HOUSE OF THE DEAD
20 minutes
It was built in the first third of the 16th century by the architect Juan de Álava and constitutes a notable example of Plateresque art. Its suspended-type facade shows similarities with other constructions of the era in which this architect participated. The name of the house comes from the four skulls sculpted under the windows, elements that have fueled numerous macabre legends.
Lintels, pilasters, and cornices are covered with rich decoration of Plateresque grotesques. The door lintel shows the shield with the architect's surname, while in the center of the facade stands out the portrait of Archbishop Fonseca, accompanied by the inscription: Severísimo Fonseca Patriarca Alexandrino. Six medallions complete the exceptional decoration of this singular building.
The interior, privately owned, is not open to visitors. In its vicinity are some of the most representative buildings of Salamanca's heritage, such as the Monterrey Palace, the Convent of the Ursulines, or the churches of La Purísima and La Vera Cruz.
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Lintels, pilasters, and cornices are covered with rich decoration of Plateresque grotesques. The door lintel shows the shield with the architect's surname, while in the center of the facade stands out the portrait of Archbishop Fonseca, accompanied by the inscription: Severísimo Fonseca Patriarca Alexandrino. Six medallions complete the exceptional decoration of this singular building.
The interior, privately owned, is not open to visitors. In its vicinity are some of the most representative buildings of Salamanca's heritage, such as the Monterrey Palace, the Convent of the Ursulines, or the churches of La Purísima and La Vera Cruz.
Professor Álvarez Villar was the first to attribute the original ownership of the property to the architect Juan de Álava, also known as Juan de Ibarra. Juan de Álava, of Basque origin, settled in Salamanca, where he achieved great renown as an architect. He participated in important works in the city, such as the Cathedral, the University, the Fonseca College, and the church of San Esteban. He had the patronage of the Archbishop of Santiago, Alonso de Fonseca III. He worked for him on the Fonseca College, which explains the homage he pays to him on the facade of his house, by representing his father accompanied by the inscription "Severísimo Fonseca, Alejandrine Patriarch".
The house, built between 1512 and 1528, was conceived as the architect's personal residence. Its design and ornamentation do not pale in comparison to the houses of the nobility of the time, with which it shares notable similarities. This fact makes Juan de Ibarra an exceptional figure within the guild, as it was not common for an architect, no matter how prestigious, to achieve an economic status that would allow him to own a residence of such category in 16th-century Spain. The facade, the only preserved element of the original building, informs us of the owner's surname, his profession, and his artistic preferences.
Upon his death, Juan de Álava arranged to be buried in the nearby church of Santa María de los Caballeros. The house remained in the hands of his legitimate descendants until the second half of the 17th century, when it became property of the church. In the late 18th century, it was acquired by Dr. and priest Alejo Guillén, who bequeathed it to his housekeeper, María Lozano. After her tragic assassination, the property changed hands several times until it was acquired in the 1960s by the Blanco Cobaleda family, the current owners of the property.
The house, built between 1512 and 1528, was conceived as the architect's personal residence. Its design and ornamentation do not pale in comparison to the houses of the nobility of the time, with which it shares notable similarities. This fact makes Juan de Ibarra an exceptional figure within the guild, as it was not common for an architect, no matter how prestigious, to achieve an economic status that would allow him to own a residence of such category in 16th-century Spain. The facade, the only preserved element of the original building, informs us of the owner's surname, his profession, and his artistic preferences.
Upon his death, Juan de Álava arranged to be buried in the nearby church of Santa María de los Caballeros. The house remained in the hands of his legitimate descendants until the second half of the 17th century, when it became property of the church. In the late 18th century, it was acquired by Dr. and priest Alejo Guillén, who bequeathed it to his housekeeper, María Lozano. After her tragic assassination, the property changed hands several times until it was acquired in the 1960s by the Blanco Cobaleda family, the current owners of the property.
The House of Deaths is located in the historic center of Salamanca, very close to the Plaza Mayor. It is one of the most evocative spaces in the city, surrounded by some of the most important monuments in the city.
On its south side, it borders the house where the philosopher and writer Miguel de Unamuno lived and died, known as Casa del Regidor Ovalle Prieto. Opposite it is the Convent of the Ursulines, which houses an interesting museum and the tomb of Alonso de Fonseca II, a work by Diego de Siloé. Next to the convent are the Chapel of Vera Cruz and Campo San Francisco, one of the most beautiful green spaces in the city of Salamanca.
