RIAÑO, Diego de

The Renaissance Plateresque style in Spain is purely one of architectural ornament. There was no change in structure; heavy walls were used with either Gothic ribbed vaults or intricately carved wooden ceilings (artesando) that indicated Moorish influence. Many of the elements of decoration also preserved the influence of Gothic and Moorish art, such as the Flamboyant Gothic pinnacle and pierced balustrade or coats of arms and bits of heraldry used as ornamental motifs. Richly coloured tiles created decorative patterns on the walls as in Moorish art. The richness of the Classical decoration imported from northern Italy blended effectively with the elements of the Moorish and Flamboyant Gothic styles to form the new Plateresque style. The luxuriance of its ornament was a fitting expression of the splendour-loving culture that Spain developed as the wealth of the Americas began to pour in during the early 16th century.

Perhaps the most outstanding example of the style is the Ayuntamiento, or town hall, of Sevilla (Seville) by Diego de Riaño, with Lombard paneled pilasters on the ground floor and half columns completely covered with relief sculpture on the second floor. Also in the Lombard manner are the numerous medallions spotted over the wall under the windows or between the pilasters.

The Renaissance Plateresque style in Spain is purely one of architectural ornament. There was no change in structure; heavy walls were used with either Gothic ribbed vaults or intricately carved wooden ceilings (artesando) that indicated Moorish influence. Many of the elements of decoration also preserved the influence of Gothic and Moorish art, such as the Flamboyant Gothic pinnacle and pierced balustrade or coats of arms and bits of heraldry used as ornamental motifs. Richly coloured tiles created decorative patterns on the walls as in Moorish art. The richness of the Classical decoration imported from northern Italy blended effectively with the elements of the Moorish and Flamboyant Gothic styles to form the new Plateresque style. The luxuriance of its ornament was a fitting expression of the splendour-loving culture that Spain developed as the wealth of the Americas began to pour in during the early 16th century.

Perhaps the most outstanding example of the style is the Ayuntamiento, or town hall, of Sevilla (Seville) by Diego de Riaño, with Lombard paneled pilasters on the ground floor and half columns completely covered with relief sculpture on the second floor. Also in the Lombard manner are the numerous medallions spotted over the wall under the windows or between the pilasters.

The Renaissance Plateresque style in Spain is purely one of architectural ornament. There was no change in structure; heavy walls were used with either Gothic ribbed vaults or intricately carved wooden ceilings (artesando) that indicated Moorish influence. Many of the elements of decoration also preserved the influence of Gothic and Moorish art, such as the Flamboyant Gothic pinnacle and pierced balustrade or coats of arms and bits of heraldry used as ornamental motifs. Richly coloured tiles created decorative patterns on the walls as in Moorish art. The richness of the Classical decoration imported from northern Italy blended effectively with the elements of the Moorish and Flamboyant Gothic styles to form the new Plateresque style. The luxuriance of its ornament was a fitting expression of the splendour-loving culture that Spain developed as the wealth of the Americas began to pour in during the early 16th century.

Perhaps the most outstanding example of the style is the Ayuntamiento, or town hall, of Sevilla (Seville) by Diego de Riaño, with Lombard paneled pilasters on the ground floor and half columns completely covered with relief sculpture on the second floor. Also in the Lombard manner are the numerous medallions spotted over the wall under the windows or between the pilasters.

The Renaissance Plateresque style in Spain is purely one of architectural ornament. There was no change in structure; heavy walls were used with either Gothic ribbed vaults or intricately carved wooden ceilings (artesando) that indicated Moorish influence. Many of the elements of decoration also preserved the influence of Gothic and Moorish art, such as the Flamboyant Gothic pinnacle and pierced balustrade or coats of arms and bits of heraldry used as ornamental motifs. Richly coloured tiles created decorative patterns on the walls as in Moorish art. The richness of the Classical decoration imported from northern Italy blended effectively with the elements of the Moorish and Flamboyant Gothic styles to form the new Plateresque style. The luxuriance of its ornament was a fitting expression of the splendour-loving culture that Spain developed as the wealth of the Americas began to pour in during the early 16th century.

Perhaps the most outstanding example of the style is the Ayuntamiento, or town hall, of Sevilla (Seville) by Diego de Riaño, with Lombard paneled pilasters on the ground floor and half columns completely covered with relief sculpture on the second floor. Also in the Lombard manner are the numerous medallions spotted over the wall under the windows or between the pilasters.

The Renaissance Plateresque style in Spain is purely one of architectural ornament. There was no change in structure; heavy walls were used with either Gothic ribbed vaults or intricately carved wooden ceilings (artesando) that indicated Moorish influence. Many of the elements of decoration also preserved the influence of Gothic and Moorish art, such as the Flamboyant Gothic pinnacle and pierced balustrade or coats of arms and bits of heraldry used as ornamental motifs. Richly coloured tiles created decorative patterns on the walls as in Moorish art. The richness of the Classical decoration imported from northern Italy blended effectively with the elements of the Moorish and Flamboyant Gothic styles to form the new Plateresque style. The luxuriance of its ornament was a fitting expression of the splendour-loving culture that Spain developed as the wealth of the Americas began to pour in during the early 16th century.

Perhaps the most outstanding example of the style is the Ayuntamiento, or town hall, of Sevilla (Seville) by Diego de Riaño, with Lombard paneled pilasters on the ground floor and half columns completely covered with relief sculpture on the second floor. Also in the Lombard manner are the numerous medallions spotted over the wall under the windows or between the pilasters.

As Master of the Works at Seville Cathedral (1528), Riaño designed the Sacrist�a de los C�lices (Sacristy of the Chalices) in Gothic style, but he added Renaissance elements, such as the central vault on arches, with ribs that are only ornamental.

The sacristy is a rectangular construction integrated into the Cathedral and houses a splendid collection of religious paintings.

The photo shows the northern fa�ade of the choir with the Capillas de los Alabastros (Alabaster Chapels), Chapel of St Gregory (left) and Chapel of Our Lady of the Star (right). Juan Gil de Hontañ�n employed Aragonese alabaster outside these two chapels in 1516-18, and Diego de Riaño finished them in 1529.

As Master of the Works at Seville Cathedral (1528), Riano designed the Sacrist�a de los C�lices in a completely Gothic style, as well as the Capillas de los Alabastros (1532), in which he exhibits a fully Plateresque sense of style, characterized by a great richness both in the carvings and in the materials employed. He built the Sacrist�a Mayor (Main Sacristy) in 1530 as a Greek cross inscribed in a square, articulated to the height of the cornice by Corinthian pilasters and half columns in a Greco-Roman style that reflects the influence of Diego de Siloe at Granada Cathedral. Above, the square is transformed into an octagon to support the dome.

Both in structure and in decoration, Seville Cathedral is a striking example of the triumph of Renaissance architecture in Spain.

The photo shows the interior of the main sacristy.

Riaño built the main sacristy as a Greek cross inscribed in a square, articulated to the height of the cornice by Corinthian pilasters and half columns in a Greco-Roman style that reflects the influence of Diego de Siloe at Granada Cathedral. Above, the square is transformed into an octagon to support the dome.

The photo shows the interior of the dome.