Full text of "Some account of Gothic architecture in Spain"

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Sf UTHERN BRANCH

UNIVERSITY OF CALIFORNIA,

LIBRARY,

<UDS ANGELES. CALIF.

GOTHIC ARCHITECTURE IN SPAIN

SOME ACCOUNT

GOTHIC ARCHITECTURE
IN SPAIN

GEORGE EDMUND STREET, F.S.A.

EDITED BY
GEORGIANA GODDARD KING

5EGOVI/« FROM THE ALCAZAK

LONDON AND TORONTO
J. M. DENT & SONS LTD.
NEW YORK: E. P. BUTTON & CO.

5 (i J f)

1914

N /-\ Library

CONTENTS

CHAP.
XII.

Valencia
Notes

XIII. Tarragona

Notes

XIV. Barcelona .

Notes

.W. Gerona, Perpinan, S. Elne
Notes

XVI. Manresa, Lerida
Notes

X\1I. Huesca, Zakagoza

Notes

XVIII. Tarazona, Veruela
Notes

XIX. TuDELA, Olite, Pamplona
Notes

.\X. Sttm.makv of the History of Gothic
Spain
Notes

XXT. The Spanish .Architects of the Middle Ages

.\rciii

21
42

51
85

92
ii6

119
147
156
171

^77

194

197
219

221
259
261

APPENDIX

A. — Catalogue ol dated examples of Spanish Buildings, from the

tenth to the sixteenth century inclusive .... 279

B. — Catalogue of .Architects, Sculptors, and Builders of the Churches,

etc., mentioned in this work ...... 285

C. -^Documents relating to the construction of the new Cathedral

at Salamanca ......... 299

vi GOTHIC ARCHITECTURE IN SPAIN

D. — Royal Warrant for the payment of the Master of the Works at

Santiago ......... 306

E. — Memoir of the construction of the Cathedral at Segovia, b}' the

Canon Juan Rodriguez ....... 307

F. — Catalogue of the subjects carved on the screens round the Coro

of Toledo Cathedral . . . . . . . .312

G. — Agreement between Jayme Fabre and the Sub-prior and Brethren

of the Convent of San Domingo at Palma in Mallorca . . 318

H. — The Reports of the Junta of Architects assembled at Gerona

to decide on the mode of building the nave of the Cathedral 319

I. — Contract between Guillermo Sagrera £ind the Council of the

Fabric, for the erection of the Exchange at Palma in MoUorca 333

Index .... ...... 337

LIST OF ILLUSTRATIONS

Valencia Cathedral, North Transept and Cimborio (from Fergusson)

The Micalete, Valencia Cathedrad

Puerta de Serranos, Valencia

Valencia, Exterior of the Casa Lonja

Ajimez Window, Valencia .

Apse of Choir, Tarragona Cathedral

Newel Staircase, Tarragona Cathedral

Tarragona Cathedral, View across Transepts

Tarragona Cathedral, Interior of Cloister

Sculptured Abacus in Cloister, Tarragona Cathedral

West Front of San Pablo, Barcelona .

Barcelona Cathedral, Exterior of East End .
Barcelona Cathedral, Interior of West End of Nave
Barcelona Cathedral, View of the Steeples, etc., from the Cloister
Lock on Screen in Cloister, Barcelona Cathedral
Sta. Maria del Mar, Barcelona, south-west view
Interior of Sta. Agata, Barcelona
Barcelona, the Casa Consistorial .
Ajimez Window, Barcelona
Gerona Cathedral, Interior looking east
Altar, Gerona Cathedral
Wheel of Bells, Gerona Cathedral
San Pedro, Gerona, Exterior from north-west
Spire of San Feliu, Gerona .
Manresa, Interior of the Collegiate Church
Wheel of Bells, Manresa Collegiate Church
Lerida Old Cathedral, View from Steeple
Cornice of South Transept Doorway, Lerida
Lerida Old Cathedral, South Porch
Pendentive, etc., under Lantern, Lerida Old
Interior of San Pedro, Huesca
Church at Salas, near Huesca, West l-'ront
Cloister, Tarazona ....
Tarazona, Campanile of La Magdalena
Abbey of Veruela, Entrance Gateway .
Veruela Abbey Church, Interior .
Chapel Altar, Veruela
Entrance; to Chapter-house, Veruela
Tudela Cathedral, Interior of Clioir
Angle of Cloister, Tudela
Castle, and Church of San Pedro, Olite
Pamplona Cathedral, lixt'-rior from thi; north-east

vii

Old Cathedral

Cathedral

PAGE

13
14
25

26
29
31

34
53
59
63
67
68

102

103

107

III

125

127

134

139

141

143
160
163
183
185
187
189
191

193
199
204
208
211

viii GOTHIC ARCHITECTURE IN SPAIN

GROUND PLANS

PLATE

XV. Tarragoaa, Plan of Cathedral
XVI. Barcelona, Plan of Cathedral
XVII. Barcelona, Plans of three Churches
XVIII. Gerona, Plans of Cathedral, etc.
XIX. Manresa, Plan of the CoUegiata
XX. Lerida, Plan of the old Cathedral .
XXI. Huesca, Plans of the Cathedral and San Pedro
XXII. Tarazona, Plan of the Cathedral
XXIII. Veruela, Plan of the Abbey Church, etc. .
XXIV. Tudela, Plan of the Cathedral
XXV. Pamplona, Plans of Cathedral and of San Saturnino

40
72
78
104
121
136
161
179

195

205
216

GOTHIC ARCHITECTURE
IN SPAIN

CHAPTER XII

VALENCIA

From Toledo I took the railway to Valencia. But as the junc-
tion of the Toledo branch with the main line is a small station
of the meanest description, and as there were three or four hours
to dispose of before the mail train passed, I went back as far as
Aranjuez, intending to dine there. The station is close to the
palace, a large, bald, and uninteresting pile. The principal inn
is kept by an Englishman with a French wife, and as it was not
the right season for Aranjuez we had great difficulty in getting
anything. In truth the French wife was a tartar, and advised
us to go back again; but finally, the husband having inter-
ceded, she relented so far as to produce some eggs and bacon.

Aranjuez seemed to consist mainly of the palace and its
stables, and to be afflicted with even more than the usual plague
of dust: but in the spring no doubt it is in a more pleasant state,
and may, I hope, justify the landlords assertion that there is
nothing in the world to compare with it!

Late in the evening we started for Valencia: it was a bright
moonlight night, so that I was able, when I woke and looked out,
to see that the country we traversed was an endless plain of
extremely uninteresting character and that we lost little by not
seeing it. I should have preferred leaving the railway altogether,
and going l)y Cuenca on my way to Valencia; but time was
altogether wanting for this detour, though I have no doubt that
Cuenga would well repay a visit.

At Almanza. where the lines ior Alicante and Valencia separ-
ate, there is a very picturesque castle perched upon a rock
above the town, and here the dreary, uninteresting country,
which extends with but short intervals all the way from V'itoria,
is changed f(jr the somewhat mountainous V';Uencian district,
which e\"crvwhere shows sJL'tis ot the hi-jhest luxuriance and

2 GOTHIC ARCHITECTURE IN SPAIN

cultivation, resulting almost entirely from the extreme care and
industry with which the artificial irrigation is managed. The
villages are numerous, and around them are beautiful vineyards,
groves of orange-trees, and rice-fields; whilst here and there
clumps of tall palm-trees give a very Eastern aspect to the
landscape. The churches seemed, as far as I could judge, to be
all modern and most uninteresting. After passing the hilly
country, a broad plain is crossed to Valencia. Here the system
of irrigation, said to be an inheritance from the Moors, is evi-
dently most complete. Every field has its stream of water
running rapidly along, and the main drawback to such a system,
so completely carried out, is that the beds of the rivers are
generally all but dry, their water being all diverted into other
and more useful channels. The Valencian farm-labourers' dress
is quite worth looking at. They wear short, loose, white linen
trousers and jackets, brilliantly coloured manias — generally
scarlet — thrown over their shoulders, coloured handkerchiefs
over their heads, and violet scarfs round their waists. They
have a quaint way of sitting at work in the fields, with their
knees up to their ears, like so many grasshoppers; and their skin
is so well bronzed that one can hardly believe them to be of
European blood. They are said to be vindictive and passionate,
but they are also, so far as I saw them, very lively, merry, and
talkative. The farms appear to be very large, and when I
passed the farmers were hard at work threshing their rice. This
is all done by horses and mules on circular threshing-floors. In
many of the farms eight or ten pairs of horse may be seen at
work at the same time on as many threshing-floors, and the
effect of such a scene is striking and novel.

As we went into Valencia we passed on the right the enor-
mous new Plaza de Toros, said to be the finest in Spain. Rail-
roads will, I suppose, rather tend to develop the national love for
this institution, and this theatre must have been built with some
such impression, for otherwise it is difficult to believe that a city
of a hundred and twenty thousand inhabitants could build a
theatre capable of containing about a tenth of the whole
population !

The national vehicle of Valencia is the tartaua, a covered cart
on two wheels, with a slight attempt only at springs, and ren-
dered gay by the crimson curtains which are hung across the
front. Jumping into one of these, we soon found ourselves at
the excellent Fonda del Cid, whose title reminds us tliat we are
on classic ground in this city of Valencia del ("id.

VALENCIA CATHEDRAL 3

The Cid took the city from the Moors after a siege of twenty
months, in a.d. 1094, established himself here, and ruled till his
death, in a.d. 1099. The Moors then regained possession for a
short time, but in a.d. 1238 or 1239 it was finally re-taken from
them by the Spaniards.

It is hardly to be expected that anything would remain ot
Christian work earlier than a.d. 1095, or, more probably, than
A.D. 1239, and this I found to be the case. The cathedral,
dedicated to the Blessed Virgin, is a church of only moderate
interest, its interior having been overlaid everywhere with
columns, pilasters, and cornices of plaster, and the greater part
of the exterior being surrounded so completely with houses that
no good view can be obtained of it.

The ground-plan is, however, still so far untouched as to be
perfectly intelligible (i). It has a nave and aisles of four bays,
transepts projecting one bay beyond the aisles, and a lofty lan-
tern or Cimborio over the Crossing. The choir is one bay only
in length, and has a three-sided apse. An aisle of the same
width as that of the nave is continued round the choir, and has
the rare arrangement of two poh'gonal chapels opening in each
of its bays. The vaulting compartments in the aisle are there-
fore cincopartite, those throughout the rest of the church being
quadripartite. A grand Chapter-house stands detached to the
south of the west bay of the nave, and an octagonal steeple,
called ■■ El Micalete,"" abuts against the north-west angle of the
west front.

The ritual arrangements are all modern, and on the usual
plan. The western bay of tlie church is open ; the stalls of
the Coro occupy the second and third bays : and metal rails
across the fourth bay of the nave and the Crossing connect the
Coro with the Capilla mayor.

The e\'idence as to the age of the various portions of the
building is sufficient to enable us to date most of the work rather
accurately. The foundation of the church is recorded by an
inscription o\er the south transept door to have been laid in
1262:' and some portion of the exterior is, I have no doul:)t,
of this date. The whole scnith transept front, a portion of the
sacrist}- on the east side, and the exterior of the apse, are all
of fine eorly-]jointed st\le, and. in th.e al)se;i('e of anv s])e(iric

'Anno Domini m.i i m.xii. x. Kai.. Jii.. i rn

I'osnts I'HIMIS LAI'IS IN 111 ( I.I.SIA IjlvAl.r
MaKI.I-; Si.DIS \'aI.1 NIIN.l' I'lR \1 Nl' KAIIII.IM
I'AIKIM IJOMINIM I KAII.M AnURI AM lllHirM
VaII^IIN.!- (I\1IAII-^ 1 .I'l-^l I il'l 'M.

4 GOTHIC ARCHITECTURE IN SPAIN

statement of their date, might well have been thought to belong
to quite the commencement of the century. But I think a
careful examination of the detail will show that the work is
possibly not so early as it looks : and it has so much in common
with Italian work of the same age, that we need not be surprised
to find in it features which would nevertheless be inconsistent
with its execution in the middle of the thirteenth century in
any work of the north of Europe. The south transept facade
consists of a round-arched doorway, with a horizontal cornice
over it, and a large and fine lancet-window above. The door
and window have respectively six and three jamb-shafts, and
the abaci throughout are square in plan. The archivolt of
the doorway is very rich: it includes five orders of enriched
dog-tooth moulding, one order of seraphs in niches, one of
chevron, one of scalloping, and two of foliage : good thirteenth-
century mouldings are also freely used. The shafts are de-
tached, and there is foliage on the jamb between them. The
abaci are very richly carved with animals and foliage, and the
capitals are all sculptured with subjects under canopies (2). The
detail of the whole of the work is certainly very exquisite.
Undoubtedl}^ in the north of France such work would be assumed
to have belonged to the twelfth rather than the thirteenth
century; but the quatrefoil diapering on the capitals, the
canopy work over the subjects in them, and the pronounced
character of the mouldings and dog-tooth enrichment, make it
pretty clear that the recorded date applies to this work. Indeed
I do not know how we can assume any other date for it without
altogether throwing over the extremely definite old inscription:
for as it is evident that the south transept and choir are of the
same date, it is difficult to see how it could have been possible
to speak of the first stone, if all this important part of the
fabric were already in existence.^ Close to the transept on the
east, in the wall of what is now a sacristy, is another lancet
window, of equally good, though simpler detail. Enough, too,
remains of the original work in the exterior of the apse to
show that it is of the same age as the south transept. The
clerestory windows seem to have been simple broad lancets;
there are corbel-tables under the eaves; and the buttresses are
very solid and simple. On the interior nothing but the groining
has been left untouched by the pagan plasterers of a later day.

' This doorway ought to be compared with the south door of the nave
of l.erida cathedral, the detail of which is so extremely similar to it that it
is im]>ossible, I tliiiik', to doubt that they were the work of the same men (3).

VALENCIA CATHEDRAL

NORTH TRANSKPT AND CIMHORIO

6 GOTHIC ARC?IITECTURE IN SPAIN

i~ I have found no evidence as to the date of the next portion of
the fabric^ which is the more to be regretted as it is altogether
very important and interesting in its character. It includes the
whole facade of the north transept, a noble lantern at the
Crossing, and a small pulpit, and the whole of this is a good
example of probably the latter half of the fourteenth century.
The north transept elevation is extremely rich in detail. The
great doorway in the centre of the lowest stage — de los Aposieles
— has figures under canopies in its jambs, and corresponding
figures on either side beyond the jambs. The arch is moulded,
and sculptured with four rows of figures and canopies, divided by
orders of mouldings. The tympanum of the door is adorned
with sculptures of the Blessed Virgin with our Lord and angels.
Over the arch is a gabled canopy, the spandrels of which are filled
with tracery and figures. Above, and set back rather from the
face of the doorway, is a rose window, the very rich traceries of
which are arranged in intersecting equilateral triangles; over it
is a crocketed pediment, with tracery in the spandrels and on
either side, and flanked by pinnacles. Every portion of the wall
is panelled or carved. This front affords an admirable example
of that class of middle-pointed work which was common in
Germany and France at the end of the thirteenth and beginning
of the fourteenth centuries. The style prevailed for some time,
and it was probably about the middle of the fourteenth century
that this building was executed.

The pulpit is placed against the north-east pier of the Crossing ;
it has evidently been taken to pieces and reconstructed, and
it is not certain, I think, that it was originally a pulpit. Many
of the members of the base and capital of its stem, and the
angles of the octagonal upper stage, are modern, and of bronze:
the rest is mainly of marble. The stem is slender, and the
upper part is pierced with richly-moulded geometrical traceries,
behind which the panels are filled in with boards, gilt and
diapered with extremely good effect. A curious feature in this
pulpit is that there is now no entrance to it, and if it is ever
used for preaching, the preacher must get into it by climbing
over the sides !

The lantern or Cimborio, though in some respects similar to, is
no doubt later than the transept; it is one of the finest examples
of its class in Spain. Mr. Ford says that it was built in a.d. 1404,
but I have been unable to find his authority for the statement,'
and though he may be right, 1 should have been inclined to date

Madoz gives the same date. — Dice. Geo. Esp. Historico..

VALENCIA CATHEDRAL

it somewhat curlier. It is an octagon of two rather similar
stages in height above the roof. Crocketed pinnacles are
arranged at each angle^, and large six-light windows with very
rich and varied geometrical tracery fill the whole of each of the
sides. The lower windows have crocketed labels^ and the upper
crocketed canopies, and the string-courses are enriched with
foliage. From the very transparent
character of this lantern, it is clear
that it was never intended to be
carried higher. It is a lantern and
nothing more, and really very noble,
in spite of its somewhat too ornate
and frittered character.^

The portion of the work next in
date to this seems to have been the
tower. This, like the lantern, is
octagonal in plan, and it is placed
at the north-west corner of the aisle,
against which one of its angles is
set. A more Gothic contempt for
regularity it would be impossible to
imagine, yet the effect is certainly
good. The circumference of this
steeple is said to be equal to its
height, but I had not an opportunity
of testing this. Each side is 20 ft.
8 in. from angle to angle of the but-
tresses, so that the height, if the
statement is true, would be about
165 feet. It is of four stages in
height; the three lower stages quite
plain, and the belfry rather rich,
with a window in each face, panel-
ling all over the wall above, and
crocketed pediments over the win-
dows. The buttresses or pilasters — for they are of similar
projection throughout their height — are finished at the top with
crocketed pinnacles. The parapet has been destroyed, and there
is a modern structure on the roof at the top. The evidence
as t(j the age of this work is ample. It is called " El Micalete "
or " Miguelete," its bells having been first hung on the feast
of S. Michael.

'The illustration wliirh I ;,'i\c ol this lantern is b()rrowtcl Ironi Mr.
l-'crgussun's Handhmjk nj Archilcdurc.

The MicALiiTE

8 GOTHIC ARCHITECTURE IN SPAIN

Some documents referring to it are given by Cean Bermudez,'
and are as follows: —

I. A deed executed in Valencia before Jayme Rovira, notary,
on the 2oth June, 1380, by which it appears that Michael
Palomar, citizen, Bernardo Boix and Bartolome Valent, master
masons, estimated what they considered necessary for the fabric
of the tower or campanile at 853 scudi.

II. From the MS. diary of the chaplain of King D. Alonso V.
of Aragon, it appears that on the ist January, a.d. 1381, there
was a solemn procession of the bishop, clergy, and regidors of
the city to the church, to lay the first stone of the Micalete.^

III. By a deed made in Valencia, May i8th, a.d. 1414, before
Jayme Pastor, notary or clerk of the chapter, it is settled that
iPedro Balaguer, an " able architect," shall receive 50 florins
from the fabric fund of the new campanile or Micalete, " in
payment of his expenses on the journey which he made to
Lerida, Narbonne, and other cities, in order to see and examine
their towers and campaniles, so as to imitate from them the most
elegant and fit form for the cathedral of Valencia."

IV. By another deed, made before the same Jayme Pastor,
September i8th, a.d. 1424, it is agreed that Martin Llobet, stone-
cutter, agrees to do the work which is wanting and ought
to be done in the Micalete, to wit, to finish the last course with
its gurgoyles, to make the " barbacano," and bench round about,
for the sum of 2000 florins of common money of Aragon,^ the
administration of the fabric finding the wheels, ropes, baskets, etc.

An inscription on the tower itself, referred to by Mr. Ford
(but which I did not see), states that it was raised between
A.D. 1381 and A.D. 1418, by Juan Franck, and it is said to
have been intended to be 350 feet high.^

It is evident, therefore, that several architects were employed
upon the work, and I know few facts in the history of medisc\'al
art more interesting than the account we have here of the pay-
ment of an architect whilst he travelled to find some good work

1 Noticias de los Arquitectos, etc., i. 256.

^ Viage Lit. a las Iglesias de Espana, i. 31.

' L'an 1238, lorsque Jaques I. Roi d'Arragon assiegoit Valence, qui etait
au pouvoir des Mores, il declara que les premiers qui Feniporteroient
auroient I'honneur de donner les poids, les mesures, et la inonnaye de leur
ville a ceux de Valence; la dessus ceux de Lerida s'y jetterent les premiers,
et prirent la ville. C'est pourquoi, lorsqu'on repeupla Valence, ils y
envoyerent une colonic, leurs mesures, et leur monnaye, dont on s'y sert
encore aujourd'hui; et la ville de Valence reconnoit celle de Lerida pour
sa mere. — Les Delices de I'Espagne, iv. 613. Leyden, a.d. 1715.

* Ponz, Viage de Espaha, iv. 21, 22.

VALENCIA CATHEDRAL

to copy for the city of Valencia. The steeple of Lerida cathedral
will be mentioned in its place, and it is sufficient now to say
that it is also octagonal, of great height, and dates from the
commencement of the fourteenth century. I know nothing at
Narbonne which could have been suggestive to Pedro Balaguer,
but the city was Spanish in those days, and is probably only
mentioned as one of the most important places to which he went.

When the Micalete was built the nave of the church seems to
have been still unfinished, the choir and transepts and part of
the nave only having been built. In 1459, under the direction
of an architect named Valdomar, a native of Valencia, the work
was continued, and the church was joined to the tower. The
authority for this statement is a MS. in the library of the con-
vent of San Domingo, Valencia, which says: " In the year of
our Lord 1459, on Mondaj', the loth of September, they com-
menced digging to make the doorway and arcade of the cathe-
dral ; Master Valdomar was the master of the works, a native of
the said city of Valencia." ^ Of Valdomar's work in this part of
the church nothing remains, the whole has been altered in the
most cruel way, and the most contemptible work erected in its
place. Valdomar appears to have died whilst his work was in
progress, and to have been succeeded by Pedro Compte, who
concluded the work in 1482. The manuscript already quoted
from the library of San Domingo is the authority for this state-
ment, and describes Pedro Compte as " Molt sabut en Tart de la
pedra." -

On the south side of the nave there is a Chapter-house, which
is said by Ponz ^ to be the work of Pedro Compte, and to have
been built at the cost of Bishop D. Vidal Blanes, in a.d. 1358.
If this statement is correct, it follows that there were two archi-
tects of this name, the second having erected the Lonja de la
Sedia. to which I shall have presently to refer, in a.d. 1482. The
tracery of the windows, and the details generally of the Chapter-
house, is so geometrical and good, that it is probaljle that the date
given by Ponz may be depended upon. It is a scjuure room
nearly sixty feet in diameter, and groined in stone. The \ault
is similar to those which I first saw at Burgos, having arches

' \'aldomar also built the chaprl " de los Reyes," in the convent of San
Uonjingo, commenced i8th June 1439, and completed 24th June 1476
This convent is now desecrated, and I did not see it, but it is said still to
contain a good Gothic clf)ister.

^ Pedro Compte is mentioned as liaving been invited by the Archbishop
of Zaragoza to a conference with four other arcliitects as to the rebuilding
of the Cimborio of his cathedral, %vl)icli had fallen down in 1520.

^ I'iage dc Esp. iv. 29, 30.

10 GOTHIC ARCHITECTURE IN SPAIN

thrown across the angles to bring it to an octagon, and the tri-
angular compartments in the angles having their vaults below
the main vault. It is lighted by smalL windows very high up
in the walls on the cardinal sides, and these are circular and
spherical triangles in outline, filled with geometrical tracery. On
the south side is a very elaborate arcaded reredos and altar, and
on the west a pulpit corbelled out from the wall. The design
and detail of the whole are extremely fine, and I regret that I
was able to make but a very hurried examination of it, and no
sketches; meeting here, almost for the first time in Spain, with a
sacristan who refused to allow me to do more than look, the fact
being that it was his time for dinner and siesta ! (4)

In the old sacristy to the east of this room are still preserved
two embroidered altar frontals, said to have been brought from
our own old S. Paul's by two merchants, Andres and Pedro de
Medina, just about the time of the Reformation.^ They are
therefore of especial interest to an Englishman. They are very
large works, strained on frames, and were, I believe, hangings
rather than altar frontals, as they are evidently continuations
one of the other. The field is of gold, diapered, and upon this
a succession of subjects is embroidered. On one cloth are
(beginning at the left) (i) our Lord bearing his Cross; (2) being
nailed to the Cross; (3) crucified, with the thieves on either side;
(4) descending from the Cross; (5) entombed. The next cloth
has (i) the descent into Hell; (2) the Maries going to the
sepulchre; (3) the Maries at the tomb, the angel, and (4) the
Resurrection. The effect of the whole work is like that of a
brilliant German painting, and the figures are full of action and
spirit, and have a great deal of expression in their faces. The
diapered ground is made with gold thread, laid down in vertical
lines, and then diapered with diagonal lines of fine bullion
stitched down over it to form the diaper. The gold is generally
manufactured in a double twist, and borders and edgings are all
done with a very bold twisted gold cord. The faces are all
wrought in silk, and some of the dresses are of silk, lined all over
with gold. The old border at the edge exists on one only of the
frontals. The size of each is 3 ft. i in. by 10 ft. 2 in., and the
date, as nearly as I can judge, must be about a.d. 1450. There
is also preserved here a missal which once belonged to \A'est-
minster Abbey.

1 Spain boasts other like treasures, e.g. a figure still preserved at Mon-
donedo, and which is still called " la Ynglesa," because brought from
S. Paul's. — See Ponz, Viage de Espaiia, iv. 43.

VALENCIA GATES

I could find no other cliurch of any interest. There are several
which have some old remains, but they are j^^enerally so damaged
and decayed, that it is impossible to make anything of them.
One I saw desecrated and occupied by the miHtary, and was
unable to enter; and there is another in a street leading out of
the Calle de Caballeros. which has a verv fine round-arched door-

I'll RTA uii Skkkanos, Valencia

wiiy, with three shafts in ihe jambs, and good thirteenth-
century mouldings in the arch, and which is evidently of the same
age as the soutii door of the cathedral. The capitals have each
two wyverns fighting, and the abaci are well carved. The
church, however, was desecrated, and no one knew how I could
gain admission to it (5).

The walls and gates are of more interest. They are lofty,
and generally well preserved. The two finest gates are tlie
Puerta de Serranos, and that del Cuarte. The former, said by

12 GOTHIC ARCHITECTURE IN SPAIN

Ford ^ to have been built in a.d. 1349, is a noble erection. Two
grand polygonal towers flank the entrance archway, which is
recessed in the centre. Above this the wall is covered with
tracery panelling, and then a great projecting gallery or platform,
supported on enormous corbels, is carried all round the three
exposed sides of the gateway. The towers are carried up a
considerable height above this gallery, and it is probable that
there was originally a wooden construction over it, of the kind
which M. Viollet le Due, in his treatise on military architecture,
has shown to have been commonly adopted in fortifications of
this age. The Puerta del Cuarte is of the same description, and
has two circular flanking towers, but is less imposing, and is said
to have been built in a.d. 1444. Both gateways are completel)'
open at the back, enormous open arches, one above the other,
rendering them useless for attack against the city; and the cor-
belled-out passages at the top are not continued across the
back (6).

The domestic remains here are of some importance. One
feature of rather frequent occurrence is the window of two or
three lights, divided by detached shafts. The earlier examples
have simple trefoil heads, and sculptured capitals to the columns.
In the later examples there are mouldings round the cusped
head, and the abaci and capitals are carved; but it is a very
curious fact that whenever I saw any old towns on the coast of
the Mediterranean, there I always saw some specimens of this
later kind of window, with detail and carving so identical in
character that I was almost driven to the conclusion that they
were all executed in the same place, and sent about the country
to be fixed ! Nevertheless, they are always very pretty, so that
one ought not to grumble if thev do occur a little too often. The
shafts are generally of marble, and often coupled one behind the
other.

The Arabs had a name for this class of windows, and as we
have not, and want one, it may be as well to mention it. They
are called ajimez, literally windows by which the sun enters.
The Arabs seem to have supplied many of the architectural
terms in use in Spain, and probably we owe them in this case
not only the name, but the design also. Among other Arab
words still in common use, I may mention Alcazar, Alcala, Tapia,
and many more are given in vocabularies.

One of the earliest of these ajimez windows is in a house on
tlie east side of the cathedral; and a fine example of later date
' Handhuok of Spain, i. 367.

> w

14 GOTHIC ARCHITECTURE IN SPAIN

AjiMEZ Window, X'alencia

is in an old house in the Calle de Caballeros^ the internal court
and staircase of which are also picturesque, though hardly
mediaeval. All the houses here seem to be built on the same
plan, with the stables and offices on the ground floor, arranged

round an internal court,
an open stone staircase
to the first floor, and
the living - rooms above.
The fronts towards the
streets are usually rather
gloomy and forbidding-
looking, but the courts
are always picturesque.
The finest domestic build-
ing in the city is the
Casa Lonja, or Exchange,
which was commenced on
the 7th November, 1482, the year in which the works at the
cathedral were completed by Pedro Compte. There is no doubt,
I believe, that he was the architect ; and on March 19th, 1498, he
was appointed perpetual Alcaide of the Lonja, with a salary of
thirty pounds (" libras ") a year. He was also Maestro Mayor
of the city, and was employed in several works of engineering
on the rivers and streams of the district.' The main front of the
Lonja is still very nearly as he left it, a fine specimen of late
Spanish pointed work. The detail is of the same kind as, but
simpler than, the contemporary works at Valladolid and Burgos,
and there is a less determined display of heraldic achievements;
though the great doorway, and the window on either side of it
which open into the great hall, and which are so curiously
grouped together by means of lal^els and string-courses, have
some coats-of-arms and supporters rather irregularly placed in
their side panels. The great parapet of the end, and the singu-
lar finish of the battlements, are very worthy of note, and give
great richness to the whole building. The principal doorway
leads into a fine groined hall, 130 feet long by 75 feet wide,
divided into a quasi-nave and aisles of five bays by eight columns,
sculptured and spirally twisted. The portion of the building to
the left of the centre is divided into three chambers in height,
the upper and lower rooms being low, the central room loft}' and
well proportioned. The lower rooms have plain square windows :
the next stage, windows of much loftier proportions, and with

' Cean Bcrmiulcz, Arqiia. y Agiios! <le FspaTui, i. 139.

VALENCIA 15

their square heads ornamented with a rich fringe of cusping.
There are pointed discharging arches over them. The upper
stage of this wing is extremely rich, the window-openings being
pierced in a sort of continuous arcading, the pinnacles of which
run up to and finish in the parapet. This parapet is enriched
with circular medallions enclosing heads, a common Italian
device, betokening here the hand of a man whose work was
verging upon that of the Renaissance school. At the back is a
garden, the windows and archways opening on which are of the
same age as the front (7).

Valencia, though not containing any building of remarkable
interest, is nevertheless well worth a visit: it is a busy city, full
of picturesque colour and people. The manta or rug worn by
the peasants throughout Spain is here seen in perfection: it is
of rich and very oriental colour, and charms the eye at every
turn. I went into a shop and looked at a number of them, and
there were none which were not thoroughly good in their colour;
and, worn as they are by the sunburnt peasants, hanging loosely
on one shoulder, they contrast splendidly with their white linen
jackets and trousers and swarthy skins. The river is, at any
rate in the autumn, the broad dry bed only of a river, with here
and there a puddle just deep enough for washerwomen. The
water is all carried oil to irrigate the fertile country around, and
troops of cavalry and artillery, with their guns all drawn by fine
mules, were hard at work exercising where it ought to have been.
On the side of the river opposite to the city are some rather nice
public gardens, with fine walks and drives planted with noble
trees. A drive which begins here extends all the way to Grao,
the port of Valencia, some two or three miles off. In the after-
noon it seems to be always thronged with tartanas, carriages,
and equestrians on their way to and from the sea: and each
iartaiia is full generally of a lively cargo of priests and peasants,
men, women, and children, all laughing, cheerful, and pictur-
esque. I went to Grao to embark on the steamer for Barcelona.
There is nothing to see there save the usual accompaniments of
a seaport, and the provision for a large and fashionable popula-
tion of bathers from Madrid during the summer months. For
their convenience small and very rude huts are put up on the
beach, and left there to be destroyed Ijy the winter storms. Not
much is sacrificed, as they are of the very rudest description,
and evidently devised for the use of people who go to Grao to be
amused and to bathe, and not merely to show themselves off as
fine ladies and gentlemen.

i6 GOTHIC ARCHITECTURE IN SPAIN

At Valencia the national love for the mantilla, which in
courtly Madrid seems to be now half out of fashion, finds vent
in the positive prohibition at one of the churches for any woman
to enter who wears a bonnet in place of it ! (8)

NOTES

(i) Valencia Cathedral belongs to the Limousin or " hall " type
of great churches, in which the aisle is almost as high as the nave
and the division between them diminished as much as possible.
Even the lantern is only the Catalan model subtilised.

(2) Capitals consecutively storied are so rare in Spain that I
transcribe the subjects of these from my note book. For the pre-
cise references to Scripture and the Creed I am indebted to D. Roque
Chabas. *

I. {a) The Holy Ghost on the Waters (Gen. i. 2). (5) Creation
of the Angels — " and of all things visible and invisible."

II. {a) Creation of the Stars and the Universe — " maker of
Heaven and earth," [b) and of Adam.

III. [a] Creation of Eve. {b) Temptation (Gen. iii. 6). Eve
receives the apple and Adam eats.

IV. (a) God calling to the hidden pair (Gen iii. 8), {b) and
giving them coats of skins (Gen. iii. 21), or perhaps the fig
leaf (Gen. iii. 7).

V. («) Expulsion, with the flaming sword and seraph, (fo)
Adam and Eve go out in their coats of skins, he with a spade.

VI. [a) Abel's Sacrifice (Gen. iv. 4). (b) Abel's death (Gen. iv. 8).

The door comes here, then the series continues :

VII. (a) Three sons of Noah go out to people the earth (Gen. ix.
19). {b) Drunkenness of Noah (Gen. ix. 21).

VIII. (rt) God speaks to Abraham (Gen. xii. 7). [b) Abraham
goes on a camel to Bethel (Gen. xii. 8).

IX. and X. arc out of order, both the columns and the halves.
The series continues with :

X. (ft) Abraham comes back from killing the kings, with spoil
in a waggon, Melchizedec offers a cup, the King of
Sodom, crowned, lies prostrate (Gen. xiv. 16-18). {a) The
angels in Mamre (Gen. xviii. 1-2).

IX. [a) Isaac cutting wood (Gen. xxii. 3). (b) Isaac on the
Altar (Gen. xxii. 9).

XI. (a) The burning bush (Exod. iii. 2-5). {b) Moses at the
battle (Exod. xvii. i2-r3).

XII. (fl) jMoses installs judges (Exod. xviii. 25-26), {b) and
receives the tables of the law.

(3) The door of Agramunt is 1283, the door of Lerida 1204-74,
the door of X'alencia may well be 1262-78.

' Boletin de la Sociedad Kspanola de Excursiones, iiSqo,

VALENCIA 17

(4) Traditions persist in Spain and Valencia has still an unkind
sacristan, who would rather blow out his candle than answer ques-
tions about what he is showing ofiE. The alabaster reredos has a
central painted scene about the relief of the Crucified, SS. ISIary and
John in a well-developed landscape. The cathedral is rich in
pictures of the fifteenth and sixteenth centuries; the Chapel of the
Purissima shelters four scenes from the life of S. j\Iaur in the manner
of Pinturicchio, that of S. Thomas of Vilanova four quattrocento
saints — a Franciscan, a doctor in green, S. Benedict, and S. Michael.
The angel's shield is a mere frame for a great crystal cabochnn, nor is
this example the only one besides that in England attributed to
\'ermejo. The Virgcn del Pitig in an eastern chapel looks rather
charming if one could see her. Though the high altar-piece by Fer-
rando de Almedina, 1 5(^6, is nearly insupportable, copied from tlie
Italian of the High Renaissance, the two doors below on either side
the altar are sincere in colour and facial types, with rich brocades
and backgrounds of Spanish landscape, mountains, rocks, and
castles. In the inner sacristy hang, among a collection nowhere bad,
at least ten good pieces, and Juanes' half figures of two saintl}'
bishops, S. Thomas of Vilanova and S. John of Ribera, if they are
really his, show him to better advantage than usual, with infinite
urbanity ami suavity in the dim tones of greyish or ivory flesh.

(5) This I could not identify, and I am afraid the doorway maj'
have been pulled down. The other church may have been S. Nicho-
las, in which the wide sanctuary and eastern choir is adorned with
the spoils of two retables that Baedeker gives to Juan de Juanes —
Italianate pictures, bland and fair. Here you may notice two
peculiarities of Spanish use: one that the alb is very short, but the
sleeves of it are very long and worn wound around the arms; the
other, that a server carries a silver wand dangling from his wrist,
with which he points the places in the great choir- books on the
central lectern.

