate delivery took place throughout 1571 and in the early months of 1572, additional pieces of slate were received to build the base of the courtyard\u2019s fountain.<\/p><p align=\"justify\">Another construction to use slate was the palace\/house of Diego Vargas, the King\u2019s secretary, situated in Torre de Esteban Hambr\u00e1n in the Toledo region. The construction started in 1569 but the roof works were still ongoing in 1576. In 1574, Diego de Vargas asked the King for fifty loads of slate, which were granted through a royal order on 28th June. Since 1575, slate was extracted from Bernardos for this construction. Three loads were sent out by the end of the year and, at the beginning of 1576, the overseer Juan S\u00e1nchez de Talavera received additional instructions on this order, reminding him of the payments to be made for the workers\u2019 wages and the use of the tools, and of the characteristics of the material to be extracted.<\/p><p align=\"justify\">Another construction which stands out due to its commercial significance is the Casa de la Moneda in Segovia, one of the centres for the mintage of the Spanish Crown\u2019s coins. It was equipped with innovative technology from central Europe, notably machinery powered by hydraulic energy. The Casa de la Moneda was built on the basis of a project drawn by Juan de Herrera in the 1580s and in which Pedro Mu\u00f1oz was the slate master.<\/p><h2 class=\"tagline\"><span style=\"color: #333; text-transform: uppercase; font-size: 24px;\">CONSTRUCTIONS WITH SLATE DURING THE 17TH CENTURY.<\/span><\/h2><p align=\"justify\">During the reign of Philip III at the beginning of the 17th century, almost no important constructions were initiated by the monarchy. Due to the crisis situation and his father\u2019s building frenzy, the existing palaces exceeded the court\u2019s needs. Philip II had undermined the prospect of any new construction, given the difficult circumstances the Crown was facing. However the style and the fashion did not disappear, but spread in the various constructions undertaken in the court\u2019s entourage. The most important figure during this reign is Diego de Sandoval, Duke of Lerma, who became the King\u2019s favourite and erected a palace and monastery complex in the city of Lerma, in the Burgos region. This palace was the main construction to follow the steps influential figures from the previous reign such as the palace built by Cardinal Espinosa. According to the available information, the roof of the Lerma palace was made of brick and only the tower tops were covered in slate. The slate master for these works was Pedro Mu\u00f1oz, then administrator of the Bernardos quarries.<\/p><p align=\"justify\">Nevertheless, slate was still extracted for the maintenance of previously-built royal buildings, and some important works were undertaken such as the towers of the Monastery of Ucl\u00e9s in the province of Cuenca, an impressive construction initiated during the previous reign. Slate towers became more widespread in the decoration of churches, and in noble residences such as the palace of the Duke of Uceda in Madrid, which featured the participation of Juan Garc\u00eda de Barruelos, and slowly established themselves as a representative motif of the period in various locations.<\/p><p align=\"justify\">Philip IV then became King and chose the Count-Duke of Olivares as his favourite, and the most representative edification of this reign was the Palace of El Buen Retiro. This palace was designed as a majestic space of recreation for the Court, with a large tree-covered park, ponds, etc., and built to become the stage of the grandeur of the monarchy, although the situation of war in Europe and the constant need for funding for the war efforts meant that the construction relied mainly on cheap materials, with walls and facades made of brick and roofs made of mud tiles. Slate was only used for the towers and spires, as well as for the roofs of certain chapels inside the grounds and for the main arch for the water supply of the complex.<\/p><p align=\"justify\">A contemporary construction of the former is the Zarzuela Palace, also located outside of Madrid and also used as recreational estate in the vicinity of the forest of El Pardo, currently the residence of the Spanish royal family. Similarly, slate was introduced in civilian constructions outside of the royal milieu, such as the town halls of Madrid and Segovia, and decades later the Valladolid town hall, the Casa de la Panader\u00eda in the Plaza Mayor of Madrid or the Court\u2019s Royal Prison, currently the seat of the Spanish Foreign Ministry. Juan G\u00f3mez de Mora, the nephew of Francisco de Mora, took on the role of master builder for the royal works and of architect for the Madrid town hall, and became an indispensable figure in the expansion of slate-covered buildings in the Spanish capital city during this period. This also extended to religious buildings, such as the Monastery of Dominican nuns in Loeches, sponsored by the Count-Duke of Olivares, Philip IV\u2019s right hand, or the Collegiate Church of San Justo y Pastor in Alcal\u00e1 de Henares.