After my visits to Cerralbo Museum and the Museum of Romanticism , I thought it might be reasonable to return to the Museum of Decorative Arts, because I find some relationship between the three. It is a museum that already knew: some time ago visited the permanent collection more recently was in a temporary exhibition , but in truth, was not very fresh, only to go back the rooms have been remembering. The ground and first floors are dedicated temporary exhibitions, which this time had relatively little to say the "substance: not deserve further comment.
On the second floor you can see the reproduction of some rooms in a seventeenth century house, I found interesting, well recreated and well explained. On the same floor, rooms with gold and jewelry, and pottery pieces, fabrics (I always catch the eye: I saw them in this line of mine ... smaller museums -bother anyone, please, I have to COSTUME MUSEUM return to) and work leather covers DOLPHIN TREASURE can be seen in the Prado, and pieces of leather. 
In the third and fourth floors, furniture mainly eighteenth and something of the early nineteenth century. Longer stays are recreated, but which pieces, sometimes loose and sometimes composing small sets, which makes it all less contextualized, though not without appeal. He remembered quite clearly the Neapolitan Nativity Scene, with its exaggerated bottom of columns, and instead had no fun in Valencian cuisine head completely finished with decorated ceramics. There is also a room dedicated to the well achieved REAL GLASS FACTORY FARM. Like
the Cerralba and the Museum of Romanticism, the NATIONAL MUSEUM OF DECORATIVE ARTS I found suggestive: it is much less a museazo (formerly the Museum described as minor, and I think the rating is very just), but allows you to view and place pieces everyday manifesting the desire of anyone, at any time, to live surrounded by tasteful, well designed and crafted objects to the smallest detail. The art house is not (always) whim, nor is (always) vain, nor is (always) way to demonstrate wealth and social status. It is not (only) channel for the catechesis of the Church and for state propaganda. Many times (not always) sensitivity, for many (dare I to say all) is extremely rewarding, and (for some) a real need. I missed, yes, a good section of parts of the twentieth century, a period in which you can find stunning designs, true masterpieces: I think it is a very serious gap in the Museum. Without going further in the brochure cover what appears is not a photograph of a neoclassical furniture, but the Red and Blue Chair by Gerrit Rietveld, neoplastic, designed in 1918, and went up the stairs as you see, it is true that among other things, is the Barcelona chair by Mies van der Rohe, 1929. I asked in information and was told that actually had these pieces, but who were not exposed because the temporary exhibition halls were busy, a situation that gives real shame and I hope is temporary. The same person told me, with little precision, it must be said that in May, beginning an exposure that will include such pieces (or parts of those: I suppose he meant modern / contemporary). I am here.
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