{()) The walls are gone, the gates are restored.

(7) The Audicncia near the cathedral can hardly be neglected.
Fine enough is the lower hall, its rich gilded ceiling touched with
red and green, and five magnificent windows framed in stone, but I
know nothing more grandiose than the upper hall of nearly twice its
size, built in i 509. The ceiling and gallery are of warm carved wood,
the dado is of fine tiles, blue predominating, and the whole of the
wall space peopled with stately regents, very much alive, without
the least vulgar insistence on either themselves or you. Such a
one was Haywood's figure of the Noble Spanianl.

(8) This was probably the Jesuit church of Corpus Christi, for
Baedeker mentions a similar prohibition there. In the adjoining
college, which sustains clausura against women, is kept, among other
pictures, the Virgin of the three Borgias, which ]\I. Bertaux believes
to be a votive offering from the widow of the Duke of Gandia and to
contain his portrait with that of Jaufrey and Cx'.sar Borgia. At the
church of S. Thomas delightful azidcjas line the court and the
passage to it.

The Museum, besides a great deal of representative trash, contains
two drawings and four portraits by Goya and a portrait of h.iinscif
II B

i8 GOTHIC ARCHITECTURE IN SPAIN

by Velasquez, and two rooms full of characteristic, often beautiful,
primitive pictures. Among the retables collected in the earliest
room are three from the Charterhouse of Porta Coeli (now a hotel).
The earliest, offered by Bonifazio Ferrer, who was S. Vincent's
brother and was professed in 1396, is mainly Sienese in quality, but
inserts seven little scenes of the sacraments, around the Crucifixion,
on the panel. The Flemings were quick to catch the trick, but I am
afraid the Valencian instance is the earliest. The wings represent
the Baptism of Christ and the Conversion of S. Paul, among entirely
Sienese mountains. There was a thriving school in Valencia,
deriving from Siena, by the end of the trecento. Lorenzo Zarazoga,
" very subtile and apt in his office," who had left the town during
the wars between Aragon and Castile, was recalled by the council
in 1374, and offered a hundred and fifty gold florins if he would stay
permanently. There is not, however, I believe, a single picture
certainly by his hand. To about 1420-40 belongs a predella of 8.
Dominic, of infinite charm in such scenes as where the baby saint
has rolled out of the cradle and lies on the floor asleep. A little por-
table triptych, rather Germanic within, carries on the shutters S.
Paul the Hermit and a young Spaniard of a bishop. A polyptych
labelled Esciiela Italiana XV. Siglo is certainly not that. The
dark brownish flesh tints, like some north Italian masters, suggest
the school of Navarre; absolutely Spanish are the brocades of the
Madonna and S. Laurence the deacon ; SS. Agatha and Agnes stand
on a tiled floor. In the rotable of Holy Cross, from Porta Coeli,
ascribed at the museum to Pedro Nicolau, who was working in
Valencia, 1400-1409, the compositions are still Italian, but the work
is not. It shows French and Burgundian ascendency. The thirst
for blood, monsters, and horrors comes from the north, and the long
noses recall the painters of Charles V. and the Duke of Berry: the
ample cloaks and singular head-dresses recall the designs of Andre
Beauneveu. The Crucifixion occupies the centre, Christ in Judg-
ment sits above, and in the wings, on the left, Seth receives the
tree from an angel at the gates of Paradise and plants it on Adam's
grave; Constantine fights a good fight, S. Helena and a Jew raise a
dead woman by the virtue of the Cross. Heraclius on the right
fights with the son of Chosroes single-handed on a bridge over the
Danube, other folk looking on; faces Chosroes enthroned in his
blasphemous trinity between the Cross and the Cock; and carries
the Cross into Jerusalem, stripped to his shirt. Some time after
this, perhaps about 1425, comes another altar-piece from the same
church, of S. Martin between SS. Ursula and Anthony Abbot. The
elder saints are plainly portraits, the old man magnificently painted,
especially about the eyes, and perhaps the young man is a portrait
too, of a king's minion. He is like a young lover from an ivory
mirror-case, depicted by a court painter; his white horse a fairy
steed; if there is a trifle too much of conscious feeling, there is not a
trace of minauderie. The delicate stamped patterns that run up the
side of the panels and cross just behind the haloes are much the
same in a big Annunciation I thought very fine indeed. An adoles-
cent curled angel with a jewel on his brow, vested in cope and stole,
very Spanish about the face, makes the pendant to a fair Madonna,

VALENCIA 19

bare-headed, in red frock trimmed with ermine at throat and wrists.
The flesh tones inchne to the ivory, and the same subdued whiteness
in the angel's robe, with red and something dark (once blue or green),
are all the colours in the piece. The floor is tiled ; I felt a touch of
Burgundian in the Spanish of it, nothing Italian, no exaltation in
line or face, but immense seriousness of composition and expression.
.\ Florentine named Girardo had been in Valencia in 1402; in 1426
.\Ifonso the Magnanimous gave to Anton Gueran the title»of King's
Chamber-Painter. Meanwhile in 1396 Master Andres Mar^al of
Sax, " pintor alemany," received the commission to paint a Last
Judgment, Heaven and Hell, in the Great Council Hall. Nicholas
Mar^al. probably a relative, worked at Palma in Mallorca between
1407 and 1418. The big retable in the opposite room, dated 1450-70
and labelled, " German influence," looked to me much more French;
the treatment of the Coronation with the Dove outspread, pro-
ceeding from the mouths of the Father and the Son, recalled the
greater Coronation of Engucrrand Charenton, though the style ditl
not. The sea gives up its dead, devils hook up souls from the waters
under the earth. The Borgia Pinturicchio in this room, more
charming and sober than usual, has remarkably brown flesh tints.
Jacomart Ba^o is represented only by a pupil's work, 1460-70, of
real beauty and ilistinction — SS. James and Giles, the types very
Spanish, restrained and comely. Ba90 himself I had hoped to see
at Jativa in the great Borgia triptych {circa 1450), but I was pre
vented from going there and to Gandia; I did, however, meet him
unexpectedly at Segorbe. A Christ before Pilate [circa 1 500) is
attributetl to Master Rodrigo of Osuna, hitherto known only by
the South Kensington Epiphany, which was painted by " lo fill del
M est re Rodrigo." There is said to be a Crucifixion painted by
him in the last years of the fifteenth centiu'y, in the church of San
-Xicholas. Valencian art had a more suave and formal beauty than
Catalan, but it was to decline upon sugared trivialities in tjie full
sixteenth century.

Segorbe is said to possess paintings by Juan de Juanes, and six
great fifteenth-century retables, of which the greatest is that kept
in the sacristy of S. Martin de las Monjas — the retable of S. Martin,
fetched from Val de Cristo, and painted by Jacomart in 1457. The
jianels contain in the centre, S. Martin enthroned, the Madonna
and angels, the Crucifixion; and six scenes irom the legend in the
sides. There must have been more once. A retable in the sacristy
of the cathedral is nearly related — a Madonna enthroned among
muhiic-making angels forms the central panel, below an Annunciation
and above a Coronation; at the sides six scenes, the Nativity,
Fpij)hany, and Kesurrection of our Lord, the Ascension, Pentecost,
and Dormition of the Blessed Virgin. It represents a great tradition
rather than a great genius. The cathedral has been rebuilt; the
present high altar-piece is worthless, but fragments of an earlier one
are scattered through the lateral chapels: SS. Apollonia, Christopher,
N'incent, Paul, and Koch, a Dominican friar, a female saint with a
I)alm and an excpiisite profile, a bishop, an abbot, and an apostle.
The painting, on a g<jld gr(jun(l, is as large and rich as some of the
carlv \'i-iietian w<jil< in oils. i saw no signs of tlir 1 cntral i)aiul to

20 GOTHIC ARCHITECTURE IN SPAIN

such a retable. A number of heads in the sacristy — SS. Joachim
and Anna meeting, the Visitation, the Annunciation — may, despite
the difference of scale, belong to the same composition; they have
the same excellence of a bland and ample and golden beauty. Ponz
saw Juanes' receipt for this retable, ordered by Bishop Gilaberto
Marti, dated 1 5 30. In one of the fourteenth-century cloister chapels,
before the place was locked up for the day, I found in a quattro-
cento retable of S. Clare, sensitive types, a touch of delicate affecta-
tion, but great beauty of silhouette and feature. Other paintings
were in other chapels, but the chapter was in a hurry to get home,
and. the kindness of one canon could only avail for this much and
for the pleasure of the cloister itself, irregular in shape, with an upper
gallery, very much like English perpendicular, orange and medlar
trees in heavy fruit, lilac and box, and a mossy fountain. Eleven
in the morning in the rain ended ecclesiastic Segorbe for the day.
The ruins of Val de Cristo I could not sec for the weather; they are
Carthusian, i.e. late, but looked picturesque. I had wished to push
on to Darocca and Teruel — to see in the former, amongst other
things, in the church of Santo Domingo de Silos the retable of S.
Martin, Aragonese of the late quattrocento, and an earlier retable
of S. Michael in the Collegiata; in Teruel, the Mudejar architecture
of the cathedral and the high altar-piece, which was delivered
by Jacobo Mateo in 1418. The weather interfered. At Sagunto
the Roman ruins are worth seeing even in the rain, and they and the
castle must be an untiring delight on long, fine days; but the church
will not repay much exertion. The centuries have been merciless to
destroy and the present architect has outstripped them. The sculp-
tures about the south portal are provincial and the bronze doors
themselves wretched papery stuff beaten up in the eighteenth
century.

It was my ill luck to have put off visiting a number of the smaller
towns on the east coast until spring, with the idea of having then
more light and warmth for work, but last spring was remarkably
rainy, and successive trips were broken up by bad weather. F"or as
certainly as you cannot sec retables, dark at best, in a dark Spanish
church, even when helped by candle-ends and a pocket electric light,
just so surely you cannot photograph the outside of a building in a
streaming rain. At some places it was the first rain in two years, at
some the first in five, but it was always rain. I have never yet taken
a photograph in Zaragoza, neither in January, May, nor yet Jul3^
Twice for the same reason I could not get to San Juan de la Peila, or
even so far as Jaca, which will soon be open to France by railway
direct. The normal Spartish weather is wonderfully lovely, but it
is a necessity, not a luxury — the only condition in which normal
existence is possible.

CHAPTER XI I r

TARRAGONA

No one should l;o from \'alencia to Barcelona without paying a
visit to Tarragona. It is even now easy of access, and before
long will be still more accessible by means of the railway which
is being made between the two towns. I travelled from Bar-
celona to Tarragona and back again by diligence, and both
journeys, unfortunately, were made for the most part by night,
so that I am unable to speak ver}- positively about the scenery
upon the road. But both on leaving Barcelona and again before
I reached Tarragona the road was very beautiful, and I have no
doubt it would reward any one who could contrive to give up
more time and daylight to it than I could. There is but one
town of any importance on the road — Villafranca de Panades,
— and here I caught a glimpse of an old church, which seemed
to be of the fourteenth-century Catalan type, and ■ fully to
deserve examination (i).

The approach to Tarragona is very lovely. The old city stands
on the steep slope of a hill, crowned by the stately mediaeval
cathedral, and surrounded on all sides by walls, which are still
very perfect and in some parts unusually lofty and imposing.
Below and beyond the walls to the left, as you approach, is the
mean and modern town which covers a low promontory, and is
now the centre of all the trade and business of the city. A
broad street, in which are the principal inns, divides the two
halves of the city, on the upper side of which the whole archi-
tectural interest is centred. The views on all sides are beautiful.
Looking back to the east one sees hill after hill, ending in point
after point, which jut out into the sea one beyond the other,
and, c(jmbining with the deep blue waters of the Mediterranean,
produce the most charming picture. To the south, looking over
the modern town, mole, and harbour, is the sea; whilst to the
west tlie eye wanders, well content, over a rich green expanse of
le\el land, studded all along its breadth with rich growth of trees,
till the view is bounded by the hills which rise beyond the old
town of Reus, now an a(ti\e and enterprising centre of manu-
facturing industry.

22 GOTHIC ARCHITECTURE IN SPAIN

I ought^ no doubt, to fill many pages here with an account of
the Roman antiquities, which are numerous and important, Tar-
ragona having been one of the most important Roman stations
in Spain. But they have been often described, and the time at
my disposal allowed only of a hurried glance at them, unless I
chose to neglect in their favour the — to me — much more inter-
esting Christian remains, which I need hardly say I was not
prepared to do. The city walls are, I believe, to a considerable
extent Roman. There are remains — though but slight — of an
amphitheatre; the magnificent aqueduct, some little distance
from the city, is one of the finest in Europe; and, finally, there
is a museum full of Roman antiquities, which seem well to
deserve due examination (2). But I was obliged to neglect all
these, giving them the most cursory inspection, as I found in the
cathedral ample occupation for every minute of my time.

This is certainly one of the most noble and interesting churches
I have seen in Spain. It is one of a class of which I have seen
others upon a somewhat smaller scale (as e.g. the cathedrals
at Lerida and Tudela), and which appears to me, after much
study of old buildings in most parts of Europe, to afford one
of the finest types, from every point of view, that it is possible
to find. It produces in a very marked degree an extremely
impressive internal effect, without being on an exaggerated
scale, and combines in the happiest fashion the greatest solidity
of construction with a lavish display of ornament in some parts,
to which it is hard to find a parallel. Unfortunately the docu-
mentary evidence that I have been able to find as to the age of
the various portions of this church is not so complete as I could
wish. A very elaborate and painstaking history of the city is in
course of pubUcation; but when I was there ^ the first volume
only of this had been published, and this was confined entirely
to the Roman antiquities contained in the Museum and other
collections. The volume of Espana Sagrada which relates to
Tarragona contains but few documents of any value, and I have
been unable to put my hands upon any other which contains
any at all. Yet there cannot be much doubt that a see whose
history is so important, and whose rank is so high,- must have in

1 In May 1862.

^ Tarragona is the see of an archbishop, who claims to be equal, if not
superior, to the Archbishop of Toledo. Practically, of course, he is
nothing of the kind, yet he carries the assertion of his dignity so far that
I noticed a Mandamos of the Cardinal Archbishop of Toledo hung up in
the Coro, in which his title, " Primada de les Espanas," and the same
word in " Santa Iglesia Primada," were carefully scratched through in ink.

TARRAGONA CATHEDRAL 23

its archives a vast store of information, out of which might
be gathered all the material facts as to the foundation of, and
additions to, the church.

A few notices of the building of the cathedral have, however,
come under my eye, and of these the most important are the
following: — In a.d. 1089^ Pope Urban II. addressed an epistle
to the faithful, recommending them to aid in every way in the
restoration of the church, which had then just been recovered
from the hands of the Moors. Not long after this, in a.d. 1131,
Pope Innocent II. issued a Bull, wherein he recommended the
suffragan churches to contribute to the cost of rebuilding the
cathedral.- More than a century after this, works were again in
progress, for in the necrology of the cathedral, on nth March,
1256, mention is made of " Frater Bernardus, magister operis
hujus ecclesiae; " whilst again, in 1298, Maestro Bartolome is
mentioned as the sculptor who wrought nine statues of the
apostles for the western facade, the remainder having been
e.xecuted by Maestro Jayme Castayls in 1375.

Comparing this cathedral with that of Lerida, of which the
date is tolerably well ascertained, it is difficult to pronounce
decidedly which is the oldest, except that the eastern apse here,
which is very peculiar in its character, has every appearance of
being a work of the middle of the twelfth century, at the latest,
and earlier by far, therefore, than the foundation of the church
of Lerida, which was not commenced until a.d. 1203, and which
was finished and consecrated in a.d. 1278. I believe, indeed,
that the eastern part of this cathedral may most probably have
been commenced about a.d. 1131, in consequence of the Bull of
Innocent II., though the greater portion of the fabric (including
the nave and its aisles and the cloister) seems to me to have been
executed at the end of the twelfth and during the first half of
the thirteenth century; and it is very possible, therefore, that
the Brotiier Bernardus, who died in 1256, may have been the
architect of the larger part of the existing fabric, both of the
church and its cloister (3).

The original plan of the cathedral was very simple. It had a
nave and aisles, transepts, with apsidal chapels to the east of
them, a raised lantern or Cimborio over the Crossing, and three
parallel apses east of it. On tlie north-east side of the church —
an unusual position, selected probably in obedience to some
local necessity — is a large cloister of the same age as the church,

' Ks,pana Sasirada, xxv. 211.

^ Hisiona dc Ins Coiules dc Barcelona, p. 1H3.

24 GOTHIC ARCHITECTURE IN SPAIN

with a Chapter-house on its southern side. The piers through-
out are clustered in a very fine and massive style, and of a
section which is often repeated in early Spanish Gothic; each
arch being carried on two coupled half-columns, and the groin-
ing-shafts being placed in a nook in the angle between each of
these pairs of columns. The nave piers are no less than 1 1 ft. 9 in.
in diameter^ the clear width of the nave being about 40 ft. 8 in.,
and the span of the arches east and west about 20 ft. The
bases are finely moulded^ and have foliage carved on the angle
between their circular and square members. The capitals and
abaci are carved generally with a most luxuriant exuberance
of conventional foliage, whilst the broad solid unmoulded and
unchamfered sections of the arches which rise above them seem
to protest gravely against any forgetfulness of solidity and
massiveness as the greatest elements at the disposal of the
architect. The groining of the nave and its aisles is all quadri-
partite, as also is that of the transepts, save at the extreme end
of the northern transept, which is covered with a pointed waggon-
roof. The choir has two bays of cross-vaulting on its western
portion and a semi-dome over the apse — a form of roofing which
is repeated over the other early apses ; that of the north transept
having been rebuilt in the fourteenth century, and vaulted in
the usual manner. It is probable that the cross-vaults in the
choir were not originally contemplated, as they are carried on
small shafts raised on the capitals of the main groining-shafts,
which may perhaps have been intended to carry a waggon-vault.
The roof of the apse is considerably lower than that of the choir,
and a small rose window is pierced in the spandrel between the
two. The arch in front of the semi-dome of the apse is — like all
the other main arches — pointed, though those which open into
the smaller apses are semi-circular. The latter, being in the
lower part of the wall, were, no doubt, completed at an early
date; whilst the former, being on the level of the groining, would
not be finished until much later. The apse is lighted with three
windows in the lower part, of the wall, which are richly shafted
inside, and by seven small and perfectly plain round-arched
windows, pierced in the lower part of the semi-dome with very
singular effect. On the exterior all these windows are remark-
able for a very wide splay from the face of the wall to the glass
— a feature of early work in England, and usually preceding
the common use of glass. The walls are carried up a considerable
height above the springing of the dome, in order to resist its
thrust, and are finished at the top with a rich projecting corbel-

TARRAGONA CATHEDRAL

table, from which, at regular intervals, five divisions are brought
still further forward, looking much like machicoulis, and yet
evidently introduced only for the sake of effect, as there is no
access to them. These projections are square in plan, carried
on very large corbels, and the cornice under the eaves has a course
of square stones set diagonally — a kind of enrichment very
common in brickwork, and which I saw in the early church of

Apse of Choir

San Pedro at Gerona. The great depth of this cornice is very
imposing. The stone roof above it abuts against a gable-wall,
carried by the arch on its western side; but owing to the de-
struction of the original finish of the staircase turrets, and the
erection of a steeple in tlie angle between the choir and the
transept, tlie general view has to some extent lost its original
stern Komanesfjue cliaracter.

The exterior of the other apses on the south has the same
appearance of age. The wall of one of them has been raised
several feet at a later date, but the other is still altogether in its
original state. Both are, of course, very low and insignificant as

26 GOTHIC ARCHITECTURE IN SPAIN

compared with the choir. The whole detail of the great eastern
apse appeared to me to have much more the air of having been
the work of an Italian than of a French architect (4). The
masonry is in extremely large square blocks, many of the window-
heads being cut out of one block of stone, and in this part of the
church I found a large number of masons' marks on the face of
the stones. These tally, like most of those I have seen in Spain,
very closely with those which are found in our own buildings,
and indeed with those which are used by our own masons at the
present day: it is, however, comparatively rare to find them on

the outer face of the stones.^
The stones marked in this way
are tooled on the face, and I
observed that stones worked by
the same man were marked in-
differently with perpendicular
:, and diagonal tooling lines. On
;i?§;, the south side of the choir, just
ij? at its junction with the principal
_j| apse, is a staircase which leads
, 'I to the roof: this is carried up in
' ■ ■ ; a large square turret, and is of
; remarkable construction. The
7 newel is i ft. 6 in. in diameter,
-— and worked in stones, each of
^ about 2 ft. .3 in. in height. Each
"^ of these has three corbels, with
sockets for the steps, which are
thus supported by the newel
and yet independent of it. The
aisles on either side of the choir seem to have been intended to
form the lower stage of steeples. On the south side the Roman-
esque tower seems to have been built no higher than the height
of the side walls of the church; but subsequently — circa a.d.
1300-50 — it was carried up as an octagonal steeple, with but-
tresses against the canted sides of the lower stage over the angles
of the square base, finished with crocketed pinnacles. This
tower occupies the angle between the choir and transept, and
I suppose that traces would be found of a corresponding tower

^ The Chapter-house at Fountains Abbey has one of the largest collec-
tions of masons' marks I have ever seen, and in this case they are of much
value, as proving how large was the number of skilled masons employed
on this one small building at the same time. At Tarragona I saw nothing
like tlie same variety of marks.

Newel Staircase

TARRAGONA CATHEDRAL 27

on the opposite side, somewhat in the way so commonly met with
in all the German Romanesque churches. Unfortunately the
north choir aisle was altered if not rebuilt in the fourteenth
century, and I was unable to examine the walls above it, where
the evidence of the existence of a second tower would have to
be sought. The roof of the apse on the east side of the south
transept presents an admirable example of a semi-dome, with the
masonry arranged in the usual fashion in regular horizontal
courses, and the moulding of the abacus of the arch in front of
it carried round it as a string-course at its springing.

The rest of the church is of rather later date than the east end. "
It is all just of that transitional period in which, whilst the
pointed arch was used where great strength was required, the
round arch was nevertheless retained for the smaller openings in
the walls. But the capitals throughout the cliurch are sculptured
so magnificently, and in so well developed a style, that it is
impossible to regard the work anywhere, except at the extreme
eastern end, as one in which a Romanesque influence was para-
mount. We have, indeed, here one of those cases in which
almost all the character of the work has been stamped on it by
the hands of the sculptorratherthan of the architect ; for I believe
that, had it presented us with a series of plain Romanesque
capitals, we should have felt no difficulty about classing the
whole work as essentially Romanesque in style, whereas now the
effect is rather that of a glorious Pointed church, the exuberance
of whose sculpture is kept in subordination by the stern sim-
plicity of the bold unmoulded arches, the massive section of the
piers, and the regularity of the outline and firmness of shadow
which the deep square abacus everywhere enforces. Here, then,
1 thought I saw one of those openings which are now and then
almost accidentally given us for the infusion of new vigour and
greater spirit into our own works. It is no copying of a Spanish
work that I should wish to see attempted, but only a deliberate
determination on the part of the builder of some one building in
England to emulate the grand solidity of this old Spanish church;
and if he feels that this is by itself too rude and unpolished for
an over-civilised age like ours, then let him take a lesson from
the same old Spanish work, and show the extent of his refine-
ment in the subtle delicacy of the sculpture with which he
adorns it. We have few if any such churches in England. Our
transitional examples are neither very numerous norvcryfine; and
it is in Germany and in Spain — so far as my experience goes —
that wc find the finest examples of this noble period. In neither

28 GOTHIC ARCHITECTURE IN SPAIN

of these countries was the progress of architectural develop-
ment so rapid as it was in England and in the north of France^
and consequently such churches as the cathedrals of Tarragona,
Lerida, and Tudela were rising in Spain at the same time as
the more advanced and scientific, but perhaps less forcible
and solemnly grand cathedrals of Salisbury, Lincoln, and Wells
were being built in England.

I hardly know when I have been much more struck than I
was with the view of the interior of the transept, of which I give
an engraving. For though the picturesque furniture of later
times, the screens and pulpits, the organs and other furniture,
are in great contrast with the glorious solidity of the old work,
the combination of this with them makes a singularly beautiful
picture.

The nave of the cathedral at Tarragona has been a good deal
altered by the introduction of large fourteenth-century clerestory
windows of three lights. There is not and there never was a
triforium, and the clerestory throughout was, I have no doubt,
the same in design that it still is in the transepts, lighted by a
simple round-headed window in each bay. The groining has
transverse arches or ribs of very large size, diagonal ribs formed
with a bold roll moulding only, and no wall ribs.

The lantern over the Crossing still remains to be described.
It is octagonal in plan, segmental arches being thrown across
the angles of the square base to support its diagonal sides. The
groining springs from immediately above the apex of the main
arches, and the light is admitted by windows alternately of three
and four lights. Its interior is very fine. The ribs of its eight-
celled vault are very bold, and the dog-tooth enrichment is
freely used round all the arches and along the string-courses.
The diagonal or canted sides of tlie lantern are carried on pointed
arches, the space below which is filled in with pendentives, with
the stones arranged in courses radiating from the centre. Such
a form of pendentive is rai^ely seen in works of this age. The
details of this lantern are all rather rude, and its height is not
great, as it rises only some twenty-five feet above the roofs.
The outside has at each angle a buttress, with an engaged shaft
in front of it, and the windows are all set within simple enclosing
arches. Their tracery is that of ordinary first-pointed windows,
the three-light windows having lancet lights, with the centre
light longer than the others, and the four-light windows having
the two centre lights longest. The old outside roof is destroyed ;
but the finish of the lanterns of Lerida and of the old cathedral

TAKKAC.ON'A CATIH'DUAI.

\II.W A( l:(ISS TkANSICl'TS

30 GOTHIC ARCHITECTURE IN SPAIN

of Salamanca seems to make it pretty certain that it was intended
to have a pyramidal or domical stone roof. Access is now gained
to the top of the lantern by means of a passage boldly carried
on an arch which is thrown from the belfry window of the south-
east steeple to the side of the lantern. I ought to have men-
tioned that the upper stage of this steeple is groined, and that
the bells are hung in the window openings; but this is not their
original place, the jambs having been cut away to make room for
them. Its upper stage seems to have been finished with a
pinnacle at each angle, and a gable over each window rising-
through the parapet — a somewhat similar design to that of the
great tower at Lerida, and to that of the Micalete at Valencia,
both of which ought, therefore, to be compared with this, and
with which it is probably contemporary.

The roofs are covered throughout with pantiles ; but these are
evidently not the old covering, being put on very carelessly and
interfering with the design of the stonework. The position of
the windows in the central lantern proves that in the beginning
of tlie thirteenth century the roofs must have been very flat, and
the probability is, therefore, that they were all covered with
flat-pitched stone roofs, similar to those of Toledo and Avila.

Few of the original windows remain save those already noticed
in the eastern apses. At the west end of the aisles there are
circular windows, without tracery and with very bold mouldings
enriched with two or three orders of dog-tooth ornament. The
windows in the aisles of the nave have all been destroyed by
the addition of chapels against the side-walls, whilst the cleres-
tory has been filled for the most part with early geometrical
tracery windows in place of the lancets, with which it was, no
doubt, originally lighted.

The doorways are numerous and somewhat remarkable for
their position. There are three at the west end, whereof those
to the aisles are of the date of the earliest part of the fabric,
whilst the great central western doorway, being an addition of
the fourteenth century, will be described further on. ■ The tym-
panum of the western door Of the north aisle is sculptured with
the Adoration of the Magi, the figures all in niches and carved
in small and very delicate style. The door of the south aisle is
similar in style, but simpler and without sculpture. The other
doors are, as will be seen on reference to the plan, placed in a
most unusual position in the north and south choir aisles. It
is rare in churches of this plan to find any doorway east of the
transept, and where the aisles or chapels are so short this seems

TARRAGONA

IN'iKKIOK Ol' CI.OISTKK

32 GOTHIC ARCHITECTURE IN SPAIN

to be a very good rule. Here the access to the church is so near
the altars of these aisles as to produce a bad effect. The north
door was evidently so placed because it was necessary to put the
cloisters in a most unusual position, to the north-east of the
church, and I suppose we must assume that the south door was
put in a corresponding position for no better reason than that it
might match the other.

The door from the cloister into the church is the finest in the
church. It is a round-arched doorway, with four engaged shafts
in each jamb, and a central shaft, which is remarkable for the
grand depth and size of its sculptured capital and base. All the
capitals are \ery delicately wrought, and with an evident know-
ledge of Byzantine art; and that of the centre shaft has a sub-
ject sculptured on each face, of which the three which are visible
are: (i) The Procession of the Kings; (2) their Worship of ouj
Lord ; and (3) the Nativity. The fourth side is concealed by
the modern door-frame, the doorway not having had a door at
all originally. A deep plain lintel forms the head of the door,
and above this the tympanum is filled with that often-repeated
scheme, our Lord in a vesica-shaped aureole, surrounded by the
emblems of the Evangelists, each of which has a book, as also
has our Lord, who holds His in the left hand, whilst He gives
His blessing with the right hand. The small spandrel between
the round arch of this door and the pointed arch of the \-ault
above, is filled with a circle containing the monogram,
supported by two angels. On the same (south) side of
the cloister is the entrance to the Chapter-house, which
follows the invariable type of Chapter doorways, having a
central doorway with a window on either side of it. One of the
groining-ribs is brought boldly down between the doorway and
one of the window openings, a peculiarity which should be
compared with the similar arrangement of the Chapter-house at
Veruela.^ The detail is precisely the same as that of the rest
of the cloister, the arches all being semi-circular, and the side
openings being of two lights, with coupled shafts in place of
monials. In the east wall of the cloister, and close to the
Chapter-house, is another fine doorway of the same early style.
Its door was painted very richly with angels holding coats-of-
arms; but this delicate work is now almost all defaced. This
spacious cloister is one of the most conspicuous of the earlier
portions of the cathedral. A public thoroughfare does now, and
probably did always, bound the cathedral close to its southern

J Sec p. 388.

TARRAGONA CLOISTER 33

wall, so that there was no room for the cloister in the usual
position to the south of the church. But it is very rare, I think,
to find the Chapter-house built as it is here, opening out of the
southern alley of the cloister, in place of the eastern. Its char-
acter is unusually good, even in this country of fine cloisters.
Each bay has three round-arched openings divided by coupled
shafts, and above these two large circles pierced in the wall.
The arches and circular windows are richly moulded, and
adorned largely with delicate dog-tooth enrichments. Some of
the circular windows above the arcades still retain — what all, I
suppose, once had — their filling in, which was of very delicate
interlacing work, pierced in a thin slab of stone, and evidently
Moorish in its origin, though, at the same time, the work probably
of Christian hands, as in some of them the figure of the Cross is
very beautifully introduced.^

It is so rare to find any such influence as this exerted, that
these traceries ha\"e an artificial interest. Yet they are in them-
seh'es very charmingly designed, and serve admirably to break
the too-powerful rays of the sun. Indeed, nothing in its way
can be much prettier than the effect of the shadows of these
delicate piercings thrown sharply on the pavement by the
brilliant sunlight. The groining is carried by triple engaged
shafts, and its thrust resisted by buttresses, with an engaged
shaft on their outer face. The groining is simple quadripartite,
and the ribs are well moulded; many of the capitals are carved
with great vigour, and sonie of their abaci are covered also with
stories admirably rendered. Take, for instance, this story of
the Cat and the Rats, which I sketched on one of the abaci of
the southern walk of the cloister. It is full of a spirit and
humour which are thoroughly foreign to the conventional
traditions of our present school of workmen, (live one. now-
adays, such a story to illustrate, and the result would probabl}-
be simply absurd, whilst in the hands of this natural Tarragonese
artist the whole thing is instinct with life and humour, to as
great an extent now as it was when his brother workmen first
gathered round him and laughed their approval of the speedy
retribution which met the sillv rats when they forgot to tie the
liml)s of their enemy. 1 ought t(j have sket(-hed the capitals
whifh were under tliis abacus, for they were sculptured with
cocks fighting, with their wings and heads so ingeniousK'
arranged as to conform to the ordinary outlines of the early

' Str illustrati<iii> of tln-si- nii tin- f;rnuii<l-])lau ol 'l".irraf,'uiia ( at lii.lral,
flat.- X\., p. lo.

II C

34 GOTHIC ARCHITECTURE IN SPAIN

thirteenth-century foliage capital. It is rarely that so much
fine and original sculpture of various kinds is to be found in
one such church as this; and I recommend those who follow my
footsteps here to go prepared to devote some little time to the
accurate delineation and careful study of it.

Much of the flooring of the cloister appears to be coeval with
it;^ and though composed of the very simplest materials, it is
most effective. Most of the patterns are formed with red tiles
of different sizes, fitted together so as to make very simple
diapers, and with the addition here and there of small squares

Sculptured Abacus in Cloister

of white marble, which are used with the tiles. Some of these
have an incised pattern on their face, sunk aliout a quarter of
an inch; and in one case I found that this pattern had been
filled in with red marble. The pattern is arranged with a broad
stripe down the centre of the cloister, and on either side of this
a succession of varying arrangements of tiles is contrived, each
pattern being continued" but for a short distance. Here, with
the simplest materials, very great variety of effect is obtained,
whilst, with the much smarter and very elaborate materials of
the present day, we seem to run every day more risk than before
of sinking into the tamest monotony.

In the west wall of this cloister there is a monumental recess
of completely Moorish character, very delicately adorned: and
1 See detail of this ))avo)nei)t on Plaf X\'-, p. ii.

TARRACxONA CATHEDRAL 35

on one of the doors I noticed that the wood had been covered
with thin iron plates, stamped with a pattern, gilded, and
fastened down with copper nails. The Chapter-house, of whose
entrance archways I have spoken, is a square room, roofed with
a stone waggon- vault of pointed section; and at the south end
of this is a seven-sided apse, which seems to have been added to
the original fabric circa a.d. 1350. On the eastern side of it are
some large sacristies, but they did not appear to be old.

So far the work I have had to describe has been all, with the
exception of part of the steeple and Cimborio, not later than the
end of the thirteenth century. It is evident, however, that con-
siderable works were undertaken in \arious parts of the fabric
at a later date. Most of the nave windows were taken out, in
order to insert others with very fair geometrical traceries; the
upper part of the steeple was, as we have seen, erected; and
finally the west front was, in great part, reconstructed. The
original west front of the aisles still remains, with a simple door-
way, and richly moulded and carved circular windows, without
tracery. Pilaster buttresses are placed at their north-west and
south-west angles, and these have shafts at their angles, but
have lost their old finish at the top. Probably another door
and circular window of large size occupied the end of the nave
in the original design : but these have been entirely removed, to
make way for a work which, though it seems to have been com-
menced in A.D. 1278,^ has all the air of complete middle-pointed
work, and was e\idently not completed until late in the four-
teenth century. The existing central doorway is of grand
dimensions, with figures under canopies on either side, and
round the buttresses which fiank it. In the centre is a statue of
the IMessed Virgin with our Lord, and above, on the lintel, the
Resurrection ; and the tympanum is pierced with rich geometrical
tracery. The pedestal under the statue of the Blessed Virgin
has sculptured on its several sides — (i) the Creation of Adam;
(2) of 10 ve; (3) the Fall; (4) Adam and ]''ve hiding themselves;
and (5) the J->xpulsion from l^aradise. These subjects are very
fitly placed here, the l''ull in the centre coming just under the
feet of her who bears our Lord in her arms, and thus restores the
balance to the world. The urcii is lofty, but only moulded; and

' In I27« .\I. 15artoloiii6 wrought uiiic lif,'ures of the Apostles lor the
fa^;ade; and in 1375 M. Jaynie Castayls agreed to execute the remainder,
flis contract is made under the direction of Bernardo de \'allfof^ona, acting
as architect to the t hapter, and father i)robably of the man of the same
name who was consulted about (ierona cathedral, and who executed the
reredo-, i>i th'- lii«h altar at TarraKoua in a.d. 1426, and dii d in a.d. i43<i.

