An Architect's Note-Book in Spain Part 18

The Latin text was translated into Spanish by Miguel de Urrea and printed after his death at Alcala de Henares in 1587. Its publication had however been long preceded in Spain by the digest of the views of Vitruvius under the tide of "las Medidas del Romano o Vitruvio,"

published by Diego de Sagredo in 1526. Sagredo had no doubt been stimulated to such studies, (as Alberti had previously been) by his admiration of the vestiges of Roman architectural greatness, still abounding on the soil of his native land.

What oral tradition could teach previous to the publication of these texts in Spain, no doubt the architect of the Cathedral of Granada, Diego de Siloe, had learnt from his father, Gil, the even more celebrated Sculptor of Burgos; whose monuments to Don Juan II., his Queen, Donna Isabel, and the Infante Don Alonso, and whose "Retablo" in the Cartuja of Miraflores in the outskirts of that city, have never been surpa.s.sed in tasteful elaboration.[46] From whatever source Diego de Siloe may have obtained his knowledge, certain it is that he must share with Alonso Covarrubbias, the honour of having been the earliest revivers of cla.s.sical architecture in Spain: not in its details only as had been attempted by the early Plateresque architects, but in its structural proportions and in its symmetrical arrangements of great leading features. The following is the account of the construction of this Cathedral given by Amirola.[47]

"It was begun," he says, "on the 15th of March, 1529, and consists of three naves, the princ.i.p.al of which terminates in the choir after the Gothic manner. It is four hundred and twenty-five feet (Spanish) long, and two hundred and forty-nine wide. The order is Corinthian, but defective in its true proportions, since the princ.i.p.al nave is only forty-five feet wide, its height is one hundred and twenty." It would profit us but little to follow Amirola through his straight-laced criticisms on a design the beauty of which he was unable to apprehend; and it may be well to take a larger and juster view of its merits. The following which, I heartily endorse, is the verdict of a far better judge.[48] "Looking at its plan only, this is certainly one of the finest churches in Europe. It would be difficult to point out any other in which the central aisle leads up to the dome, so well proportioned to its dimensions, and to the dignity of the high altar which stands under it, or one where the side aisles have a purpose and a meaning so perfectly appropriate to the situation, and where the centre aisle has also its functions as perfectly marked out and so well understood. All this being so, it is puzzling to know how it has been so neglected."

My sketch has been taken from the "Ambulatory" at the back of, and surrounding, the choir. Its dimensions, as will be at once apparent, are enormous. The arches, which separate the choir from the ambulatory, and through one of which in my sketch the high altar is seen, are of very great interest. They form the earliest examples I have ever seen (out of Italy) of artificial perspectives, "guocchi di prospettiva." The arches next to the choir are narrower and lower than those next to the ambulatory; the distance between the two, owing to the necessities of supporting and distributing the weights of the vast cupola, being very considerable. The two archways are connected by falling lines of impost mouldings and converging lines of coffering. The consequence is that, as appears in the sketch, the archways, which really occupy only about five and twenty feet in depth, look at least double that dimension.

[Ill.u.s.tration: PLATE 76

GRANADA

THE REJA OF THE REYES CATOLICOS

MDW 1869]

PLATE LXXVI.

_GRANADA._

THE REJA OF THE REYES CATOLICOS.

I WAS tempted to sketch this magnificent screen for four reasons:--

Firstly, because it is, I believe, entirely of iron, which most of the Spanish Rejas are not.

Secondly, because it is, I also believe, the earliest specimen of anything like equal importance in Spain.

Thirdly, because of its historical interest in enclosing the tombs of "the Catholic Sovereigns" on the spot before which the greatness of their lives had been achieved.

Fourthly, because I considered it to be the best in design of all I saw.

It is by no means the richest, but it appeared to me to be arranged upon the justest principles. Its chief merits, as compared with many others, I considered to be as follows:--

Firstly, its _transparency_. One of the most important qualities any such screen should possess, is that of due subordination to the great architectural features of the locality in which it is placed. Where ornament is spread all over the surface of a screen, or where the main lines wander about in capricious directions, the eye is arrested by the metal work as a plane surface; and if not actually stopped by it, is at least led off in wayward directions, and fails to pa.s.s beyond it. In this case, the rectangularity of the whole gives great repose; the plain vertical bars almost disappear; while the splendidly ornamented portions of the screen seem as if suspended in mid air, and in no wise injure the effect of the architecture,[49] or diminish the apparent s.p.a.ce of the locality they decorate.

Secondly, its _stability_ without heaviness. The subdivision of the whole surface into regular compartments allows of a concentration of strength in the skeleton lines, and gives great constructional stiffness without too much formality.

Thirdly, its _propriety of design_. Its author has simply, as it were, a.s.serted the principle of "serve G.o.d and honour the King;" instead of, as is usual, "look at me, and see what a fine fellow I am." At the summit of his design he has represented the Crucifixion; immediately beneath, the leading incidents of Gospel history, making conspicuous (in compliment no doubt to the triumph of the Church in the entry into Granada of his sovereigns), Christ's entry into Jerusalem. As the central object, not much less than twenty feet square, he has grouped in masterly style the full heraldic insignia of those whose remains are deposited in the chapel beyond. The lower portion of his design has evidently been intended simply to give stability to the upper part, and to close the access to the magnificent marble and alabaster monuments of Ferdinand and Isabella, and of Philip of Burgundy and "Juana la Loca," without interfering with the facilities for seeing them of those who might gain access to the Antechapel, but be refused it to the Mausoleum itself.