<\/p><p align=\"justify\">During the reign of Charles II, the most important slate works were the repairs of the damage caused by a voracious fire on the monastery of El Escorial in 1671. On the 7th of June, a chimney caught on fire in one of the monastery\u2019s wings, and the wind fuelled the flames which spread over a great part of the roof, damaging the underlying wooden structure and the covering slate. The spires of four towers were ruined, as well as all roofs except those of the church, the royal quarters and the main library.<\/p><p>This fire destroyed the majority of the slate roofs, which had to be repaired again. The works started in July 1671 and by the 23rd February 1673, 152,204 slate pieces had been sent, weighing 15,776 arrobas, that is, approximately 181,424 kg. The cost is estimated to have been 42,283 reales.<\/p><p>In any case, the slate constructions continued becoming more widespread in major buildings during this period, as illustrated by the orders of slate to cover the spires of the Plaza Mayor in Salamanca, or those of the churches of San Mill\u00e1n and San Esteban in Segovia, or to tile the Cathedral of Segovia.<\/p><div><span style=\"color: #333; text-transform: uppercase; font-size: 24px;\">\u00a0<\/span><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-64daa3f elementor-widget elementor-widget-image\" data-id=\"64daa3f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"1500\" height=\"972\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/Construction-of-the-San-Lorenzo-de-El-Escorial-Monastery.jpg\" class=\"attachment-full size-full wp-image-43501\" alt=\"\" srcset=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/Construction-of-the-San-Lorenzo-de-El-Escorial-Monastery.jpg 1500w, https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/Construction-of-the-San-Lorenzo-de-El-Escorial-Monastery-280x180.jpg 280w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-51d7940 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"51d7940\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-44a07b7\" data-id=\"44a07b7\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-f0ded0f elementor-widget elementor-widget-image\" data-id=\"f0ded0f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"450\" height=\"258\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/Vista-de-los-jardines-y-Palacio-del-Buen-Retiro-Decada-de-1630.jpg\" class=\"attachment-large size-large wp-image-43492\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-a33dc67\" data-id=\"a33dc67\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-126ea0e elementor-widget elementor-widget-image\" data-id=\"126ea0e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"450\" height=\"307\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/El-Escorial-Monastery-fire-Year-1671.jpg\" class=\"attachment-large size-large wp-image-43494\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-60f8651 elementor-widget elementor-widget-text-editor\" data-id=\"60f8651\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2 id=\"paso3\" class=\"tagline\"><span style=\"color: #333; text-transform: uppercase; font-size: 24px;\">THE 18TH CENTURY. THE TIME OF THE BOURBONS<\/span><\/h2><p align=\"justify\">At the beginning of the 18th century, the arrival of the Bourbon Dynasty to the Spanish throne in the person of Philip V, the grandson of Louis XIV of France, gives birth to a change in architectural style in which French models, and more concretely the Palace of Versailles, become the reference point.<\/p><p align=\"justify\">In this context, the most significant construction is the Royal Palace of La Granja de San Ildefonso, built during the 1720s. The newly built palace was located in the vicinity of the forest of Valsa\u00edn, very close to the location of the former palace, which had been left in an regrettable state after a great fire in 1695. The Palace of La Granja was used as a summer residence for the court, designed to include a garden space with numerous fountains and surrounded with a series of other installations and buildings, amongst which the Royal Factory of Glass and Crystal is the most notable. The roofs of the Palace of La Granja and its annexed buildings were also covered with hundreds of thousands of pieces of slate from Bernardos. Another significant construction during the 18th century is the foundation of the Convent of the Salesas Reales in Madrid, which was commissioned mid-century by Barbara de Braganza, wife of Ferdinand VI, the son of Ferdinand V. The Convent was located in the spot in which now lies the Spanish Supreme Court. These constructions newly impulsed the exploitation of the quarry, with a significant increase in the number of workers and mass production in Bernardos as much as in Carbonero el Mayor. However, this epoch also witnessed the disappearance of certain distinctive elements from the architectural period of Philip II, such as the aforementioned Palace of Valsa\u00edn, which did not recover from the fire of 1695, and the Royal Alc\u00e1zar of Madrid, the victim of another tremendous fire which occurred during Christmas time in 1734 and left most of the building in ruins. This led to the construction, on the same grounds, of the current Royal Palace, designed by Giovanni Batista Sacchetti.