36 GOTHIC ARCHITECTURE IN SPAIN

above it is a pediment of extremely flat pitch. Above this, again,
is a large and finely-traceried circular window. The lower part
only of the gable remains, and this is of very steep pitch, and
must always have been intended to be a mere sham. Whenever
this sort of thing is done, there is always some ground for
suspicion that the architect may have been a foreigner, unused
to the requirements of a southern climate; and, at any rate,
most of the work in this fagade might very well have been
executed by a German architect, for its character is all that of
German, rather than of Spanish art. It recalls, to some extent,
the fa9ade of the north transept of Valencia Cathedral, though
scarcely so much as to appear to be the work of the same hands.
It is to be regretted that the great western gable is incomplete,
for, unreal as it is, its outline must have been fine; and even
now, seen as it is in its small Plaza from the steep, narrow, dark
and shady street, surmounting the flights of steps which lead
up to it, the effect is very striking. The traceries, both of the
tympanum of the doorway, and of the circular window above,
are sharp geometrical works, very delicately executed. The
upper part of the western gable above the circular window seems
to have had three windows, but these are now partially destroyed.
The hinges and knockers of the western doorway are elaborately
designed, covered with pierced traceries, made with several thick-
nesses of metal. The doors are diapered all over with iron plates,
nailed on with copper nails, and with copper ornaments in the
centre of each plate. The buttresses are bold, but rather
clumsily designed. The statues of the door-jamb are carried
round their lower parts, and the stage above is occupied with
traceried panels. A great crocketed pinnacle conceals the set-
off, and forms, with the flat pediment of the doorway, a group
in advance of the real face of the western wall. Other crocketed
pinnacles probably finished the angle buttresses on each side of
the main gable, but they are now destroyed.

The north side of the nave is not easily seen, being enclosed
within walls and behind houses; l:)ut the south side is fairly open
to view. Here, however, much of the original design is now
completely concealed by modern additions. The two western
bays have chapels, added in the fifteenth century; the third
bay a domed chapel of the seventeenth century; and there are
two other late Gothic chapels in the two bays nearest the south
transept. On the north, side chapels have been added in the
same fashion, those in the two western bays alone being medieval.
From the west side of the south transept a fair view is obtained

TARRAGONA CATHEDRAL 37

of the best portion of the old exterior. The transept gable is
extremely fiat in pitch ; the buttresses are all carried up straight
to the eaves, and the trefoiled eaves-arcading, which recalls the
favourite brick ea\es-cornices of the Italian churches, is returned
round them at the top, and a deep moulding, covered with
billets, is carried along over the eaves-arcading. The original
semi-Romanesque window, with its very broad external splay,
still remains in the liay of the transept next to the Crossing; but
the other windows ha\e been altered; and there is a rich
traceried rose window in the southern facade. The exterior of
the lantern is certainly not very attractive. The entire absence
from view of its roof is a fault of the most grievous kind ; though,
otherwise, its windows, recalling as they do the traceries of our
own first-pointed, are not at all to be condemned. I doubt very
much whether this lantern was ever a fine work on the exterior;
but we may well be content to have anything so fine as the
interior, and may fairly pardon its architect for his failure to
achieve a more complete success.

The internal arrangements here do not present much subject
for notice. The Coro is in the nave, and in the screen on its
western side the entrance-doorway still remains. It is of marble,
of two well-moulded orders, and the outer order of the arch has
voussoirs of grey and white marble counterchanged. The steps
are of dark marble, with three shields in low relief on the riser
of each, and the bearings. which occur here are seen also in the
keystone of the tower vaulting — both being works of the four-
teenth century. The choir stalls and the panelling behind them
are of the very richest and most delicate fifteenth-century work:
and the great desk for books, in the centre of the Coro, is of the
same age.^ Tlie stall-ends are covered with delicate tracery,
put on in a separate piece against the end, and not carved out of
the solid. The divisions between the panelling at the back of
the stalls are wrought with foliage and animals of really marvel-
lous execution, and a band of inlaid work with coats-of-arms
goes all round just abo\e the stalls. There is a throne on the
right hand of the entrance to the choir, and another at the east
end of the south side; but both of these arc of Renaissance
character.

Many of tlic choir books are mediaeval, with lar^e knops at
their angles, and a piece of fringed leather under each knop.
At the east end of the Coro, and in a line with the west wall of

'The stalls of thi- Coro were (wocutrd between a.u. i)79 and 1493, \>y
r'rancisco Gomar of Zaragoza.

ij \) o .) ;)

38 GOTHIC ARCHITECTURE IN SPAIN

the transepts, is the iron Reja, and on each side of it a pulpit
facing east. These have all the appearance of having been
rebuilt. They have the same armorial bearings as the doorway
to the Coro; and as the screen in which the latter is now built
is not old, it is probable that they all form part of the same old
choir screen, and that the two pulpits were the ambons. I saw
nothing to prove decidedly whether the Coro was in its original
place, or whether it has been moved down into the nave as at
Burgos.

The great organ is on the north side of the Coro; it is not
very old, but its pipes are picturesquely arranged, and it has
enormous painted wings or shutters.

Much of the pavement is old; that in the choir proper — the
Capilla mayor — is of marble in various stripes of patterns
extending across the church.^ The nave is also paved with
marble, arranged in lines and patterns divided to suit the posi-
tion of the columns. The Coro alone is paved with tiles, and
this seems to some extent to prove that this part of the floor has
been altered, which would be the case if the stalls were moved
down from their original position. The high altar has a very
rich reredos executed for the most part in marble, and rich in
sculptured subjects (5). There is a doorway on each side of the
altar, opening into the part of the apse shut off by this Retablo.
Here the pavement has a large oblong compartment, w'hich
seemed to me to suggest the original position of the altar to
have been much nearer the east wall than it now is. This space
is indicated in my ground-plan, and though it is more than
usually set back towards the wall_, it was no doubt a more con-
venient position in so short a choir than that which the present
altar occupies (6).

There is a richly-sculptured monument of a bishop on the
southern side of the sacrarium.

It will be seen that here, as is the case with so many other
Spanish cathedrals, though the scale is not very great, the
dignity and grandeur of the whole conception is extreme. The
cloister, indeed, yields the palm to few that I have seen, and it
is in scale onh^, and not in real dignity and nobility, that the
interior of the church does so.

I did not discover any other old church in Tarragona, yet I
should suppose there must be some in so large a city (7). There
is a four-light ajimez window, of the type so common on this
coast, in the Plaza in front of the cathedral; and in the Plaza

1 See the illustration of this marble pavement on Plate XV., p. 41.

TARRAGONA CATHEDRAL 39

della Fallot is an early round-arched gateway, with a coeval two-
light opening above.

In the wall of a chapel to the east of the cathedral (8) 1 found
a fairly good example of an early headstone, perfectly plain in
outline, and finished with a fiat gable, in which is incised a cross
under an arch, the inscription being carried across the stone in
the common mode, just below the pediment.

I had not time to make excursions to any of the other churches
in this district, but there are some which appear, from what I
have learnt, to be so fine, that it is to be hoped others will con-
trive to inspect them. The monasteries of Vallbona (9) and
Poblet, and the church of Sta. Creus,^ not far from Poblet, seem
to be all of great interest. Poblet and Sta. Creus seem both
to ha\-e cloisters with projecting chapels somewhat similar to
that shown on my ground-plan of the monastery at Veruela.

The church at Reus, too, is interesting, from the fact that the
contract for its erection is preserved, and has been published by
Cean Bermudez. It dates from a.d. 1510. This town is a few
miles only from Tarragona, and after seeing Poblet and Vallbona,
the ecclesiologist would do well, I think, to make his way across
to Lerida, instead of returning to Barcelona, as I did. But I
wished much to examine the Collegiata at Manresa on my way
to Lerida, and for this purpose the line I took was on the whole
the best.

I bade farewell to Tarragona with a heavy heart, and with a
determination to avail myself of the first chance I may have of
returning to look once more at its noble and too little known
cathedral. -

' \'allboiia has a very fine Romanesque cruciform church with eastern
apses and a low central octagonal lantern; Poblet was an early cross
church with a fourteenth-century central lantern, and a cloister of the
same age; and Sta. Creus is an early church with a fovirteenth-ccntury
cloister, which has a projecting chapel with a fountain in it on one side
similar to that at Veruela. — Parcerisa, Rccucrdos, etc.

^ There is a good inn here, the Fonda del Europa (lo). But beware of
the I-'onda de los Cuatro Naciones, w.'iich is dirty and bad. Tarragona
may be reached easily by steamboats from Barcelona. They go twice a
week in fi\e or six hours, I believe.

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42 GOTHIC ARCHITECTURE IN SPAIN

NOTES

(i) At Vilafranca de Peiiades the churcli (restored) is ol late
Gothic, passing into Renaissance, with a single very wide nave and
a crypt like that at Barcelona. Here is, or lately was, a retable of
S. George, painted some time after 1424 by a close follower of Luis
Borrassa; at the chapel of Peiiafiel (or Penafel), three-quarters of an
hour to the south of the town, a retable of S. Michael, that, dimmed as
it is, keeps a hint of fairy grace, and one of S. Lucy, a trifle later, by
the same master. At San Martin Sarroca, seven miles to the north-
west, the great retable is from the same hand as the S. George, and
even nearer to the forms and composition of Luis Borrassa himself.
The church of S. Martin counts as one of the greater Romanesque
churches of Catalonia: of the eleventh century, cruciform, barrel-
vaulted, with a famous side portal and a superb arcade around the
apse, both without and within.

(2) It also contains the best of the sculptures from the ruins
of Poblet, and in particular two alabaster groups of statuettes from
a tomb that can challenge contemporary French work. The heads
of three monks in copes are exquisite and completely Spanish; so
is the somewhat acrid humour of the other group. Behind both are
remains of the deep blue glass that once filled in the background.

(3) S. Bernard Tort is said to have begun it, but the fineness of
detail and vaulting looks like the early thirteenth century. More
probably Bishop Hugh (died 1193) began the works and got the
walls to a certain height, the central apse and the two lateral apses,
the pillars up to the capitals of the aisles. Rocabert (1199-1214)
finished the transepts and began the crossing. Aspargo finished
this and consecrated it in 1230. In 1 231 -51, the aisles w^ere vaulted
and in 1272 the nave by Bishop Olivella, who also made the facade.
The crossing must have had a wooden roof, for the lantern is later
than this. In 1287, Archbishop Rodrigo Tello, we are told, finished
the west front, in 1331 the Patriarch of Alexandria dedicated it
afresh, and in 1375 they were still about the statues.

(4) On the other hand, we know that in 1 128 Robert of Normandy
came back to Tarragona, bringing both soldiers and workmen, so
that there is a presumption for French builders in the town long
before Fray Bernardo.

(5) The Retablo Mayor was made (circa 1426-50) by Pedro Juan
de Vallfogona and Guillem de la Mota. The former was the son of the
master-overseer of the cathedral, D. Bernardo; he collected money
due to him on the work 1425, and again on December 15, 1436; he
was working January 2, 1445, on the retable of the See of Zaragoza;
in April of that year he came to Tarragona, presumably to watch
operations there, went back May 28, and on the i6th of August was
ill. After that we hear no more. He died well along in middle life,
for as early as 141 6 he had been called by the chapter of Gerona to
confer about the vault, along with his associate, Guillem de la Mota.
This alabaster retable is planned precisely like earlier painted ones,

TARRAGONA 43

only with a juster subordination of size and disposition of scenes.
The ^Madonna reigns, standing under a great canopy, flanked by
SS. Tekla and Paul, under canopies hardly less; and twelve smaller
reliefs tell her history through the Infancy and Passion to Pentecost
and the Coronation. Six reliefs of the same proportions, but a
rarer art, ranged in a sort of lower story, relate the long martyrdom
of the virgin patroness on either side. In the centre, directly
behind the altar gradine, five niches enshrine a Pieta: the dead
Christ, naked, upheld by an angel, between SS. ^lary and John,
Nicodemus, with the three nails pouched up, and Joseph of Arima-
thea with the lance — now broken. The last two, as belonging to
the Older Dispensation, wear their haloes octagonal. The story of
S. Tekla's conversion liy S. Paul, which opens the series, with the
two that close it, of wild bulls in a crowd and a bishop discovering
the saint's arm in a mountain cave, are merely admirable, but the
other three, which present her in the flames, among the lions, and in
the swamp full of toads and vipers, are astounding creations. I am
not the only one to see unaccountable parallels to the bronze reliefs
of the Far East in the low relief of a background held in clear,
successive planes, and treated with vivid multitudinous detail, and
in the extraordinary quality of the curling and elastic line, that
swirls like a lasso and licks like a fire. The edges of drapery, the
waves of flame, the beard of Joseph of Arimathea, the eddies of the
slimy pool, the modelling of the heads and of the nude, belong not
to marble, but to metal-work.

(6) The Chapel of the Tailors, in the richest style of the fourteenth
century, is good in line everywhere, the statues lovely, the corbels
not aggressively secular. In the retable, which presents in the
predella the Ten Virgins, and above, the whole sacred story from
the .\nnunciation to the Coronation, the iconography is that of
northern France. The work is local, that of some one a better carver
than artist; a craftsman safe in detail or in familiar scenes, but
puzzled to manage fresh inventions. Yet, though the dramatic
episodes are neither composed nor plastic, the rows of figures have
a plea-sant ripple, like horsemen in Greek reliefs.

The tomb of the Infant, D. John of Aragon, who dietl, aged thirty-
three, in 1334 (a son of John the Just and Blanche of .\njou), was
carved by an Italian of the school of Giovanni Pisano, sent probably
from Naples, who adorned it, amongst other saintly ligures, with the
two SS. Louis — his uncle, the Bishop of Toulouse, and his great
great-uncle, the King of F'rance.

A few early pictures linger on. Behind the gilded temple that
blocks an eighteenth-century chapel in the transept, on a Catalan
retable of S. Bartholomew, I deciphered, amongst other things, the
diverting history of a child who wouldn't grow up. In twenty-live
years he wore out four nurses, who lie dead about the floor. At
last the saint drove the devil out of him. In the cloister an exqui-
site retable of S. Mary Magdalen is full of romantic feeling. In one
scene outside a casth.' she turns to smile at her lover, much as in
Rossetti's drawing; in another, a king rows ashore from a ship in tlu'
offmg, and finds a (jueen lying dead upon llic l)cacli. witji Iicr iiahy
at her breast — the motive is familiar in roniantcs oi Ihe south ot

44 GOTHIC ARCHITECTURE IN SPAIN

France. In another chapel of the cloister Nuestra Senora de la
Esperanza is cloaked like a Madonna of Mercy.

(7) S. Pablo, in the court of the Seminary, is of the twelfth or
thirteenth century, with possibly a Visigothic door and certainly
Mudejar arches to the cornice — but the whole is restored out of all
consideration.

(8) The little detached chapel of S. Tekla, which stands within
the cathedral enclosure, is not older than the fourteenth century.

(9) Cistercian Foundations in Catalonia. Vallbona de las M^njas
is in the form of a Latin cross; the three apses and transepts Roman-
esque, with the main portal in the west wall of the northern; the
nave of four bays without aisles, a lofty Gothic; a low lantern tower
over the crossing and a tall one, surprisingly, over the next to last
bay of the nave. In 1 157 a noble gentleman, Ramon de Argensola
y Vallbona, founded two cloisters, one for men and one for women,
at Colobres and Vallbona respectively; in 1 176, by repeated request
of Doiia Berenguela de Cervera, the two were united under the Abbess
Dofia Oria de Ramon, and placed under the Cistercian rule. Two
other early foundations I did not see: Santa Maria de Savany,
which was Benedictine originally, refounded by the Cistercians in
1223, lies up near the borders of the province of Huesca, three kilo-
metres from Pont de Suert. The ruins are said to be fine. Santa
Maria de Escarpe has been rebuilt in the Greco-Roman style: it
was founded by Don Pedro the Catholic, and his son Jaime I. Of
the remaining two, Santas Creus should be seen before Poblet. both
because it is less ruinous now, and because it was less magnificent
always. It may be most easily visited from \'alls, where I am told
there is a good inn, and I saw that there was a good Catalan church,
but the little hostelry just outside of the monastery gate would do
well enough. There I found a sufficient dinner, a quiet bedroom to
wash up and rest, and an outlook over the rustling tops of trees that
should harbour nightingales.

Like Fountains Abbeyand San Galgano, Pontignyand Fossanuova,
Veruela and its own elder sister of Poblet, Santas Creus lies in a river
valley, visible for a long time, as the road approaches across the
flanks of the hills opposite, yellow against the yellow hillside. It is
not prepossessing, lifting Renaissance towers and domes out of the
midst of battlements. Even from that distance the church looks
like nothing but a fortress, and close at hand proves itself to be
square-topped and battlemented — nave, aisles, and transept — in
strong horizontal lines; the square east end juts out beyond the
transepts, the square west end stands up above the aisles; a long
curtain wail, battlemented and loopholed, masks the west walk of
the cloister, and ends at another round-arched, low portal, strongly
defended, the Puerta Real. Through a baroque gate -house and
a shabby rococo square, where entertainment was once provided
for guests of less than princely rank, one comes to the low, round-
arched west door (the Romanesque work of Gothic builders) without
a tympanum, without statues, dwarfed b}' the huge pointed window-
broken through above, and one passes into a church, high, austere,
and dark. Beyond the nave and aisles of six bays and the lantern,
which should have been early Gothic and is actually bad Renais-

TARRAGONA 45

sance, stretch transepts of two bays and five square chapels on the
eastern side, all of the earliest transitional style, with quadripartite
vaults. The slightly pointed transverse arches, wide and unmoulded,
come down upon a wide pier, very slightly cruciform, with a high
base. The clerestory windows are round-headed and deeply splayed ;
the east end has three such, now blocked, below the great rose, and
one apiece in the chapels. In the face of the north transept, two
fine W'indows open above a door reached by seven steps. Out of the
south transept the stairs go up to the dormitory, and above that
room still remains for a little window in the gable. Below the stairs
a door opens on a passage which turns and reaches the cloister just
north of the chapter house ; doors to the cloister are set in the sixth
and the second bay of the south aisle. The Coro now fills the nave
from aisle to aisle and from the crossing to the third bay; to the
original choir probably the monks came in from the cloister by the
eastern door and the lay brothers to their own part by that further
west.

Founded in the twelfth century by the Moncadas and endowed by
them and other great Catalan houses, the monastery never wanted
money for building and re-building, which went on steadily and
soberly. The progress of the work is recorded on a manuscript
formerly in the convent library, by a note of the fourteenth century.
As early as December 4, 1 1 50, Ramon Dapifer de Moncada had made
over entirely to the abbot of the Cistercian monastery of the Gran
Selva some land in Valdaura, with mill and water rights. With
twelve monks and three lay brothers, William, the first abbot,
founded and then abandoned a monastery. i-Ic tried again at
Anchosa in 1 1 53 with a fresh foundation from Ramon Berengucr I\^,
but it proved too sterile and too near to towns and people. When
they finally began work on the banks of the little river Gaya they
were held up by a dispute between neighbouring bishops as to juris-
diction. The community was moved in 1169, Pedro de Puigvert
being abbot. In September 11 74, the church was begun; July 29,
1 191, was laid the first stone of the foundations of the dormitory of.
the young monks. June 21, 121 1 (being the day of Pentecost), the
convent of this monastery moved into a new church, with forty-five
monks. March 22, 1225, the convent was exchanged for the greater
room of the church for matins (" vigilias ntatutinas."). June 24,
1302 (the Decollation of S. John Baptist), the work of the refectory
was begun. September 13, 1303, was laid the first stone of the
cloister, finished in 1346. " The things above said were taken from
various very old books of the convent, which were falling to ])ieccs,
and written by me, I-'ray Bartolomc de la Darnosa, in this book in
the month of June, year of the Lord, i3()7." l-'inished in 137S, the
walls around the church, dormitory, and cloister were begun on the
first of January, 1375, " on account of great scarcity of food," but
relief works had to be dropped when the convent felt the ))inch, and
no more was done. The cloister was ])ai(l for in large ])art by
Jaime II. and Blanche of Anjou, whose arms adorn tiie Puerfa
Real at the end of the south walk with the Catalan bars and the
l-Yench lilies; it was consecrated in Xo\ember of 1341, ])resumably
in then- prcsincc, a> it had been linisiicd in January. I he iavabo

46 GOTHIC ARCHITECTURE IN SPAIN

and chapter house are probably preserved from an earlier cloister,
as at Veruela, La Oliva, and Fitero. The so-called Old Cloister,
which lies in the maze of buildings to the eastward, is dated 1163.
The palace in that same quarter (now under exhaustive restoration)
was iDuilt chiefly by Peter III. the Great (1276-95), and Jaime II.
of Aragon (1291) whose tombs stand in the church under the richest
stone tabernacles. That over the tomb of Pedro was ordered by
Jaime II. and probably made by Beltram Riquer of Barcelona,
architect of the royal palace there, who in 1314 made Jaime's
monument. The carved shrine of Don Pedro rests upon a huge
porphyry bath, sustained by two lions, which was fetched from
Sicily by Lauria, the High Admiral. He is buried near where his
master thus lies literally like an emperor — like Frederick II. in
Palermo and Constance of Aragon, his spouse. Other tombs also
survive, one of the fourteenth century, in the north transept, of a
mitred abbot, his face humorous without loss of dignity. The
cloister is full of tombs, some older than itself — arks laid up in
pointed niches bearing the arms of the Monteliu; or, between twisted
shafts, the counters of the Moncada; in quatrefoils the eagle of
Bernardo de Selva, who lies with the long sleeves of his alb wrapped
over his hands; or, above saints in cusped arcades, the stag of the
armed knight, D. Ramon de Alemany de Cervello. The vault is
sexpartite, ten bays along the church, nine the other way; the
tracery, much of it, broken. The serried foliage or elaborate
grotesques of the capitals are the luxuriant fourteenth-century stuff
that Spain carries off better than France; but the hexagonal foun-
tain-house, which shelters on the south side a hexagonal basin,
dripping, overgrown with moss and maidenhair, is as strict as
S. Bernard's rule. On each side, a pointed arch of two square
orders enclose a pair of round arches and a lozenge or a circle in the
tympanum. Three pairs of coupled shafts receive the inner arches,
and the corners of the structure are strengthened by a buttress,
square as far as the string course which marks the level of the
capitals and receives the outer arch, thence up a half-column with
a plain capital. Under the low roof the entrance to the chapter
house is of the same pattern, except that the enclosing arches are
round and the edges moulded, the orders and the shafts doubled.
Two windows ifank a door over which the double arches meet on a
pendent corbel. Within, the nine bays of quadripartite vault are
carried on four columns and pyramidal corbels against the wall; the
capitals are of interlaced withes, or of the same delicate overlapping
leaves, like a larger laurel, as those at the entrance. Beyond this
on the south a barrel-vaulted passage leads eastward to the Great
Cloister, of low, pointed arches without tracery or vaulting, the
sloping timber roof carried on great arches thrown across the
corners. The refectory is of 1733 — but the stables are vaulted with
stone. Between the two cloisters, over the chapter house, lay the
dormitory of the novices, roofed with timber and plaster; the
immense pointed stone arches rest on corbels, wrought in a Roman-
esque low-relief of entrclacs. To the south of this they show the
library, with stucco cornice and artesonado ceiling. The Torre de las
I [orris, opposite, is of 13.14. Ilu* pnlrice, wliich lies to the south-

TARRAGONA 47

east, is an exquisite toy. In the first court a stairway, carried on a
single porphyry pillar, leads up to a gallery of pointed arches on
slender columns, quatrefoil in section, with delicate Catalan capitals
and painted timber roof. The next court has a third storj' — a low
loggia of delicate stucco reliefs; elsewhere a loggia of fine brick-work
arches hangs over the wall and looks abroad. The ceilings are
artesonado, or timbered, coffered, or worked in fine plaster reliefs.
The rooms are almost as curiously small as at the Alhambra — an
adorable palace, built for the little ivory ladies and lovers of the
fourteenth century.

Poblet, older and more royal, was sacked in 1835 : the birds that
fly around the desecrated altar and flash through the high southern
windows, shake the trails of pale ivy hanging there. Mossen
Barraguer gives an astonishing account of the mingled excitement
and sullen hate, terror and curiosity, with which the townspeople
hurried down the road to ransack and destroy. There may have
been pilfering on the spot, but cupidity was not a motive. They
knew the monks for decent folk and easy-going; yet they expected
to find dungeons, bones, prisoners white-haired or maniac. They
destroyed for the sheer excitement, like stoning a cat, or Jew-baiting.
It gives one pause — and I have paused here for two only out of
many considerations: one that it seemed to throw some light on
possible incidents in the Dissolution of the IMonasteries at home,
which was managed on the whole better. Though the church saved
no more, the destruction of property was less. Furthermore, it is
not yet over, at any rate in Spain, and the sentimental argument that
retables should be left in churches where nobody can see them now,
may as well face the practical assurance that if they are so left they
will be burned with the churches, and nobody can sec them ever.

In 1 149, when D. Ramon Berenguer had taken Lerida, married
Dona Petronella, the heiress of Aragon, and gone to Provence to
settle some sporadic rebellions, he made Cistercian friends there, and
on the 19th of the following January he yielded to the Abbot of
Fontefroide in the diocese of Narbonne his " Mucrta de Poblet"
for a monastery, in return for which certain religious, indicated by
S. Bernard, from the said l-'ontefroide, were to settle there. The
monks came some time between August 18, 11 50, when he repeated
the donation, and May 6, 1151, when he made one to " S. Mary of
Poblet, Ste]ihen its Abbot, and the monks who there serve God,"
confirmed by Kugcnius III., himself a Cistercian, in a bull of Novem-
ber 30, I 15.'. The date of the monks' final settlement is given as
September 7, i 153, though it is hard to see how the? east end could
have been ready for them. The chiu'ch and the adjoining wing of the
cloister (here on the north side) were probably the work ot Alfonso II.
(1 i(>2-ij(>), the Ciothic walks of the cloister, the refectory, library,
chapter house, and some father parts may belong to Jaime I. (1214-
76). The se\'en cha]X'ls of the south aisle and the lantern were
built by .\l)lj()t I-'onci; de Ca])ons, 1330. Peter IV. (1336-87)
gave tiie great wall with ten towers that straitlv encloses flu; monas-
tery pivjper, iy>7-77- Martm tlie llumane (i3i;5 1410) raised a
lovely and a kirigU' ])aiai:e al (he west lliaf he did not li\e to occupy.
The cloi'tej- o| S, Sfe|)!ii-ii wa"-' n built in i.;i;. (Iriat lords and

48 GOTHIC ARCHITECTURE IN SPAIN

great benefactors were the houses of Cardona, Cervera, and Angle-
sola; in the seventeenth century they overlaid kings' tombs with
their own in the transepts, as from the thirteenth they had filled
up the Galilee, the cloister, and the monks' burial ground. Jaime
Castayls of Tarragona in the last quarter of the fourteenth century
contracted with the abbot for some of the tombs under the crossing.
The great marble retable, of six stories with wings returned for a
whole bay, is ruined now; its date is 1625. Despite all the Renais-
sance marbles, and the eighteenth - century adornments on the
fa9ade at the west, Poblet conveys a far greater feeling of the
Romanesque elements than Santa Creus, chiefly because these
persisted in the plan, the vaulting and the sculpture of the capitals.
From the Galilee, crowded with lovely tombs, that stretches across
three bays a ribbed quadripartite vault on corbels, a round-arched
door with painted mouldings opens into the nave; the aisles had
once small windows, and the nave a rose above the roof of this.
The church has seven bays and transepts of pointed barrel-vault,
with one bay of the same east of the crossing and a chevet of five
compartments. Two apsidal chapels with barrel-vault and semi-
dome open east of the transepts and five more out of the ambulatory.
This, after barrel-vaults in the bays parallel to the lateral chapels,
has five bays of irregular quadripartite. The vault of the crossing is
domical with an opening to the lantern above, and all the apsidal
and transept chapels have a like incongruous lantern. The vaulting
of the aisles (quadripartite) was raised in the fourteenth century;
the piers are cruciform in plan, with an engaged shaft. The trans-
verse arches are pointed and so are (very slightlj') those of the nave
arcade, of two orders, but the great longitudinal arches that run
from the floor to the string courses just below the vault are round,
and so are the deeply splayed windows of the clerestory. They are
mostly plain, a few carved with a cross or strapwork, two on the west
end of the south aisle, when the work was almost finished, with
timid suggestions of leaves. The empty church, ruined, but not
ruinous, filled with sunlight, scented with the roses and grass of the
cloister, is like a natural force, a mountain valley or a great river,
with the freshness of bright dew, and the stillness of early light.
The cloister, though it is the glory of Poblet, is only one treasure
among many. The south walk may be of the twelfth century, with
seven bays, not all alike in width, of round arches on coupled shafts
under a deeper arch; and the rest, six bays, of two, three, or four
lights, of thirteenth-century Gothic, with Romanesque reminiscences.
The whole has quadripartite vaulting, many shafts and capitals in
one style, which, whether -covered with entrelacs, or with a network
pattern, or with leaf motives, betray the presence of Arab workmen;
the bases have beautiful griffes. The chapter house stands on the
east side with the usual nine bays, and the usual two double windows
and a door between, this time a single round arch carrying many
orders of serried shafts; but it opens also to eastward by three
similar windows into another cloister, with incomparable effect.
The hexagonal fountain-house looks severe and Romanesque, two
round arches and a lozenge set under a round arch; but that is
moulded and carried on three pairs of columns delicately wrought.

TARRAGONA 49

and the capitals of the central shaft are developed Gothic. The
superb refectory opposite it, with a barrel-vault, and a fountain in
the midst, w-ith stairs going up behind an arcade to the lector's
pulpit, and tall windows on three sides, is of the late twelfth or early-
thirteenth century, like the kitchen adjoining on the west. To the
east, beyond a square room useil for a passage, the thirteenth-century
library is now divided into two rooms, of four and five bays respec-
tively, and vaulted upon a row of pillars down the centre. The
floors here have been raised, which dwarfs the proportions of the
fine windows and vaulting-ribs. This runs due north, and opens,
not out of the cloister, but out of the barrel-vaulted passage, which
runs eastward from the north-east corner of the cloister and flanks
the chapter house; above this entire range, from the farther end
of the library to the transept wall of the church, lies the dormitory
of the novices, thirteenth century also, with an upper and a lower
range of windows, and nine bays of superb pointed transverse
arches on capitals richly and fantastically wrought in low relief.
This, of course, had a stairway down into the north transept; the
day stairs which go down beside the chapter house into the cloister
yawn in the middle of the floor. In the dormitory of the eldei
monks, less lofty and less splendid, built above the " bodega," or
stores, at the north-west, the arches of nine bays strike the floor at
the centre and rebound in a second aisle. The novices have a
seventeenth-century cloister, along the west wall of the library,
reached by a flight of steps from their dormitory ; besides the
cloister of S. Stephen, east of the chapter house and archives,
another lies further south-east behind the apse, attached to the in-
firmary and the sinister Torre de Locos ; and in the north-east
yet another cloister arcade flanks a great stack of seven-
teenth and eighteenth century buildings used for the entertain-
ment of great lords. At • the north-west are the sunken vats
and pipes for wine, and the store-house vaulted strongly on three
great pillars; from this angle of the cloisters, a passage led to the
Puerta Real, in the encircling wall, plain, round-arched, flanked
by two immense octagonal towers, and to the king's rooms. The
abbot's (]uarters, perhaps for convenience in entertaining, seem
to have lain, during the latter centuries, southward of the church,
and therefore outside the enclosure; they were reached by a bridge
that gave access to the west of the church high up. Of the palace of
Don -Martin the Humanist, its keen, yet ample beauty, I despair to
speak. The windows, some square-headed, some pointed, filled
with circles, or sharp pinnacles, or flame-shaped curves, recall most
the development tliat late Gothic reached in Venice. All the
carving has that same delicate, luxurious realism of people who feel
themselves more alive amid vivid impressions, but these must be
also ])recious and costlv by the cpialitv of the marble and the carver's
dexterity. .Most of all you feel that here, for a single happy hour,
on which converged all the influences of sun and season ami soil, an
art suddenly and supremely flowered.

Outside these walls, but within Hk; wider enclosure of the inonas-
tery. lie other buildings not wholly fallen to decay; the chapel of
S. (George, witli a graceful, flambovant door, tiie ruinous chapel of
JI U

50 GOTHIC ARCHITECTURE IN SPAIN

S. Catharine, a gatehouse, and then, set off from the rest by a walled
avenue in which fine trees mask the defensive value, the Puerta
Dorada, crowned by a once gilded Virgin. The hamlet receives
guests still in summer time; the railway station of Espluga has
an inn and good people; the road between the two, excellent for
carriages, not too long for unambitious walkers, is musical a good
part of the way with running water and silver poplars {pobos blancos).
from which the original hermitage took its name, Populetum.

(lo) I feel regret but duty in testifying that at present the Fonda
de Europa, in Tarragona, is the most cynically dirty in Spain, and
that the landlord may misrepresent the inns in other places when he
tj;iinks thereby to profit himself.

CHAPTER XIV

BARCELONA

The architectural history of Barcelona is much more complete,
whilst its buildings are more numerous, than those of any of our
own old cities, of which it is in some sort the rival. The power
which the Barcelonese wielded in the middle ages was very great.
They carried on the greater part of the trade of Spain with
Italy. France, and the East; they were singularly free, power-
ful, and warlike: and, finally, they seem to have devoted no
small portion of the wealth they earned in trade to the erection
of buildings, which even now testify alike to the prosperity of
their city, and to the noble acknowledgment they made for it.

The architecture of Cataluna had many peculiarities, and in
the fourteenth and fifteenth centuries, when most of the great
buildings of Barcelona were being erected, they were so marked
as to justify me, I think, in calling the style as completely and
exclusively national or provincial, as, to take a contemporary
English example, was our own Norfolk middle-pointed. The
examination of them will, therefore, have much more value and
interest than that of even grander buildings erected in a style
transplanted from another country, such as we see at Burgos
and Toledo: and beside this, there was one great problem which
I may venture to say that the Catalan architects satisfactorily
solved — the erection of churches of enormous and almost un-
equalled internal width — which is just that which seems to be
looming before us as the work which we English architects must
ere long grapple with, if we wish to ser\'e the cause of the
(.'hurch thoroughly in our great towns.

l-'or a manufacturing town, this, the .Mancliester of S])ain, is
sinLTularly agreeable and unlike its prot()t\pe. The mills are for
the most part scattered all o\er the surrounding countr}-. which
rises in jjleasant undulations to the foot of the hills some four
or five miles inland from the sea, and beyond which the country
is alwa}-s beautiful and wild, and sometimes — as in the savage
and world-renowned rocks of Montserrat — quite sublime in its
character. On my first journey J arrived at Barcelona by a
steamer from \'alen<ia. The \ iews of the coast were generalK-

52 GOTHIC ARCHITECTURE IN SPAIN

extremely beautiful, until shortly before our arrival, as we
passed the low level land through which the Llobregat finds its
way to the sea; beyond this the great rock and fortress of
Monjuic rise boldly in front, and rounding its base into the
harbour, the tall octagonal towers and turrets of the cathedral
and other churches came in sight. Little, however, is seen of
the sea from the city, the fortifications of Monjuic on the one side,
and the harbour and new colony of Barcelonette which occupies
a point jutting out beyond it seaward on the other, completely
shutting it out. One result of this is that, whilst nothing is
seen of the sea, so, too, the seafaring people seem to confine
themselves to Barcelonette, and not to show themselves in
the thronged streets of the city. Another fortress, a little
inland on the east, places Barcelona under a cross fire, and
prevents its growth in that direction; but wherever possible
it seems to be spreading rapidly, and every external sign of
extreme prosperity is to be seen. The streets are generally
narrow, tortuous, and picturesque, with the one noble exception
of the Rambla, a very broad promenade running from the sea
quite across the city, which has a road on either side, and a
broad promenade planted with trees down the centre. Here in
the early morning one goes to buy smart nosegays of the Catalan
flower-girls from the country, and in the evening to stroll in a
dense mob of loungers enjoying the cold air which sweeps down
from the hills, and atones for all the sufferings inflicted by the
torrid midday sun.

It will be best, in describing the buildings here, to begin with
those of the earliest date, though they are of comparatively unim-
portant character, and in part fragments only of old buildings
preserved in the midst of great works undertaken at a later
date. The Benedictine convent of San Pablo del Campo, said
to have been founded in the tenth century by Wilfred II.,
Count of Barcelona,^ was restored by Guiberto Guitardo and
his wife about 1117, and in 1127 was incorporated with the
convent of San Cucufate del Valles.^ The church is very inter-
esting. It is small and cruciform, with three parallel apses.

' He was buried here, and this inscription was formerly in the church :
" Sub hac tribuna jacet corpus condam Wilfredi comitis Alius Wilfredi,
siniili raodo condam comitis bonae memoria;. Dimittat ei Dns. Amen.
Qui obiit, vi. Kal. Madii sub era dcccclii." (a.d. 914).

