CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 341-361
Recibido: octubre 2021 | Revisado: noviembre 2021 | Aceptado: noviembre 2021 | Publicado: diciembre 2021
ISSN: 0590 - 1987 I eISSN: 2695-379X I Depósito legal: GR 70-1965
THE MUQARNAS DOMES OF
THE HALL OF THE KINGS:
DATA FOLLOWING THEIR
RESTORATION
LAS CÚPULAS DE MOCÁRABES DE LA SALA DE LOS
REYES: DATOS TRAS SU RESTAURACIÓN
RAMÓN FRANCISCO RUBIO DOMENE
HEAD OF THE PLASTERWORK AND TILING RESTORATION WORKSHOP OF THE BOARD OF TRUSTEES
OF THE ALHAMBRA AND GENERALIFE. PHD IN RESTORATION, UNIVERSITY OF GRANADA.
ramonf.rubio@juntadeandalucia.es
ABSTRACT During the period between 2007 and 2009, work was carried out on the restoration and
reconstruction of the roofs of the Hall of the Kings, which allowed us to access the backs of the 7 muqar-
nas domes that cover this space, and to carry out their restoration. This intervention allowed us to access
each one of them, both on the front and on the back, so that we could see the interventions carried out
in the 19th century, as well as study each of the muqarnas modules in order to understand the construc-
tion systems used by the Nasrid craftsmen in a muqarnas dome. All this valuable information allowed
us to adapt the treatment according to the state of conservation in an individualised manner, applying
consolidation treatments and xing polychromies, and restoring structural stability on the reverse, with
new reinforcement and hanging systems.
All this accumulated experience allows us today to implement it in other cases found in the monumental
complex of the Alhambra, such as the Sala de Abencerrajes, Sala de Dos Hermanas, or Sala de Ajimeces.
KEYWORDS Mocárabes, Alhambra, Sala de los Reyes, restauración, yeserías.
RESUMEN Durante el periodo comprendido entre el año 2007 y 2009, se llevaron a cabo las obras de sa-
neamiento y reconstrucción de las cubiertas de la Sala de los Reyes, lo que nos permitió poder acceder
a los reversos de las 7 cúpulas de mocárabes que cubren este espacio, y realizar su restauración. Esta
intervención permitió acceder a cada una de ellas, tanto en su anverso como en su reverso, por lo que
pudimos ver las intervenciones realizadas en el S. XIX, así como estudiar cada uno de los módulos de
mocárabes para comprender y poder entender los sistemas constructivos que emplearon los artesanos
nazaríes, en una cúpula de mocárabes. Toda esta valiosa información nos permitió adaptar el tratamien-
to según el estado de conservación de forma individualizada, aplicando tratamientos de consolidación
y jación de policromías, y devolviendo la estabilidad estructural en el reverso, con nuevos sistemas de
refuerzo y de cuelgue.
Toda esta experiencia acumulada, nos permite hoy día poder implementarla en otros casos que se
encuentran en el conjunto monumental de la Alhambra, como son la Sala de Abencerrajes, Sala de Dos
Hermanas, o Sala de Ajimeces.
PALABRAS CLAVE Mocárabes, Alhambra, Sala de los Reyes, restauración, yeserías.
COMO CITAR/ HOW TO CITE DOMENE RUBIO, R.F., Las cúpulas de mocárabes de la Sala de los
Reyes , Cuadernos de la Alhambra, 2021,50, pp. ISSN 0590-1987
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 341-361
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THE MUQARNAS DOMES OF THE HALL OF THE KINGS: DATA FOLLOWING THEIR RESTORATION.
Il. 1. Plan of the Hall of the Kings with the location of each of the seven muqarnas domes.