<\/p><p align=\"justify\">Nevertheless, it must be observed that slate became more widespread, and increasingly stated to be used in religious buildings, usually to highlight the upper parts, spires and towers, as can be seen in numerous churches in the provinces of Toledo, Madrid and Segovia; convents such as the Carthusian Monastery of Santa Mar\u00eda de El Paular or hermitages such as the Hermitage of the Virgen del Puerto in Madrid, designed by Pedro de Ribero (see annexes). Albeit in modest quantities, some slate was sent to works situated further away in Navarra (Viana) or in the Basque Country (Asteguieta).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-3fd8cc4 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"3fd8cc4\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-4eeab22\" data-id=\"4eeab22\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-22af556 elementor-widget elementor-widget-image\" data-id=\"22af556\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"450\" height=\"310\" src=\"https:\/\/naturpiedra.com\/es\/wp-content\/uploads\/2023\/02\/Palacio-de-la-Granja.jpg\" class=\"attachment-large size-large wp-image-43474\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-d5fb423 elementor-hidden-tablet elementor-hidden-mobile\" data-id=\"d5fb423\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-9bcd869 elementor-widget elementor-widget-text-editor\" data-id=\"9bcd869\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p align=\"justify\"><sup>(26)<\/sup>\u00a0AGP, San Ildefonso, C\u00aa 13541, 1716. En la carta se dice que se hosped\u00f3 Carlos II con la reina en 1690.<br \/><br \/><sup>(27)<\/sup>\u00a0El palacio del duque de Lerma en la poblaci\u00f3n burgalesa hom\u00f3nima se cubri\u00f3 de teja (L. Cervera, pp. 471 y 484.<br \/><br \/><sup>(28)<\/sup>\u00a0Referencias m\u00e1s amplias sobre los pizarreros cubridores, en Ceballos, 2010, p. 78-81.<br \/><br \/><sup>(29)<\/sup>\u00a0Llaguno, II, 48.<br \/><br \/><sup>(30)<\/sup>\u00a0AGP. C\u00aa 9380, exp. 7.<br \/><br \/><sup>(31)<\/sup>\u00a0Llaguno, II, 229.<br \/><br \/><sup>(32)<\/sup>\u00a0L. Cervera Vera, 1977.<br \/><br \/><sup>(33)<\/sup>\u00a0Mar\u00edas, 1986: 223-4.<br \/><br \/><sup>(34)<\/sup>\u00a0Llaguno II, 230.<br \/><br \/><sup>(35)<\/sup>\u00a0Ver el desarrollo de este proyecto en L. Cervera Vera 1967.<br \/><br \/><sup>(36)<\/sup>\u00a0No hab\u00eda sido el \u00fanico incendio en El Escorial, ya que se registran otros, como en 1642 AGP, San Lorenzo, Patrimonio, leg 1826) o en 1732, pero sin duda es el m\u00e1s importante.<br \/><br \/><sup>(37)<\/sup>\u00a0Santos, Descripci\u00f3n (1698: 6).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-6830dc0 elementor-hidden-mobile elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"6830dc0\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-2205439\" data-id=\"2205439\" data-element_type=\"column\" 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href=\"https:\/\/naturpiedra.com\/es\/?page_id=43508\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t<span class=\"elementor-button-icon\">\n\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-hand-point-right\"><\/i>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">Siguiente<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4d82988 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4d82988\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-b7880be\" data-id=\"b7880be\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-1aa76db elementor-widget elementor-widget-spacer\" data-id=\"1aa76db\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>History Company Services Sustainble Catalogs Valor Hist\u00f3rico de las Pizarras de Bernardos &gt; The works with Bernardos slate in the 16th and 17th centuries Jos\u00e9 Ubaldo Bernardos Sanz Jes\u00fas Bernardos Bartolom\u00e9 &#8211; Foreword Origins of the quarries exploitation Searching for the material Locating and selecting the deposits Organisation and exploitation of the quarries. Personnel employed [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-58806","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The works with Bernardos slate in the 16th and 17th centuries - naturpiedra JBERNARDOS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/naturpiedra.com\/es\/en\/the-works-with-bernardos-slate-in-the-16th-and-17th-centuries\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The works with Bernardos slate in the 16th and 17th centuries - naturpiedra JBERNARDOS\" \/>\n<meta property=\"og:description\" content=\"History Company Services Sustainble Catalogs Valor Hist\u00f3rico de las Pizarras de Bernardos &gt; The works with Bernardos slate in the 16th and 17th centuries Jos\u00e9 Ubaldo Bernardos Sanz Jes\u00fas Bernardos Bartolom\u00e9 &#8211; Foreword Origins of the quarries exploitation Searching for the material Locating and selecting the deposits Organisation and exploitation of the quarries. 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