'■' San Cucufate del Valles is not far from Barcelona; it has a line early
cloister somewhat like that of Gerona Cathedral, an early church with
jiarallel triapsidal east end, octan;onal lantern and tower on south side (i).
See illustrations in Parcerisa, Recuerdos, etc., de Esp. ('alaluna, ii. 23, etc.

BARCELONA

an octagonal vault on pendentives over the Crossing, and a short
nave, which, as well as the transepts, is covered with a waggon-
vault. The apses are vaulted with semi-domes. The west end
is the only perfect part of the exterior, and deserves illustration.
The work is all of a very solid and rude description, though
I am almost afraid to give it credit for being so old as is said.
The circular window is, however, an interpolation; and if this
were removed, and another small window like the others inserted
in its place, the whole design would no doubt have an air of

r F-

imnT'4(».t>'

W] '-I 1 KO\ I oi San ]'\h! o

extreme antiquity. Tiie ground-plan is a t\pal one here, and
pre\ails more or less in all the early churches from Catalutia to
Galicia. One or two others of the same description seem to
have a fair amount of e\idence of the date of their consecration,
and it is at any rate unlikely that a church built in a.d. 914
would require rebuilding in about a hundred years, which
must ha\e l)cen tlie case here, if we assume that we have not
still before us tlie original rhurrh. On the south side of the
nave there was a cloister added, ])robably in the course of the
eleventh century, and there is some difference in the ciiaracter of
its design and workmanship, and that of the church and its west
front. This cloister is \ er\- small, havini^ on each side four

54 GOTHIC ARCHITECTURE IN SPAIN

arches, divided by a buttress in the centre of each side. The
openings are cusped some with three and some with five heavy
foliations, plain on the outside, but both moulded and carved
on the inside face. The cusping is not at all Gothic in its
character, being stilted in a very Eastern fashion, nor is it
constructed like Gothic work, the stones being laid over each
other, and cut out in the form of cusps, but not constructed any-
where with stones radiating on the principle of an arch. The
shafts between the openings are coupled one behind the other,
and have well-carved capitals. A fourteenth-century doorway,
with a cross for the finial of its label, opens from the north wall
of the cloister into the nave; and in the east wall is an extremely
good entrance to the Chapter-house of the same date, and
showing the usual arrangement of a doorway with a two-light
traceried opening on either side. There are also some old
monumental arches in the walls.

This church, which forms so important a feature in the early
architectural history of Catalufia, is near the western end of the
city, and its west front and cloister are enclosed within the walls
of a small barrack; but as Spanish officers and soldiers are
always glad to lionise a stranger, there is no difficulty in the
way of seeing them. A simple early-pointed doorway, under a
very flat tympanum, has been added to the north transept, and
there is some evidence of the small apse near it having been
arcaded on the outside. The pendentive under the dome is
similar in its construction to those under the dome of the curious
church of Ainay, at Lyons. Above them there is a string-course,-
and then the vault, which rises to a point in the centre, and is
not a complete octagon, the cardinal sides being much wider
than the others. The west doorway has in its tympanum our
Lord, S. Peter, and S. Paul; over the arch are the angel of
S. Matthew and eagle of S. John, and above, a hand with a
cruciform nimbus, giving the benediction (2).

San Pedro de las Puellas, on the other side of the city, was
rebuilt in a.d. '980, by Suniario Count of Barcelona, and his
wife Richeldi, and was consecrated with great pomp in a.d. 983.^
This church has been wofully treated, but it is still possible to
make out the original scheme. It was a cruciform church of the
same general plan as San Pablo, with a circular dome at the
Crossing, and a waggon-vault to the south transept, the nave, and
the western part of the chancel. The other parts were altered at
a later date. Very bold detached columns with rich capitals

' Ceaii Beniiudez, Arq. de Espaiia, i. 12.

BARCELONA 55

carry the arches under the dome, and another remaining against
the south wall of the nave suggests that there were probably
cross arches or ribs below its waggon-vault. The sculpture of the
capitals is very peculiar; it is quite unlike the ordinary Roman-
esque or Byzantine sculpture, and is very much more like the
work sometimes seen in Eastern buildings. It is a type of
capital first seen here, but reproduced constantly afterwards all
along the southern coast, and not, so far as I know, seen at all
in the interior of Spain.

There is no mark of a chapel on the east side of the south
trarijept, and, as the apse has been rebuilt, it is impossible to
say what the original plan of the head of the church was (3).

In the Collegiata of Sta. Ana, we have the next stage in the
development of Catalan architecture. This is said to have been
built in A.D. 1146,^ and is also a cruciform church, with a central
raised lantern, barrel-vaults in the transepts, and two bays of
quadripartite vaulting in the nave. The nave probably dates
from about the end of the twelfth or beginning of the thirteenth
century, being lighted with simple lancet-windows, and having
bold buttresses. When I visited this church the chancel was
boarded up for repairs, and I am unable to say certainly whether
the east end is old, but it appeared to me to have been modern-
ised (4). The exterior of the lantern is very peculiar; above the
roof it is square in plan, but with eight buttresses around it,
radiating from the centre, and evidently intended to be carried
up so as to form the angles of an octagonal central lantern, of
which, however, only the lowest stage remains. The present
finish of the lantern is a steep tiled roof, which springs from just
above the point at which the angles of the square base are cut
off; and on the western slope of this roof a steep flight of stone
steps leads to the very summit. The object of this arrangement
is quite unintelligible. At the west end of the church, and set
curiously askew to it, is a cloister of the fourteenth century,
with a Chapter-room on its east side, opening to the cloister
with a round-arched doorway, on either side of which is a good
early middle-pointed two-light window, making the group so

' According to I'ord it was built by Guillcrnio II., Patriarch of Jerusalem,
in imitation of the church of the Holy Sepulchre. — Handbook for Travellers
in Spain, p. 416. It was one ol tlie churches founded by the Order of the
Holy Sepulchre in Jerusalem after the year 1141, in which they sent
emissaries to Spain for the jnirpose. — Viage I.iterario d las If^lesias de
Espana, .wiii. 139. The necrology of the monastery contained the obit
of a canon who came from Jerusalem, called Carfilio, as follows: " Obiit
Caifilius frater Sancti Sepulchri, qui edificavit ecclesiam sancta; Ann;c." —
Viage Lit. xvii. 144. See ground-plan of this church on Plate XVII., p. 79.

56 GOTHIC ARCHITECTURE IN SPAIN

invariably found in old Chapter-house entrances. The west
doorway of the church is severely simple^ with a square opening
■and plain tympanum under a pointed arch. Along the north side
of the cloister is a fine ruin of a hall of the thirteenth century,
the construction of which is very characteristic and peculiar.
It is of two stages in height. Segmental arches across the lower
rooms carry the floor beams, which are placed longitudinally,
and over them in the upper room bold pointed arches are thrown
to carry the roof. The roof was of very fiat pitch, and consisted
of a series of purlines resting on corbels built into the wall over
the stone arches, upon which were laid the common rafters. I
shall have to illustrate a similar roof which still remains in
the church of Sta. Agata, so that I need not say more on the
subject now than that this type is an exceedingly effective one,
and occurs repeatedly in the Barcelonese buildings. The cloister
of Sta. Ana is of two stages in height, and very light, graceful, and
Spanish in its character. The columns are quatrefoil in section,
and the capitals are later works of the same eastern character
as those already described in San Pedro, and have square abaci.
There is, perhaps, scarcely sufficient appearance of solidity and
permanence in such extremely light shafts, seeing that they have
to support a double tier of arcades all round the cloister; but
nevertheless the whole effect of the work is very beautiful. The
old well with its stone lintel remains, and some fine orange-trees
still adorn the cloister court.

The other early works here are doorways and fragments now
incorporated in other and later works, so that we need no longer
delay our inspection of the cathedral, which is, as it ought to be.
the pride of the city. The ground-plan which I give ^ will best
explain the general arrangements of this remarkable church.
Its scale is by no means great, yet the arrangement of the various
parts is so good, the skill in the admission of light so subtle,
and the height and width of the nave so noble, that an impression
is always conveyed to the mind that its size is far greater than
it really is. Of course such praise is not intelligible to those who
believe with some enthusiasts that the greatest triumph of archi-
tectural skill is to make a building look smaller than it really
is — a triumph which the admirers of S. Peter's, at Rome, always
claim loudly for it — but most unsophisticated men will probably
prefer with me the opposite achievement, often, indeed, met with
in Gothic buildings, but seldom more successfully than here.

The history of this church is in part given in two inscrip-

1 Plate XVI., p. 72.

BARCELONA 57

lions on the wall on either side of the north transept door-
way/ from which it appears that the cathedral was commenced
in A.D. 1298^ and was still in progress in a.d. 1329. The latter
date no doubt refers to the transept fa9ade. But this was not
the first church, for one was consecrated here in a.d. 1058, and
the doorway from the cloister into the south transept, and
another into the chapel of Sta. Lucia, at the south-west angle of
the cloister, are probably not very much later than this date.
But the bulk of the work is evidently not earlier than the begin-
ning of the fourteenth century, and its design appears to be
owing to one Jayme Fabra or Fabre,- an architect of whom we
first hear at Palma in Mallorca. In the deed which I give in the
Appendix, he describes himself as " lapiscida," citizen of Mal-
lorca, and says that he is about to go to Barcelona, to undertake
a certain work there at the request of the King of Aragon and
the bishop. This was in a.d. 1318, and it is clear, I think, from
the terms of his contract,^ that Fabre was something more than
architect, and really also the builder of this church in Palma.
The term used might indeed lead us to suppose that he was a
mere mason, but the request of the king and the bishop proves

' The inscription on the right hand of this door is as follows: —
-f- In : noie : Dni : nri : Ihu : Xri : ad . honore . -)- See : Trinitatis :
Pats . et . FiUi . ct . Sps . Sci . ac . Beate . X'irginis : Marie . et Sne .
crucis . See . q . Eulalie . Virginis . et . iNIartiris . Xri . ac . civis Barchn .
cujus . som . corpus . in ista . requiescit . sede . opus . istius . ecce . fuit .
inceptuni . Kl . Madii aiio . Dfii . m.ccxcviii . regnate . illustrissimo . Dno .
Jacobo . rege . Aragonu . Valii . Sardinie . Corsice . -|- comitc . Q . Bar-
chinonc.

The other inscription is on tlic left side of the same door: —
In . noie . Dili . nri . Ihu . Xri . Kds . Novebr . anno . Dni . m.ccc.xxix .
regnante . Dfio . Alfoso . rege . Aragonii . Valecie . Sardinie . Corsice . ac .
comite . Barchn . opus . hujus . scdis . opcrabatur . ad . laudc . Dei . ac .
Bte . M See -f- Sceq . Eulaic.

' The inscription whicli records the depositing of the body of Sta.
Eulalia in the cry{)t below the choir in a.d. 1339 says that " cl Maestro "
Javrne I'abra and the masons and workmen of the church, Juan Berguera,
fuan dc Puigniolton, Bononato Peregrin, (iuillen Ballester, and Salvador
13ertran, covered the urn with atomb and canopy of stone. — Cean Bermudez,
Arq. dc Espaiia, i. 63. Diego, Historia dc los Condcs dc Barcclnna, pp.
298-301.

^ " The directors of the work of the new temple," says S. I''urio (Dic-
cionario historico dc los Prnfcssorcs dc las Bellas Artcs en Mallorca, p. 55),
" agreed to give to tlie architrct, .Master Jayme, eighteen sueldos a week for
the whole of liis life, as well when he was ill as well; and during the work,
in ca>e he should have to go on matters of business to .Mallorca — Jiis
country — the ChajHcr bnund tliemseUcs to ]iay him his travelling expenses
and maintenance as well going as returning. Tln^y promised also to give
a liousc rfiit free for him and his family, and two hundred sueldos annually
for clothing for him and his children."

58 GOTHIC ARCHITECTURE IN SPAIN

that he was much more than this, and is useful as showing tliat
these titles hterally translated are very apt to mislead.^ The
crypt of Sta. Eulalia under the choir was completed in a.d. 1339.
Jayme Fabre is said to have been master of the works until
A.D. 1388, in which year he was succeeded by el Maestro Roque,
who had an assistant, Pedro Viader. He received three
" sueldos "' and four " dineros " a day, and a hundred sueldos
each year for clothing, and in course of time his salary was raised
to " two florins or twenty-two sueldos " a week. His assistant
received fifty sueldos a year for clothes and three sueldos and
six dineros a day for his double office of substitute for the princi-
pal architect and workman. Roque no doubt was able to work
elsewhere, whilst his assistant, or clerk of the works, was confined
to one work; in this way the apparent strangeriess of the similar
pay to the two men is explained.^ Roque, who is said to have
commenced the cloister, was succeeded by Bartolome Gual,
who was one of the architects summoned to advise about the
cathedral of Gerona in 1416, and then described himself as master
of the works at Barcelona cathedral; and, finally, Andres
Escuder placed the last stone of the vault on September 26,
A.D. 1448 (5).

Having thus shortly stated the history of the building, let me
now attempt to describe its architecture and construction. It
will be seen that the plan is cruciform. The transepts do not,
however, show much on the exterior, as they form the base of the
towers which are erected, as at Exeter cathedral, above them.
The plan of the chevet is very good; it presents the French
arrangement of an aisle and chapels round the apse in place of
the common Spanish triapsidal plan; but the detail is all com-
pletely Catalan (6). The arches of the apse are very narrow and
stilted, and the columns throughout are composed of a rather

^ Mr. Wyatt Papworth's very learned and complete dissertation on this
subject in the Transactions of the Royal Institute of British Architects may
be referred to as the best paper that has been published on the architects
of our buildings. I shall reserve what I have to say on this subject for
the last chapter of this volume.

^ It is rather difficult to ascertain the exact value of the sums mentioned
in these documents — a sueldo and a dinero being both disused. The
former is said to have been a piece of eight maravedis, the latter a small
copper coin. This at the present day would be only a little over threepence
a day. In a.d. 1350 we find William de Hoton, the master-mason at \'ork
.Minster, receiving 2s. 6d. a week — as nearly as may be the same wages that
Roque received. Hoton had also a premium of £10 a year and a house, and
liberty to undertake other works. — Fabric Rolls of York, Surtees Soc.,p. 166.
At E.xeter, in the year 1300, Master Roger, the master-mason, received 30s.
a quarter, or about 2S. 4^. a week. — Fabric Rolls of Exeter, in Dr. Oliver's
Lives of the Bishops of Exeter, pp. 392-407."]

6o GOTHIC ARCHITECTURE IN SPAIN

confused jumble of thin mouldings awkwardly arranged. Above
the main arches is a very small arcaded triforium, and above
this a range of circular windows, one in each bay. The groining
springs from the capitals of the main columns, so that the
triforium and clerestory are both enclosed within its arched
wall-rib; they are consequently very disproportioned in height
as compared with those of northern churches. But here the
architect evidently intended to grapple with the difficulties of
the climate, and, designing his whole church with the one
great object of minimising the light and heat, he was compelled
to make his windows small. The clerestorv windows were
traceried, and filled with rich stained glass, which was well
set back from the face of the wall. The result is a perfect success
as far as light and shade and the ordinary purposes of a Spanish
congregation are concerned, but the difficulty of taking notes,
sketches, or measurements, in most parts of the church, even
at mid-day, can hardly be imagined. The dark stone of which
the whole church is built increases not a little the sombre mag-
nificence of the effect. There is nothing peculiar about the
chapels of the chevet; but under the centre of the choir, and
approached by a broad flight of steps between two narrower
flights which lead to the high altar, is the small crypt or chapel
already mentioned as that in which the remains of Sta. Eulalia
are enshrined. An inscription ^ records the date of the transla^
tion of her remains to this spot in a.d. 1339, but the present
state of the chapel is not suggestive of the possession of any
architectural treasures, being remarkable only for the ugliness
of its altar, and the number of its candlesticks. Behind the
altar, however, there still remains the shrine of the saint. This
is a steep-roofed ark of alabaster carried upon eight detached
columns. The ark is sculptured at the sides and ends with
subjects from the life of Sta. Eulalia, whilst the roof has her
soul borne aloft by angels. The columns are of marble, spiral,
fluted, and chevroned, with capitals of foliage, and one or two
of the bases are carved -with figures in the mediaeval Italian
fashion. A long inscription is carried round the base of the ark.
which again records the death of the saint, her burial in Sta.
Maria del Mar, and her translation to the cathedral in a.d. 878,
and afterwards to the spot where she now rests. The detail of
this shrine looks very like that of Italian Gothic of the same age ;
and as it is particularly described in the contemporary memorial

1 Given in Espana Sagrada, xxix. 314, in facsimile. In the edition of
1859 engravings both of the shrine and of the crypt are given.

BARCELONA 6i

of the translation, it is no doubt part of the work on which
Jayme Fabre had been engaged.

The transepts are groined at the level of the side chapels, and
again with an octagonal vault just above the aisle roof, and
below where the square base gives place to the octagon on
which the upper part of the steeples is planned. It is therefore
only on the ground-plan that the transepts show themselves, and
here they form porches, that on the south side opening into
the cloister. The planning of the nave is very peculiar. It
seems as though the main requirement of the founders of this
church was a plentiful number of altars; for, as will be seen on
reference to the plan, there are no less than twenty-seven distinct
chapels inside the church, and twenty-two more round the
cloister. The chapels in the south aisle have a row of other
chapels, which open into the cloister, placed back to back with
them, and the windows which light the former open into the
latter, showing when seen from the nave chapels their glass, and
when seen from the cloister chapels the dark piercings of their
openings. The arrangement is not only extremely picturesque,
but also another evidence of the care with which the sun was kept
out of the building. On the north side the chapels are uniform
throughout, and their windows are pierced in the long unbroken
north wall. The Core here is in its old position in the two eastern
bays of the nave, with the old screens around it and all its old
fittings. It is to be observed, however, that here, where the late
Spanish arrangement was from the first adopted, the western
entrance to the choir was preserved, and so the awkward blank
which the wall of the Coro generally presents on entering is
not felt. There are no signs of any parclose screens across the
transept, and the position of the chapel of Sta. Eulalia makes it
improbable that there ever were any. It seems, indeed, that
such a church as this must from the very first have been built
for precisely the kind of worship still used in it. There was
never any proper provision for a crowd of worshippers joining in
any one common act of prayer or worship. Tlie capitular body
filled the ("oro and sang the services of the day unnoticed by the
people; whilst, as tliey separated to the chapels to which each
was attached, the [)eople followed them by twos and threes to
the altar services in wliich only they wished to join. At present
not more than about half the altars are commonly used; yet
still each morning mass was generally being said at three, or
four, or five of them at the same time, and each altar every day
seemed to have a considerable group of worshippers, among

62 GOTHIC ARCHITECTURE IN SPAIN

whom I noticed a considerable number of men of the upper class. .
The high altar seems always to have had curtains on either side
of it, their rods being supported on columns of jasper in front.
These curtains were drawn at the Sanctus, and remained so until
the consecration was completed (7). One sung mass only is
celebrated at this altar each day, and an old treatise on the
Customs of the Church cites in defence or explanation of this rule
the words of a very early council, una missa et unum altare}
West of the Coro are two bays of nave, over the western of which
rises the lower part of a rich octangular lantern. This is carried
on bold piers of square outline, which, from the very simple
arrangement of the shafts of which they are composed, have the
grandeur of effect so characteristic of Romanesque work. The
cross arches under the lantern are lower than the groining, and
on the east face the spandrel between the two is filled in with
rich tracery and arcading. Arches are thrown across the angles
to carry the octagonal lantern, of which the lowest stage only —
which is well arcaded — is built. The whole of this work is so
good of its kind that it is much to be lamented it was never
completed ; the design of the octagonal lantern at the west, and
the two more slender octagonal steeples at the Crossing, would
have been as striking in its effect, doubtless, as it would have
been novel in its plan, though it may be doubted whether, in so
sliort a church, it would not have been overpowering (8). Above
the side chapels, on each side of the nave and at the west end,
another floor is carried all round. The only difference is that
the rooms above the chapels are square-ended, not apsidal, and
there seems to be no evidence of their having been intended for
altars. I saw no piscinae and no Retablos in them, and was
tempted to imagine that the present use may, perhaps, have
been the old one — that of a grand receptacle for all the machinery
in fetes, functions, and the like, of which a Spanish church
generally requires no small store.'- There are arches in the
wall, affording means of communication all round this upper
floor, and the chambers all open to the church with arches, and
have traceried windows in their outer walls. The transverse
section of the nave is therefore novel, and unlike any other
with which I am acquainted, and interested me not a little.

Tb.e exterior is, perhaps, less interesting than the interior.
The clievet is fine, but with nothing in any way unusual in its

' Villanucva, Via'^c d las Ii^lesias de Espaiia, xviii. 157.
" The account of tlio buildin"; of Sr^ovia Cathedral, fjiv on in the. Appen-
dix, TMcntions the jirovision of rooms for this jmrposc.

I',AK( J'.I.OXA ( AI'lli:i)KAl,

INTI KlOk Ol WIS I INl) Ol- NAVi:

64 GOTHIC ARCHITECTURE IN SPAIN

design; the upper part of the buttresses is destroyed, and the
walls finish without parapet or roof, so as to make the church
look somewhat like a roofless ruin. The steeples are quite plain
below their belfry stage, under which are arcaded string-courses ;
the belfry stages themselves are richly panelled and pierced, and
surmounted by pierced parapets. They are not perfectly octa-
gonal in plan, the cardinal sides being the widest, and their height
from the floor of the church is as nearly as I could measure
179 ft. 6 in., whilst their external diameter is about 30 feet. It is
on ascending these towers that one of the greatest peculiarities of
the Barcelonese churches is seen; they are all roofless, and you
look down on to the top of their vaulting, which is all covered
with tiles or stone neatly and evenly laid on the vault, in such a
way as effectually to keep out the weather. The water all finds
its way out by the pockets of the vaults, and by pipes through the
buttresses with gurgoyles in front of them. Everything seemed
to prove that this was not the old arrangement, for it is pretty
clear that the walls had parapets throughout, and that there
were timber roofs, though I saw no evidence as to what their
pitch had been. The present scheme, ugly and ruinous as it
looks — giving the impression that all the church roofs ha-\'e
been destroyed by the fire of the fortresses above and at the side
of the city — seems nevertheless to have solved one of those
problems which so often puzzle us — the erection of buildings
which as far as possible shall be indestructible. There is now
absolutely no timber in any part of the work; but it is of course
questionable whether a roof which endures the test of a Spanish
climate, with its occasional deluge of rain succeeded by a warm
drying sun, would endure the constant damp of a climate like
ours. But, at any rate the makeshift arrangement which is
universal here is very suggestive. The flying buttresses are
insignificant, owing to the small height of the clerestory.

Descending from the roof, the only other old portion of the
church to be mentioned is the north transept. It is here that
the two inscriptions given at p. 57 are built into the wall on
either side of the lofty doorway. The doorway is finely moulded,
and has a single figure under a canopy in its tympanum ; above
it the whole face of the wall is covered with very rich arrange-
ment of niches, making an arcade over its whole surface, but
there are no figures left in them (9). Over this again is a rose
window under an arch, and then the octagonal tower. To the
east of the transept are some round-headed windows, but my
impression is that they are not of earlier date than the rest of

BARCELONA 65

the work. The outer wall of the north aisle of the nave has a
row of very richly moulded windows lighting the chapels, and
other windows over them which light the galleries over the aisle
chapels. The eaves here have a simple round-arched corbel-
tabling.

The west front is all modern and squalid ; the original design
for its completion is said to exist among the archives of the
cathedral, and ought to be examined; I was not aware of this
until long after I had been at Barcelona. Don F. J. Parcerisa^
gives a view of this proposed front — an extremely florid Gothic
work — but the drawing is so obviously not the least like an old
one, that I hardly know how far to trust the statements about
it which he makes. He describes it as being on parchment,
sixteen palms long, and much defaced. The print is drawn in
perspective, and elaborately shaded. It is a double door, with a
steep gal)le above filled with extremely rich flamboyant tracery,
and there are large pinnacles on either side and a great number
of statues.

The cloisters are not good in their detail, but yet are very
pleasant: they are full of orange-trees, flowers, and fountains.
One of these is in a projecting bay at the north-east internal
angle, and is old; another by its side has a little S. George and
the Dragon, with the horse's tail formed by a jet of water; and
a third, and more modern, plays in the centre among the flowers.
In addition, there are some geese cooped up in one corner, who
look as if their Hves were being sacrificed in order to provide
pates for the canons; and finally a troop of hungry, melancholy
cats, who are always howling and prowling about the cloisters
and church, and who often contrive to get into the choir-stalls
just before service, whence they are forthwith chased about by
the choristers and such of the clergy as are in their places in
good time! These cloisters are said to have been completed in
A.D. 1448.- and I have no doubt this date is correct. On the
exterior they are bounded on three sides by streets, and the
apsidal ends of the chapels do not show, the wall being straight
and unbroken. The cloister is lofty and has panelled buttresses
between the windows, of which latter the arches only remain,
the traceries having been entirely destroyed (10). The view from
hence of the church is one of the l)est that can be obtained, the
octagonal transept towers being the most marked features. The
floor is full of gra\estones, on which the calling of the ])ers()n

' I'arccrisa, Kecueriios, etc., dc Espaiki, Cataluna, i. 57.
- Viui^i: l.il. wiii. 143.
II E

66 GOTHIC ARCHITECTURE IN SPAIN

commemorated is indicated by a slight carving in relief of the
implements of his trade.

The chapel of Sta. Lucia, at the south-west angle of the
cloister, is probably a relic of the first church; it has a very fine
round-headed doorway with its arch-mouldings covered with
delicate architectural carving, and a lancet window under its
verv flat-pitched gable. The roof inside is a pointed waggon-
vault. The door from the cloister into the south transept is of
about the same date; it has three shafts in the jamb (one of them
fluted), very deep capitals and abaci covered with carving of
foliage, and an archivolt covered with chevron patterns of a flat
and very unusual character. The label is large and carved with
very stiff foliage. The foliage here is to a slight extent copied
from the acanthus, but much of it is derived from some other
leaf — I believe from the prickly pear.

When the fabric has been passed in review much still remains
to be seen within its walls. A large number of the altars, par-
ticularly those of the cloister chapels, were furnished in the
fifteenth century with Retablos of wood richly carved, and then
painted with subjects: these are always placed across the apse,
leaving a space behind the altar, to which access was obtained
by doors on either side of it. Perhaps then as now the priest
attached to the altar kept his vestments in the chapel in which
he ministered, and these spaces may thus have been utilised.
Usually, nowadays, in Spanish churches, for some ten or twenty
minutes before the offices are sung in the choir, priests may be
seen unlocking the gates of their chapels, vesting themselves, and
then going one by one to their stalls in the choir, and there
waiting till, on the clock striking the hour, the service commences.
The paintings in the old Retablos are sadly defaced and damaged ;
but many of them have e\ddently had much value and interest.
They are usually rather of Flemish than of Italian character,
generally well and quaintly drawn, and with those striking
contrasts of colour on gold grounds, of which this early school was
so fond (lo). The doors on either side of the altar have generally
a whole-length figure of a saint painted on them.

Across the outer archway of all these chapels is an iron grille ;
very many of these are mediaeval ; and in the cloister in par-
ticular there is a very considerable variety in their treatment, and
often great deHcacy of execution. I have before noticed the
excellence of the smiths' work in the Spanish churches. Yet
though their work is of the latest age of Gothic, it is never
marked bv that nauseous redundance of ornament in which so

15AK( i:[.().\A ( ATHEDRAF.

VIKW OI' Tin-; STICKPI.ICS IKOM THE CUOISTKk

GOTHIC ARCHITECTURE IN SPAIN

many of the most active metal-workers of the present day seem
to revel. Hence it is always worthy of study. The doors in
these screens are generally double, and shut behind some sort of
ogee-arched crocketed head, and sometimes there are crocketed
pinnacles and buttresses on either side. The locks are often,

of course, specially elaborate;
and the illustration which I
give of one of them will serve
to show their general char-
acter. In all the screens .here
the lower part is very simple,
consisting generally of nothing
but vertical bars, through
which one can see without
difficulty to the altars which
they guard. The ornament is
reserved for open traceried
crestings, with bent and
sharply-cut crockets, for tra-
ceried rails, and for the locks
■^ and fastenings.
[^ The woodwork of the choir-
?^ fittings is of very late date,^
but good of its kind. The stall-
divisions are richly traceried
under the elbow, and the misereres carved with foliage. Behind
the stalls, and under the old canopies, is a series of Renaissance
panels, covered with paintings of the arms of the Knights of
the Golden Fleece.^ The canopies above are very delicate, and
of the same character as the stalls. The carved oak pulpit is
corbelled out at the east end of the north range of stalls, and is
approached by a staircase outside the arcaded stone parclose,
which still remains north and south of the choir. This staircase,
with its arched doorway between pinnacles at the bottom, its
traceried handrail fringed at the top with fantastic ironwork, and

' The lower range of stalls was made in 1457, by Matias Bonife, for
fifteen florins for labour for each. In his contract with the Chapter he
agrees to carve all the seats, but " in no wise any beasts or subjects." In
1483 Miguel Loquer made the pinnacles of the upper stalls. The Chapter
disputed the goodness of his work, and he died — partly of disgust, appar-
ently — during the lengthy disi)ute. The Chapter then named arbiters,
who, after a formal examination, j^ronounced them to contain grave
defects. — I'arcerisa, Rccuerdos, etc., Cataluna, i. 59.

'■^ Here, in 1519, Charles V. celebratc^d an installation of the Golden
Meece — -the only one <'ver held in Sjiaia. — Ford's Handlxiok, p. 413.

Lock on Screen in Cloister

BARCELONA 69

its door cunningly and beautifully made of open ironwork^ is
quite worth notice.

The Bishop's throne, second only in height and elaboration to
that of Exeter, occupies its proper place at the east end of the
southern side of the choir, with one stall for a chaplain beyond
it. It will be remembered that in most Spanish cathedrals it is
placed where the door from the nave into the choir ought to be:
here, however, the old arrangement has never been altered.

The principal altar has a very Gothic Retablo, covered with
gilding till it looks like gingerbread. I imagine it to be modern.
It has curtains on either side, with angels standing on the
columns which carry the rods. The iron screen across, in front
of the altar, and round the apse, is none of it old.

Near the door to the sacristies a hexagonal box for the wheel
of bells is fixed against the wall; and just below it a fine large
square box arcaded at the sides, and painted, appears to contain
a couple of larger bells (11).

The sculpture here is not very remarkable. Over the east
door of the cloister is a Pieta in the tympanum, whilst the finial
of the canopy is a crucifix. The bosses at the intersection of the
ribs in the nave are of enormous size, and each has a figure or
subject. The boss in the chapel over the font in the north side
of the west door has the Baptism of our Lord, and another in the
large chapel in the north-west of the cloister has the Descent of
the Holy Ghost, and the eight bosses around it the Evangelists
and Doctors. Some of the monuments are peculiar. The
effigy is generally laid on a sloping stone, so as to suggest the
greatest possible insecurity. There are sculptures on the tombs
and inside the enclosing arch; a favourite and odious device in
this last feature is to make the radius of the label much longer
than that of the arch below it; and the space between the two is
then filled with tracery. The nave groining was once painted.
There seems to have been cinquecento foliage extending from the
centre, about half-way across each vaulting cell; and the ribs
were painted to the same extent. In the aisles there seems to
have been no painting anywhere but on the ribs.

The old organ occupies the north tower, and is corbelled out
boldly from the wall. Below it is a pendant, the finish of which
is a Saracen's head, which, for some reason unknown to me, is
held by Catalans to be appropriate to the position. There are
enormous painted shutters, and a projecting row of trumpet-
pipes. The organ was first of all built in the fourteenth century;
Martin Ferrandlis, organ-builder of Toledo, having bound himself,

70 GOTHIC ARCHITECTURE IN SPAIN

by a contract dated July 25, 1345, to construct it for 80 libras ^
(pounds).

The sacristies are old and vaulted. The sacristan knew of no
old vestments or vessels to be seen there; and as they were
always occupied by clergy I had to satisfy myself with his
ignorance.

The bishop's palace is on the south side of the cloister: its
quadrangle still retains some remains of good late Romanesque
arcadingj ornamented with dog-tooth, nail-head, and billet
mould; and probably there is more to be seen if access were
gained to the inside. On the opposite side of the cathedral is a
vast barrack, dating from the fifteenth century, and which, first
of all a palace, was given in a.d. 1487 by Ferdinand to the In-
quisition. It seems now to be a mixture of school, convent, and
prison, and is apparently without any architectural interest.

The grandest church, after the cathedral, is that of Sta. Maria
del Mar, a vast building, of very simple plan, and exceedingly
characteristic of the work of Catalan architects.^ An inscription
written in Limosin (Catalan) on one side, and in Latin on the
other,^ gives the date of the commencement of the work as a.d.
1328; and it is said by Cean Bermudez not to have been finished
until A.D. 1483;* but Parcerisa^ says that the last stone was
placed on November 9, 1383, and the first mass said on
August 15, 1384; and I am inclined to think that the latter
dates are the more likely to be correct. I have found no
evidence as to the architect of this church : he was one of a school
who built many and exceedingly similar churches throughout
this district. My impression is that he was njost probably
Jayme Fabre, the first architect of the cathedral. Fabre had
constructed a church for the Dominicans at Palma, in Mallorca,
between the years 1296 and 1339. Of this church I can only
learn the dimensions; but these point to a church of the same
class as those in Barcelona. It had no aisles, and was 280 palms
long by 138 broad. The cathedral in the same city is figured in
Parcerisa, and is similar in plan to Sta. Maria del Mar, but of far
larger dimensions, the width from centre to centre of the nave
columns being 71 feet, and the whole church 140 feet wide in the

* Viage Lit. xviii. 142.

^ Plate XVII., p. 78.

' In nomine Df;i nostri Jesu Christi ad honoreni sancta,' .Marian fuit in-
ceptuin opus fabricaj ecclesia; BeataB Mari;e dc Mari die Animntiationis
ejusdcna, viii. Kal. Aprilis Anno Domini mcccxxviii.

^ Cean Bermudez, Arq. de Espaiia, i. 61.

■' Rccuerdos, etc., Cataluna, i. p. 66.

BARCELONA 71

clear, and with the chapels 190 feet. There are north and south
doors, and octagonal pinnacles at the west end, and, as will be
noticed, its dimensions are proportioned just as at Sta. Maria del
Mar (12). I do not think that Fabre's name occurs in connection
with the cathedral at Palma; but his fame must have been
great, as he was specially summoned to Barcelona by the king
and bishop; and nothing is more likely than that he would then
have been consulted about this other great work going on at the
same time, and in which, though the general design is different,
there are so many points of similarity. The church at Manresa
is said to have been commenced in the same year, 1328; and it
is extremely similar in all respects to Sta. Maria del Mar, as I
shall have further on to show when I have to describe it.

But whether these churches are to be attributed to the influ-
ence of one man suddenly inventing an innovation, or of a
school of architects working on the same old traditions — and I
have been unable to find any kind of evidence of this — it is
certain that they are very similar. They are marked by extreme
simplicity, great width, and great height. Usually they have
no arcades and consist of broad unbroken naves, always groined
in stone, and sparely lighted from small windows higli up in the
walls. The two examples, so far as I know, which surpass all
others, are the single nave of Gerona, seventy-three feet wide in
the clear, and the nave and aisles of the Collegiata at IManresa,
sixty feet wide from centre to centre of the columns and a hun-
dred and ten between the walls of the aisles. The Barcelonese
examples do not equal the extraordinary dimensions of these
two churches, but they are still on a fine scale. Sta. Maria del
Mar is the only Barcelonese example with aisles. It has — as will
be seen by the plan ^ — an aisle round the apse, and small chapels
between the buttresses. These apses are all internal only, so
that the side elevation of the church shows a plain straight wall
pierced with windows. This is a very favourite device of this
school, and has been already noticed in the north wall of the
cathedral, and in the wall all round the cloisters. The interior
of Sta. Maria del Mar is very simple. I'Jiormous octagonal
columns carry the main arclies and the groining ribs, which all
spring from their capitals. The wall rib towards the nave is
carried up higlicr than the main arches so as to allow space
l)etween tliem for a small cinLilar and tracericil clcrcstorx-
window in each bay. The arrlu-s of tiie apse are vvvv narrow,
and enormously stilted. There are small windows ahoxc them,

» Plate .WII., p. 78.

B?(Raa()N;^:_ Qrimnii = PlHii=iif:(:BtMi'Hl,: (Ilni:

"Reference to "Plan-

lanteinv,
■ Oivii:
Old Screen.'.
Modern. Screen,,
Pulpit.

