museum houses, or palaces, museum, attract me: I always seem to have much interest and teaching. If the personality of the rooms was remarkable, his house tells us a lot of their time, their way of life and their interests. Examples of exciting museum houses (each with its own characteristics specific, not always comparable) there are many. Many-many-even those I have pending, and some I have been able to visit: London WALLACE COLLECTION remember and SOANE MUSEUM, in Paris, the spectacular Jacquemart Andre, in Antwerp the house RUBENS; in Rome, of course, Villa Farnesina. In Madrid we have now come into my head, LAZARUS GALDIANO or SOROLLA house. And a few weeks again Cerralbo Museum.
the Cerralbo Museum had for years closed, and had not ever seen. I wanted very, very, visit; so when I heard that last December 13 had reopened I decided to go without further delay. A couple of Sundays only, none of my usual companions showed special interest museums, I went there full of enthusiasm. Unfortunately, I can not say I was excited, not at all. And look who was willing, but nothing. Not easy for me to say this, because I really love to say otherwise (that what fascinated me) but I went full of hope and left with a huge impression ... I get mediocrity, but that is not: it is printing everything in Cerralba gets half. Halfway between usual and surprising, usual and interesting than usual and the artwork, and the usual great collection, and opulence than usual. I can say, rightly, that it is rare: of course not, precisely because it is a house museum visits. It is certainly unique: it has interest and is beautifully restored. But it is a great house-museum. To everything there is to put short, everything is-ito or-ita (museito, PALACITO, coleccioncita).
As a building, the Museum has little Cerralba what : It is very chaotic and free of special impact. Without being the not-going-over, all calls attention from the architectural point of view is the entrance hall with its double movement on both sides of the input shaft and main staircase (the Staircase of Honor, he is called) to the back of the newcomer. On the mezzanine, where there are private rooms of the Marquis and his family, not much to review, period rooms, ornate and decorative criteria a moot point. Going to the Principal, where the rooms represent a hodgepodge of objects of some interest: Guns of some interest, paintings and porcelain sculptures and drawings of some interest, particularly local and rooms of some interest but no real ... interest. And again, all with a rare arrangement, chaotic, with circulations strange and bizarre local relations. A good example is the Ballroom undoubtedly rich in decoration, beautiful, colorful, but that is only one of the four bays of the inner courtyard passageway open at both ends and discreet in size. We are left in the dark about the service (kitchens, stables, etc..), Which would also secure his one and would complement well the tour of the noble (I imagine that there might be gone: will the administrative area of \u200b\u200bwarehouses, offices and all those who need a local cultural institution). The garden is carefully can not be locked out. safe from Cerralba What? Save, save, save it all: not a big museum, but this museum is worth visiting. Perhaps what most interested me, as I said at the start, generally speaking house-museum is to see (more or less know already know, but another thing is see it, walk it, crawl ) how class lived high starting late nineteenth and twentieth centuries: what were their tastes, their hobbies, their ideals, their comfort ... and all that you do see in the Cerralbo Museum.
I'm not a specialist, and perhaps Cerralba collection is of prime importance. I suspect, in any event, no. So do not go there looking for great pictures. Not fabulous sculptures. Not a first class building. You should go to see a set of interest: the individual parts do not have, or not much, but being in the royal house (really, a home lived in) a real gentleman (with names and surnames, with family photos on tables) gives many clues. What follows is more a relief than anything else: do not add anything, and you do not read it, but I will not end without making a comment about how access to the museum: I thought "award" (surreal, it qualifies last week in a comment). I wrote the following lines on the day of the visit, hot and I made cool: I've finally deleted some things, little was beginning this post ... I was counting the Museo Cerralbo a Sunday morning (and from here the written text a couple of weeks). was a reasonable time, not late, I leave home at half past ten, perhaps a little later. The reality is that ten minutes before eleven I was walking past the door and, indeed, was open, some people were going through. Parked (on Juan Alvarez Mendizabal, just around the corner of Ventura RodrÃguez), I made a call and headed for the door. Then I saw some tail, which surprised me because very few minutes before there was anything I at the door, I asked (yes, it was the queue to pass) and got to end, assuming it would be a temporary queue. But that's nothing, up to three quarters of an hour I was waiting for: the capacity is limited to 60 people, and until leaving those inside do not pass the following. Insane. Absolutely insane. While standing in line not you believe it. Notes that people first surprised and then angry. Some even faced with the type of security that controls access. Imagine while you empty rooms, many with you, you wait on the sidewalk with a cool mustache ... 45 minutes! It's a thought, at best, with your feet, not to mention other parts of the anatomy. And most fat is that when I left, almost at one in the door still queued, waiting their turn to go, people I had seen before entering, there could take about an hour and a half! Is there no one capable of thinking anything?: To guided groups to prevent the spread of visitors, provide tours and group make frequent passes, for example, or in this age of Internet, where many look before approaching a museum, trying to organize a system of passes with time. Something, anything. But that, as it is, it makes little sense.
to here what I wrote then. Now with a little more calm, I acknowledge that may be overstated. It is true that in any information about the museum warn that the limited capacity, it is true that the odd structure Cerralba is hard to see if many people (as there is a clear sense of the progress of the visit, there are constant cross) and it is true that a visit with little public-sometimes alone in the rooms-is impressive. But I keep wondering if the party responsible for the museum could not think of a more reasonable: if they are sure ...
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