During more than two years of restoration work on
the muqarnas domes of the Hall of the Kings, numerous data
were found, documents were consulted and techniques were
applied during the dierent work processes. Undoubtedly
the best source of learning during the project came from ob-
serving the processes of change and diering degrees of de-
terioration at specic points of the domes, where damp and
structural movement had threatened their stability but also
revealed their anatomy. It was possible to see the traces le
by the manual application of plaster, the dierent phases of
restoration carried out at dierent times, and all the dierent
layers and materials developed by Nasrid crasmen to cons-
truct muqarnas domes in the Alhambra Palace complex. e
aim of this article is to learn more about the original assembly
technique and the behaviour of the materials that were used,
so that their own behaviour and changes can be diagnosed,
thereby successfully managing the restoration work and gua-
ranteeing their conservation over time.
e muqarnas vaults are located in spaces that divide the
great Hall of the Kings into seven areas produced by the do-
mes, which in turn are divided into three large domes with
areas measuring 4.50 x 4.50 m. (domes 2, 4, 6), interspersed by
four other smaller areas of 2.5 x 4.5 m. which have domes that
are smaller in size and height (domes 1, 3, 5, 7). Although the
spaces are the same and share the same muqarna block pieces,
each of the domes has a dierent design, layout and polychro-
ming. e assembly technique was usually the same; due to
space limitations this article will focus on the study of the
rst great dome in the south wing, dome 2, while referencing
additional interesting facts about the other domes (Il. 1).
Starting with the well-known treatises by Diego López
de Arenas
1
and monk Fray Andrés de San Miguel
2
, many
works describe the domes’ origin
3
, geometry
4
, the etymolo-
gical origin of the terms muqarnas, muqarbas and mocára-
be, their set of three shapes of triangular, rhomboidal and
rectangular prisms
5
, in a variety of seven basic prisms with
some variants and transformations according to the space
and complexity of the dome, outlining the rules of their geo-
metry
6
and formula for their assembly process
7
. eir design
is based on basic pieces such as the ‘chaplón de jairas’, which
provide the measurements of the dierent muqarna bloc-
1 LÓPEZ DE ARENAS, Diego. Breve compendio de la carpintería de lo blan-
co…, p. 41.
2 FRAY ANDRÉS De San Miguel [1577, 1652] 1969: Manuscrito.
3 FERNÁNDEZ PUERTAS, Antonio. Mukarbas Encyclopedia of Islam.
4 PRIETO VIVES, Antonio. Apuntes de geometría decorativa: los mocárabes,
El arte de la lacería.
5 CARRILLO CALDERERO, Alicia. Compendio de los muqarnas: génesis y evo-
lución (siglos XI-XV).
6 PALACIOS GONZALO, J. C. Las cúpulas de mocárabes. p.1025
7 SÁSETA VELÁZQUEZ, Antonio. El juego de los mocárabes.
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 341-361
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RAMÓN FRANCISCO RUBIO DOMENE
Il. 2. General view of muqarnas dome 6.
ks
8
, while the ‘conza’ determines the proportionate measure-
ments of the remaining pieces
9
. Other works, such as those by
Aranda Pastor
10
and Gámiz Gordo
11
study groups of muqarnas
vaults at the Alhambra in depth (Il. 2). However, the focus
point and contribution of this work is to present all the data
and experiences gathered over years of work under these com-
plex structures, and to learn how muqarnas domes were cons-
tructed from a living material like plaster. As we were able
to see, it led to an exclusive plaster assembly technique, very
dierent from what has been studied regarding stone or wood.
eoretical ideas have been put forward because anything is
possible on paper or computers, unlike the real work.
8 NUERE MATAUCO, Enrique. La carpintería de lazo. Lectura dibujada…., pp.
66-70 and 265-283.
9 LÓPEZ DE ARENAS, Diego. Breve compendio de la carpintería de lo blanc
y Tratado de alarifes. Op. Cit. 1, p. 41.
10 ARANDA PASTOR, Gaspar. La alcoba O. de la galería meridional del Patio…..
11 GÁMIZ GORDO, Antonio, FERRER PÉREZ-BLANCO, Ignacio. A Grammar
of Muqarnas.
CONSTRUCTION TECHNIQUE
Designing a muqarnas dome required an initial plan drawn
out on paper or similar that could be used to develop the di-
erent modules of the dome to scale. is preliminary design
work is fundamental to creating a self-supporting muqarnas
dome, the great challenge successfully achieved by Nasrid
crasmen. e dome is suspended in the air on its own, with
the successive support of the muqarnas. Muqarnas pieces are
combined to form small cupolas nished with stars, which are
repeated symmetrically in a radial fashion in horizontal levels,
developing further new cupolas at higher levels that gradually
gain height until the nal cupola crowned with the central
star is completed, as can be seen in Il. 3 and 4.