On its south side, it borders the house where the philosopher and writer Miguel de Unamuno lived and died, known as Casa del Regidor Ovalle Prieto. Opposite it is the Convent of the Ursulines, which houses an interesting museum and the tomb of Alonso de Fonseca II, a work by Diego de Siloé. Next to the convent are the Chapel of Vera Cruz and Campo San Francisco, one of the most beautiful green spaces in the city of Salamanca.
The Casa de las Muertes (House of the Dead) must have been built between 1512 and 1528 as the personal residence of the architect Juan de Álava. This fact explains the presence on the facade of the Anunciabay family coats of arms - two goats climbing a hawthorn eating fruit, above water waves. These arms correspond to the Anunciabay, a house from which the Ibarra family depended.
Of the original complex, almost exclusively the facade is preserved, built in Villamayor sandstone ashlar. It is an exceptional example of Salamanca Plateresque style. Of the banner type, it is distinguished by its symmetry, interrupted only by the balcony located to the left.
The door, located in the center, acts as the axis of symmetry of the facade. Above the finely carved lintel is the owner's coat of arms inscribed in a laurel wreath. On both sides, two winged putti ride dolphins and carry compasses, a symbol of the owner's profession.
In the central axis of the facade, plumb above the door, opens a balcony that was once a window. It is flanked by pilasters decorated with grotesques that extend into a stilted arch decorated with cherubs. The arch houses the high-relief bust of Archbishop Alonso de Fonseca II, accompanied by the inscription 'Severissimo Fonseca Patriarcha Alexandrino'. Below him, two gentlemen dressed in 16th-century fashion present him with a shield with the Anunciabay surname, one of them removing his hat as a sign of respect.
On the second floor, two windows open, framed by pilasters and columns that support an entablature. Above their lintels, flanked by putti, a rich decoration with fantastic animals unfolds. The pedestals of the columns rest on four skulls or “deaths”, from which the house gets its name.
The figures represented in the six medallions that adorn this facade are of particular interest. The two upper ones, dressed according to the fashion of the time, could represent Álava himself and one of his sons. The lower ones show the bust of two ladies, possibly his wives. Flanking the balcony, two hanging medallions display male figures dressed in the Roman manner. It is not really known whom these medallions represent, but their quality allows them to be related to those on the facade of San Esteban and those in the cloister of Archbishop Fonseca's College.
The facade is topped by a splendidly decorated cornice with winged cherubs, so much to Juan de Álava's taste.
Of the original complex, almost exclusively the facade is preserved, built in Villamayor sandstone ashlar. It is an exceptional example of Salamanca Plateresque style. Of the banner type, it is distinguished by its symmetry, interrupted only by the balcony located to the left.
The door, located in the center, acts as the axis of symmetry of the facade. Above the finely carved lintel is the owner's coat of arms inscribed in a laurel wreath. On both sides, two winged putti ride dolphins and carry compasses, a symbol of the owner's profession.
In the central axis of the facade, plumb above the door, opens a balcony that was once a window. It is flanked by pilasters decorated with grotesques that extend into a stilted arch decorated with cherubs. The arch houses the high-relief bust of Archbishop Alonso de Fonseca II, accompanied by the inscription 'Severissimo Fonseca Patriarcha Alexandrino'. Below him, two gentlemen dressed in 16th-century fashion present him with a shield with the Anunciabay surname, one of them removing his hat as a sign of respect.
On the second floor, two windows open, framed by pilasters and columns that support an entablature. Above their lintels, flanked by putti, a rich decoration with fantastic animals unfolds. The pedestals of the columns rest on four skulls or “deaths”, from which the house gets its name.
The figures represented in the six medallions that adorn this facade are of particular interest. The two upper ones, dressed according to the fashion of the time, could represent Álava himself and one of his sons. The lower ones show the bust of two ladies, possibly his wives. Flanking the balcony, two hanging medallions display male figures dressed in the Roman manner. It is not really known whom these medallions represent, but their quality allows them to be related to those on the facade of San Esteban and those in the cloister of Archbishop Fonseca's College.
The facade is topped by a splendidly decorated cornice with winged cherubs, so much to Juan de Álava's taste.