SURVEY OF THE CASA DE L’HORT, XVIII-XIX CENTURIES: FORMER PALACE-RESIDENCE OF THE CARDINAL PAYÁ, ONIL (ALICANTE, SPAIN) LEVANTAMIENTO DE LA CASA DE L’HORT, SIGLOS XVIII-XIX: ANTIGUO PALACIO-RESIDENCIA DEL CARDENAL PAYÁ, ONIL (ALICANTE, ESPAÑA)

Between 1995 and 2000, was carried out the survey of Casa de l’Hort in Onil, the former residence of the Cardinal Payá’s family; on the horizon was turning this urban mansion into a National Doll Museum. This task was developed in four phases. This survey constitutes the first set of plans that graphically record the building, whose appearance is due to reforms around 1874; It is, therefore, a historical document in which the life of the monument is synthesized, thus declared in 1977. Data collection was done by hand, which would serve as the basis for the Autocad plans. The final objective was to obtain real plans of the building (floors, facades, and sections) on which to think about the rehabilitation project. The drawing, as a researching tool, revealed data about the origin and the evolution of this architecture due to the geometric and typological pieces of evidence that came.


OBJECTIVE AND METHODOLOGY USED IN THE SURVEY OF THE CASA DE L'HORT
Between 1995 and 2000, a team of technicians proceeded to the survey of the Casa de l'Hort, former residence of the Cardinal Payá's family (Aa. Vv. 1975-1985, commissioned by the Conselleria de Cultura of the Generalitat Valenciana and the City Council of Onil (Alicante). On the horizon was rehabilitate this urban mansion for the National Doll Museum, whose museological project would be developed through an agreement with the University of Alicante at the end of the period, in 2000, under the leadership of professor María José Pastor Alfonso. The works were developed in four stages throughout the lustrum. First: replacement of the cover. Second: restoration of the facades. Third: survey the entire monument. And fourth: preparation of the preliminary project for its conditioning as a Museum.
This work is the first set of plans that graphically defines that monument. The survey was carried out in the traditional way with the data collection with a measuring tape and sketch by hand elevation prior to its cleanup in Autocad. The objective was to document the building (with all its plants, facades, and sections) as the basis of the future rehabilitation project. But, in parallel, the work allowed to research the origin and subsequent evolution of the building thanks to the pieces of evidence of the geometry of its load-bearing elements, their solar orientation, and the interior distribution that refers to typologies according to the time. Drawing, as a research instrument, provided us information about the beginning and the strata overlap of this architectural piece. The plans and drawings that are reproduced here are so for the first time before the scientific community.

CARDINAL MIGUEL PAYÁ Y RICO AND THE PALACE-RESIDENCE OF THE PAYÁ'S FAMILY
In the last decade of XX century, the old Palace-Residence in Onil of the family of Cardinal Payá (declared monument on 11-28-1977, registry of the Generalitat Valenciana: 03.27.096-018) was unused and belonged to the City Council, which planned to use it for the Doll Museum, in order to gather in this example of the local architectural heritage two elements of the cultural identity of the neighbours; namely: the noble built volume and the original dolls that represented the industrial tradition toymaker from the Foia de Castalla region. However, the ground floor and two-story building (Fig. 0) was in a rather poor state of conservation due to its abandonment: a country house reformed in the second half of XIX century, whose works gave it its current urban mansion presence with a romantic orchard-garden that preceded it (now lost and that gives the palace use its name: Casa de l'Hort), closed with a gate in 1874 of which the wrought iron gate is preserved on a traffic island (CSI 1979).
The cardinal, Miguel Antonio Domingo Payá y Rico (1811-1891), was a relevant figure and intellectual for the Spanish cultural heritage since, as archbishop of Santiago de Compostela and after the discovery in 1879 of the skeletal remains of the apostle in a crypt under the main altar, it was proposed to revitalize the cathedral that houses them and the Camino de Santiago that leads to this venue (Sempere 1993). The cardinal, born in neighbouring Benejama, spent his childhood since 1820 on this farm, more peasant than stately at the time, when his mother, Rosa Rico, moved to her native town when she became his father's widow, Miguel Payá; he would return to this place several times throughout his life. The historical building, in those years, did not look like today's urban building, but rather a large country house -a rectangular prism covered with gables-with its main facade facing east.
The primitive building underwent renovations in the second half of the XIX century conferring the current mansion physiognomy, almost between party walls, forming part of a block. The original construction, probably from the second half of the XVIII century, was enlarged by three walls (parallel to each other, according to local construction traditions) perpendicular to the access road to Onil, on whose outskirts the house was located. This was the moment when were definitely located the agricultural dependencies on the ground floor: the space for carriages (with a unique structure of wooden struts), the animal barn, a cistern (under the new staircase), food store (wine, oil, etc.) in the semi-basement, the porter's lodge and the main entrance that, located in the west side of the new main façade, led to the four-sections stairwell (rotating in around an oculus of certain dimensions), which remains within the traditions of urban bourgeois houses of the XIX century in the lands of the south of Valencia, such as the contemporary urban palaces of the Marqués de Dos Aguas in neighbouring Castalla (1st half 19th century) and the Casa de Los Bolufer in Jávea (1881) (Jaén 1999: 131, 195).
The ground floor -the main one-was used for the family's living rooms, dining room, bedrooms and sleeping alcove of the family Payá (very comfortable since some of the rooms had a fireplace) disposed of a Baroque perspective (door after door to the middle of each wall opening deep perspectives) and relapsing to the new façade to the south, illuminated and ventilated by uniform vertical holes evenly spaced from each other, some with balconies on corbels. The interiors of these rooms presented finishes according to their time with decorated hydraulic tile floors, wood plinths up to half the height of the walls, patterned papers lining them, ceilings with plaster panels from which lamps hung, and some ceramic pieces; All the decorative formalisms showed classicist ancestry and the fashionable vegetation motifs. The second floor of the building was occupied by the kitchen and pantry of the house, as well as by the rooms and dependencies of the domestic service that cared for the Payá family. In front of the Palace-Residence was designed and planted a small orchard-garden with parterres and trees. Mansion and garden set the backdrop of the arrival view to the town along the road that connects Onil with Castalla and this one with Alicante, being this volume the first visible residential building, due to its imprint and location, of the urban core (Sempere 1991). This main facade, oriented to the south, is composed with historical academic criteria.