A self-supporting dome is not created by chance. Nasrid
master builders knew about ground behaviour and seismic
movement, which caused buildings in Granada to move con-
tinuously. ey also knew to introduce lead plates into the co-
lumns between the base and capital to cushion movement and
reduce damage in spaces like this one. In a muqarnas dome,
work started from the base of the wooden sleepers and their
CUADERNOS DE LA ALHAMBRA I núm. 50 I 2021 I págs. 341-361
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THE MUQARNAS DOMES OF THE HALL OF THE KINGS: DATA FOLLOWING THEIR RESTORATION.
Il. 3. Photographic detail of one of the corners of the reverse side of dome 2. After removing the roof, it was possible to see the sleepers, the wooden
crossbeams of the cupola, a corner angle brace, the rope that fastens the cupola at its base, and the wooden braces from the 19th century works. On
the right is a topographical survey with the contour lines of dome 2, and it is possible to see the wooden sleepers, which the crossbeams that the start of
the dome hangs o are hooked to using grooves and xed with nails. The location of the current stainless steel tensioners placed over the old holes from
the 19th century works is in red, and the holes of the wooden braces that were also from the 19th century intervention but were not reused are in blue.
angles, giving it the exibility of wood and leaving the who-
le roof independent so that it could move separately without
transmitted the load and weight of the tiles, clay and wood
onto the dome.
A muqarnas dome begins at the crown of the area’s walls,
where a structure of wooden beams or sleepers was placed,
linked at their four corners and reinforced by angle braces.
Here wooden struts that are shorter in length and section were
inserted at a perpendicular angle; they were the initial support
for the dome’s starting points and their ends were embedded
in the plaster of the rst modules (Il. 3). Struts normally star-
ted from the same corner and several were arranged along the
length of the sleeper approximately 1.5 m from each other; the
number of struts depended on the dimensions of the room or
dome. ey were fastened to the sleepers by recesses made in
the wood and square forged metal nails.
e plaster used to build these domes consisted of the ba-
sic mineral known as gypsum, i.e. calcium sulphate, which is
red and can then be mixed with water (CaSO4 x 1/2H2O, he-
mihydrate). Two varieties of plaster were used in these domes:
black plaster for the dierent muqarna blocks, and white plas-
ter for the modules with relief decoration made with moulds.
Muslim builders found gypsum near Sabika mountain, and it
is also abundant in Granada province; here it came from open-
air quarries about 11 km from the palace complex, in the area
known as Monte Vives in Gabia La Grande municipality
12
.
Gypsum is very common in its both its crystal and particularly
its alabaster varieties. e alabaster variety is extremely pure
gypsum and produces a very clean material aer ring and
grinding that was used in carved motifs. However, the gypsum
used to make most of the dierent muqarna blocks was the
crystallised variety, a darker or greyish gypsum that someti-
mes contained impurities such as ash from traditional ring
13
.
e main problem faced when constructing a muqar-
nas structure out of plaster lies in the adhesive used to join
and glue the dierent sections together i.e. the plaster itself.
Plaster is a living material mixed with water and works like a
glue when it comes into contact with another gypsum-based
material and loses its water content. is means that builders
had to be extremely precise when handling it and de with
timings; it starts to set very quickly, in a matter of seconds,
meaning that it was rarely possible to correct or modify the
position of a muqarna block once it was in place.
12 RUBIO DOMENE, Ramón. Yeserías de la Alhambra…, p.102
13 SANZ ARAUZ, David. Análisis del yeso empleado en revestimientos exte-
riores…, p.32.
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RAMÓN FRANCISCO RUBIO DOMENE
Il. 4. Dierent modules that make up the muqarna blocks and the phases
of the dome’s construction, gradually including wooden braces (red dots)
and closing intermediate cupolas until the dome was nally closed.
STAGES IN RAISING A MUQARNAS DOME.
