In any case, and despite the interventions carried out on the property, the invariants that define the architecture of Renaissance Guadalajara are identified, codified from the palace of Antonio de Mendoza designed by Lorenzo Vázquez de Segovia.

The entrance is through the main façade through a door offset from the axis of the wall and enhanced by ashlar work. This was moved from its location in 1887, although, according to that project, by then the stone doorway had been dismantled. Apart from this systematization, this wall presents a plaster plaster with indigo dye and decoration of tempera paint in ocher tones, with simulated ashlars and a period sign that reads LA AURORA. EDITORIAL PRINTING, BOOKSTORE, STATIONERY AND DESKTOP ITEMS. The decorative decoration reaches up to the closed windows, where the fake carpentry was painted. The openings maintain the original wrought iron: century sills on the balconies and century bars on the windows.

There is a reception room that intervenes between the access door and the interior patio. The location of this hallway, also off-center with respect to the axis of the patio, is an archaic choice that was exacerbated by the difference in level between the level of the public road, that of the hallway and that of the patio, which is always higher. The reforms carried out do not allow this solution to be realized, but it is known from the 1933 project that there were several floor levels on the ground floor.

A diagonal itinerary was created that crosses the patio, from left to right, from the access point to the staircase connecting the floors. This same route is observed in other mansions in Guadalajara "Guadalajara (Spain"), such as the Cotilla palace and the palace of the count of la Vega del Pozo").

The staircase is another of the characteristic elements and has an important symbolic value. It is executed in large proportions, open box and development in three sections, and with a special ornamental treatment that repeats the models of the patio supports. The enclosure of the sections is made with a blind parapet and handrail, and is covered with a factory vault in the shape of a trough of Mudejar tradition, but disdaining the usual framework&action=edit&redlink=1 "Frame (construction) (not yet written)") of polychrome wood. At the beginning, the opening is divided by a column that supports two semicircular arches, while at the mouth, resolved with a blind wall, an access door and a window open to illuminate the box.

The central patio is the most important element of the building. First, for being a distributor for all the existing dependencies in the four bays "Crujía (architecture)") that define it; and, second, for the aesthetic treatment with which it is executed. In this case, the elevation of the patio facades is resolved with open galleries, superimposing "Column (architecture)" columns and stone capitals that support wooden girders on carved "Shoe (foundation)" footings.

• - Diges Antón, Juan. Guadalajara Guide. Provincial Printing and Binding. Guadalajara, 1890.

• - Muñoz Jiménez, José Miguel. Mannerism architecture in Guadalajara. Provincial Institution of Culture "Marqués de Santillana". Guadalajara, 1987.

• - Pradillo Esteban, Pedro José. The Palacio de la Cotilla and its Chinese room. Guadalajara Culture Board. Guadalajara, 2006.

• - Trallero Sanz, Antonio Miguel. The Alcarreño Renaissance patio. Ibercaja, Social Work. Zaragoza, 1998.

In any case, and despite the interventions carried out on the property, the invariants that define the architecture of Renaissance Guadalajara are identified, codified from the palace of Antonio de Mendoza designed by Lorenzo Vázquez de Segovia.

The entrance is through the main façade through a door offset from the axis of the wall and enhanced by ashlar work. This was moved from its location in 1887, although, according to that project, by then the stone doorway had been dismantled. Apart from this systematization, this wall presents a plaster plaster with indigo dye and decoration of tempera paint in ocher tones, with simulated ashlars and a period sign that reads LA AURORA. EDITORIAL PRINTING, BOOKSTORE, STATIONERY AND DESKTOP ITEMS. The decorative decoration reaches up to the closed windows, where the fake carpentry was painted. The openings maintain the original wrought iron: century sills on the balconies and century bars on the windows.

There is a reception room that intervenes between the access door and the interior patio. The location of this hallway, also off-center with respect to the axis of the patio, is an archaic choice that was exacerbated by the difference in level between the level of the public road, that of the hallway and that of the patio, which is always higher. The reforms carried out do not allow this solution to be realized, but it is known from the 1933 project that there were several floor levels on the ground floor.

A diagonal itinerary was created that crosses the patio, from left to right, from the access point to the staircase connecting the floors. This same route is observed in other mansions in Guadalajara "Guadalajara (Spain"), such as the Cotilla palace and the palace of the count of la Vega del Pozo").

The staircase is another of the characteristic elements and has an important symbolic value. It is executed in large proportions, open box and development in three sections, and with a special ornamental treatment that repeats the models of the patio supports. The enclosure of the sections is made with a blind parapet and handrail, and is covered with a factory vault in the shape of a trough of Mudejar tradition, but disdaining the usual framework&action=edit&redlink=1 "Frame (construction) (not yet written)") of polychrome wood. At the beginning, the opening is divided by a column that supports two semicircular arches, while at the mouth, resolved with a blind wall, an access door and a window open to illuminate the box.

The central patio is the most important element of the building. First, for being a distributor for all the existing dependencies in the four bays "Crujía (architecture)") that define it; and, second, for the aesthetic treatment with which it is executed. In this case, the elevation of the patio facades is resolved with open galleries, superimposing "Column (architecture)" columns and stone capitals that support wooden girders on carved "Shoe (foundation)" footings.

• - Diges Antón, Juan. Guadalajara Guide. Provincial Printing and Binding. Guadalajara, 1890.

• - Muñoz Jiménez, José Miguel. Mannerism architecture in Guadalajara. Provincial Institution of Culture "Marqués de Santillana". Guadalajara, 1987.

• - Pradillo Esteban, Pedro José. The Palacio de la Cotilla and its Chinese room. Guadalajara Culture Board. Guadalajara, 2006.

• - Trallero Sanz, Antonio Miguel. The Alcarreño Renaissance patio. Ibercaja, Social Work. Zaragoza, 1998.