SURVEY: HAND MEASUREMENT, COMPUTER DRAWING, AND GRAPHIC DISCOVERIES
At the end of 1995, in light of the risk of damage by rain inside the Casa de l'Hort, the Conselleria de Culture of the Generalitat Valenciana acted urgently, commissioning the project to replace its hipped roof. The team was led by the architect A. Martínez Medina, with whom M. Sempere Valero, J. García Ferrández, J. Martí Sempere, and J.A. Hernández Rodríguez collaborated. The ultimate intention was to rehabilitate the mansion as a Museum. The works began with the necessary drawing of the monument since it lacked graphic documents, plans that were made in four stages throughout the lustrum 1996-2000. The first stage, delivered in February 1996, was of the replacement project of the roof (with works in 1997-1998) and represented the first survey, although limited to the second and roof floors with their corresponding elevations and sections (Figg. 2, 3 and 4). The second stage, delivered in August 1999, was the restoration of the facades, which involved the record of the four exterior elevations and the sections of floors in the three levels (Figg. 5, 6 and 7). The third stage, delivered in February 2000, was the complete survey of the building, which would reveal unknown data (Figg. 1,8,9,10,11,12,13,14 and 15), not only of its distribution and uses (explained in the previous section) but also the origin and the superimposed buildings. All this documentation is completed with a selection of photographs taken in that period (Figg. 16,17 and 18) that raise the notarial deed of the finishes of the main floor's pavements, walls, and ceilings. And finally, the fourth stage was the preparation of the preliminary intervention project to adapt the property to the Doll Museum (Figg. 19 and 20).
This set of monument plans defines the first known survey that details this property whose origin dates back to the s. XVIII, according to the graphic and constructive evidence (see the two parallel walls inclined with respect to the façade wall that defined the prismatic volume facing east of this mas, appreciable in all plants), but whose appearance was due to extension works carried out at the end of the s. XIX (ca. 1874). The plans constitute a historical document that summarizes the heritage's own life, its strata over time, and its typological singularities. The graphic planning tasks constituted an instrument for dissecting the biography of the building that allowed discovering its origins (pending material tastings), the adequacy of its distribution to the typology of bourgeois houses with their amenities (fireplaces and domestic service), the exceptionality of the stairwell with four sections that rotate around a circular gap executed with ceramic thin brick vaults (linked to the construction tradition of the bordering regions and that would remain until well into the twentieth century) and the material sobriety of the exterior walls (with plasters in red ochre). The graphic record of the building -exhaustive, detailed and bounded-was erected in the essential support for the intervention project and in an inescapable source of information to apprehend this piece of architectural heritage that we receive in inheritance. Architectural drawing, therefore, was revealed as a tool for historical research.