The name of the admirable artist, "el Maestre Bartholome," who wrought this Reja in the year 1522, is inscribed upon it, near to the keyhole of the great central gates.

[Ill.u.s.tration: PLATE 77

GRANADA L'ARZOBISPADO

MDW 1869]

PLATE LXXVII.

_GRANADA._

VIEW OF THE ARZOBISPADO.

A CAREFUL contrast of this stately old mansion in which, if not the hand, at least the influence of the architect, Henrique de Egas, (son of Anequin de Egas de Bruselas, so greatly patronized by the celebrated Cardinal Mendoza,) may be clearly traced, with the great Palace of Charles V., ascribed to the artist Machuca, (both at Granada,) may afford a useful lesson to the architectural student. In the earliest of the two monuments--the Arzobispado--a window of which I now offer a slight sketch, the florid Plateresque style, as exemplified by the celebrated Hospedal de la Santa Cruz, at Toledo, (Sketches 44, 45, 46) is at once recalled to the memory. In the latest, we find a marked sympathy with the symmetrical style of the then fashionable Italian architects. The Circular Cortile of Vignola's masterpiece at Caprarola, is exceeded in dimension, and indeed in dignity of style, by the vast round Patio of the Palace of Charles V., with which it is probably nearly contemporary.

Such sober architecture, though enriched by the chisel of sculptors who, like Berruguete, had been ardent admirers of Florentine and Roman models, was the form of Plateresque which, intervening between the first form of Renaissance, founded on French and Burgundian models, and the austere Italian of Herrera, found special favour in the eyes of the most judicious critics in Spain.

How far the best designers of Spain, amongst whom must certainly be reckoned Juan de Arfe y Villafane, acknowledged their dependence upon the great Italian masters for all they considered most excellent in style, may be gathered from the curious account of the development of good art in his time[50] that he gives in his celebrated Treatise on Sculpture and Architecture. After dwelling upon what he curiously enough calls the "obra moderna," with which the great cathedrals of Spain had been, as he considers, built, he observes, "This _barbarous work_, having arrived at its end, its disuse having commenced in our times, gave place to the ancient styles of the Greeks and Romans. Although this style of work had been revived at an earlier period in Italy by the diligence and study of Bramante, Master of the Works of St. Peter's at Rome, Balda.s.sare Perruzzi and Leon Baptista Alberti, celebrated architects, it also began to flourish in Spain through the industry of the excellent Alonso de Covarrubbias, Master of the Works of the Cathedral at Toledo, and of the Royal Palace, father of the most famous doctor, Don Diego Covarrubbias, President of the Supreme Council of his Majesty and Bishop of Segovia, and of Diego Siloe, Master of the Works of the Cathedral and Palace of Granada. These masters began to use this kind of work in many places wherever they built, although always with some admixture of the modern work (Gothic or early Plateresque) which they could never entirely forget."

[Ill.u.s.tration: PLATE 78

GUADALAXARA

PALACE OF THE DUQUe DEL INFANTADO

MDW 1869]

PLATE LXXVIII.

_GUADALAXARA._

PALACIO DE LOS DUQUES DEL INFANTADO.

THIS is unquestionably one of the most important of the Palaces of the ancient n.o.bility left in Spain, worthy of the renown of the Mendozas, long Seigneurs of Guadalaxara. In spite of its present picturesque aspect, however, architecturally speaking, it is a strange jumble of incongruities; and offers but a ghost of the beauty it must have possessed upon its first construction towards the end of the fifteenth century from 1461 onwards. Splendour it must have possessed in perfection at the date at which it excited warm admiration in the breast of the captive sovereign, Francis I. of France, who was here magnificently entertained by the then Duque del Infantado. The top story with its remains of continuous arcading and balconies, the walls, the splendid doorway, and above all the Patio, with the exception probably of the top cornice and the Doric columns of the ground-floor arcade, all belong to the original construction. These remains afford sufficient indication of what has been destroyed to make way for Italian decoration and barbarous repair, to enable the practised eye to see the whole as it once existed; before a vulgar desire for novelty, and especially for foreign novelty induced the desecration of the integrity of the design.

One might have fancied that every true Spaniard would have regarded this palace almost as a holy place, from its having received the last breath of the great Cardinal Mendoza--the "Rex tertius," whom Felipe Vigarny, or some other dextrous sculptor, portrayed in the carvings of the Cathedral at Granada,[51] riding with Ferdinand and Isabella, and receiving the keys of the Alhambra from the hands of the unfortunate "Boabdil el Chico."

The interior of this Palace is fully as rich and remarkable as the exterior. The Patio which is about eighty feet long by fifty-six wide, (about two-thirds of the size of the court-yards of the Royal Exchange and the India Office), is surrounded by arcades of two stories, each about twenty feet in height. Both series of arches are of a Gothic and fantastic form, with spandrels filled in on the lower story with lions, and on the upper with winged griffins. Between each arch are columns, surmounted with armorial bearings, eagles, and grouped finials. The whole, if coa.r.s.ely, is very spiritedly carved, and produces a stately and simple, though rich effect. The saloons are large and lofty, with remains of beautiful half Moorish ceilings, and much effective Italian fresco decoration of good colour and enriched with harmonious Arabesque ornament.

The state of this once splendid structure is unfortunately as dilapidated as the national finances. What more can or need be said?

Everything going to pieces for want of that "st.i.tch in time," which nowhere, and in nothing, in Spain, seems ever likely "to save nine."

[Ill.u.s.tration: PLATE 79

GUADALAXARA SAN MIGUEL