As mentioned above, a preliminary design was required that
could be used to combine the dierent geometric modules,
created for a square or rectangular oor plan, that made rai-
sing and closing the ceiling possible. ese modules, formed
by a combination of muqarna blocks, were enclosed or framed
by the area known as the ‘’, until the dome ceiling
is formed at each construction stage, as can be seen in (Il.4)
Raising the dome began by placing the base pieces (nor-
mally pieces 6 and 7) on either side of the starting piece or
module 1, the ‘conca’, located on the small capital of the half
columns that started from the continuous frieze or latticework
gallery. is rst module was the starting point for what later
became the ‘’. is element is key to the dome’s
development because it marked out the various spaces formed
by the dierent muqarna blocks that would be repeated throu-
ghout the dome. e ‘’ does not have an exact me-
asurement. Its function was to absorb assembly errors related
to measurements that occur when the muqarna blocks were
stuck on and therefore its thickness could vary from one side
to another; the objective was to ensure that the dome was clo-
sed in as symmetrical and balanced a way as possible to make it
self-supporting. ese dierent thicknesses are even visible to
the naked eye from the ground, as is the case in dome 4.
e dome was raised by sticking modules together with
plaster; they detached horizontally from the wall while gai-
ning height and shortening the enclosure of the dome
14
. At
this early stage they were supported by the struts that emerge
at a perpendicular angle from the sleepers (Il. 4). Whether the
space was circular or square, closing the dome was controlled
by a prop that started from the centre of the scaolding or
the centre of the room being decorated. A cord was hooked to
it that was used to determine the radius for the geometry of
the circumference; it was rolled up around the prop to mark
and record measurements so the radius of the dome can be
closed. According to visible, dated testimonies on the back
of these domes, during this process the crasman, drawing
on his experience and taking into account the design of the
dome, would assess the force of gravity and the stability of
the structure being raised over one or several days of work.
14 The craftsman progressively attached the muqarna blocks and stuck
them on the back to assemble the various modules of the domes, working
as a central axis and closing the dome. Plaster behaves in an ideal way for
this type of work because it sets quickly and glues the muqarna blocks in
place, meaning the craftsman could attach pieces with plaster fairly rapid-
ly and complete modules.
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THE MUQARNAS DOMES OF THE HALL OF THE KINGS: DATA FOLLOWING THEIR RESTORATION.
He would evaluate the weight load supported by the modu-
les glued together with plaster and the amount of water they
carry. is is when he would attach a vertical wooden bra-
ce to the plaster modules that was embedded in the plaster
and also held in place using a metal nail, while the other end
was fastened to the raers of the wooden roof. It was norma-
lly made of pine wood with a rectangular cross-section, and
was inserted at the junction of the feet of several muqarna
blocks, or past the , where a structure with a
larger surface area of plaster was created and the wood could
be embedded (Il. 4, 5). e brace supported the structure whi-
le the plaster set and hardened, which also became lighter as
its water content evaporated over time. (Il. 5) It would full
its function and continue to support the weight as another
module was raised during the various stages of constructing
the dome. e crasman could always access the back of the
dome in the gap le between the plaster dome and the fra-
mework raers
15
because the brace was cut as the dome was
raised to prevent transmitting and loading the weight of the
tile roof onto the plaster dome and the problems that would
entail. In this specic dome at least three crowns are formed
by the union of the muqarnas legs and the areas formed by the
, each at a dierent height, where the wooden
braces are embedded with metal nails. ese pine wood bra-
ces are rarely visible on the reverse side of the dome as they
have been covered up by later plasterwork. However, studying
their location reveals that they are positioned in strategic ho-
rizontal locations for maximum weight bearing, according to
the design of the dome and its relationship with the interior.
Fig 5 shows the three brace crowns; the outer one is in black,
the middle one in blue and the upper crown, which supports
the lantern, is in red.
e whole process of raising a dome was aided by bracing
from the new modules, on the platforms created using the sca-
olding raised from the ground, which served as a support until
it was completed. e structure used to shore up the dierent
phases of the dome’s construction were removed once the whole
dome had been set in place and the plaster had dried, aer which
it lost a great deal of weight due to its water content evaporating.
e set of muqarna blocks that form the domes consists of
nine modules created in black plaster using moulds; they form
groups of pieces that lead to other modules, such as the crowning
15 It should be remembered that before decorating with plaster, ceramics,
etc., spaces were normally covered and nished with a roof so that work
could be carried out without issues from rain and inclement weather.
stars. e way these domes were created illustrates the good tas-
te in design and decoration created using pieces decorated with
relief carving, following the style set by the Nasrid crasmen. A
greater degree of complexity was required when working with
the muqarna blocks because each piece used needs to be indivi-
dually craed, unlike the muqarna blocks made in black plaster.