Dishens TfifCiiw...
Ai.sLri-.
C]i<iprl.t.
TrajtA-rpU-.
SaxrLslir.s.
Screen. iReja.).

Steps dowrvto Oiap.cFSSulaUa,
Steps up to jlliar.
llujlo Altar.
AUxu's.
CLoisters,
Fouhtairv.
Touidauv of S.Gcorge.
Chapel of S. Lucia,.
Chapter lioom^.
Treasury .
Cloister doors.
Tfot cramiiied.,.
Garden,.
Orgeuv Overdhis TfOilScpt.

fH'

:■•;';■ ':£^":;'fvlv

X ;^;i!^' "^ '3.' :■ >■

5 p=?=.Tp^^;^^:j-.^^

..■ „' ,.7' V .. ..;^

V N';»^' ^,,. ■'

l:.-^:n.;:„ .y!V.^<.

(0 Htij •

74 GOTHIC ARCHITECTURE IN SPAIN

but they are modernised. The aisles are groined on the same
level as the main arches^ a few feet, therefore, below the vault of
the nave, and they are lighted by a four-light traceried window
in each bay, the sill of which is above a string-course formed by
continuing the abacus of the capitals of the groining shafts.
Below this there are three arches in each bay, opening into side
chapels between the main buttresses. Each of these chapels is
lighted by a traceried window of two lights; and the outer wall
presents, as will be seen, a long unbroken line, until above the
chapels, when the buttresses rise boldly up to support the great
vaults of the nave and aisles. The Barcelonese architects of this
period were extremely fond of these long unbroken lines of wall;
and there is a simplicity and dignity about their work which is
especially commendable. Long rows of little sheds for shops
which have managed to gain a footing all along the base of the
walls rather disturb the effect, though they and their occupants,
and the busy dealers in fruit who ply their trade all about Sta.
Maria del Mar, make it a good spot for the study of the people (13).

The altar is a horrible erection of about a.d. 1730 (14), and all
the internal fittings are modern and in the worst possible taste.

The view which I give of the west front will explain the whole
design of the exterior. Unquestionably it is a grand work of
its kind, with good detail throughout. The great octagonal
pinnacles at the angles are, however, awkwardly designed, and
quite insufficient in scale for the vast mass of building to which
they are attached. They are reproduced in all the churches of
the same class in Barcelona; and indeed most of the features of
one of these churches are common to the others. The tracery in
the circular window at the west end certainly looks later in date
than that of the others in this church, and than that in the west
front of Sta. Maria del Pi, which was commenced in a.d. 1329,
but not completed until much later. It is worth mention that
the western doors of this church are covered with iron, cut-out
into the form of cusped circles, with rather good effect.

The church of SS. Just y Pastor is of the same class as Sta.
Maria del Mar, but its foundation is slightly later, as it seems to
have been commenced circa a.d. 1345. It consists of a nave
without aisles, but with chapels between the buttresses — one
chapel in each bay. There are five bays, and an apse of five
sides. The altar stands forward from the wall, and stalls are
ranged round the apse. The nave is 43 feet 6 inches in width in
the clear by about 130 feet in length. The vaulting is quadri-
partite throughout, with large bosses at the intersection of

STA. MARIA Dl'L MAR, BARCELONA

SOUTH-WKST VIKW

76 GOTHIC ARCHITECTURE IN SPAIN

the ribs, on which are carved — i, the Annunciation; 2, the
Nativity; 3, the Presentation; 4, the Adoration of the Magi;
5, the Resurrection; 6, the Coronation of the B.V.M. The
whole church has lately been covered with painting and gilding,
in the most approved French style, and to the destruction of all
appearance of age. The light is admitted by three-light windows
with good geometrical traceries, very high up above the arches,
into the side chapels, and by two-light windows in the chapels
themselves. At the west end are remains of the usual octagonal
flanking turrets; but the whole front is modernised. The side
elevation is a repetition of those already described, presenting
a long unbroken wall below, out of which the buttresses for the
clerestory rise.

Santa Maria del Pino is a still grander church, but on the
same plan, with the addition of a lofty octagonal tower detached
at the north-east of the church.^ This is four stages in height,
and the belfry-stage has windows on each face. The traceried
corbel-table under the parapet remains, but the parapet and
roof are destroyed. The nave here consists of seven bays, is
fifty-four feet wide in the clear, and has an eastern apse of seven
sides. The chapels between the buttresses are not carried
round the apse, but an overhanging passage-way is formed all
round outside, upon arches between, and corresponding openings
through, the buttresses just below the windows. The north
door here is a very fine early work of just the same character as
those already described in the earliest portions of the cathedral.
It appears to be a work of the end of the twelfth century, and
much older than any other portion of the church. The west
front has a doorway with a figure in a niche in the tympanum,
and a system of niches round and above it, enclosing it within a
sort of square projecting from the face of the wall. The whole
scheme is so exceedingly similar both in design and detail to
that of the north transept door of the cathedral, that we may
fairly conclude them to be the works of the same man. Above
the door is a large circular window filled with good and very
rich geometrical tracery. A church existed here as early as
1070; 2 and Cean Bermudez says that the first stone of the
present church was laid in 1380, and that it was concluded in
1414.^ Parcerisa,* on the other hand, says that materials were

1 Plate XVII., p. 79.

^ Viage Literario a las Iglesias de Espana, xviii. 161.

' Arq. de Espana.

* Kecuerdos, etc., de Espana, Cataluna, vol. i.

BARCELONA 77

granted for the work in 1329, that it was nearly finished in 1413,
and consecrated in 1453; ^ whilst in a.d. 1416 we have Guillermo
Abiell describing himself as master of the works of Sta. Maria
del Pi, and of S. Jayme, in Barcelona, when he was called as one
of the Junta of architects to advise about the building of the
nave of Gerona cathedral. ^

S. Jayme, of which Abiell was the architect, is a small church
in the principal street of the city, with an ogee-headed door
with a crocketed label between two pinnacles. Above are some
small windows; and the whole detail is poor in character, and
exactly consistent with what might be expected from an archi-
tect at Abiell's time. I believe, therefore, that either Abiell
was only the surveyor to an already existing fabric, who wished
to make the most of his official position among his brethren at
Gerona, or that if he really executed any works at Sta. Maria del
Pi they were confined to the steeple, which is of later character
than the church. I believe that the real meaning of the dates
given by the authorities just quoted is as follows: — In a.d. 1329
stone was granted for the work which was then no doubt just
commenced at the same time as the similar work in the transept
of the cathedral; and the consecration probably took place in
A.D. 1353, a date which occurs in an inscription in the church,
and has been, I suspect, read by Parcerisa by mistake, 1453;
and the work commenced in a.d. 1380 was probably the steeple,
which was completed in a.d. 1414. To decide otherwise would
be to ignore altogether all the information to be derived from the
character of the architectural detail, which, after all, is to a
practised eye a safer guide than any documentary evidence. I
should assume, too, from the identity of the character of the
two works, that Jayme Fabre was the architect who designed
the church, and that Guillermo Abiell probably built the tower
some time after his death.

1 must now take my readers back somewhat to an earlier
church, which is full of interest, but very different from those
which I have been describing, and of different style. This is the
church of Sta. Agata, situated just to the north of the cathedral.
I have been unable to learn anything as to its history (15). It
has a nave of four bays, spanned by pointed arches, which carry
the wooden roof, and a groined apse of five sides. East of

' An inscription is jjivcn by Villanucva, Vraf^e I.iterarid, xviii. 162, said
to b<; cut on the jamb of the side doorway, which records tlie consecration
of this churcli on June 17th, 1453.

2 See Appendix.

I:)HPvGHLOXH:-Gr.oun5 Plan;s of S^M&vh hi Maij:

Santa Maria del Mar

Plate XVII.

S!? Marja M. Pi:- anii ti\c (]nlli.i;iata oF SJ! ?lna-.

x\. r

l.l*..„l.,rvr2:^j V. V> "^

Colie'Jiatu ol' Santa Ana.

Pl-ATK XV 11.

8o GOTHIC ARCHITECTURE IN SPAIN

the apse is a waggon-vaulted chamber, whose axis is at right
angles to that of the church, and out of it rises a delicate octagonal
steeple, the belfry-stage of which has two-light windows on
four sides, and gables on each face. These gables run back
till they intersect the base of a low stone spire, which is now
nearly destroyed, but the lower part of which can be clearly

Interior or Santa Agata

made out from the neighbouring steeple of the cathedral. A
staircase, ingeniously constructed in the thickness of the south
wall (i6), leads up from the nave to the pulpit (now destroyed),
and thence on again to a western gallery. Some of the windows
are like domestic windows in design, having a slender shaft-monial
with the capital of foliage so often repeated in all the towns from
Perpinan to Valencia. The great height of the windows from
the floor — about twenty-six feet — secures an admirable effect

BARCELONA 8i

of light, and their detail is thoroughly good early middle-
pointed. The southern fagade has a great deal of that pictur-
esque irregularity which is always so charming when it is natural.
The door is in the western angle of the south front, partly built
under a great overhanging arch, which carries the wall of a build-
ing which abuts on the west end of Sta. Agata. The lower half
of the walls has small windows irregularly placed, lighting the
eastern chapel, the pulpit, and the passage to the gallery; and
then above them the wall is set back a couple of feet between
buttresses, and each bay has an extremely well designed and
moulded window of two lights, with geometrical tracer^^ The
finish of the walls at the top is modernised. The construction
of the roof is very effective, and at the same time of a most
unusual character; it consists of a series of purlines resting on
corbels in the walls over the arches across the nave; and though
it is of flat pitch, this is but little noticed, owing to the good
proportions of these arches, which are so marked a feature in
the design.

The same kind of roof exists still in the great hall of the Casa
Consistorial. and evidently once existed also in tlie church
which I shall presently mention in the Calle del Carmen. In
England we have somewhat parallel examples at Mayfield and
the Mote House, Ightham; but these Barcelonese examples
are useful, as showing how, when a flat-pitched roof is of neces-
sity adopted, a very good internal effect may nevertheless be
secured. This church is now desecrated, and used as a sculptor's
workshop.

Another church, of which only the ruins now remain, in the
Calle del Carmen, must, I presume, be Nuestra Senora del
Carmen, founded in 1287.^ This building was evidently greatly
altered in the fourteenth century. It was first of all roofed
with a flat roof, carried on arches across the nave, as at Sta.
Agata, and sut^equently the walls were raised and the church
was groined. The groining is now destroyed, and behind it
are seen the cc^rbels in tlie cross wall marking the rake of the
first roof. The aisles had roofs gabled north and south, and
tlieir windows good fourteenth-century tracery. This church of
seven Ijays in length is 43 feet wide between the columns of the
nave, anrl nearly 80 feet wide from north to south. Compared
with Sta. Agata, it seems to prove that this class of timber-
roofed churc-h was introduced here between the early waggon-

* C'-aii IJcriniidfz, Arq. dc lispana, i. 55. But Diego, Histaria de los
Condes dc liarccUnia, \). 316, puts tlie foundation in A.n. 1293.

II F

82 GOTHIC ARCHITECTURE IN SPAIN

vaulting of the chapel of Sta. Lucia and of Sta. Ana^ and the
great quadripartite vaults of the cathedral and the other churches
of its class (17).

The other churches here are not of much interest. The front
of San Jayme has already been incidentally mentioned : its in-
terior is modernised. San Miguel is probably a very early church,

Casa Consi'storial, Barcelona

having a Roman mosaic pavement preserved in the floor. It has
a pointed waggon-vault, and a sixteenth-century stone gallery
at the west end. The western front has a rich west door, half
Gothic and half Renaissance, with S. Michael and the dragon
in the tympanum, and the Annunciation in the jambs. The
fiat gable has its old crocketed coping and cross, and two very
small windows. The best feature is the tower, a simple structure,
square in plan, from within the parapet of which, over the centre,
rises a small square turret, o)>cn at tlic sides and roofed witli four

BARCELONA 83

intersecting gables. It is a pretty arrangement for carrying a
fifth bell, the other bells hanging in the belfry windows in the
Italian fashion. The church of San Anton has a groined narthex
or porch all across the west front, with three open arches in
front. The nave cannot be wide, and has chapels between the
buttresses, but I did not see the interior (18). Another church,
that of San Geronimo, is on the same plan, but of later date.^
The churches of the Renaissance class are numerous and ugly;
but Eerruguete and his followers hardly perpetrated so many
freaks in art here as they did in the centre of Spain ; had they
been more popular, there had been much less for me to describe.
But in truth, rich as this old city still is, it was much richer, two
or three noble churches having disappeared at a comparatively
late period, either during the war or in subsequent popular
disturbances.

The civic buildings are quite worthy of the ancient dignity of
the city. The Casa Consistorial, and the Casa de la Disputacion,
face each other on opposite sides of the principal square, not far
from the cathedral. The former has a modern Pagan front, but
on the north side the old work remains. This building is said to
have been commenced in a.d. 1369, and finished in a.d. 1378;-
and inside the great hall I noticed an inscription (which unfor-
tunately I neglected to copy) with the date of 1373. The old
front to the north of this building seems worthy of illustration.
The enormous arch-stones of the principal doorwa}- are very
common throughout Cataluna, and are seen indeed as far east
even as Perpiiian. The figure of S. Michael (19) has metal wings ;
and as the little church dedicated in honour of the same arch-
angel is just on the other side of the Casa, it seems as if there was
some special connection between the two buildings. The patio or
quadrangle is oblong in plan, and on the first floor the passage
is open to the air, with delicate arches all round. On the east
side of this passage a door opens into a noble hall, with a dais
for the throne at the upper end, and doorways on each side of the
dais. This hall is spanned by four moulded semi-circular arches
rising from corbels formed of a cluster of shafts. These arches
support a flat ceiling of rafters, with l)oarding between them,
resting on corbels in the cross walls. The light is admitted by
large cusped circles high up in the side walls, and by good ajiiiicz
windows of three lights at the dais end. The rafters of the roof

' \'illaiiuc\'a, ['('(■//;<■ l.ilcrarin, wiii. 1(15, incntinns llic r(in\iiit uf San
I-'raiirisro as still ( xistin^; (in 1S51).

- I'arccrisa, Rccutrdiis, dr., ('(tltdiiud, i. 1117.

CxOTHIC ARCHITECTURE IN SPAIN

are all painted with coats-of-arms enclosed within quatrefoils,
with a very rich effect. The dimensions of this room are about
40 feet wide by 90 feet long, and 45 feet in height. In a passage
near it is an admirable ajimez window, which, as it illustrates this
common type very well, is worth preserving a record of. The
marble shafts here are only three inches in diameter.

The Casa de la Disputacion was still more interesting; but on

Ajimez Window

my last visit the delicate arcades of its beautiful patio were all
being walled up with common brick, leaving narrow slits of
windows, which T suppose are to be glazed, to save the degenerate
lawyers for the future from any of the chance squalls of wind or
rain which their predecessors have endured since the fifteenth
century, when Master Pedro Blay, the architect, superintended
its erection. Tins paiio is of three stages in height, with a pic-
turesque external staircase to the first floor. The lofty corridor
round the first floor leads to the various courts and offices, and in
one angle of it is the entrance to the chapel, consisting of three
small arches, forming a door and two windows, with the wall

BARCELONA 85

above them covered with an elaborate reticulation of tracery.
The arches have ogee crocketed canopies, and the side arches
iron grilles. This chapel is dedicated to S. George, the tutelar
saint of Catalufia, and a figure of the saint rivals that of S.
Michael in the Sala Consistorial (20). There are here some
extremely well-managed overhanging passage-ways corbelled out
from the walls, and various excellent features of detail. The
parapets generally to the various passages are of plain stone slabs,
pierced here and there only with a richly traceried circle.

Another old building — the Lonja or Exchange (21) — was built
near the sea in a.d. 1383.^ But everything old has been com-
pletely destroyed, with the one exception of its grand hall, which
still does service as of old. This consists of three naves, divided
by lofty and slender columns, which carry stilted semi-circular
arches. The ceiling is flat, of the same description as that of the
Sala Consistorial. The dimensions are about 100 feet in length
by 75 feet in width.

Another great building, founded soon after, circa 1444, was
intended for a cloth-hall:^ in 1514 it was converted into an
armoury, and subsequently into a residence for the Captains-
General of Cataluiia; it has been completely modernised
throughout the exterior, and I did not see the interior.

Cean Eermudez mentions an interesting fact about the con-
struction of the old Mole. It was built, he says, by Estacio, a
famous hydraulic architect of Alexandria, in a.d. 1477; and the
city authorities took counsel about it with the most learned
professors of Syracuse, Rhodes, and Candia (22).

NOTES

(i) See note 22, at tlie close of the chapter, on San Cnf,'at and
Pedralbes.

(2) San Pablo has been freed from surrounding buildinns, and
the barrack lias disappeared. On the west front the other two
evangelical beasts, the lion and the ox, flank the outer arch of the
doorway and may be recognised in the drawing.

(3) San Pedro was burned in the ]X)pular rising three years ;igo,
at the same time with S. .\nthony Abbot, and the restoration since
has been pretty complete rebuilding.

(4) It is now so blocked up with the altar and dossal as to be
invisible. Santa .\na is said to possess a Pentecost by Puis liorrassa,
but I never could find it in the dark.

' Cean Berinud</., .1/"'/. dc Esp. i. yo. -Hula df paiios.

86 GOTHIC ARCHITECTURE IN SPAIN

(5) A little more detail has come to light. Jaime II. and Bishop
Bernard Peregri founded it, May 7, 1298. In 1329 the apse and
transepts were done, in 1338 the crypt and Capilla Mayor, and the
relics were translated; at that time they were carving the keys for
the vault of the nave, i.e. over the choir. In 1388 were raised the
pillars of the trascoro, near which was the chapel of the shoemakers,
that they built in 1345. In 1420 the nave was finished and west
wall put up. The bays of the trascoro belong to Master Riquer, 1 388.
At that time Master Francesch Franch was working on the cloister;
Andres Escuder finished it in 145 1, and under Bishop Sapora
linished the cathedral. In the last third of the nineteenth century
the west front was constructed in the most approved imitation of
French Gothic. In 191 2 was finished the French Gothic lantern
at the west. Men are already complaining that it does not compose
well with the octagonal Catalan towers eastward, and that the dead
stone work of the fa9ade is wrong anyway.

(6) The plan is almost copied from that of Narbonne, and the
style is a compromise between that of Languedoc and that of the
north of France. But the effect is like none of these : the cathedral
of Barcelona is a perfect thing, a whole not to be accounted for by
the sum of its parts. If French, yet it is not imitative; if late, yet
it is not decadent; and it cannot be measured against a church of its
own size, but stands comparison with the greatest. The grace of
Amiens is lighter and brighter, the beauty of Chartres is darker and
more austere, but the charm of Barcelona is unparalleled in its
warmth and intimacy. In it found expression, at a moment of
immense economic expansion, a great and a free people, immensely
conscious of life, and of a life of their own.

(7) The curtains are no longer there. On the other hand, a bit
of ritual is observed that I have seen elsewhere only in Toledo. At
the moment before the Elevation a square of velvet at the back of
the altar is raised (red velvet embroidered about the edge with gold,
for every day), against which the Host is discernible from any
distance, pale and luminous.

(8) The finished lantern floods with pale light the western half
of the church, which is a doubtful advantage.

(9) On the door of S. Ives (San Ibo) in the north transept they
were still working in 1329: tliis one, called after San Severe, belongs
to an older church, but not that of Ramon Bercnguer el Vicjo. It is
of the first third of the thirteenth century in the Byzantine-Limousin
style {i.e. Romanesque of the south of France), altered for this place
by cutting the lintel, suppressing the mid-post, and damaging the
archivolt, as may be seen by looking carefully, then giving it after-
wards a tympanum and an extra high outer archivolt, both of
Gothic traceries.

(10) They have been restored, and the early Catalan paintings
sometimes referred to as in the cloisters are most of them now in the
chapter-room and the ante-room through which this is approached.
The canons are always there, doing business of their own, from nine
to eleven, and any one is at liberty to enter and stay the two hours.
In the inner room arc the choicest, and first of them is the Pieta of
B. Vermejo, which is painted in oils and not by a Catalan. Whether

BARCELONA 87

Bartolomcus Rubcus is not Maitre Roux, or Meister Roth, or
Maestro Rosso, is still disputed, but Sr. Sanperc fairly nailed the
country, if not the province, when he noted that the R in the signa-
ture belongs to Spanish palaeography. Here also are the best
panels of a retable of the Transfiguration, painted perhaps by
Benito Martorell, and ordered certainly by Bishop Simon Salvador,
who died in 1445, for the chapel under that invocation. In the
Transfiguration, Elias is habited quaintly as a Carmelite monk,
after the Spanish use ; in the Way to Emmaus, and the scene where
the Risen Christ visits His Mother and S. John in a garden, the
sudden bit of intimate life is unexpected and keen; in the Feeding
of the Multitude the entire panel is patterned over with figures like
some Japanese pieces, and the haloes spotted up and down it
complete the composition of an immense decorative genius. The
pictures in the other room are more various and more battered:
a predella of hermits in the Thebaid by a pupil of a pupil of the
Lorenzetti; a retable of SS. Cosmo and Damian, full of anecdote;
another retable, very ruined, showing only a delicate Madonna's
head and a squatting fat-faced angel like an Outamaro. An
exquisite pale panel of SS. Clare and Catharine, in the Cabrera altar-
piece, is flanked by six little saints and six little scenes, with a
Crucifixion above, a predella below, and the ancient doors that led
behind the altar. The composition of the retable, in Spain, explains
on reflection the composition of the panels: inevitably there is no
centralisation, simply difference of scale, and everything is as impor-
tant in its turn as everything else. The whole is not a whole, that
is to say simultaneous, but in sequence: this is a narrative, and not
a monumental, art. The ^Madonna which the King Don Martin sent
from Valencia is not kept here, and I have never had sight of it, but
from photographs I am disposed to venture that it came from Sano di
Pietro. In the cloister is a fine retable of SS. Tekla and Sebastian,
the latter, as usually in Catalan art, a grave bearded man.
It is very possibly by Pedro Alemany, who was painting in 1497.
Several inside the cathedral satisfy even after regilding; a fine
Visitation stands in one of the ambulatory chapels, but the best, a
very beautiful young bishop enthroned beside S. Martin, is blocked
by a trumpery modern altar and can be neither seen nor photo-
graphed.

(11) Here are now a pair of tombs, corbelled out from the wall and
covered on great days with velvet, gold-striped with the Catalan bars :
those of Ramon Berenguer el Vicjo and of his wife Dona Almodis.

(12) See note 22 on the Cathedral of Palnia.

(13) S. Mary of the Sea was built by the merchants in 1329,
burned in 1379, and rebuilt by them. The last keystone of the
vault was placed in 1388, and Mass said August 15, 1384. The
inscription, in Catalan and Latin, on either side the soutli door,
says, on the right: " En nam de la Santa Trinitat d honor de Madona
Sancta Maria fo cnmmerifada la ohra de qucsta esgleysa lo die de Sancta
Maria de Mar en lany MCCCXXV I III ., regnant Nanfos [Alfonso']
per la gracia dc Den Rcy de Arago qui conqiiis lo ragnc de Scrdenya."
The I^atin of the left makes clear the day, the Feast of the Annuncia-
tion, \'l. Kal. .\pril. See p. 70, note 3.

88 GOTHIC ARCHITECTURE IN SPAIN

(14) Read, 1630. It was dedicated the last day of that year. On
the wall of the south ambulatory hang two panels from a great
lost Catalan altar-piece of the third quarter of the fifteenth century,
the Resurrection and Pentecost, in which the armour lightens and
darkens and the tongues of flame rush down in a cataract of glory.
It is an odd touch, that the Risen Lord should have come out, like
the genie out of the bottle, from such a little coffer as Ramon Beren-
guer lies in upon the cathedral wall, locked with a great lock and
fastened with a great chain.

(15) Santa Agueda belongs to the thirteenth and fourteenth century.
On the wall of the apse are the shields of Jaime II. and Blanche of
Anjou. 1 302 the work was on ; a little later it was directed by Riquer
carpiniero ; in 13 19 it must have been already finished. The roof
inay perhaps be explained by the master's being a carpenter, but it
was a manner sympathetic to all the builders of the language d'oc,
was propagated by the Dominicans, and was cheap. The church is
now used for an Archaeological Museum, to hold things not thought
good enough for the Provincial Museum, and it contains, among
others, the Retable of the Constable, 1464. This, authenticated by
documents and provenance, offers the best point of departure for
all study of the great Vergos family of painters. It has, unfortun-
ately, so little charm as to throw suspicion on other and lovely work
attributed to the atelier of the Vergos.

(16) Read " of both walls."

(17) The Carmen was demolished in 1873, ^^n Miguel in 1874.

(18) The church and convent of S. Anthony Abbot were burned
and with them a number of line pictures collected and stacked away
by the Padres Escolapios, in the rising of 1909. In this, which was
so entirely a popular rising that the political leaders were all alike
unprepared and unable to profit, the people held the city for three
days, and while doing no damage to private persons or goods, they
burned ecclesiastical property as a solemn expression of opinion.
Later, when the police and the military regained the town, the
criminal class had their innings. Since what happened in 1835-6
and in 1909 will happen again more often on a greater scale, here is
one reason amongst others why more effort should be made to get
the great early neglected pictures and other treasures out of the dark
chapels of churches and the hands of chapters, into museums where
they can be seen and cannot be sold, and where, being national
property, they will not be endangered by any attitude that a
Spaniard may take up towards priests.

(19) Made by Johan Jordi, 1400.

(20) At present the patios have all been pulled to pieces, and
the whole place is under distressing restoration.

(21) It was begun 1357, finished July 5, 1392, according to
D. Andres Avellino Pi.

(22) For other Catalan paintings, the Museum in the Park is worth
some time. It contains, besides the Retable of the Councillors,
strongly Flemish in technique and types, finished in 1445 by Luis
Dalmau, the altar-pieces from San Cugat, which is more French than
Flemish and more Spanish than either. It contains also the eight
panels of the Retable of S. Vincent of Sarria, painted by the Vergos

BARCELONA 89

family through a long term of years, with tiie probable help of Jaime
Huguet. A fragment of a Deposition shows the chai"acteristic
composition, with a stiff horizontal Christ and the heads horizontal
abov'e ; and panels from a sixteenth - century Italianate retable,
full of Umbrian suavity and pleasure, mark almost the last moment
before the ruin began with the influence of what used to be talked
about as the Roman School. There are, moreover, for such as fancy
them, the retable of San Martin de Provensals, with its dry, merciless
portrait head of the soldier-saint; some heads and other fragments
of lovely Gothic sculpture in stone and alabaster, and some carved
and painted Madonnas of -Majesty in the ancient tradition. In
the next room to these may be sought out a number of wooden altar
frontals painted in the Byzantine tradition, that lingered on among
the mountains as late as the fourteenth century — poor, rude, and
touching. One among them shines like a star, where sainted abbots of
his order are ranged about S. Benedict like the mosaics at Ravenna,
their haloes faintly luminous like moonstones. It is impossible to
photograph, but it is one of the very beautiful things in the world.
Two of the ancient guilds preserve in their meeting places the panels
of great and glorious altar-pieces of the \'erg6s School : in the Gremio
dc los Rcvendidores, near S. Mary of the Pine, the legend of S.
Michael, told with more romantic chapters even than usual, and a
Madonna with Virgin saints — SS. Lucy, Barbara, Agnes, and
Petronilla. The Gremio de Curtidores is in the old town and hard
to find, but 1 think it is not very far from the Capilla de IVIarcus, and
no search were too long to find out the magnificent figures, painted
probably between 1489 and 1493, that play through the pageant
of the life of S. Augustine.

Sdii Citgat and Pcdralbas. The Benedictine monastery of San
Cugat del Valle is served by a motor 'bus from Barcelona twice a
day, or can be reached by taking the tram up to La Rabassada and
walking through pine woods about three miles down into the next
valley. Built on a Roman fort, and thence called San Cncitfatc
in Octaviano, it looks, even after ruin and restoration, more than
half a fortress. The nave and fa9ade (with three fine roses) are
Gothic, the head, with the cloister, Romanesque. In 986 the Moors
killed the abfjot and monks, destroyed the buildings, and burned
papers and books. In the next year Abbot Otto began the present
building. The cloister was built 1007 to 1050. Abbot Guitai'do
or Witardo, after taking counsel with the Bishops of Barcelona,
Gerona, Vich, and Urgell, sold to the Counts of Barcelona, Don
Ramon Borrcll HI. and Dona Ermesindis, in 1013, the ground
that the monastery owned in Tarassa and UUastrell, and pushed
the work, building the chapter-room, etc., with the price. After this
documents are wanting: we know simply that in the fourteenth
century the church was still a-fiiiishing, ])articularly the high altar,
and in the ne.xt likewise; a Master Allonso painted the pictures
(jf the said altar in 1473 for 900 llorins; in the eighteenth century
the baroque south chapels were added. The church has no transepts
but a nave and aisles, live bays of quadrij)artite vault, and three
])arallel a])sis: the lantern is ]}laced over the fourth, and the sanc-
tuary brought forward halfway down the lifth; the Coro Jills the third.

90 GOTHIC ARCHITECTURE IN SPAIN

The altar painting of the Martyrdom of San Medin, which is not in
the least Catalan, is preserved now in the Museum at Barcelona.
The Retable of All Saints was painted between 141 1 and 1416 by a
pupil of Luis Borrassa — a charming litany in which alternate choirs
of young men and maidens, old men and angels, array themselves
antiphonally. The theme is taken from the Golden Legend, the dream
of the Keeper of S. Peter's. Madonna, enthroned with the Holy Child
and ringed by angels, fills the great central panel, above which the
Crucifixion, though irrelevant, holds its wonted place. In the tops
of the side ranges she is adored as Queen of Angels, the heavenly
host marshalled on one side by S. Michael with lance and shield, on
the other by S. Raphael with the little Tobias. Below these, on the
left, the Patriarchs are led by S. John Baptist in camel's hair, and on
the right the Prophets, seven in all, count David among them,
crowned and playing on a zither. Queen of Patriarchs, Queen of
Prophets, Queen of Apostles, it goes, with S. Peter as pope at the
head; Queen of Martyrs, and, as Jacques de Voragine says, "The
soldiers are the martyrs and the multitude that follow are the holy
confessors; " Queen of Virgins, led oddly by S. Anne with the little
Mary on her arm, and numbering princesses and queenly nuns
among them, and the opposite panel filled with more holy women.
In the vertical divisions of the frame twelve more small saints are
set, and in the predella great half-lengths of six saints and a Pieta,
the Virgin straight from Siena. This is, or was, near the door on
the south side. Outside, the apse has half-columns and corbels,
the tower, pilaster strips and corbelling, the lantern, lancet windows
under a pointed arch. The two-storied cloister lies along the whole
north'[side, barrel-vaulted, the deep round arches set on pairs of
columns wide apart, with superb historied capitals ; a chapter-house
on the east side is now the Chapel of the Blessed Sacrament; and
the present chapter-room, on the north, was once the refectory.
The workman on the last capital {i.e. the northernrnost) of the east
side carved himself at work, and on the inside face of the buttress
adjoining engraved as follows: " Haec est Arnalli sculptoris forma
Catelli, qui claustvuni tale construxit perpetuate." " This is the effigy
of the carver, Arnaldo Cadell, who built this cloister, proof against
time." The upper gallery was built at different times in the sixteenth
century by Abbot Despuig and the Vicar General who governed
the vacant abbey from 1573 to 1589; also in their time was built the
little outer cloister that flanks the west side of the big one. Fallen
from its high estate, San Cugat yet gives the idea of a great monastic
establishment, and keeps still the gate tower, the belfry on the
abbot's quarters, the tower of the prison, and the abbot's garden
on the south sheltered by old walls.

The Convent of Pedralbes, near Sarria, possesses a fourteenth-
century church of one nave, an apse and seven bays, with chapels
between interior buttresses in the three bays east of the
portal, a lovely tomb of the foundress, Doiia Elisenda de Moncada,
the wife of Jaime II., an equally lovely cloister, in three stories, of
the delicate Catalan type, and a room inside the nunnery full of
trecento frescoes by Ferrer Bassa that are amazingly Sienese. They
were photographed for the book of Seiior Sanpere y Miguel, but the

BARCELONA 91

clausura which was hltcd for a nioment on his account has shut down
again even against women.

At Palma in Mallorca the work on the cathedral was begun in
1230. In 1232 the Chapel Royal was well advanced, and Don
Jaime I. pleased with it. Then he died ; the kingdom was
divided between Pedro III. the Great of Aragon and Jaime II.
of Mallorca, and work stopped. When peace was made between
the latter and Don Jaime II. the Just of Aragon, the work went
on again ; the king fetched from Roussillon good workmen to
turn into a palace the old Alcazar of the Almudaina, who made
pictures and reliefs for the royal rooms and built the oratory of
S. Anna. Francisco Camprodon, a sculptor of Perpignan, worked
in the palace. But the king and bishops lacked money for the
cathedral; the bishops squeezed the island and sold the right to
have one's arms on any part of the building that one paid for, and
on the keys of the nave vaults for a fixed price of a thousand libras.
All through the thirteen hundreds work was going on. 1377 Cam-
prodon went to Carcassonne for the chapter, but Beringuer Ostales
continued his work on the stalls. The record of payments on account
of the cloister begins June 3, 1346. On January 29, 1394, died
Peter Morey, sculptor, head-master of the Gate of the Sea. The
Virgin of the lintel must be his only work. 1422 Guillem Sagrera,
who had finished Perpignan, was commissioned to do a S. Peter
for the Portal of the Sea; it looks more Franco-Flemish than
Toulousan, and before that date John of Valenciennes had worked
in the place of the dead Peter, but not on the big statues, making
probably the Last Supper, and the prophets and angels in the
archivolts. The Pucrta del Mirador, the only richly sculptured one,
was begun in 1594. 1599, Juan Jordi put the glass in the western
rose for nine thousand reals of Castile. The greater part of the
church was built in the beginning of the sixteenth century. The
nave and three aisles have eight bays and pentagonal chapels
between the buttresses down both sides; the Coro occupies the central
part of the nave in the fourth, fifth, sixth, and half the seventh.
The sanctuary, which has two bays and a pentagonal apse, is flanked
by a pair of like chapels, square on the outside, and is enough lower
than the nave to allow, as at Gerona, space, where the vault drops,
for a great rose. The Chapel Royal, of two bays and a pentagonal
apse, opens to eastward behind the high altar. The vaulting is
beset with intermediate ribs, not in star patterns, but cutting up
good quadripartite structure, and six-ribbed chevets, with an inter-
mediate rib everywhere: the pillars are far too slight for the church,
but what is to be expected of the date ?

The Lonja is of the Catalan type. In 1409 the merchants peti-
tioned the King, Don Martin, and on March 3, in Barcelona, he gave
them leave to form themselves into a royal college of twentv mem-
bers, to meet to dictate rules and order business, to arm ships and
impose; a tax on outgoing and incoming merchandise, for the upkeep
of the ships and tin; building of a Lonja which shouUl ennoble their
profession and the city. 1420, the master of the uorks of the
cathedral, Guillenno Sagrera, undertook the work. Sec ji. ^t,;^.

CHAPTER XV

GERONA — PERPINAN — S. ELNE

There are few Spanish towns which are altogether more inter-
esting than the now insignificant and Httle-known city of
Gerona. It not only contains several buildings of rare architec-
tural interest, but it has, moreover, the advantage of being
picturesquely placed on the banks of the rapid river Ona, and
on the steep slope of the hills which bound it.

The Cathedral is the first object of attraction, and its history
is so curious, that I need make no apology for proceeding
without further preface to say the substance of what I have
been a,ble to learn about it.

There was a cathedral here at a very early period ; and when
Gerona was taken by the Moors, they converted it into a mosque,
but, with their usual liberality, allowed the services of the Church
still to be carried on in the neighbouring church of San Feliu,
which for a time, accordingly, was the cathedral church. In
A.D. 1015 this state of affairs had ceased, owing to the expulsion
of the Moors, and the cathedral was again recovered to the use
of the Church. Considerable works were at this time executed,^
if, indeed, the cathedral was not entirely rebuilt, as the old docu-
ments declare, and the altered church was re-consecrated in
A.D. 1038,"^ by the Archbishop of Narbonne, assisted by the
Bishops of Vique, Urgel, Elne, Barcelona, Carcassonne, and
others. In a.d. 1310 works seem to have been again in progress,^
and in a.d. 1312 a Chapter was held, at which it was resolved to
rebuild the head or chevet of the church with nine chapels,^ for
which, in a.d. 1292, Guillermo Gaufredo, the treasurer, made a

1 See Espana Sagrada, xlv. 2-3. See also the deed executed by Bishop
Roger in 1015. " Nostra necessitate coacti causa aedificationis pra;dicta3
ecclesia3, qu:e satis cognitum cunctis est esse destructa," etc. — Esp. Sag.
xliii. 423.

