Travel Reference
In-Depth Information
resent one of Spain's most subtle baroque forms. Although baroque is the predominant
form
,
a handful of noble Palma houses betray Renaissance influences, such as the facade
of the Cal Marquès del Palmer; standing in front of this building, you might think your-
self transported to Medici Florence.
The return to Christian rule in 1229 came too late for the implementation in Mallorca of a
Romanesque architectural style. Enthusiasts will see one sample in the Palau de
l'Almudaina, Palma.
Modernisme
Towards the end of the 19th century, the Catalan version of art nouveau was all the rage
in Barcelona, and whatever was happening in the Catalan capital at the time was sure to
influence architectural styles in Mallorca. Symbolised by Antoni Gaudí, who worked on
the renovation of Palma's Catedral and was the man behind Barcelona's La Sagrada
Família, the eclectic style soon had its adepts, both local and Catalan, in Mallorca. They
sought inspiration in nature and the past (especially Gothic and Mudéjar influences), and
developed a new freedom and individual creativity.
Palma
Like most islandwide phenomena, Palma is the centrepiece of Mallorca's Modernista
period. A contemporary of Gaudí, Lluís Domènech i Montaner (1850-1923) was another
great Catalan Modernista architect who left his mark on the magnificent former Grand
Hotel, now the CaixaForum.
The undulating facade of Can Casasayas, built for the wealthy Casasayas family
known for their historic Confitería Frasquet sweets shop, is a typical feature of Modern-
isme. Half of the building is residential and the other houses offices. In the original
design they were to be joined by a bridge.
Another influential figure in the history of Mallorcan Modernisme was Gaspar Ben-
nàssar (1869-1933). Unlike many other other Catalan architects who worked on the is-
land, Bennàssar was born in Palma and he played with various styles during his long ca-
reer, including Modernisme. An outstanding example of this is the Almacenes El Águila,
built in 1908 at the height of Modernisme's glory. Each of the three floors is different and
the generous use of wrought iron in the main facade is a herald of the style. Next door
the use of
trencadís
(ceramic shards) in the Can Forteza Rey facade is classic Gaudí-
esque. Can Corbella, on the other hand, dates from roughly the same period but is domin-
ated by a neo-Mudéjar look.
