It is a neo-Gothic
stately home, complete with a central courtyard, finished in 1883.
The highlight of the building is its impressing façade, built of sandstone, on a limestone base. It features a large entrance gate with an arch crowned by the shield of the Marquis of Reguer on the cornerstone.
The eave, that stands about a meter from the façade, is supported on wooden beams with ornamental plant with motifs finishes.
The window openings are rectangular, surrounded by carved Santanyi sandstone with Gothic rain gutters on the upper part.
The hallway connects the entrance gate to the central courtyard, featuring impressive arches and “neo-mudéjar” coffered ceilings, resting on columns, whose capitals were carefully sculpted and decorated with floral motifs and human figures. In this hall there is a door communicating with what were once stables, and have now been converted into showrooms. This door has a beautiful carved lintel, with a central shield supported by mythological animals.
In the central courtyard are the stairs to the first floor terrace, with a stone railing made of Santanyi stone and adorned with claustras worked in the same stone. The first landing of the staircase leads to the right wing of the building through a door with a lobed lintel depicting a central shield flanked by two angels.
In the back of the courtyard stands the gate of the old garage outlined y an arch. All the walls of the courtyard are made of sandstone, with rectangular hollow sections. At the top of the courtyard, we find a lattice type railing stone with winged animal gargoyles.
At the top of the building, there is a quadrangular tower with ten gothic windows closed by leaded glass; on one side sits a sundial. A wooden eave holds the tile pyramid culminating the tower.
Bartolomé Ferrà (1843-1924).
Bartolomé graduated as Master in Architecture from the Royal Academy of San Carlos de Valencia.
He is considered to have been an architect with a neo-gothic mentality and a builder with a captivated by a medievalist ideology, trying to return to the primitive and simple style of the eighteenth and nineteenth centuries.
He is said to have been a man concerned with emphasizing the value of each individual element and concerned with achieving technical perfection. For Bartolomé, the concept of beauty was implicit in that which was useful, sincere and religious.
As an artist, he loved to conjugate architecture with poetry. He himself wrote: «Poetry is a friend of architecture and she enjoys so much his company that she hardly ever leaves his side; even in the ruins she keeps her watch».
He also combined his work as an architect, with literature and archeology. He was the author of many works, mostly religious, and other complementary projects, such as altarpieces and coffered ceilings, such as Nuestra Sra. de Lluc, whose design matches the one in the great hall of “Casa del Marqués del Reguer-Rullán”.
His works are divided in different stages:
Gothic historicism: Though in Europe, historicism joined with eclecticism awoken in 1820, in Mallorca the neo-gothic lingers in the third decade of the twentieth century. The following pieces of architecture belong to this period: the project of Calvia’s Church, the Conciliar Seminary of Palma, the Choir and the side portal of the Church of Alcudia, the project of the Chapel of Pollença’s Cemetery. Ferrà also participated in the project Construction of Camp d’en Serralta defending decent housing for the lower classes.
Eclecticism: appears in the late 1870 – 1880 and reappeared in 1900. Some of the highlights from this period are: the Oratory of Bassa Ferrera in Muro, expansion works in the guesthouse and the Church of Lluc, pulpits of Binissalem and Lluc, the monumental work of the Sitjar home in Pelaires, the Barceló house in the Quadrado square, etc.
Modernism: he joined the Art Nouveau movement slowly and timidly. He defined Gaudí as an innovative genius, although in his writings he does not mention his stay in Palma with the modernist architects due to a possible disagreement with them. The projects of the steeples of Soller and San Magín —which were not carried out— date from this period.
Bartolome started as an archaeologist accompanying the French Emile Cartailhac around the island. He wrote his first researches in the Bulletin of the Archaeological Society Luliana. In 1985, he discovered the famous “Bull Heads of Costitx “.
As a writer, of both poetry and prose, we see that religious themes areprevalent in Bartolome’s works, along with a desire to spread historical truths. Highlights include collaborations in the newspaper La Palma, the Balearic Magazine (Revista Balear), the Balearic Museum, editor of the weekly magazine La Dulzaina. He founded the weekly magazine L’ignorancia and Mallorca Dominical.