-See the act of consecration, Espana Sagrada, xliii. 432-437, which
declares the church to have been rebuilt " a fundamcnlis."

^ Esp. Sag. xliv. 43.

* " Capitulum Gerundcnse in cerca nova ecclesia) Gerundensis more
solito congregatum, statuit, \'oluit et ordinavit, quod caput ipsius ecclesia;
de novo construeretur ct edificaretur, et circumcirca ipsum novem cappellaj
tierent, et in dormitorio veteri fieret sacristia. Et cura ipsius operis fuit
commissa per dictum capitulum, venerabilibus Raimundo de Vilarico,
archidiacono, et Amaldo de Monterotundo, canonico." — Espana Sagrada,
xlv. 3.

GERONA 93

bequest in favour of the work.^ In a.d. 1325 I find that an
indulgence was granted by the Bishop Petrus de Urrea in favour
of donors to the work of the cathedral ; ^ and the work, so far
westward as the end of the choir, was probably complete before
A.D. 1346, inasmuch as in this year the silver altar, with its
Retablo and baldachin, were placed where they now stand.^ We
know something of the architects employed during the fourteenth
century upon the works just mentioned. In 1312 the Chapter
appointed the Archdeacon Ramon de Vilarico and the Canon
Arnaldo de Montredon to be the obreros or general clerical
superintendents of the progress of the works. In a.d. 1316, or,
according to some authorities, in February, 1320, an architect —
Enrique of Narbonne— is first mentioned ; and soon after this, on
his death, another architect of the same city, Jacobo de Favariis
by name, was appointed with a salary of two hundred and fifty
libras ^ a quarter, and upon the condition that he should come
from Narbonne six times a year^ to examine the progress of
the works. In a.d. 1325 Bart. Argenta was the master of the
works, and he probably carried them on until the completion of
the choir in 1346.^

' " Dimitto etiam ad caput pra3dicta3 ecclesiffi, vel ad cimborium argen-
teum faciendum desuper altare Beataj Marias ilia decern millia solidorum
Barchinon : qua3 ad illud dare promisserain jam est diu." — Will of Guillermo
Gaufredo, Viage Lit. a las Iglesias de Espana, xii. 184.

- Esp. Sag. xliv. 51, 320, 322.

^ " Pateat universis," " quod die Lunse 4 Idus Marti intitulata anno
Domini 1346. Reverendus in Christo Pater " " S. Tarrachonensis ecclesia?
archiepiscopus, altare majus Beatissimae Virginis Maria? cathedralis Gerun-
densis ecclesiaj a loco antique ipsius ecclesis in quo construtum erat in
capite novo operis ejusdcm ut decuit translatum est," etc. " De quibus
omnibus ad perpetuam rei memoriam venerabilis vir Dominus Petrus
Stephani Presbiter de capitulo et operarius memoratas ecclesi^ mandavit
unum et plura fieri iustrumenta per me Notarium infrascriptum
pra;sentibus ad hoc vocatis testibus," etc., etc. — Espana Sagrada, xlv.

373, 374-

* Or " sueldos," Parcerisa. "Sous," V. le Due. = 1500 francs at the
present day.

'' Register entitled Curia del Vicar iato de Gerona, Liber notuloruvi ad anno
1320, ad 1322, fol. 48, quoted in Esp. Sag. xlv. 373. See also Viollet le Due,
Dictionnaire Raisonne, i. 112. V. J. Parcerisa, Recucrdos y Bellezas de
Espuiia, C.ataluiia, i. 146, says that the work was commenced in 1316, and
that Enriciue of .\arbonne died in 1320.

• The list of architects given by D. J. Villanueva {Viage Lit. a las Iglesias
de Espana, xii. 172 et seq.) does not agree with this. The first he mentions
is Jayme de Taverant, a hrenehinan from Narbonne (and no doubt identical
with Jaqufs de lavariis), in 1320. P'rancisco de Plana, a Catalan, held
the j)')st after liim, and was removed in 1368 in favour of Pedro Coma
(de Cumba), who was employed also at San Feliu, Gerona; and in 1307
Pedro de San Juan, " de natioiie Picardi;e," was employed. Guillenuo
lioffiy succeeded liim; in 1.427 i'loUinus Vautier, " chocesi Bit(;rrensis,'
was master of the works, and in 1430 Pedro Cipres succeeded him.

94 GOTHIC ARCHITECTURE IN SPAIN

In A.D. 1395 it was proposed to erect a Chapter-house, and
the canons in charge of the fabric (" canonigos fabriqueros ")
presented, in writing their reasons for not erecting it where pro-
posed by the Chapter — at the south end of the refectory. They
said that the works of the church itself ought first of all to be
gone on with, and that the proposed work would destroy a good
and convenient refectory, and make it obscure and ridiculous:
and it seems that their report had the effect of staying the work.
In A.D. 1416 Guillermo Boffiy, master of the works of the cathe-
dral, proposed a plan for its completion by the erection of a
nave; and though the chevet had an aisle and chapels round
it, he proposed to build his nave of the same width as the choir
and its aisles, but as a single nave without aisles. This pro-
position was deemed so hazardous, and created so great a discus-
sion, that the Chapter, before deciding what plan should be
adopted, called together a Junta of architects, and propounded to
each of them separately certain questions, to each of which they
all returned their answers upon oath. In the September fol-
lowing, these answers were read before the Chapter by a notary,
and it may be supposed carefully digested, for it was not until
March 8, 141 7, that Guillermo Bofifiy, the master of the
works, was called in and in his turn interrogated with the same
questions. Immediately after this, on the 15th of the same
month, at a Chapter-meeting presided over by the Bishop, it was
decided to carry on the work as proposed, with a single nave.
The story is so well worth telling in full, that I have given
in the Appendix a translation of the entire document, which
equals in interest any with which I am acquainted, bearing on
the profession of architect in the middle ages.^ It is valuable
also, incidentally, as giving us the names of the architects of
several other buildings, most of those who were examined having
described themselves in a formal style as masters of the works of
some particular church or churches. It is difficult to say exactly
when the nave was completed, but the great south door was not
executed until a.d. 1458, and the key-stone of the last division of
the vault seems to have been placed in the time of Bishop Benito,
so late as circa 1579.^ In a.d. 1581 the same bishop laid the

^ The original is in the Liber Notularum. It is reprinted in Espafia
Sagrada, xlv., appendix, 227-244. Cean Bermudez has again reprinted it
in Arq. de Espana, i. 261-275; and D. J. Villanueva in the appendix to
vol. xii. of the Vuigc Lit. a las Inlesiaa de Espana, jirints it in the original
Catalan dialect.

^Tliis key-stone has a sculpture of San Benito. — Espana Sagrada xliv.
420.

GERONA 95

first stone of the bell- tower, and in 1607 the west front and
the great flight of steps leading up to it seem to have been
commenced ( I ).

We have thus the story of the periods at which the church was
founded, altered, and enlarged very fully told, and it now only
remains to apply it to what is still to be seen in the existing
building.

A reference to my ground-plan ^ will show that the church
remains very much in the state which the documentary evidence
describes. The choir has nine chapels round its chevet, as
described, and has lofty arches, a series of very small openings
in lieu of triforium, and a clerestory of two-light windows, of
decidedly late but still good Middle-pointed character. The
columns, in the usual Catalan fashion of this age, are clusters of
rather reedy mouldings, with no proper division or subordination
of parts, and consequently of poor effect, and there is no division
by way of string-courses above or below the triforium. On the
exterior the east end is not seen to much advantage, as it is built
into and against a steep hill, so that at a distance of a few feet
only the eye is on a level with the top of the walls of the chapels
round the apse. The roofs, too, have all been modernised and
lowered. The only peculiarities here are a series of trefoiled
openings, just under the eaves of the roof, into the space over
the vaulting, and perhaps devised for the purpose of ventilation:
and the gurgoyles projecting from the buttresses, which are
carved and moulded stones finished at the end with an octagonal
capita], through the bottom of which the water falls, and which
almost looks as if it were meant for the stone head of a metal
down-pipe.

When the choir was built, some considerable portions of the
church consecrated in a.d. 1038 were left standing. The nave was
probably entirely of this age ; and a portion of what was no doul:)t
one of the original towers still remains on the north side, between
the cloister and the nave. This tower has pilasters at the angles
and in the centre, and is divided into equal stages in height by
horizontal corbel-tables. An apse of the same age remains on the
east side of what seems to have been the south transept of the
early church : and from its position we may, I think, assume with
safety that the church was then finished with three or five apses
at the east, very much as in the church of San Pedro, close by.
which I shall have presently to describe. In addition to these
earlv remains there is also a magnificent and all but unaltered

' I'latr Will., p. 10.1.

96 GOTHIC ARCHITECTURE IN SPAIN

cloister. I cannot find any certain evidence of its exact date,
though it seems to have existed in a.d. 1117, when an act of the
Bishop Raymond Berenger was issued in the " cloister of the
cathedral." ^ The character of the work confirms, I think, this
date. The plan is very peculiar, forming a very irregular
trapezium, no two of the sides being equal in length. It has on
all four sides severely simple round arches carried on coupled
shafts : these are of marble, and set as much as 20 inches apart,
so as to enable them to carry a wall 3 feet i| inches thick. This
thickness of wall was quite necessary, as the cloister is all roofed
with stone, the section of the vaults on the east, west, and south
sides being half of a barrel, and on the north a complete barrel
vault. The detail of the capitals is of the extremely elaborate
and delicate imitation of classical carving, so frequently seen
throughout the south of France. The abaci are in one stone, but
the bases of the shafts are separate and rest upon a low dwarf-
wall, and square piers are carried up at intervals to strengthen
the arcade. The columns have a very slight entasis.

This cloister deserves careful study, as it seems to show one
of the main branches of the stream by which Romanesque art
was introduced into Spain. It is impossible not to recognise the
extreme similarity between such work as we see here, and that
which we see in the cloister at Elne, near Perpifian, and, to
go still farther afield, at S. Trophime at Aries. And if any
Spanish readers of these pages object to my assumption that the
stream flowed from France westward, they must prove the exact
converse, and assume that this Romanesque work was developed
from Roman work in Spain, and thence spread to Elne and
Aries, a position which none, I suppose, will be bold enough to
take.

The nave remains to be described; and to do this well and
adequately, it is necessary to use, not indeed many, but certainly
strong, words. Guillermo Bofifiy, master of the works, might
well cling fondly to his grand scheme, for his proposal was not less,
I believe, than the erection of the widest pointed vault in
Christendom. Such a scheme might be expected to meet then
in Spain, as it most certainly would now in this country.- a good
deal of criticism, and many objections, on the score of its imprac-

' Espaiin Sagrada, xliii. 200, and Appendix, 453.

2 In my first design for the Crimean Memorial ctuircli which I am bnildin.c;
at Constantinople, I had a vault thirty-eight feet in clear span, and this
was objected to by a really accomplished critic as too bold and hazardous
an experiment! What would have been said then of a vault twice as
wide?

GERONA CATHEDRAL

INTERIOR, LOOKING KAST

gS GOTHIC ARCHITECTURE IN SPAIN

ticability; and it is to the honour of the Chapter that they had
the good sense to consult experts and not amateurs as to the
steps to be taken^ and then^ having satisfied themselves that
their architect was competent to his work, that they left it
entirely in his hands.

The clear width of this nave is 73 feet, and its height is
admirably proportioned to this vast dimension.' It is only four
bays in length; each bay has chapels opening into it on either
side, and filling up the space between the enormous buttresses,
whose depth from the front of the groining shaft to their face is
no less than 20 feet. Above the arches which open into the side
chapels is a row of small cusped openings, corresponding with
those which form the triforium of the choir; and above these are
lofty traceried clerestory windows. The groining-ribs are very
large and well moulded. At the east end of the nave three
arches open into the choir and its aisles; and above these are
three circular windows, the largest of which has lost its tracery.
And here it is that the magnificence of the scheme is most fully
realised. A single nave and choir, all of the same enormous size,
would have been immeasurable by the eye, and would have been,
to a great extent, thrown away; here, however, the lofty choir
and aisles, with their many subdivisions, give an extraordinary
impression of size to the vast vault of the nave, and make it look
even larger than it really is. In short, had this nave been longer
by one bay, I believe that scarcely any interior in Europe could
have surpassed it in effect. Unfortunately, as is so often the
case among those who possess the most precious works of art,
there is now but little feding in Gerona for the treasure it pos-
sesses in this wondrous nave, for the stalls and Coro have been
moved down from their proper place into the middle of its length,
where they are shut in and surrounded by a high blank screen,

1 I subjoin the dimensions of some of the largest French and other
churches, in order that the dimensions of the nave of Gerona may be
really appreciated.

feet between the walls.

centre to centre of column of nave.

of choir,
of nave.

Albi

Toulouse Cathedral

S. Jean Perpifian

Amiens

Paris

Bourges

Chartres

Cologne

Narbonne .

Canterbury

York

Westminster Abl

GERONA 99

painted in the vulgarest imitation of Gothic traceries^ to the utter
ruin, of course, of the whole internal perspective. It would be
a grand and simple work of restoration to give up here, for once,
the Spanish usage, and to restore the stalls to the proper choir.
I say " restore," because it is pretty clear that they could not
have been in the nave when they were first made, inasmuch as
this was in a.d. 1351, sixty-six years before its commencement.
A deed still remains in the archives of the cathedral, by which we
ascertain this fact, for by it a sculptor from Barcelona agreed,
on June 7, 1351, to make the stalls at the rate of 45 libras of
Barcelona for each.^ The detail of some parts of the woodwork
is exceedingly good, and evidently of the middle of the fourteenth
century, so that it is clear they are the very stalls referred to in
the agreement. There is ample length in the proper choir for
them, and they must have been moved into the nave in unwise
obedience to the common modern Spanish arrangement, which
was certainly never more entirely unfortunate and destructive
of effect than it is here.

It will be seen, by reference to the Appendix, that though the
architects consulted were fairly unanimous as to the possibility
of building the single nave, they were by no means so in their
recommendation of it as the best plan. The general feeling
seems to have been decidedly adverse to it; and we may assume
that the Chapter decided on it partly because it was already
commenced, and partly because it promised to be a cheaper
plan than the other. There seems also to have been great
dread on the part of the Chapter of interfering in any way with
the wall which now forms the east end of the nave, for fear lest,
when it was cut into for the introduction of the respond of the
nave arcade, the whole should give way.

Paschasius de Xulbe, one of the architects questioned, gives
the valuable answer, that if the nave is of triple division in
width, the groining of the choir must be raised in order that it
may correspond in its measurements to its third; from which
it is pretty clear that he spoke of a then recognised system of
proportioning the height to the width of a building.

Guillermo Sagrera, master of the works at S. John, Perpifian,
tells us, in his answer, that the choir was originally built with
the intention of having a single nave; and this will account
for the otherwise unintelligible finish of its western wall, which
it is clear, from the tenor of all the answers, was not prepared
for any arches in the nave. I am not certain indeed whether

' Liber iXotulariiiii, fnl. 31.

100 GOTHIC ARCHITECTURE IN SPAIN

we are not to assume, in reading the questions asked by the
Chapter, that the Romanesque nave was itself of the same plan
and dimensions; and the vast width of the old nave of Toulouse
Cathedral — sixty-three feet — affords an example, at no great
distance from Gerona, of the fact that architects, even so early
as the beginning of the thirteenth century, were not afraid to
propose and execute works on so unusual a scale.

I will not quote farther from the answers of the architects,
because they well deserve to be read in detail; but it is a satis-
faction to be able to say that their conviction of the practica-
bility of the work has been amply justified, inasmuch as, even
to the present day, there is scarcely a sign of a settlement or
crack throughout the entire building.

It is difficult to express a positive opinion as to the original
intention of the architect in regard to the design and finish of
the exterior of this part of the church. The gable walls have
been altered, the roofs renewed, and the original termination
of the buttresses destroyed. At no time, however, I think,
can it have looked well. The position is charming, on the edge
of a steep, rocky hill falling down to the river, and girt on its
north side by the old many-towered city wall; yet with all these
advantages it is now a decidedly ugly work, and the nave looks
bald, and large out of all proportion to the subdivided, lower,
and over-delicately-treated choir. On the west side the whole
character of the church is Pagan ;^ and I well remember the
astonishment with which, when I had climbed the long flight
of broad steps which leads to the western door, I looked down
the stupendous interior, for which I had been so little prepared !

The effect is not a little enhanced by the dark colour of the
stone, which has never been polluted by whitewash; but there
are some defects. The want of length has already been noticed ;
the entire absence of string-courses inside is not pleasant; and
the lowering of the arches into the chapels in the second bay from
the west wall, where there are three in place of the two in each
of the other bays, breaks the main lines of the design very awk-
wardly. The mouldings too, as might be expected in work of
so late a date, are nowhere very first rate, though they certainly
retain generally the character of late fourteenth-century work.

The doorway on the south side of the nave is remarkable in
one respect. It has in its jambs a series of statues of the Apostles,
executed in terra-cotta; and the agreement for their execution,

'The church was originally iatended to have octagonal towers at the
angles of the west front. Of these the south-west tower has been built
up in Pagan style, and tlie north-west has never been built.

GERONA loi

made, in a.d. 1458, with the artist Berenguer Cervia, binds him
to execute them for six hundred florins, and " of the same earth
as the statue of Sta. EulaHa and the cross of the new doorway at
Barcelona/" ^ This doorway is very large, but bald and poor in
detail ; the statues to which the contract refers still remain, and
are in good preservation.

There is nothing more specially worth noticing in the fabric;
but fortunately the choir still retains precious relics in the Re-
tablo behind, and the baldachin above, the high altar. There are
also said to be some frontals of the altar still preserved, which
are of silver, and which were originally adorned with precious
stones, and with an inscription which proves them to have been
made before the consecration of the church, in a.d. 1038. Un-
fortunately they were not in their place when I was at Gerona,
and so I missed seeing them.^ The Retablo is of wood entirely
covered with sil\-er plates, and divided vertically into three series
of niches and canopies; each division has a subject, and a good
deal of enamelling is introduced in various parts of the canopies
and grounds of the panels. Each panel has a cinquefoiled arch
with a crocketed gablet and pinnacles on either side. The
straight line of the top is broken by three niches, which rise in
the centre and at either end. In the centre is the Blessed
\'irgin with our Lord; on the right, San Xarcisso; and on the
left, San Feliu. The three tiers of subjects contain (a) figures of
saints, (h) subjects from the life of the ]3lessed Virgin, and (c)
subjects from the life of our Lord (2). A monument in one of the
chapels gi\"es some account of this precious work; for though it
is called a ciborium, it is also spoken of as being of silver, which,
I believe, the actual ciborium is not.^ The date of this monu-

' Espaila Sagrada, xlv. 8. X'illanueva, Viagc Lit. xii. 175, gives the
name of this artist as Antonio Clapcros " obror dc yinagens."

^ See the description of this silver frontal in Espana Sagrada, xlv. 8. The
Historia de S. Karciso y de Gerona, by P. M. Roig y Valpi, is quoted as
authority for the statements given. See also the act of consecration ol
the cathedral in a.d. 1038 (Espana Sagrada, xliii. 437), in which among
the list of signatures at the end occurs the following passage: — " S. Ermes-
sendis coniitissic qu;f eadem die ad honorem Dei et -Matris Ecclesias trescen-
tas auri contulit uncias ad aureani construendam tabulam; " and in a
necrologium, from 1102 to 1313, ficcur the following entries: " 1254.
Pridie Kalt-ndas I-ebruarii obiit Guillelmus de Terradis, sacrista major,
()ui tabulam argenteam altari lieat;c .Mari:e Cathetlralis fieri fecit." " 1229.
Kalendis .Martii otuit Erines(-ndis Comitissa qua: hanc sedem ditavit et
tabulam auream ac crucein Deo et Bcatie ^lariaj obtulit, et ecclesiam
multis ornamentis ornavit."

■' " Hie jacet .Arnaldus de Sol'-ro, .Archdiaconus Bisalduenensis qui etiam
suis expensis propnis fecit fieri cimborium seu coopertam argenteam super
altaro majori ecclesi.e Gerundensis. Obiit autem anno Dni. M.CCCXX.
sexto, viii. Kal. Augusti."

102 GOTHIC ARCHITECTURE IN SPAIN

ment is 1362; but in the Liber Notulanim for a.d. 1320, 21,
and 22, it seems that the Chapter devoted 3000 libras for the
reparation of the Retablo^, though it was not till a.d. 1346 that

the work was finished, and
the altar finally fixed in
its present position. ^ The
whole of the work is there-
fore before this date; and
probably the Retablo and
the baldachin date from
the period between the two
dates last given, viz. a.d.
1320 and A.D. 1348.

The baldachin is, like the
Retablo, of wood covered
with thin plates of metal.
It stands upon four shafts,
the lower portions of which
are of dark marble resting
on the moulded footpace
round the altar. These
four shafts have capitals
and bands, the latter
Altar, c.erona being set round with ena-

melled coats-of-arms. The
canopy is a sort of \ery fiat quadripartite vault covered with
small figures; but on both my visits to Gerona it has been so
dark in the choir as to render it impossible to make out the
subjects. The central subject seems to be the Coronation of the
Blessed Virgin, and in the eastern division is a sitting figure of
our Lord with saints on either side. In order to show the
figures on the roof of the baldachin as much as possible, the two
eastern columns are much lower than the v>-estern, the whole roof
having thus a slope up towards the west. A singular arrange-
ment was contrived behind the altar — a white marble seat for the
bishop raised bv several steps on either side to the level of the
altar, and placed under the central arch of the apse. Here, when
the bishop celebrated pontifically, he sat till the oblation,
and returned to it again to give the benediction to the
people.^

The church is full of other objects of interest. Against the

^ See note 3, p. 93.

- See Martene de Antiq. Eccl. Rit. lib. i. cap. iv. art. 3.

GERONA

103

Wheel of Bells, Gerona

north wall is a very pretty example of a wheel of bells: this is all
of wood, corbelled out from the wall, and is rung with a noisy
jingle of silver bells at the elevation of the Host. Near it is a
doorway leading into the sacristy, I think, which is ver}- inge-
niously converted into a monument. It has a square lintel and
a pointed arch above: bold cor- .. ,,

bels on either side carry a high
tomb, the base of which is just
over the lintel ; this is arcaded at
the side and ends, and on its
sloping top is a figure of a knight.
The favourite type of monument
in this part of Spain is gener-
ally a coped tomb carried on
corbels, which are usually lions
or other beasts: there are good
examples of this kind both in
the church and cloister; and in
the latter there is also preserved a great wooden cross, which
looks as though it had originally decorated a rood-loft.

The windows have a good deal of very late stained glass,
which consists generally of single figures under canopies. I have
already mentioned the fine early woodwork in the Coro. In
the fifteenth century this was altered and added to: and a seat
was then made for the bishop in the centre of the western side
of the Coro, which has enormous pieces of carved openwork
on either side executed with uncommon vigour and skill. These,
again, were added to afterwards by a Renaissance artist, so that
it is now necessary to discriminate carefully between the work
of various ages.

If, wlien the cathedral has been thoroughly studied, one goes
out through the cloister, an external door at its north-western
angle leads out to the top of a steep path from which an extremely
picturesque view is obtained. The old town walls girt the
cathedral on the north side; but in the eleventh century it
was thought well to add to them, and a second wall descends,
crosses the \-alley below, and rises against the opposite hill in
a \"ery picturesque fashion. This wall has the passage-wax-
perfect all round, and orcasional circular towers project from it.
The eye is at once caught in looking at this view by a fine Roman
esque church with a half-ruined cloister and loft}- octagonal
steeple, which seems to be absolutely built across and through
the walls. This is the Henedictine church of San I'edro de los

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VIU.

io6 GOTHIC ARCHITECTURE IN SPAIN

Galligans ; ^ and a closer inspection shows that what at first
looks like the round-tower of the town walls, against which the
church has been built, is really the very apse of the church,
which when the new walls were built was raised and converted
above into a purely military work. The earliest reference to
this church that I have found is a statement that it existed in
the tenth century, and that, in a.d. 1117, the Count Ramon of
Barcelona gave it to the Benedictine convent of Sta. Maria de
la Crassa, in the bishopric of Carcassonne, of which his brother
was Abbat; and I think we may safely assume that the whole
of the existing church was built within a short time of its transfer
from the hands of the Secular to those of the Regular Clergy.

The church ^ consists of a nave and aisles of four bays, the
arches being very rude, and the piers plain and square. There
are north and south transepts, the former having one, and the
latter two eastern apsidal chapels ; and the choir is also finished
with an apse. There is another apse at the north end of the
north transept. The nave is roofed with a round waggon-\^ault
with plain cross-ribs carried on engaged shafts; and there is a
clerestory of single-light windows which, on the inside, break up
partly into tlie vault of the roof. The aisles are roofed with
half- waggon or quadrant vaults, and the apses with semi-domes.
The octagonal steeple is built above the north transept, and has
in the eastern wall of its first stage two apsidal recesses, which
seem to have been intended for altars, and are roofed with semi-
domes. The detail of some of the work at the east end is of an
unusual kind: it is built in stone and black volcanic scoriae, and
its rude character is evidence of its early date. Any one who is
acquainted with the noble church at Elne, near Perpinan, will re-
member the similar use of volcanic scoriae there, and will be led to
class the two monuments together as works of the same hand and
period. The view of the exterior of the church from the north-
west is very striking. There is a fine western door with a good
deal of carving very delicately and elaborately wrought, one of
the capitals having a verv careful imitation of a fern-leaf on it ;
above the doorway a horizontal cornice is carried all across the
front, and over this is a fine rose window. The side walls are
finished with dentil-courses ; and the clerestory — which is carried
up very high above the springing of the \'ault inside — is finished

' " Galligans; in the old Latin, Galli Cantio. The name is taken from
a little stream which washes its walls and falls into the Ona." — Don J.
Villanueva, Viage Lit., etc. xiv. 146.

- See ground-plan on Plate X\'III., p. 104.

io8 GOTHIC ARCHITECTURE IN SPAIN

with an eaves-arcading also. There were no windows in the
side walls of the aisle; and the clerestory windows, and a window
at the west end of the north aisle, have bold splays on the
outside as well as inside.

The steeple has been much altered ; but the original design
of the two upper (and octagonal) stages seems to have had a
two-light window with a bold central shaft, angle-pilasters, and
string-courses, with shallow arcading below them.

On the south side are the cloisters (3). They are locked up
and in ruins ; and though I tried two or three times, I was never
able to gain admission to them; but I saw them from the hill
above, and they looked at this distance as if they were designed
very much after the pattern of those attached to the cathedral.
The arches are round, and carried on coupled detached shafts,
with piers in the centre of each side of the cloister. The roof
seems to have been a barrel-vault, but great part of it has now
fallen in. All this havoc and ruin is owing, like so much that
one sees in Spain, to the action of the French troops during the
Peninsular war.^

The whole character of this church is very interesting. The
west front reminded me much of the best Italian Romanesque;
and the rude simplicity of the interior — so similar in its mode
of construction to the great church at Santiago in the opposite
corner of the Peninsula — suggests the probability of its being
one of the earhest examples of which Spain can boast.

Close to San Pedro, to the north-west, stands another church,
which, though it is very small, is fully as curious (4). This is now
desecrated and converted into workshops and dwelling-houses.
It is transverse triapsal in plan {i.e. the transepts and the
chancel are all finished with apses). The Crossing is surmounted
by a low tower or lantern, square below, but octagonal above,
and with some remains of an apparently old tiled roof. The
transepts are ceiled with semi-domes, and the chancel was simi-
larly covered, but its vault has now been removed in order to
facilitate access to the steeple, in which a peasant and his
family live. The nave is roofed with a waggon-vault, at the
springing of which from the wall is a small moulding; and
its walls are supported by buttresses, which do not seem to be
earlier than the thirteenth century, though the rest of the church
must date no doubt from the early part of the twelfth. The

' Don J. Villanueva, Viage Litcrario, xiv. 150, asserts that these cloisters
are not earlier than the fourteenth century, though I notice that some of
the inscriptions which he gives from them are of earlier date.

GERONA 109

exterior is very plain; but the chancel apse is divided by pil-
asters which run up to and finish in a corbel-table at the eaves;
and the tower has also an eaves' corbel-table. All the dimen-
sions of this church are very small, but it is interesting, as being
almost the only example I have seen in Spain of a transverse
triapsal plan; and the central lantern is one of the earliest
examples of what became in later days one of the most common
features of Spanish buildings.^

We came down the hill north of the cathedra] to see this church
and San Pedro; and if we retrace our steps^ and go out by the
western door on to the platform at the top of the vast flight of
steps which leads up to the cathedral^ we shall be at once struck
by the beautiful, though truncated, spire of San Feliu, which
stands below, and to the west of the cathedral. Indeed, in
nearly all views of the old city, this steeple claims the first place
in our regard; and perhaps it is seen best of all in crossing the
river at the other end of the town, where it stands at the end of
the vista up the stream, which is edged on either side by the
backs of the tall, picturesque, and crowded houses.

San Feliu - is one of the oldest collegiate foundations in the
diocese of Gerona; and when, in the eighth century, the Moors
converted the cathedral into a mosque, here it was that the
Christian rites were celebrated. No doubt, therefore, a church
stood here long befoi;B the first recorded notices of the fabric,
for these do not occur before the early part of the fourteenth
century, save such indications of work in progress as the bequest
of ten solidos to the work by Bishop William in a.d. 1245,
and such evidence of its damage or destruction as is the fact
that the French, attacking the city in a.d. 1285, obtained
possession of the church and did it much damage. In a.d.
1 31 3, when the Chapter of the cathedral were obtaining royal

* Parcerisa describes this little church as that of S. Daniel, but I was
unable on the spot to learn its dedication. I believe, however, that its
dedication is to S. Nicolas, and that S. Daniel is a larger church of later
date. In F.spaiia Sagrada, xlv. 1S5 cf scq., some account is given of the
foundation of S. Daniel. This took place in 1017, Bishop Roger having
sold the church to Coinit Ramon, and Erinesendis his wife, for 100 ounces
of gold, wliich were to be spent on the fabric of the cathedral. Tiie
Countess, afur the death of the Count, endowed the church, and the deed
still preserved recounts how that " Kgo Ermesendis inchoavi pricdictam
ecclesiam r-dificare et Deo auxiliante volo perficere." An architectural
description of the present church is given by Villanueva, V'iagc I.iterario,
xiv. 158, from which it seems that it is a Greek cross in plan, and mainly
of the fourtc'-nth century, with an altar in a crypt below the high altar,
constructed in 1343: and if this account is correct, this small twelftli-
centurv church cannot be S. Daniel.

^.S. Felix.

no GOTHIC ARCHITECTURE IN SPAIN

concessions towards the work of their own church, they granted
an exemption to San Feliu, giving to its clergy the first-fruits of
their benefices to spend on the work of their own church.^ In
A.D. 1318 there is evidence that the choir was completed, but
other works were going on during the rest of the century. In
A.D. 1340 the Chapter determined to erect cloisters, under the
direction of an architect named Sancii, and bought a site for
them to the north of the church; and the operarius or canon in
charge of the work seems to have raised alms for them even so far
off as at Valencia and in the Balearic Isles. The work was
begun in a.d. 1357 and finished in 1368, in which year the
Chapter entered into a contract ^ with an architect, one Pedro
Zacoma, for the erection of the campanile. In a.d. 1363,
however, it was deemed necessary, on account of the position
of the church just outside the old walls, and on the north of the
town, that it should be fortified; and to accomplish this work,
and others of the same kind ordered in a.d. 1374 and 1385, the
cloisters so recently built were destroyed. The steeple is said
to have been finished in 1392,^ Pedro Zacoma having acted as
architect as late as a.d. 1376.

^ Espana Sagrada, xlv. 41.

- Extract from the book entitled Obra=Recepte et Expense, ab anno 1365 :
" It. : Solvi disc". R. Egidii Not. Gerunde v dieSeptembris, annoM.ccc.Lx.viii. ,
pro instrumento facto inter Capitulum hujus Eccle. et P. Zacoma magis-
trum operis Cloquerii noviter incepti et est certum quod in isto instrumento
continentur in efectu ista. — P°. Quod ille proficue procuret ipsum opus
dictum evitando expensas inordinatas quantum in ipso fuerit, et hoc
juravit. It.: Quod aliud opus accipere non valeat sine hcencia operarii.
It.: Quod quotiescumque fuerit in ipso opere factus apparatus operandi
quod vocatus quocumque opere dimisso operetur in nostro opere: in pre-
missis fuit exceptum opus Pontis majoris in quo jam prius extitit obligatus
et convenit quando ipso fuerit in ipso opere Pontis vel in aho quod una
hora diei sine lexiare — videat illos qui operabuntur vel parabunt lapides
desbrocar in ipso opere. Et est sibi concessum dare pro qualibet die faoner
quod fuerit in opere predicto iiii SS. et uni ejus famulo i vel 11 secundum
ministeria ipsorum. — It.: Ulterius ammatim dai-c sibi de gratia cxl SS.
(sueldos), segons lo temps empero que obraran. Car per lo temps que no
obraran en lo Cloquer ne en padrera no deu res pendrer mes deu esser
dedecet dels dets cxl SS. pro rata temporis, ct quantitatis." — Espana
Sagrada, App. xlv. 248. See Spanish translation do., p. 73. In an old
Kalendar, of Gerona, printed in Espana Sagrada, xliv. 399, is the following
paragraph, which refers to the works of Pedro Zacoma: — " An. 1368 fuit
inceptus lo Pont nou de mense Madii; a 9 Aug. ejusdem anni fuit inceptus
lo Cloquer de Sant Feliu."

^A memorandum in the book of the Obra, under date 1385, describes
the various works in the fortification then in progress, and mentions " P.
Comas, maestro mayor," Espana Sagrada, xlv. 45. Parcerisa, Recuerdos y
Bellezas de Espana, Cataluna, says that the spire was finished in 1581. But
I think he has been misled by some repairs of the steeple rendered necessary
after the destruction of the upper part of the spire in this year by lightning,
and mentioned in the Adas Capitulares.

GERONA

III

The church bears evident marks of many alterations and
additions. It consists of nave and aisles, transepts, central apse,
and two apsidal chapels on the east side of the south, and one
on the east of the north transept. The piers are plain square
masses of masonry, and the main arches are semi-circular,
unmoulded, and springing from a very plain abacus. There
is a kind of triforium, an arcade of three divisions in each bay,
and a fair pointed vault of ten
bays — two to each bay of the
nave arcade — carried on groin-
ing-shafts corbelled out from
the wall. The north transept
retains a waggon-vault, the axis
of which is north and south,
whilst the south transept has
two bays of cross vaulting.
The eastern apse is circular in
plan, but divided into seven
groining bays, and lighted by
three windows of three lights.
The apses of the south transept
are also circular, lighted by
lancets, and groined with semi-
domes, though the arches into
the transept are pointed. The
general character of the later
part of this church is, I should
say, that of late first-pointed
work; yet it is pretty clear that
it is almost all a work of the
fourteenth century. There is a
line fourteenth - century south

porch, with some good arcading in its side walls, in which the
tracery is all executed with soffit-cusping.

Of tlie western steeple I need not say very much, as my
sketch shows the nature of its design, and the evidence as to its
date is evidently very accurate. The character of the architec-
tural detail is quite that of flamboyant-work, and the outline is
bold, original, and good. It is seldom indeed that the junction
of the tower and spire is more happily managed than it is here;
and before the destruction of the upper part of the s|)ire, the
whole effect must have been singularly graceful. This is the
more remarkable in a country where a genuine spire is so rare a

Spire of San Feliu

112 GOTHIC ARCHITECTURE IN SPAIN

feature; but the architect was fortunate in following the cus-
toms of the country when he made his steeple octagonal in plan,
for it is extremely difficult — one may almost say impossible —
to put a spire upon an octagonal tower the outline of which shall
not be graceful. In an arch against the wall of this tower is a
tomb resting on lions jutting out from the wall, and with the
date 1387 in the inscription. It is a good example of the late
date to which this early-looking type of monument continued to
be used in Spain.

