From Palencia (Spain) to Corpus Christi (Texas, USA)
Documenting the journey, history and architecture of a Medieval Wooden Ceiling
Bibliographic Data
| ID | 7472584 |
|---|---|
| Authors | Ignacio Ferrer Pérez-Blanco (0000-0003-0066-1119, Ecole polytechnique fédérale de Lausanne, corresponding author) |
| Year | 2026 |
| Volume | 40 |
| Pages | e00517 |
| Publication date | 2026-03-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Digital Applications in Archaeology and Cultural Heritage (JOURNAL) |
| Journal identifiers | ISSN: 2212-0548 |
| Publisher | Elsevier BV (PUBLISHER) |
| DOI | 10.1016/j.daach.2026.e00517 |
| OpenAlex | W7127641153 |
| Language | EN |
| References cited | 8 |
This article traces the journey of a Spanish medieval carpentry ceiling from its origin in Castile to its current display in Texas, researching its historical, artistic, and cultural significance. It was sold in 1928 by American art dealer Arthur Byne to Fiske Kimball, director of the Philadelphia Museum of Art. After an exhibition in 1932, the ceiling remained in storage for over six decades. In 1996, it was acquired by the Corpus Christi Museum of Science and History, which restored and constructed a new hall for it, unveiled in 2001. The ceiling, covering a 10-meter-square room, features a curious architectural design. A lower frieze frames the four sides of the room, muqarbas’ corners transition to a regular octagon, further extended with additional muqarbas’ compositions, creating a 16-sided base for the dome. Artisans did not follow strict geometric construction techniques, as they introduced insertions and customized pieces to adapt to the global geometry. The craftsmanship also reveals practical carving strategies, as groups of muqarbas were carved together for efficiency purposes. A specific muqarbas’ shape, seen in this ceiling, is also employed in the Cathedral of Toledo, vernacular to Castilian carpentry, as it has not been seen in compositions like those of the Alhambra. The dome stands out for its distinctive features; the division into 18 radial segments and the application of taujeles (wood paneling) in non-repetitive patterns, giving each segment a unique visual identity. The entire piece has a natural wood finish, except for a gilded crowning muqarba’s element
Cabinet (room · Carpentry · Carving · Ceiling (cloud · Cityscape · Exhibition · Frieze · Vernacular · Architecture · Architecture and Cultural Influences · Historical Studies of Medieval Iberia · Medieval Architecture and Archaeology
| Highly cited | No |
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