Dierent modules were joined and the gaps at the join were
lled by attaching new masses of black plaster, although many
pieces were joined together without joining plaster and are sim-
ply glued to each other with plaster applied to the upper parts
and on the reverse side in non-visible areas. erefore, in con-
trast to wooden muqarnas vaults, the height of the non-visible
part of the muqarna blocks adapts to its surrounding pieces or
the crowning piece. is is the case with muqarna block 3 in
the Hall of the Kings, which forms an eight-pointed star by joi-
ning a cluster of eight blocks; the non-visible part is cut away to
attach the nal plate of the star. Whenever a carved piece was
inserted, it was attached so that its join used the black plaster
that serves as a glue and it was also held in place by physical for-
ces such dovetailing, guaranteeing its stability and preventing it
from detaching in the future. (Il.6)
Once all the pieces had been inserted and the joins and
any assembly aws repaired, a white nishing coat was applied
to the black plaster, applied in several layers as necessary,
which served to
16
:
- unify the entire surface with white as a base for applying the
polychroming, also soening the right angles of the corners;
- cover the plaster’s pores and reduce its absorption capacity,
making it possible to be more precise when drawing polychro-
me motifs.
e white nishing layer was made of calcium sulphate
17
with an organic protein binder with, as in other locations,
abundant fatty acids such as palmitic and stearic acid18.
Although there is no conclusive data from the results of the
chromatographic analyses, there is a long tradition of using
e white rather than oils, due to parallels established with
Egyptian plaster crasmen where, according to Egyptian res-
torers, crasmen continue to use e white for the nal nish.
16 RUBIO DOMENE, Ramón. Técnicas de trabajo con moldes en la yesería
nazarí…, p. 547
17 de la TORRE LÓPEZ, Maria José. RUBIO DOMENE, Ramón. CAMPOS SU-
ÑOL, María José. Estudio mineralógico-petrográco de yeserías islámicas…,
p. 695
18 CORREA GÓMEZ, Elena; RUBIO DOMENE, Ramón. La restauración del
Oratorio del Partal…, p. 126.
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RAMÓN FRANCISCO RUBIO DOMENE
Il. 5. Location of the dierent wooden brace crowns which serve as support in the process of raising a dome. Their location in the photograph doesn’t
exactly match the topographic survey, as they weren’t placed exactly perpendicular to the dome and have moved and leaned.
Il. 6. Detail of attaching ‘conza’ module 1, made of white plaster with relief carving, using black plaster and dovetailing. Dome 7.
COLOUR STUDY
With regard to the polychroming, the system used diers in
some respects from techniques used to paint at motifs in
the West, as shall be discussed below. Nasrid crasmen used
pure, unmixed colours; this helped to ensure that there were
no variations between motifs painted in the same tone, whe-
ther they were painted by the same crasman or at dierent
periods of time19. To achieve this eect, they followed the
Nasrid polychroming technique found in other buildings that
have already been described20; basic colours such as red, blue
and black were used alongside the white background of the
nal priming layer, while yellow tones were provided by gold
leaf, which was applied in sheets to a layer of adhesive size21.
Non-destructive analyses performed on dome 2 using the
Raman micro-spectrometry technique detected the presence
of several pigments in the dierent colours
22
:
19 CORREA GÓMEZ, Elena; RUBIO DOMENE, Ramón. La restauración del
Oratorio del Partal…, Op. Cit. 17, p. 126.
20 CORREA GÓMEZ, Elena.; RUBIO DOMENE, Ramón. La restauración del
Oratorio del Partal…, Op. Cit. 17, p. 125.
21 RUBIO DOMENE, Ramón. Yeserías de la Alhambra…, Op. Cit. (n. 12),
p.186
22 DOMINGUEZ VIDAL, Ana; de la TORRE LOPEZ, Maria Jose; RUBIO DO-
MENE, Ramon; AYORA CAÑADA, Maria Jose. In situ noninvasive Raman mi-
crospectroscopic.... p.5766
-Black tones – carbon was detected, identifying it as a black ob-
tained from burning natural organic matter, such as lamp black.
-Blue tones – a greater presence of lazurite with green tonal
variations was detected. Lapis lazuli pigment was also applied
to a few spaces. is pigment has been compared, using the
uorescence of its natural minerals and their impurities, with
other samples from the mines of the Afghan region of Ba-
dakhshan, conrming that the lapis lazuli pigment used in the
plasterwork decoration of the Alhambra was brought across
the Mediterranean from Afghanistan. Due to its remote ori-
gin and costly method of extraction, this pigment had a value
equal to and sometimes higher than that of gold. e presence
of another pigment synthesised from 1828 onwards, articial
ultramarine, has also been detected, and its use is therefore at-
tributed to 19th century restoration work.