This church has a rather elaborate wooden Retablo, carved and
gilt with subjects painted on its panels (5). The pulpit is also
old, and has rich, late flamboyant tracery panels: it is placed
against a pier on the south side of the nave, and a second modern
pulpit faces it on the north. The old metal screen also remains:
it is rather rude, and has prickets for candles along it, each of
which has a sort of frame which looks as though it were meant to
hold a glass.

There are also a few remains of old domestic buildings. A
house near the cathedral has the usual Catalan features of
trefoiled ajimez windows, and a doorway with a prodigiously
deep archivolt. Another house near San Feliu has a broad
window with a square-headed opening; the head is an ogee
arch, with tracery in the tympanum, and over all is a square-
headed label-moulding. It is not an elegant window, yet it has
some value as an example of an opening as large as we usually
adopt nowadays, and with a square head. The most interest-
ing house, however, is the Fonda de la Estrella, the principal inn
in the town. The windows here are capital examples of shafted
windows of the end of the twelfth century. The shafts are very
delicate (4;^- inches by 6 ft. i inch); the capitals are well carved
with men and animals, and the carved abacus is carried from
window to window. The windows are of three lights, and with
only a narrow space of wall between them. The back of this
house is less altered than the front: on the ground it has an
arcade of four round arches, on the first floor five windows of the
same sort as these just described, but simpler, and above this a
series of pilasters, which now carry the roof. There must have
been arches I think to this open upper stage.

There is another house in the same street, and just opposite
the inn, of rather later date, but also with early ajimez windows,
and this had also an open stage below the roof.

The whole city looks picturesque and old, and I dare say a
more careful search than I had time for would be rewarded with

GERONA 113

further discoveries of old remains. Most of the houses are
arcaded below, and their lower stories are groined, the cells of
the vaults being filled in with bricks laid in herring-bone patterns.

From Gerona to Barcelona there are two railways branching
from the station at Empalme. That which follows the coast
passes by several small towns facing the sea, in which there are
many remains of old walls and castles, and not a few ajimez
windows. It is, in short, a charming ride in every way. The
other line going inland also passes a very striking country, and
some old towns. Hostalrich is a very picturesque old walled town,
with its walls and towers all fairly perfect. Fornelles has a
good church, with a low crocketed spire on an octagonal steeple,
brought to a square just below the belfry-stage (6). Granollers
has a rather good fourteenth-century church, of the same general
character as the Barcelona churches of the same date. It has a
nave of five bays, and an apse of seven sides, with a tower at
the north-west angle. Some trace of an earlier church remains
in a round-arched western door. The western bay is occupied
by a late fifteenth-century groined gallery carried on an elliptic
arch, with a parapet pierced with richly-cusped circles. The
staircase to this gallery is in a sort of aisle or side chapel, and
has an extremely well managed iron hand-railing, supported b\'
occasional uprights, and quite worthy of imitation. The tower
has a delicate newel staircase in its angle: the newel has a
spiral moulding, and the under side of the steps is very care-
fully wrought. The upper part of the steeple is like those of
Barcelona cathedral — an irregular octagon, and has a traceried
parapet and low spire (7). There is a very rich late wooden
pulpit, corbelled out from the wall, through which a door is
pierced, and some rich woodwork is placed at the head of the steps
leading to it. The apse has two-light and single-light windows
in tlie alternate sides, and the nave the latter only. Small
chapels are formed between the buttresses, and these are also
lighted witii small windows. On the whole this church has a
good many features of interest, and its \ery considerable height
gives it greater dignity than our own cluirches of tlie same class
have.

On the road from Gerona into France I have seen only one or
two churches. At Figueras the cathedral has a steeple ex-
tremely similar to that just described at Granollers, and evi-
dently of the same date. The sides of the octagon are not equal,
and bells are hung in the windows, and one in an arched frame
at the top (8). This tower is on the north side of the nave,
u H

114 GOTHIC ARCHITECTURE IN SPAIN

which has four bays, transepts, and a Renaissance central dome
covered with glazed tiles. The fabric of the nave seems to be of
the thirteenth century, having lancet windows and buttresses of
great projection rather well designed, chapels occupying the
space between them. The west door label runs up to, and is
terminated by, a long cross. At la Junquera, between Figueras
and the frontier, the little Parroquia has the date of a.d. 1413 on
the door. Its only feature of interest is the tower, which has a
staircase carried on arches thrown from side to side of the tower,
and having a square opening or well-hole in the centre. The
same kind of staircase has been described in the church of San
Roman at Toledo.

From hence a pleasant road among the mountains, beautifully
clothed here with cork-trees, and disclosing charming views
at every turn, leads by the frontier fortress of Bellegarde, over
the Col de Pertus, and so on down the eastern side of the Pyrenees
to Perpifian. Here, if we look only at the map of modern France,
my notes ought to stop. But Perpihan was of old a Spanish
city, and its buildings are so thoroughly Spanish in their char-
acter that I may venture to say a very few words about them.^

The church of San Juan is of very remarkable dimensions.
The clear width of the nave is sixty feet, but in the easternmost
bay this is gathered in to fifty-four feet, which is the diameter of
the seven-sided apse. Guillermo Sagrera, master of the works
of this cathedral, was one of the architects summoned to advise
about the erection of the nave at Gerona, and I think there can
be but little doubt that the plan of this church was his handiwork,
and that it was erected, therefore, at the beginning of the fif-
teenth century. It will be seen that he was one of the architects
who spoke most strongly in favour of the erection of a broad un-
broken na\'e. The vault he erected here is of brick with stone
ribs, and the brickwork is rather rough, with very wide mortar
joints, and looks as if from the first it were intended to plaster and
paint it. The roofs of the chapels which are built between the
large buttresses have fiat gables north and south, and the same
arrangement is carried round the apse. The most striking
feature in this cathedral is that very rare thing — a very fine
mediaeval organ. It is corbelled out from the north wall of the
nave, and is of great size and height. The pipes are arranged in
Lraceried compartments at five different levels (9). This compli-

' Roussillon belonged to the kings of Aragon from a.d. 1178. Perpifian
was taken, after a vigorous resistance, by Louis XI. in 1474, restored to
Spain, an(i finalh' taken liy ttie French in a.d. 1642.

GERONA 115

cates the machinery for the supply of wind, but adds greatly to
the picturesque character of the instrument. Originally this
organ had great painted shutters^ which are now nailed up
against the wall close to the south porch. The width of its
front is about twenty-five feet, its projection from the wall three
feet six inches, and the organist sits in a gallery at its base.^

There are se\eral good old houses here: but I must content
myself with the mention of one only in the Rue de la Ikirre.
Here we have the peculiarities of the Spanish houses, as they
are seen along the coast from Gerona to Valencia, ver)- decidedly
dexeloped: the windows are all ajimez, with the usual delicate
trefoiled head to the lights, and slender shafts between them,
and the arch-stones of the doorway are more than usually
enormous, being little less than six feet in length.

A drive of a few miles from Perpiiian leads to the extremely
interesting church at Elne, consecrated in a.d. 1058." Here, as
in San Pedro, Gerona, and to the east of it in the cathedral at
Agde, there are occasional lines of black volcanic scoriiE used in
the Romanesque steeple and west front, and with good effect.
The nave of the church has a pointed barrel-vault, and the aisles
half-barrel-\aults, but all the cross arches are semi-circular. At
the west end is a sort of thirteenth-century narthex, and the
tliree apses at the east have semi-domes. On the north side of
tlie church is a noble cloister, planned just like that in the
cathedral at Gerona with the most complete disregard to s\'m-
metry. It is extremely similar to it also in general design : but
it is very remarkable as having its east and north sides erected
about the end of the thirteenth century in evident and very close
imitation of the earlier work on the other two sides. Tlie vault-
ing throughout the cloister is of the later date, and raised con-
siderably above the level of the old vault. The whole of this
cloister is wrought in a veined white marble, and a door from it
into the church is built in alternated courses of red and white
marble (10).

On tlie whole S. Elne well deserves a visit, not only on account
of the extreme interest of its church and cloister, but, to the
student of Spanish architecture, on account of the very impor-
tant link which it supplies in the chain which connects the
earl}- Spanish with the early French buildings of the middle
ages.

' All illustration of this organ is f^ivcn in .M. X'ioUet Ic IJuc's Dictionary
nf French Architechire.

- Viagc Literario d las Ii^lcsias dc lispaiia, xiv. io6.

ii6 GOTHIC ARCHITECTURE IN SPAIN

The history of Cataluna shows how intimate was the con-
nection of the people and towns on both sides of the mountains^
and it is here and elsewhere in the south of France that we see
the germ of almost all the mediaeval Spanish art (ii).

NOTES

(i) " Ramon Berenguer II. Cap de Estopa, was buried in tiie
cemetery called Galilee where now is the great stair." The present
fa9ade is of 1659 to 1793.

(2) This retable has since been remade, not for the first time:
at present it is crowned by three magnificent gold crosses of various
epochs, precious with gems, enamels, and workmanship. I. The
bottom row has IMadonna and Child between angels, in the manner of
a triptych, four pairs of saints on each side; II. next, eight scenes
of the Passion, from Palm Sunday to the Resurrection; a much later
figure of the Risen Christ fills up the centre of this; and III. (where
Street shows doors) eight scenes of the Early Life, the Annunciation,
Xativity, Epiphany, and Presentation; the Baptism, Temptation,
Transfiguration, and Raising of Lazarus. The top of the retable,
between the three statues, is pieced out with a number of plaques,
some of the Crucifixion, others of the Judge between the Tetra-
morph. The baldachin, silver and gilt on a core of wood (with
silver plates on the upper part of the columns), has a Coronation
on the centre, and on the east side, I believe, implausible though
it sounds, S. Peter receiving homage from the donor of the retable;
a double row of saints all round. On the walls of a northern nave
chapel I found eight panels of saintly legend, pleasant and Italian-
ate. Some of the tombs are as pure as they are splendid.

(3) The cloisters of San Pedro are now restored and used for
the .\rch2eological ]\Iuseum. The Abbot's Palace adjoining is the
Quartel de la Guardia Civil.

(4) This is San Nicholas; it is now a saw-mill and easy to examiric.
San Daniel is across the Gallegans, outside the walls. About San
Nicholas, IMossen Baraguer gives some curious information; it
stood in the cemetery, but had no right of burial, and on the four
chief festivals must keep the door locked. It had the Sacrament
of the Eucharist, but could not expose the Sacrament or raise
monuments.

(5) It cannot be called interesting, being too late for gold and
brocades and quite destitute of anything to take their place; a
Spaniard, one could judge, had tried to imitate a German. By
another and a better hand is a series of big predella pictures, below
figures of the Risen Christ and the twelve apostles. In the retable
proper six scenes relate the life and sufferings of S. Vincent; a
statue of the Madonna and Child in the centre is accompanied by
S. Vincent and S. Felix, both rather fiat-faced, at the sides, under
tall carved canopies.

(6) Fornells, a tiny village that had its prosperity in the eighteenth

GERONA 117

century, offers more to a wandering artist than to the ecclesiologist.
The church of S. James, without aisles, has four bays of quadri-
partite vaulting, resting on plain corbels, with a wide chevet of
five and a western gallery. The keys of the vault are large and
carved : Madonna, SS. James, Michael, Laurence, a bishop, S. George
accompanied by another figure. Three chapels, north and south,
contain one bay of ribbed, with one of barrel-vaulting: in addition
there is a north-western chapel, two bays deeper, panelled and
painted in 1796. A date, in the church, of 1730 is probably that of
extensive rebuilding; 1565 is the facade. At present a flight of
steps dated 1753 runs up the south wall to a neat window and door
where apparently the priest has apartments above the vaults. The
west front has a plain good Renaissance door under a triangular
pediment, an ceil-de-boeiif half framed in a round label, and an open
arcade of six arches across the gable-end, opening into a sort of loft
and showing the roof timbers. On the north side of this is a pepper-
box turret; on the south, the belfry, the bell-chamber groined
in a star. The only interesting objects inside are a carved retable
of Santiago, and a dark red Romanesque holy-water stoop with the
crudest carving of men at the corners.

(7) Like Barcelona, San Esteban crowns the tower with a fine
frame for bells. In the priest's house next door are kept the precious
panels of the Life of S. Stephen from the Retablo Mayor, replaced
in the choir by modern paintings. It had been ordered from Pablo
Verges, the greatest of the house, who died before November 25,
1495, and his father, Jaime Vergos II., and his brother Raphael,
finished it and receipted the bill, March 4, 1500. Four half-lengths
of prophets from the guarda polvo are remarkably Burgundian in
suggestion, magnificent,' kingly figures of the Renaissance, who
express all that Henry VIII. might have been and was not. Con-
temporary copies of these are in the Museum of the Hispanic
Society, New York. The priest possesses also another version of
the Peter Pan stor3^ already noted at Tarragona. A Last Supper
and Agony in the Garden from another source, and an interesting
retable of S. Sebastian with SS. Roch, Eloy, Erasmus, and others
— composed against the pestilence apparently — in which the
protagonist is again a grave, bearded figure, not unlike S. James.

(8) At present two, in an arched iron frame of the Catalan type.
Figueras is a rather charming town in the manner of the langue
d'oc; I was sorry not to stay there long enough at least to drive over
and see La Junquera, which lies far from the railway. That remains,
in consequence, the one place where I have not set my foot in the
track of my author.

(q) The Cathedral of Perpinan has seven bays, transepts, and
three parallel apses, but the chapels are set between buttresses,
which project inward and cut off the view of the side apses, so that
from the western part you get no sense of a cross. It is a real
mercantile church, very broad and successful, but nothing like so
fine in effect ys Santa Maria del Mar. On the great organ doors are
SS. Stephen and Laurence, Salome and the Baptist; in the north
apse a good carved Gothic retable, and in the south apse a beautiful
painted one, all but invisible.

ii8 GOTHIC ARCHITECTURE IN SPAIN

(lo) Elne is so close to the railway that travellers will remember
the silhouette of the church and towers against the sky. The
cloister is more magnificent than Street's tempered praise suggests :
the carvings of the capitals breathe at moments the same sudden
waft of eastern airs as at S. Gilles: precisely comparable to the
marble reliefs of the bases there, are, for instance, a lion and a griffin
here, set in entrelacs, to which the abacus is carved with a sort of
palmette. Below the battlements the church carries the remains
of a blind arcade across the front of the aisles and up the nave gable ;
inside there is the same feeling for largeness and breadth as at Cahors,
and in addition the grandeur of the central apse ; the bigness of the
Languedoc type enhanced by the majesty of the Romanesque style.
Between the buttresses on the southern side chapels are set, and in
one of these a Catalan retable of S. Michael.

(ii) It is unfortunate that, misled by the silence of Baedeker
and the misinformation of a French priest now resident in Spain, I
failed while in Narbonne to visit Fontefroid, the mother-house of
the Spanish Cistercian abbeys. It seems that a large part of the
abbey is still preserved in the purest and earliest Cistercian style:
the church, of the end of the twelfth century, has a pointed barrel-
vault in the nave and half-barrels in the aisles. In the chapter
house, also of the twelfth, the great arches of the door and its two
flanking windows open that whole side upon the cloister, and the
opposite side has three round-headed windows as at Poblet. The
ribbed vault is carried on four columns, the capitals formed of strong
fleshy leaves overlapping. The cloister, five bays by four, belongs
to the thirteenth century: the diagonal ribs are round, but the
transverse and longitudinal arches are strongly pointed, and the last
makes a pointed arch on the face of each bay, under which open
three or four small round arches on coupled shafts of marble; the
tympanum between being pierced by a moulded roundel, or some-
times more than one. The monastery, which is now in private
hands, seems to lie on the flanks of hill-country, much like Val-de-
Dios.

CHAPTER XVI

M A N R E S A — L E R I D A

The railway which connects Barcelona with Zaragoza enables
the ecclesiologist to see some of the best buildings in this part of
Spain with great ease. As far as Manresa its course is extremely
picturesque, as it winds about among the Catalan hills, in
sight, for a considerable part of the way, of that wonderful
jagged mountain range of Montserrat, which, after much experi-
ence of mountains, strikes me more each time that I see it as
among the very noblest of rocks. I know not its height above
the sea, but its vast precipitous mass, rising suddenly from
among the ordinary features of a landscape, and entirely uncon-
nected with any other mountain range, produces an impression
of size which may possibly be vastly in excess of the reality.
Its sky-line is everywhere formed by grand pointed pinnacles, or
aiguilles of rock, and the whole mass is of a pale grey colour
which adds very much to its effect. The convent is a consider-
able distance below the summit; but as there appears, so far as
I can learn, to be nothing left of any of its mediaeval buildings,
I was obliged to deny myself the pleasure of the climb to the
summit of the rock, which a visit to the monastery would have
excused, and in part, indeed, entailed. To the north of the Hne
of the railway the hills rise gradually almost to the dignity of
mountains, and suggest a beautiful situation for that old epis-
copal city — Vique — whose fine cathedral seems to have been
destroyed and rebuilt, but where there is still to be seen a very
rich late middle-pointed cloister (i). Everywhere the richly-
coloured soil teems with produce; here vineyards and there
corn-fields, all of them divided by long parallel lines of olives
and standard peaches; whilst the deep ri\er dells, clothed with
cork-trees, stone pines, or underwood, add immensely to the
interest of the road, which (onstantly crosses them.

Beyond Manresa tlie character of the country chai»ges com-
pletely; and when he has once reached the frontier of Aragon.
the traveller has liis only pleasure in the fine distant views of
the Pyrenees; and if his journey be made in the spring — in
the sight of a vast extent of corn-fields, stretching on all sides

120 GOTHIC ARCHITECTURE IN SPAIN

as far as the eye can see. In the summer nothing can be more
saddening than the change which comes over this country; the
corn is all cut before the end of May, and then the universal
light-brown colour of the soil makes the landscape all but
intolerably tame and uninteresting.

Two or three old buildings are seen from the railway. Be-
tween Sardanola and Sabadell is a house with a tower, in which
is a very good round-arched ajimez window. At Tarrasa the
churches evidently deserve examination. There is one with a
lofty central lantern, and of transverse triapsal plan, which
seems to be entirely Romanesque in character; and there is
another of the usual later Catalan type, seven bays in length,
with an apse of five sides, a tower on the south side of the choir,
and a large rose-window at the west end (2). Near the same
town, to the north, is a Romanesque village church (3) with a
lofty belfry, which, like that of the early church in the town
itself, has belfry-windows of two lights, with a dividing shaft,
and a low square spire-roof. A church of the same type is seen
near Monistrol — the station for Montserrat— and from this point
there is nothing to be noticed until Manresa is reached, pictur-
esquely situated on the steep hill above the river Cardener, with
two or three churches and convents, and a great Collegiata — or
collegiate church — towering up imposingly above everything
else. But if the situation of this church is noble, the building
itself is even more so; and having passed it in my first journey,
I was so much struck by its size and character that I made a
point of going again to the same district, in order to examine it
at my leisure. The town is (4) poor and decayed; but I was
there on afesta, and have seldom had a better opportunity of
seeing the Catalan peasantry, who thronged the streets, the Plazas,
and the churches, and made them lively with bright colours and
noisy tongues. There was a church consecrated on the same site
in A.D. 1020, and it is of this probably that a fragment still
remains on the north side. The rest has been destroyed, and
Fr. J. Villanueva ^ says that the existing church was commenced
in A.D. 1328 — a date which accords very well with the detail of
the earlier portion of the work — but he does not give his author-
ity for the statement. I have not been able to find any other evi-
dence which would fix the date of the dedication or completion
of the building; but as Arnaldo de Valleras, one of the archi-
tects consulted in 1416 as to the design for Gerona cathedral,
speaks of himself as then engaged on the construction of the
' Viage Lit. a las Iglesias de Espana, vii. 179.

M>rNReS,^K:OLL€QLmH]lUR(:il=_Qrouni^ = Pfaa= pi.xix.

T /> -; ^< Y y

\i;.Si'Xs Mart's on ^ in ca
louml Uio

<-; ■

, ( hripi 1

( lo si

'->

'^ J

^"^^^ f^

«<

/fi

»./?

?I'j(i('i'ii I'orcli

Plate XIX.

122 GOTHIC ARCHITECTURE IN SPAIN

church of Manresa, there can be but httle doubt that at this time
the Collegiata was still unfinished^ having, as the detail of the
design suggests, been a long time in progress (5). It is of the
common Catalan type of the fourteenth century, and though it
is one of the most important examples of its class, it presents so
few new or unusual features that it hardly seems to require a
very lengthy description. Its design is in nearly all respects of
the same kind as those of the Barcelonese churches of the same
age; but its plan^ is very remarkable, as giving, perhaps, the
widest span of nave anywhere to be seen in a church with aisles
and a clerestory. Or perhaps I ought to limit myself to examples
on the mainland, for at Palma in Mallorca the width of the nave
of the cathedral seems to be even greater, and the plan is almost
exactly the same. The scheme is very similar to that of Sta.
Maria del Mar, Barcelona, but the width of the nave here is con-
siderably greater, and the general effect of the interior is even
finer. The buttresses are necessarily of vast size, and are formed
partly inside and partly outside the church. A lofty tower is
erected over one of the bays of the north aisle, and the two nave
columns which carry it are in consequence built of larger dimen-
sions than any of the others. A fine Romanesque doorway
still remains in the wall, just outside this tower, and leads now
into (6) the modern cloister court; but the principal entrances
to the church are by grand doorways of the same age as the
church, whose jambs and arches have rich continuous mouldings.
These doorways are opposite each other, and just to the west of
the apse, a position of much importance in regard to the ritual
arrangements of the church. There is also a western doorway,
but this, together with the rest of the west front, has all been
modernised, whilst the cloister and its chapels appear to be
entirely modem.

The magnificent scale of the plan is perhaps hardly supported
as it should be by the beauty of the design in detail. In its
present state it is hardly fair to judge of the original effect of
the exterior, but inside one is struck by the enormous width and
height, and not at all by the beauty of the details. The columns
are of vast height and size : but plain piers, with poor bases and
capitals, and poverty-stricken arches, seem out of place in such a
church, and, owing to the enormous size of the vault, the clere-
story windows are but little seen in the general view of the
interior (7).

The columns are simple octagons in plan, and of great size:
' See Plate XIX., p. 121.

MANRESA • 123

they have poor, shallow, carved capitals, which support the
very thin-looking main arches, and the large moulded piers which
carr}^ the groining. This is quadripartite throughout, and has
very bold ribs, with carved bosses at the meeting of the diagonal
ribs. The window traceries throughout are of rich geometrical
character, and savour rather of German influence than of French.
Those in the aisles are generally of two lights, and in the clere-
story of three and four lights — the window in the eastern bay of
the apse being of four lights, whilst those in the other bays are
only of three.

The whole roof of the aisles is paved with stone laid on the
back of the vault, as at Toledo cathedral, with gutters following
the lines of the vaulting ribs, and the water is carried down into
the pockets of the vaults, and thence through the buttresses
into gurgoyles. Over this roof — which seemed to me to be
undoubtedly the old one— a modern wooden roof covered with
pantiles has been erected, which blocks up all the lower part of
the clerestory windows, and is carried in a very clumsy fashion
on arches thrown across between the flying buttresses (8).
The nave roof is now all covered with pantiles laid on the vault
itself, so that from below the church has the effect, already
noticed at Barcelona, of being roofless. This is certainly not the
old arrangement, but whether of old there was any visible roof to
any of these late Catalan churches I am wholly unable to say.

The flying buttresses are double in height, the lower arches
abutting against the wall a few feet above the sills of the clere-
story windows, and the upper somewhat above their springing.
It is possible that this upper flying buttress is an addition to the
original design, provided to meet some settlement in the fabric,
for many of the buttresses have only the lower arch, which would
hardly be the case if they had all been executed at the same
time. The buttresses generally are finished with crocketed
pediments, but there are now no traces to be seen of their pin-
nacles, or of the parapets between them. A lofty octagonal
staircase turret is carried up to the height of the clerestory
against one of the outer angles of the aisle wall, and a passage-
way from it to the clerestory roof is boldly carried upon an arch,
which takes the place of a flying buttress.

The steeple is lofty: it is entered by old doorways opening on
to the paved roof of the aisles, and is groined both under and
above the bells. An old newel staircase in one angle has been
destroyed, and steps projecting from the side walls have been
ingeniously introduced instead. On the top of the tower a large

124 GOTHIC ARCHITECTURE IN SPAIN

bell is suspended from the intersection of four arched stone ribs;
these ribs rise about twenty-five feet from the roof, are about
one foot six inches thick, and abut against piers or dwarf pin-
nacles at the base, about four feet deep by one foot eleven inches
thick. Two architects, said to be French— though their names
seem to me to be those of Catalans — Juan Font and Giralt Can-
tarell, are said to have worked at this steeple from 1572 to 1590,^
and no doubt it was this upper portion on which they wrought.

The sacristies on the south-east side of the apse are old, but
not interesting. The only antiquities I saw in them were four
fine processional staves, with tops of silver richly wrought with
tracery in the sides, and crocketed gables over the traceries.
Behind the openings of tracery the plate is gilt, the rest being
all silver.

The arrangement of the interior of the church for service
follows that usually seen in these enormously wide buildings.
Within the apse the choir is formed by means of iron grilles,
leaving a passage some ten feet wide all round it, and under the
choir is a crypt as at Barcelona cathedral, approached in the
same way, by a flight of steps from the nave. The Coro is
placed, according to the common fashion, in the nave, occupying
about two of its bays in length, and there is an equal space to the
west (9) of it, between its eastern screen and the steps to the Capilla
mayor. The width of the Coro is much less than that of the nave,
and its enclosing walls are mainly old. At first sight, therefore,
it seems to be a good example of an early introduction of this
common Spanish arrangement: but on closer view it appears to
have been taken down and rebuilt, and may not, possibly, retain
its old position. But, on the other hand, the two great doors in
the side walls would never have been placed where they are
if the Coro had occupied its usual English position to the west
of the altar enclosure. The plan of Barcelona cathedral has
just the same arrangement of great doorways north and south
between the Coro and the altar, and there, beyond any doubt,
the Coro is in its old place; and seeing how close the points
of similarity are in both churches, it must, I think, be assumed
that even if this screen at Manresa has been rebuilt it still occu-
pies its old place. It is a work of the fifteenth century, of stone,
arcaded on either side of a central western doorway. The
divisions of the arcade have figures painted within them of the
apostles and other saints. The stalls and fittings of the Coro are
all of Renaissance character.

* Viage Lit. a las Iglesias de Espana, vni. 180.

MANRESA
i.sti:kioi< or the coi.licgiate church

126 (iOTHIC ARCHITECTURP: in SPAIN

On either side of the altar there still remain three octagonal
shafts with carved capitals^, to which, no doubt, were originally
hung the curtains or veils which protected the altar. They are
of the same date as the church, and about ten feet six inches in
height. The footpace is also old, and placed exactly in the
centre of the apse. The richest treasure here is, however, still
to be described. Among a number of altar-frontals, neither
better nor worse than are usually seen, there is still preserved
one which, after much study of embroidery in all parts of Europe,
I may, I believe, safely pronounce to be the most beautiful work
of its age. It is lo feet long, by 2 feet loj inches in height,
divided into three compartments in width, the centre division
having the Crucifixion, and the sides being each subdivided into
nine divisions, each containing a subject from the life of our Lord.^
An inscription at the lower edge of the frontal preserves the name
of the artist to whom this great work is owing. It is in Lom-
bardic capitals, and as follows: —

GERI: LAPi: rachamatore: mefecit: inflorentia.

The work is all done on fine linen doubled. The faces, hands,
and many other parts — as, e.g., the masonry of a wall — are
drawn with brown ink on the linen, and very delicately shaded
with a brush. The use of ink for the faces is very common in
early embroidery, but I have never before seen v/ork so elabo-
rately finished with all the art of the painter. The faces are
full of beauty and expression, and have much of the tender
religious sentiment one sees in the work of Fra Angelico. The
drawing is extremely good, the horses like those Benozzo Gozzoli
painted, and the men dressed in Florentine dresses of the early
part of the fifteenth century. The subjects are full of intricacy,
the Crucifixion having the whole subject, with the crucifixion of
the thieves, and all the crowd of figures so often represented.

1 The subjects are as follows.: —

1. The Marriage of the Blessed Virgin. 10. The Crucifi.xion.

2. The Annunciation. 11. The Entry into Jerusalem.

3. The Salutation. 12. The Last Supper.

4. The Nativity. 13. The Agony in the Garden.

5. The Adoration of the ^lagi. 14. The Betrayal.

6. The Flight into Egypt. 15- Our Lord before Pilate.

7. The Presentation in the Temple. 16. The Scourging.

8. The Dispute with the Doctors. 17. Our Lord bearing His Cross.

9. The Money-changers driven out 18. The Resurrection.

of the Temple. 19. The Descent into Hell.

The subjects begin at the upper left-hand corner, and are continued
from left to right, the subjects i to 9 being on the left, and 11 to 19 on the
right of the Crucifixion.

MANRESA

127

The work is marvellously delicate — so much so that, passing
the hand over it, it is difficult to tell exactly when it ends and
the painting begins. The colours are generally very fresh and
beautiful; but the gold backgrounds being very hghtly stitched
down are a good deal frayed. There are borders between and
around all the subjects. Such a piece of embroidery makes one
almost despair. English ladies who devotedly apply themselves
to this kind of work have as yet no conception of the delicacy
of the earlier works, and reproduce only too often the coarse
patterns of the latest English school.^

In the choir-aisle is a wheel of bells in its old case, and under
the organ is the favourite Catalan
device of a Saracen's head.

A picturesque effect was pro-
duced in the church here by the
large white flannel hoods which
all the women wore at mass
The church was crowded with
people, and these white hoods
contrasted well with the many-
coloured bags or sacks— red and
violet predominating — which the
men always wear on their heads.

I saw two other old churches
here. That " del Carmen " is of
the same age as the Collegiata,
v.'ith a nave of six bays and an apse of seven sides (10). It is
forty-seven feet wide in the clear, without aisles, has chapels
between the buttresses, and is lighted by large clerestory-
windows. Here, as at the cathedral, almost all the windows
are blocked, and sufficient light seems to be obtained for the
whole church by some ten or twelve holes about two feet square
pierced here and there. The other church is of the same
description, but less important (11).

Between ]\Ianresa and Lerida, the only town of any import-
ance is Cervera. Here there is a vast and hideous university
building going to ruin: and two churches, one of which, with a

Wheel of Bells

' To thosi- wlio know thcni I w.-cd hardly say that the rumaius of the
Anglo-Saxon vf-stmcnts found in S. Cuthbert's tomb, and preserved at
Durham, are p<rhaps the most exquisitely delicate works in existence —
so delicate that a ma^jnifying f<lass is necessary in order to vmderstand at
all the way in wliich the work has been done. Tliis Florentine work, of a
later age, quite makes up in art for what it lacks in minute delicacy of
execution when compared with S. Cntlibert's vestments.

128 GOTHIC ARCHITECTURE IN SPAIN

square steeple, seems to be early in date, and the other — that
of Sta. Maria, I believe — of the usual Catalan fourteenth-century
type. This steeple was completed, in a.d. 1431, by an architect
of Cervera, Pedro de Vall-llebrera; but it must have been long
in progress, inasmuch as the principal bell— which was never to
be tolled save for the funeral of a peer, a royal officer, or a bishop
— was put in its place in a.d. 1377.^ This bell has disappeared.
On another, however, is this inscription: — " I.H.S. . Mateus . de .
Ulmo . magister . cimbalorum . ville . Cervariae . me . fecit .
anno . a . nativitate . Domini . millesimo . quadringentesimo .
vigesimo . quarto . Si . ergo . me . queritis . sinite . os . habire."
And on another—" + Barbara . nos . serva . Christi . sanctis-
sima . serva."

Between Cervera and Lerida the country is very uninteresting
until near the end of the journey, when a good view of Lerida,
and the cliff above the river, is obtained. I have twice visited
this interesting old city. In the autumn of 1861 I passed a
day there, when the greater part of my time was spent in
endeavouring to get admission into the cathedral, so that I
only saw enough to make me wish to repeat my visit: and this
I was fortunately able to accompHsh in the spring of 1862.
My readers will agree with me, when they have realised to them-
selves what is to be seen, that such a cathedral as that of Lerida
is in itself worth the journey from England. Unfortunately its
examination will always be beset with difficulties — if indeed
it is allowed at all when visitors become more numerous than
they have been hitherto.

The town consists mainly of one very long, tortuous street
parallel with the river Segre, a broad, rapid stream, carrying the
waters of a large part of the southern slopes of the Pyrenees
into the Ebro at Mequinenza. There is an Alameda all along
the river-bank, and at about midway in its length a large stone
bridge across the river. Behind the town a hill rises rapidly
— in some parts abruptly — to an elevation of, I suppose, about
three hundred feet above the river; and on the summit of this
stand the old cathedral, and some remains of other coeval
buildings, now the centre of a formidable-looking, though really
neglected, system of fortifications. Two other old churches —
San Lorenzo and San Juan — remain, one in the upper part of the
city, and the other on the Plaza, near the bridge. A modern
cathedral, of the baldest and coldest Pagan type, but of great
size, was built in the main street, near the river, when the old

^ Viage Lit. a las Iglesias de Espaiia, ix. 17.

LfiRIDA 129

cathedral was converted into a fortress; and I cannot do better
than quote Mr. Ford's rather ironical statement of its history: —
"The ruin." he says, "of the old cathedral dates from 1707.
when the French made it a fortress: nor has it ever been restored
to pious uses; for in the piping times of peace the steep walk
proved too much for the pursy canons, who, abandoning their
lofty church, employed General Sabatani! to build them a
new cathedral below, in the convenient and Corinthian style."
From the date of its desecration nothing whatever has been
cared for: and it goes to one's heart to see so noble a work,
and one so sacred, put to such vile uses, and to so little purpose:
for even now when Spain bristles with soldiers, and the whole
nation is bitten with the love of militarv sidits and sounds, the
desecration of a sacred buildins; is all that has been accomplished :
for I believe that the Spaniards have seldom managed to hold
possession of it against the French, and in its present dilapi-
dated state are less than ever likely to do so.^ The position is,
however, a very strong one: and another hill to the west of the
rity is crowned with a second fort connected with it. Admission
is only to be obtained by an order from the commandant of the
district, who resides in the city below : and he very kindly sent
a sub-officer to remain with me whilst I was in the fort, and
with true Spanish courtesv came up himself to see that 1 gained
adm.ission to e\'erv part', and took great trouble to open doors
some of which seemed hardlv to have been opened since the
Peninsular war !

The buildinas now remaining consist of a church with an
enormous cloister on its western side, and a loft}' steeple at
the south-west angle of the cloister. On the north side of the
cloister is a large stone-roofed hall, and north of this again, and
detached from the cathedral, are considerable fragments of what
is called ;i ( astle. and these include another nol)le groined hall.

Mv ground-plan of the cathedral and its dependences will
show at a plance how unusual and remarkable the whole scheme
is. The south side of tlie church is built on the very edize of
the precipitous cliff abo\e the town ar.d ri\er. and the lofty tower
is darinulv balanced as it were on the most dangerous point
of the whole ground. The mass of the wliole group seen from
below, and the \-ast hei'jht of the tower, are therefore siniiularlv
imposinir. whilst the \!ew ohtained from th.e summit is one of

' I <Jo rifit ffjrt't-t the successful dcfi-ncr of [.I'-rida, in ttn' sixt<'Piith r< nl iir-. ,
against the Prince de Condt'-: it is diu- of which tJie p'-oplc iii.iy well be
proud: but this was before the desecration of the catlit'<lral.

II I

130 GOTHIC ARCHITECTURE IN SPAIN

rare magnificence. It is true that here the immediate neighbour-
liood is not lovely, but still the river does much towards con-
verting to fruitfulness the usually arid-looking Aragonese soil
of the district by clothing it with trees and verdure, and when
last I saw it not only was the Segre a torrent of rushing waters,
but on all sides the hills were covered with a wide expanse of
vineyards and corn-fields; and beyond these were to be seen
towering up in the far distance the grand range of the Pyrenees,
touched here and there — on the Maladetta and some of the other
high peaks — with lines of snow; whilst on the other side the
lower mountain ranges of Aragon completed one of the most
beautiful panoramas I have ever seen from church tower.

The site of the cathedral has long been occupied. It was an
important stronghold in the time of the Romans, and the first
cathedral was erected as early as in the sixth century. The
Moors in course of time gained possession of the city, and it was
not until a.d. 1149 that the Christians, under Ramon Berenguer.
finally drove them out and regained possession.