-Red tones – the presence of cinnabar (HgS) was detected as
a pigment from the Nasrid period. It is applied very delicately
to outline certain motifs. Red tones made from lead minium
-(Pb2O3) have also been identied; they were applied in large
quantities to more exposed motifs, such as the “”,
and oen had colour variations in brown tones, corresponding
to 19th century retouching work.
e technique used to apply the colour diers greatly de-
pending on whether the motifs were in relief or at:
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THE MUQARNAS DOMES OF THE HALL OF THE KINGS: DATA FOLLOWING THEIR RESTORATION.
Il. 7. Dierent muqarna blocks carved in relief using moulds, and their
location in the muqarnas dome. They also have their own colour variants.
When the modules have carved relief motifs made by
moulding, (Il. 7) the unevenness created by the carving acts
as a contour line that separates the colours, and normally a
red or blue background colour alternates with the colour of
the carved motifs. Blue is usually used for plant motifs, red
for backgrounds and gilding for epigraphic motifs, ribbons,
shells, scallops, etc.
When the modules have at motifs painted on one of the
faces of the prisms, they usually feature plant or epigraphic
motifs (epigraphic motifs only appear on the corbels above the
pilaster capitals at the start of the muqarnas between the latti-
cework.) ese are painted by rst applying the mass of colour
to the shape being depicted, and then outlining it with a line
of black paint to give the motif its shape. is line is applied
rmly and condently, although it does not always match the
previously used colour and sometimes this rst colour is visi-
ble outside the black line. However, the line is always joyful
and decisive, typical of a condent and expert hand, which
is why we believe that these motifs are original to the dome,
together with some traces of red tones, regardless of whether
they have also been retouched on occasion. Il. 9).
One of the most common at painted motifs found on the
plaster muqarnas is a plant motif in blue on the white primer
background, framed by a red ribbon. ey are paired two by
two in the spaces created by the arches of modules 6 and 7, as
can be seen in the location plan. ere are two size variants:
the motif identied in red created by module 7 is taller and
narrower than the motif identied in blue produced by modu-
le 6. e shape of these plant motifs adapts and varies depen-
ding on the space, indicating that they were painted freehand
without a template, although these motifs were not produced
like those above and do not have a black outline. (Il.8)
Gold leaf decoration was a typical feature of plasterwork
at the Alhambra
23
, and is not exclusive to Nasrid decoration.
In 12th–13th century Mongolian plasterwork in Iran, gold leaf
was also applied to highlight certain motifs
24
. It was always
applied to the surfaces of carved motifs, and gilding has never
been found in the backgrounds. is work method is easy to
understand; it would be very dicult to use gold leaf in the
tiny spaces and to gild the backgrounds precisely. e work
would also take far too long, and would lose the eect produ-
ced when light is reected on the gilded planes of the upper
parts of the carving.
In rare instances other shades are found in the motifs,
such as green and brown. ese are not Nasrid pigments; as
seen on other occasions, they are created by the chemical
composition changing due to the passage of time, and were
applied in restoration work probably dating from the 19th
century or earlier.
- For example, the lead sulphide present in the reddish pig-
ments that contain lead rusts and turns these tones black, af-
ter passing through various ranges of browns
25
; these tones are
very common in dierent areas of the Alhambra’s plasterwork
(Hall of the Abencerrajes [Sala de de Abencerrajes], the Ladies’
Tower [Torre de las Damas], etc.). A case study of the dark red
23 de la TORRE LÓPEZ, Maria José; DOMINGUEZ VIDAL, Ana; CAMPOS
SUÑOL, Maria José; RUBIO DOMENE, Ramón; ULRICH SCHADEE; AYORA
CAÑADA, Maria José. Gold in the Alhambra...
24 RUBIO DOMENE, Ramón. Yeserías del periodo mongol del S. XII-XIII en
Irán…, p. 567
25 CORREA GÓMEZ, Elena; RUBIO DOMENE, Ramon. La restauración del
Oratorio del Partal…, Op. Cit. (n. 17), p. 127