The documentary evidence as to the age of the existing l^uiid-
ings is fairly clear, and may as well be gi^•en at once. I derive
all my facts from the papers printed in Espaha Sagrada ; ^ and
besides those which more particularly interest me as an archi-
tect, there are in the volume which relates to Lerida some most
interesting extracts from the proceedings of councils held there
from A.D. 1 1 75 to 1418, and of diocesan synods from the year
1240. These are full of information as to the customs of the
church, and the rules affecting the clergy. -

The first stone of the new cathedral was laid in the time of
the third bishop after the restoration, and in the presence of the
king Don Pedro IT. An inscription on a stone on the Gospel
side of the choir, which I did not see, gives the date^ as the

1 Vol. xlvii. De la Santa Iglesia de Lerida en su estado moderno. Sii
autor el Doctor Don Pedro Sainz de Baranda.

- 1 give a few notes from the rules of this church as agreed on at the
Synods. In 1240 : No priest to say mass more than once in a day, save in
case of great necessity. Priests to administer the sacrament of penance
in the sight of all in the church. Godchildren are prohibited from marrying
the children of the god-parents of baptism or confirmation. Mendicants
are forbidden to celebrate on portable altars {super archas). Clergy are
ordered to have a piscina near the altar, where, after receiving, they may
wash their hands and the chalice. In a Synod held in 131S, it is ordered
that, as many corpses are interred in churches which ought not to be, for
the future none shall be so save that of the patron, or of some one who
has built a chapel or endowed a chaplain.

^ " .^nno Domini mcciii. et xi. Cal. Aug. sub Innocentio Papa III.
venerabili, Gombaldo hnic ecclesiffiTpresidente inclitus Rex Petrus II. et

LfiRIDA 131

22nil July, 1203; and in a.d. 1215 the cloisLer was, in part at any
rate. l"»uilt. one Raymundo de Se;jarra having desired that he
might be buried within its walls. ^ From this time to the conse-
cration we have no notice of the building, if 1 except the follow-
ing inscription still remaining on the eastern jamb of the south
transept doorway, which proves the existence of that part of the
church at the time mentioned: — " Anno Domini m: cr° : xv xi :
Kal : Madii : obiit Gulielmus de Rocas : cuj : ale : sit : "" and
there is a mention in Espafia Sagrada of the burial of Bishop
Berenguer. in a.d. 1256, by one of the doors, called thenceforward
after him. ()n the last day of October, a.d. 1278. the church
was consecrated by Bishop Guillen de ]\Ioncada. and the record of
this on the west wall is now concealed, but I give a copy of it.-

In 1286 Pedro de Peiiafreyta, who had been master of the
works, died: ^ he had probably been employed on the central
lantern and the cloister, for which latter work, on the 21st of
August. 1310. the king Don Jayme 11. gave the stone:'* circa
A.D. 1320 Bishop Guillen founded a chapel; in 1323 the work of
the '" cloister and tower"' was still going on;^ and in 1327 alms
were asked for the completion of the same work:*' and again in
1335 the \-icar-general. in the absence of the bishop, appealed
for alms. '' j)ro maximo et sumptuoso opere claustri ecclesirc
•atedralis."

In A.D. 1391 Guillermo Tolivella contracted to execute the
statues Un' the doorway at the price of 240 sueldos each : and in
A.D. 1400 Francisco Gomar contracted for the erection of a grand
porch for 1600 sueldos. The steeple at the an^le of the cloister
seems to ha\-e !ieen comm.enced about the end of the fourteenth
' er.turw The fabric-rolls for :3')7 contain an item of 350 feet
'if stone from, the river Daspe " for the work of the tower.""

l-,rni',ii:,'aiKhi-i C ojiicb I rguUcn. j)r;ijiariuin i^tius lal-ric:'.,- lapi(k-iii po>urniiii .
HfTf-rmario (Jbiciouis opiTaric) existi'iite. !'(iru-> PiTcniiiba !\!a!,'i-it('r 1 ;
•abricalor." — E^p. .Sa?. xlvii. 17.

' \'iaiie I it. .xvi. Si.

-■•.Anno D'i mi cl.x.wui, ii Cal. .Xow-nibris Dominiis (1. de Miintera-
:\\r-ivi ix Il'Tii. Ep=. C(jnsf'cra\'it hanr- ICccni. ct concfs-^it xl dies indnli:! ncie
;»-r ornn''-s octavas ft constituit ut fistiiiii d' dicatioiiis celebrart'tiir s(.in[)ci
.11 Dcjininica prima po--t fi'-.tuiu S, I.ucj." — Espana Sagrada, xlvii. 3 -.

■' \'i(i<.[e I it. xvi. .S3.

* ■■ Cum nus conr.'-ss'Timiis d.iri o|).Ti claustri Ecclosie Sfclis civitatis
ili'-rdc sf-.x mill'- pcdras s'^rn.idals (!'■ i)'traria domus prodicte dv flardcnio:
;d'-o vobis dirimus I't r;i.indanius quatcnus dictas sox niillo p'-dr.as df dicta
pctraria op»-rario diet'' l^cclrsii- ri-cip<Tc Idx-rf; jxTmitatis cuin'-rtcnd.is
scu imj/onf-ndas in open- suj^radicto. Datum Illi-rd(' duodecimo calendas
T-pt'-mbris anno Domini m.( rr..x.--/- .v. Arch. re^. Bare. grut. Jac<ib. II .
.,1. l.,5!>.

- Ep. S,i:' xImi. -t'i '• /^ii/, f. .17.

132 GOTHIC ARCHITECTURE IN SPAIN

Other similar notices occur, and among them the names of two
masters of the works, Guillelmo CoHvella and Carlos Galtes de
Ruan. It was probably completed before 1416; for in this year
Juan Adam, " de burgo Sanctje Mariae, Turlensis diocesis, regni
Francise," contracted for the making of the great bell, which
was finished in 1418, and commended by the chapter in these
words — " Cujus sonitu et mentis vulnera sanari, et divinitatis
singularis gratia possit conquiri." ^ There are no other notices
of the main portion of the fabric; but we know that, in a.d.
1414, Pedro Balaguer was sent from Valencia to examine the
tower at Lerida before he built the tower called the Micalete
in his own city; and we may conclude therefore that before this
date the work at Lerida had been completely finished.

It is easy to distinguish the works referred to in these notices.
The church, of which the first stone was laid in a.d. 1203, and
which was consecrated in a.d. 1278, still remains almost as it
was built; and there can be but little doubt that the greater part
of the cloister is of the same date. The works for which stone
was given in a.d. 1310. were probably those in its western half,
and possibly the lower part of the steeple; and the chapel,
founded in a.d. 1320, must be one of those added on either
side of the great south door, or on the east side of the south
transept.

ft is impossible not to feel greatly more interest in a church
whose scheme is unusual, than in one of a common type, even
when its detail is not of so high a \alue, or its scale less imposing.
Here, however, we have both extreme novelty in the general
scheme,- and extreme merit in all the detail. As one climbs
the steep street which leads to the cathedral, where the open
space around the fortifications is reached, the first general \iew
of the buildings is most puzzling. The low outer wall of the
cloister, with an enormous western doorway, the point of whose
archway reaches to the top of the wall, the steeple on the extreme
right, and the central lantern appearing to rise only just above
the cloister wall, make a most unintelligible group. Making
my way to the great doorway, I was astonished to find it to be
the entrance, not of the church, as I at first assumed it to be, but
only of the cloister; and not less disgusted to find that three

' 'llu; inscription on this bell was as follows: — " Christus. Rex. venit.
in. pace. et. Deus. homo, factus. est. Chtus. vincit. Chtus. regnat. Chtus.
ab. ornn. mal. nos. defendat. Fuit. lactuiii. per magistrum. Joanneni.
.•\dain. anno. Dni. i^iS in niensc. Aprili.-- 1 'iai^e Lit. a las Jsjesia'i deE^paiia,
xvi. Sg.

* Sdi plan, Plate .X.K., p. i jO.

LERIDA 133

sides of this rloister had been turned into barracks, a floor having
been inserted all round at the level of the springing of the vault,
so as to afiford ample accommodation for some hundreds of sol-
diers, who sleep, cook, and live within its walls; whilst the
eastern side is now a store-house for arms and accoutrements,
similarly divided by a floor, and without any visible trace of the
doors of communication between church and cloister, which are
said to be on this side (12). Yet this cloister is certainly, even
in its present desecrated state, the grandest I have ever seen.
Its scale is enormous, and much of its detail very fine. I have
no doubt that it was a long time in progress, and this would
account to some extent for the extreme irregularity of some of
its parts. The bays, for instance, vary in width: the Inittresses
are variou.slv treated; and the sculpture, which on the eastern
side seems to be coeval with the earliest portion of the church,
is evidently on the other sides of much later date -probabh" not
earlier than .a.d. 1300. The buttresses on the eastern side arc
carried on bold engaged columns with sculptured capitals, whilst
most of the others are square in outline, with small engaged
shafts in recesses at their angles. The arches are now all buill
up and plastered; but in two of tiiose on the eastern side it
is just possible to detect the commencement of traceries, from
which it would seem that each arch had tracery above an arcade
of three or four divisions. In its present state it is impossible to
say more than this, or whether these traceries were original,
though they seem to have been geometrical in style, and there-
fore probably later in date than the enclosing arches. The
eastern half of the cloister has the outer arches richly adorned
with complicated chevron and cable ornament, and the remainder
of the arches are finely moulded. The interior is more uniform
in character, the vault being quadripartite throughout, with
\ery boldly moulded ribs; and the main piers, and the piers at
the angles, being very exquisitely planned, with a number of
detached shafts with well moulded bases, bands, and capitals,
the latter car\ed with foliage and heads. The capitals and bases
are square througliout the cloister. On the south side this
cloister lias openings in the outer wall corresponding with those
opening into the inner court; and these, I think, also had
traceries. Owing to the fall of the ground towards the edge of
the cliff, these windows are liigh alcove the terrace outside, and
\ery bold buttresses are placed between each of them. Tlie
effect of the cloister on the soutli sirle is that of an enfinnous
iiall: and tliis. in truth, is what it is. Its clear internal wirltii

134 GOTHIC ARCHITFXTURE IN SPAIN

varies from 26 ft. 6 in. to 27 ft. 6 in., and the height is quite in
proportion. Occupied as it now is by hundreds of soldiers, one
is tempted to ask, whether a building so far larger than could be
required for a mere cloister may not have been built in the first
instance to serve some double purpose; being, for instance, not
only an ambulatory, but a refectory, and dormitory also. The
way in which some of our own old buildings were fitted, with

View from Steeple, I.krida Old Cathedral

a chapel at the end of a series of cubicles on either side under the
open roof of a great hall (as, e.g., S. Mary's Hospital at Chi-
chester, Chichele's College, Iligham Ferrers, and a hospital at
Leicester), seems to point to the possibility of some such utilising
of the vast space which these cloisters afford ; and the more as
it seemed to me that there were not the e\'idences that might
have been expected of the existence at any time of the other
dependent buildings required by a cathedral body in all cases,
and more than usually here where the church was so far above
and away from the city. I mentioned the western entrance of
the cloister as beina\'erv laree: it is a double doorwav with niches

LERIDA 135

for six statues in either jamb, and the orders of the archivolt
are alternately of mouldings and niches for figures. The outer
arch is crocketed between two great pinnacles. The carving
has mostly been destroyed ; but there is a poor sculpture of the
Last Judgment in the tympanum. The doorway has evidently
been added between two of the earlier buttresses of the cloister
at about the end of the fourteenth century ; its detail is extremely
delicate and rich, and somewhat similar to that of the west
doorway of Tarragona cathedral; and both are quite like very
good P'rench fourteenth-century work.

Unfortunately the doorways from the cloister to the church
are now quite invisible, the wall being completely hidden by
military packing-cases and arms.^ This is the more to be
regretted as the grandeur of the other doors leads me to suppose
that the western doorway would be very fine.

It will be seen by reference to the plan that there is a steeple
abutting against the south-west angle of the cloister; it is
set against it in the most irregular fashion; and it is worth
mention that the architect of the Micalete, at Valencia, who
was directed to study this tower, imitated it even in this pecu-
liarity. Here there seems, so far as I can see, to be no reason for
the irregularity; and I can only conjecture that it may have
been the consequence of some variation in the rock on which
it stands. The entrance is by a staircase. through a house, and
thence by a newel staircase in the thickness of the wall. The
steeple is octagonal in plan_, and of five stages in height ; the two
lowest lighted by windows of one light; the third with windows
of two; and the fourth with others of three lights, one in each
face of the octagon. There is a rich parapet of open tracery,
supported on corbels, to this stage, and a great pinnacle at each
angle. The pinnacles are carried up from the ground, and are
at present partly destroyed, and made to carry iron beacons
instead of their old finish. The fifth stage stands entirely within
the other; and its plan, as i)eing the most interesting, is shown
on my ground-plan of the whole building. 1 lere each fare of the
octagon had a bold opening with a crocketed and traceried gable
over it, and pinnacles at the angles, and probably a traceried
parapet wliicli no longer exists, 'i'hc various stages are groined
with stone vaults, and the whole cnnstruction is of tlie most
dignified and solid description. The height from the terrace on
the west side of the cloister to the top of the parapet is about

' T!;' H' ari- -aid to Ix (lircc (!oor\sa\-- Iroiii the clnwti r tu tli" ciiiircli.- -
Viagc / it. x\-i. ^(j.

TTeRIDA:— Gnuuafe Plan dF dafftgarflf ^r

^ ^ f- ^^ C\ -^

2 -J

Pla

_ rt \ j*i Masoivs jNlarks ca outer ^VdU oC Cloistci- 15"rt'nlurv

i.;8 (iOTHTC ARCHITECTURE IN SPAIN

170 feet. The steeple looks much higher than this: but this is
no doubt in great part owing to the enormous height above the
city of the chf? on the edge of which it stands. - The view of the
church from the summit is so striking, and gives so clear an idea
of its whole scheme, that I have engraved it. My drawing shows
the cloister in the foreground, and the south-west view of the
church beyond it. Here almost every part that is seen is of the
earliest portion of the fabric, which seems to have been carried
out on a regular plan from first to last. The church is cruciform,
with a nave and aisles only three bays in length, and an octagonal
lantern over the crossing. The choir and its aisles had three
parallel apses east of the transept, and a fourth chapel was added
in the fourteenth century, as were also two chapels on the south
side of the nave. Two staircase-turrets on the west sides of the
inmsepts(a favourite position for themin early Spanish churches)
added much to the picturesqueness of the outline; but the
upper part of one of these has unfortunately been destroyed,
und the other was either carried up or altered at a later date- -
probably in the fourteenth century.

It will be seen that most of the windows are round-headed.
Everywhere, however, the main arches are pointed; and this is.
as I need hardly say, always characteristic of transitional build-
ings. The strange thing is, that in a church which was in
building between a.d. 1203 and 12 78 we should find such strong
evidences of knowledge of nothing but twelfth-century art; and
assuming the dates to be correct — as I think we must — it affords
good e\idence of the slow progress in this part of Spain of the
developments which had at this time produced so great a change
in the north of Europe. Either the whole building was built
on the plan at first laid down, or else, having been commenced
vigorously, and in great part finished, some delay must have
been caused in its completion for consecration. The latter is
no doubt the more probable supposition, because, whilst the
whole of the walls up to the top of the clerestory seem to be of
perfectly uniform character inside and out. the central lantern
is evidently a work of circa a.d. 1260-78, and one which could
not have been designed so early as 1203. The sculpture of all
the capitals throughout the interior, as well as that of the door-
ways, must also be set down to the commencement ol the
century; and the date of a.d. :2I5, whicli occurs on the south
transept front, seems to make it probable that at that time the
\vork in this part of tlie church was well advanced.

ITcre r mav notice one of tlie remarkable features of thi.s

LltRIDA

130

building- that the external roofs are all ol stone. Most of
them indeed are modern: but those of the choir and lantern are
undoubtedly original, and there can be little doubt that the
whole church was covered in the same way. They are formed
entirely of stones chamfered and weathered to a flat pitch, and
lapping slightly over each other. Their effect is good, and the\"
were evidently built by men who hoped their work would last
for ever: yet this has not quite been the result of what they did :
for. as I ha\'e said, most of the roofs have been relaid with slabs
of stone carefully fitted together like pavement, and less likely
therefore to witlistand the weather than the old roofs were.

^?— --""-"T"'

Cornice of South Tkanski't Doorwav

'i"he entrances to the cathedral are at present three in number
a door in each transept and one in the south wall in addition
to the western doorway, which, if it exists, is now blocked up.
These doors are all fine. That in the north transept is simple but
effecti\e: it lias a simply-moulded semi-circular arch, above
which is a pointed arcli with a stone in the enclosed space carved
with A and il; and above it a very finely-sculptured hori-
zontal cornice, 'i'he doorway is set forward a few inches from
the wall, in the L(jml)ard fashion. In the gable of the transept
over it is a large moulded l)ut untraceried circular window, and
enough of an original stepped corbel-table under the eaves to
siiow that the old pitch of the roofs was very flat, though some-

140 (tOTHIC architecture in SPAIN

what steeper than at present. The south transept doorway is
much finer: it has a richly-sculptured round arch; and on
each side of the arch are niches — one containing a statue of
S. Gabriel, and the other one of the Blessed Virgin. Under the
exquisitely sculptured cornice which surmounts the door is
inscribed, in large incised letters, the angelic salutation; whilst
on the right jamb of the door is the inscription of the year 1215,
given at p. 131. Above the doorway is, as in the other gables,
a circular window; and here the fine early tracery with which
it was filled in still remains (13). The whole detail of this front
is of the finest kind, and must have been executed by men who
knew something of the best Italian Romanesque work. Nothing
can exceed the delicacy and care with which the whole was
executed. The wheel is divided by eight octagonal shafts
radiating from the centre, and these carry an order of sixteen
semi-circular cusps, two to each division. These cusps are
covered with the billet ornament, and their spandrels have sunk
tarved circles. The mouldings which enclose the window are
ricli and delicate in character; and though it is unfortunately
now walled up, it is well preserved, and still extremely
effective.

The last and grandest of the doors — the " Fuerta dels Fillols "'
or of the Infantes— is in the centre bay of the south aisle. This
is an example of singularly rich transitional work, with an archi-
volt enriched with mouldings, chevrons, dog-tooth, intersecting
arches, and elaborate foliage. There is the usual horizontal
cornice over the arch, and above this a fourteenth-century
statue of the Blessed Virgin Mary and our Lord. The hori-
zontal cornice is carried on moulded corbels, between which
and the wall are carvings of wyverns and other animals; whilst
the soffit of tlie cornice in each compartment is carved with
delicate tracery panels, in some of which I thought I detected
some trace of Moorish influence. The cornice lias a delicate,
trailing branch of foliage; and the label and two or three orders
of the arch, in which sculpture of foliage is introduced, are
remarkable for the singular delicacy and refinement of the
lines of the foliage, and for the exceeding skill with which they
liave been wrought. There is none of that reckless dash which
marks our carvers nowadays, but in its place a patient elabora-
tion of lovely forms, which cannot too much be praised. The
mouldings here are all decidedly characteristic of the thirteenth
century. The whole is now protected by a later -probably
fifteenth century — vaulted porch, which occupies the space

1 l,i:i|) \ iM.i) ( \'l'lli:i)K \l

^Ol I II l'(l|(( II

142 GOTHIC ARCHITECTURE IN SPAIN

between two added chapels.^ The effect is very good and
picturesque, as will be seen by the illustration which I give ; but
as this porch is the storehouse for rockets and shells, I fear its
beauties are likely to be a sealed book to most travellers, though,
owing to the extreme courtesy of the commandant, I was so
fortunate as to be allowed to see and sketch it at my leisure.

The original windows are all simple round-arched, with
moulded arches, and shafts, with caps and bases in the jambs ;
those in the lantern and at the west ends of the aisles are of
later date, and pointed. The west window is circular and verv
large, but without tracery: and there is a small lancet below
it which is now blocked up by the roof of the cloister. No
doubt this roof was originally a gabled stone roof with a gutter
against the wall, so as to leave this window open.

The lantern is octagonal above the roof, with a window in each
side, pilasters at the angles, and an arcaded corbel-table at
the eaves. The staircase-turret on its north-west side is also
octagonal, and rises above the eaves. The roof is original, and
of stone.

The chapels which ha\^e been added seem all to have been
built in the fourteenth century, and are much mutilated: they
are good works of their age, l)ut rather mar the general efTect
of the church, and do not call for much notice; two of them
were closed, and I was unable to obtain admission to them.

The interior of the church has been as completely encumbered
with arrangements for soldiers' convenience as has that of the
cloister. A floor has been erected all over the nave at mid-
height of the columns, and in the south transept at the level of
their capitals. The choir is boarded off, and not actively dese-
crated. The real floor of the church is now an artillery store-
house; on the raised floor of the nave a regiment of soldiers
sleep and live; and in the south transept the bandsmen spend
all their time making the most hideous and deafening discord.
It is indeed a shameful use for a church, and there is only one
small crumb of consolation in the fact that, soldiers notwith-
standing, there has hitherto been no great amount of wilful
damage done to any of the old work. The capitals throughout
are extremely rich in sculpture, and are still perfect though
obscured b\- white\\ash, and the groining has nowhere been
damaged. 1 know no style more full of vigour and true majesty
than the earliest pointed, of which this interior is so fine an
example. The la\ish enri(-hment of the capitals, the fine section

' See n.-fcrcRCi- to^this porch at p. i ^i.

LERIDA

143

of the great clustered columns, the severe simplicity of the
unmoulded arches, and the extreme boldness of the groining-
ribs, all combine to produce this result. Almost all the principal
shafts are coupled, and the groining-bays are kept \ery distinct
from one another by very bold transverse arches: these, and
indeed all the main arches, are pointed. There is no triforium.
and but a small space between the arches into the aisles and the
clerestory windows. The canted sides of the central lantern are
supported on pendentives similar to those
which occur under the angles of some of
the early French domes. ^ Above these
is an arcaded string-course, and then
the windows: these are all double, and
of varied tracery. There are monials
and traceries nearly flush with both the
internal and external face of the wall:
this was a necessary arrangement for a
work which was to be seen so entirely
from below, where the external traceries
would all have been lost to the view.
There are groining-shafts in the angles
of the octagon, and an octagonal dome
or yault, with ribs at the angles. The
choir is not used at all-: it has a quadri-
partite vault over its western half, and
a pointed arch in front of the apse,
which is covered with a senii-dome.
The western bay is lighted b}- clerestory
windows like those in the nave, and the
apse l:)^■ three windows, which on tlie
(jutside ha\e flat buttresses between
them.

None of the old ritual arrangements
remain: but there is nothing here to

suirirest anything at all different from what might be mei
with in a similar church elsewhere.- The lantern does not
pro\-e anx'thin;; more than our own lanterns do as to the
arranpernent of the choir for worshijD: in short, here as else-
where the central lantern was introduced parth- because it was
a custom of tlie Lombard chun.:hes, from which this class of

' As, e.q., at S. Iltifniic, Xexors.

' '■ Durin;.' the episcopate of Koineo de Ccscomes, 1361-80, the work ot
tlif- principal alt.'ir was ordf-rcd to lie concluded, and it was forbidden to
sav mass th'-rc from All Saints' <la\- till tlu followint; niuulli ol Mav 1176."

Pendkntive, etc., under
Lanterx. I,(^:ripa (\\TnE-

Dlv'AI.

144 GOTHIC ARCHITECTURE IN SPAIN

Spanish church borrowed so much, and in the next place because
it was especially suitable for a climate like that of Spain, where it
afforded the chance not only of lighting: the church in the most
agreeable way, but also of ventilating it most efficaciously.

No doubt the external effect of this church was improved much
by the addition of the great western steeple, though at the same
time it is plain that its somewhat eccentric position has removed
it so far from the main fabric of the church as to render the whole
group of buildings less compact in its outline than it would have
been had it been attached, like most of our own steeples, to the
bodv of the church itself. On the other hand, nothing is more
difficult, usually, than to build a steeple to a church which
already has a central lantern, without entirely destroying the
importance of this, which ought always, where it exists, to be a
main feature; and here, as is generally the case in examples
derived in any way from Italian examples, the central lantern is
not very important in its dimensions, and required therefore
more than usual caution on the part of the artist who ventured to
add to it. Here, as happens often with detached campaniles,
the grouping of the steeple with the church from various points
of view is very diversified, and often very striking. From its
great height above the valley it is seen on all sides, and generally
at some distance. From the south, the grand size of the cloister,
which connects the steeple with the church, gives it somewhat
the effect of being in fact at the west end of an enormous build-
ing, of which the cloister may be the nave; whilst from the
west, as the ground falls considerably, nothing of the church
is seen but the central lantern rising slightly over the cloisters,
whilst the steeple rears its whole height boldly to the right,
and makes the whole scheme of the work utterly unintelligible
until after a thorough investigation. Again, in the views of
the cathedral from the east side the steeple has the effect of being,
like that of Ely, at the \Yest end of the nave, and here it groups
finely with the central lantern. Tb.e same results will be found
in some of our English examples, and the parish church of West
Walton, near Wisbeach. illustrates, as well as any that I know,
the extraordinary variet\' of effect which a detached tower, at
some distance from the main building, produces.

The only portion of the building not yet described is a long
hall on the north side of the cloister: this is vaulted with a
pointed stone barrel-vault, and is gloomv-looking in the extreme.
being lighted entirelv from one end. A newel staircase has been
taken awav from the other end.

LERIDA 145

Near the north side of the cathedral, on slightly higher ground,
is another fine fragment of a building of the same age, which
looks as if it had always been built as a defensive work. It
contains a magnificent hall, groined in four bays of quadri-
partite vaulting, and measuring about 24 feet by 96 feet. A
smaller room next to this has a waggon-vault. The north and
east walls of this hall, and of a building at right angles to it, are
very boldly arcaded on the outside, and have a simple trefoiled
corbel-table under the eaves: the hall windows are set within
the wall-arcade. The bosses at the intersection of the ribs on
the vault of the hall have interlacing patterns of Moorish
character carved upon them, and afford the only distinct evi-
dence of anything Hke Moorish influence that I noticed in any of
the buildings here.

There are two other old churches in Lerida, San Lorenzo and
San Juan. San Lorenzo is on the hill, not very far from the
cathedral. It is a parallel triapsidal church, the nave vaulted
with a pointed waggon-vault, divided into three bays by arches
springing from coupled shafts in the side walls. The apse
has a .semi-dome, and is lighted by three round-headed windows,
five inches wide in the clear, and has a corbel-table under the
eaves outside. The side walls of the nave are eight feet thick
(the nave being thirty-three feet wide), and through them \ery
simple pointed arches are pierced, opening into the aisles. I
have no doubt that these were additions to the original fabric.
They have polygonal apses at their east end, with very good
window-tracery of circa a.d. 1270-1300. On the south side an
octagonal steeple was added in the fifteenth century, project-
ing from the aisle walls. This has a two-light window on each
side of the belfry, a pierced parapet, and a simple octagonal spire.
There is a fine fourteenth-century Retablo to the high altar. It
has a niche in the centre with a figure of S. Laurence under a
canopy, and a number of subjects and statues on either side.
There is also one of the usual fifteenth-centur)- galleries at the
west end (14).

The interiors both of this church and of San Juan were so
dark that I found it almost impossible to make even the roughest
notes of their contents or dimensions.

San Juan (15) is another fine early church, perhaps a little later'
than San Lorenzo, and of about the same age as the cathedral :
neither of them, however, show any signs of having been, as is
the tradition, built as mosques, and converted into churches
after the taking of Lerida from the Moors in a.d. 1 140. The |)lan
n K

146 GOTHIC ARCHITECTURE IN SPAIN

here is but little altered, and exhibits three bays of cross-vaulting
and an apse.^ On the north side an aisle has been added ; but
on the south the facade is nearly unaltered, and the interior is
similarly very perfect. The mode of lighting with windows very
high up is similar to that of the cathedral clerestory, and is worth
the attention of those who wish to adapt the Pointed style for
tropical climates. The rose window and great south door are
both very fine examples, and extremely peculiar in their arrange-
ment. The door, which is very large and imposing, occupies
the whole of the central bay, and there are fine windows in the
bays on either side of it: the impression produced at first sight
is consequently that one is looking at the west end of a large
church, upon one side of which an apsidal chancel has been
added. The door is in fact out of all proportion to the size
of the church, though this very fact gives perhaps somewhat of
that monumental character to the whole work which is so rare
in small buildings. It is worthy of notice that the very same
design is to be seen in the church of la Magdalena at Zamora
— already described; and there is indeed so much identity of
character between the two churches as to make it more than
probable that the same architect erected both.

In the street near San Juan is a very fine old Romanesque
house of unusually good style. It is of three stories in height,
the lower story much modernised. The intermediate stage
has a very fine row of three-light ajimez windows with slender
shafts and capitals very delicately sculptured. The string
under these windows is also elaborately carved: above is an
eaves-cornice, resting on corbels, and above this a modern
upper stage. A stone with a Renaissance border to it, in the
lower part of the wall, describes this building as the Exchange
of Lerida, " built in 1589."' A more impudent forgery I do not
know: but probably the architect of that day thought his ugly
upper stage the only part worthy of notice, and meant only to
record its erection. The -patio or court-yard behind is small,
hut has the same kind of windows as the front — though without
any carving — and some good corbel-tables and archways.

1 saw nothing else of architectural interest in Lerida; but I
confidently recommend other ecclesiologists to examine its build-
ings for themselves. They form an important link between the
noble cathedral at Tarragona and the smaller but beautiful
church of Tudela; and belongint; as they do to the most inter-
esting period of our art, the end of the twelfth and beginning of

' See plan, Vol. I., Plate VIIl., p. 179.

LfiRIDA 147

the thirteenth century, they afford examples for our emulation
and study of even more value than the later works at Barcelona
and Manresa, which I have before had to describe.^

NOTES

(i) At Vich the magnificent Lombard tower of the cathedral
survives, with corbel tables and pilaster strips, six stages of graduated
window openings, and an open loggia above. The cloister, built 1 324-
1400, has been completely restored, but Mossen Gudiol, the learned
curator, warrants the sculptured capitals and corbels as the identical
originals: the knight killing a dragon, angels making music, and all
the rest. The tracery is not really bad, and along the south walk
five corresponding windows, broken through the outer wall, look
across low houses and walls even to the mountains. The top story
is enclosed, the lowest story is a mere rectangle of great arches
plunged into a hillside, but this sudden outlook to the great sky, and
inlet for the green world, is more than half accountable for the charm
that hangs about the thought of Vich. Even from the train it is
seen to lie stately and episcopal in a hill-bordered world of its own.
The look of the town is old and yet fresh and fair, like some of the
women one meets in the clean, steep streets. I know there are late
Gothic bits everywhere, and I believe there are churches worth
entering, but mv visit was made and my time devoted to the Museum.
It holds the spoil of the country-side, and the forged iron and enamels,
the vestments and textiles, the faience and tiles, the goldsmith's
work and ivories, the miniatures even, I could not stop to study,
«o many paintings drew me off. From the tenth to the eighteenth
century one may track down whatever one cares most about : series
of wooden painted altar frontals from the eleventh to the fourteenth ;
and of wooden ^ladonnas called " of Majesty " (a Magestad, they
call it in the north-west), hieratic, eastern, enthroned, the Child
enthroned too on his Mother's knees, and presented solemnly for
adoration. From the tenth century well into the fourteenth these
keep the type pure: so does the Catalan Christ of Majesty, who, as
we say in England, Reigns from the Tree, robed and crowned — a
rare figure, of which five instances, here, range from the tenth to the
fourteenth century. Life-sized figures from groups of the Deposi-
tion like that at San Juan de las Abadesas. are late as the thirteenth
century in date, but Romanesque in technique. A retable of the
fourteenth century, its vermilion and gold yet clinging to the
alabaster, and deep blue glass to the background, under cusped
arcades encloses twenty scenes of the Passion, vividh' and freshly
felt. This blue glass is mentioned in a Catalan document of 1367,
and was used in France the century before. Here also are fragments
from the alabaster Ketablo Mayor of the cathedral, which was

' J hfre is a very fair inn at L6rida, the Parador de San Luis, pleasantly
situated on the bank of th^ Seprc; and the railway from Barcelona to
Zaragoza, passing by Li-rida, makes it easy of access.

148 GOTHIC ARCHITECTURE IN SPAIN

finished by Pere Oiler in 1420, and altered when the church was
rebuilt, in the last century. The twelve scenes, partly from the Life
of Christ and the Blessed Virgin, partly from that of S. Peter, are
in confusion now, but below a beautiful seated Madonna the prince
of the Apostles, in chasuble and tiara, blesses with his right hand,
while the other holds up a key as big and elaborate as a monstrance.
Little saints under canopies are lined up everywhere, and Apostles
and Evangelists occupy the predella. This is the only inducement,
except some good music, to draw one into the cathedral, mercilessly
rebuilt from foundation to roof- tree in 1803-21. The stack of epis-
copal buildings around the cloister houses both library and museum
without incommoding the bishop. In the galleries of paintings
one may visit authentic works of many of the great early Catalan
painters, and many more as yet unidentified. The great retable
from the convent of the Poor Clares, though broken up, is all in one
room. The predella contains nine half-lengths of SS. George, Ives,
Petronilla, Mary of Egypt, Restituto (a bishop), Thomas the Apostle,
Delphina, jSIarcial, Matthias, and Paulinas of Nola. The body of
the structure had three main divisions, presenting, at the left,
SS. PeterMartyr, Martha, and Simon; at theright, SS. Jude, Perpetua,
and Santo Domingo de la Calzada; in the centre between S. Michael
slaying the dragon and S. Clare with abbatial staff and baronial
coronet, Nuestra Seiiora de la Esperanza adored by SS. Cyprian and
Cristina. Above these three sections were placed, respectively, the
jNIassacre of the Innocents, S. Francis and the Three Orders, and
the martyrdom of SS. Simon and Jude; above them again in tlie
peaks a central Calvary, on the left King Abgar receiving the
Veronica, and on the right S. Dominic saving a drowning man from
the Rhone. For this Luis Borassa was paid, on July 7, 1415, two
hundred florins. The paintings are invaluable for comparison,
therefore, in all questions of the authenticity of other works, and for
a high standard of spiritual loveliness, very close to the Sienese;
they further serve to impress what photographs quite fail to convey,
that the artist was no touching provincial follower of far-off beauty.
but a man of power, of real and personal genius, living and intellec-
tual imagination, of mastership in the work which he determined
and accomplished. An Epiphany by Jaime Huguet shows the
same delicately magnificent charm as Gentile da Fabriano imparted
to his followers. A Santa Faz, Christ crowned with thorns and
robed in purple (1491-5), _ is the one other painting attributed to
Bermejo of which I am certain; a number of saints and scenes given
to Joan Gasco of Navarre (1502-2S) may want sorting out later
into master's work and pupil's work, but meanwhile fix a strong
Navarrese type of brown flesh tones and dark, clear colours, a little
like some of the earlier IMilanese. S. Augustine, in scholar's dress,
writing at a desk, by Gabriel Guardia (1501), is, like the work of
Ghirlandajo, not so interesting as he ought to be. Francesch Solivez
[circa 1480), of Baiiolas, whose greatest work, the retable of the
Pieta at S. Lorenz dels Morunys, I have not seen, is represented
here by two fragments of a retable— the Death of the Virgin and
the discovery of a miraculous image— the latter one of those charni-
inj; occasions for ritual and vestments that no Spaniard would miss.

LfiRIDA - I4Q

He shows on the whole a more northern composition and emotion
than his neighbours. The Museum is open regularly only in the
summer months, because it is too cold at other times to keep
any attendant there; notwithstanding, I found myself courteously
admitted and escorted, not only in the month of January, but from
breakfast time to dark, and the traveller will do well to provide
woollen socks and a footstove, and lay his plans to stay five days at
the least. A railway now runs up into the Pyrenees past Vich and
Ripoll as far as San Juan de las Abadesas.

The Benedictine abbey of Ripoll was founded in the second half of
the ninth century, by Wilfred the Shaggy. Unfortunately, in the
first half of the nineteenth (1835) it was burned to the ground by
the Spanish people, excepting the great portal. Parcerisa's print
shows a good part of the cloister yet standing, but I believe that was
pulled down lor the restoration in 1S87, and except for the fa9ade not
one of the ancient stones remains. The capitals, the vaults, the
seven apses (which M. Enlart described as three), are new work of
the architects, invented from other Catalan monuments. The
outrage to antiquity and to antiquarians, even if more explicable, is
not less shameful than the rebuilding at Perigueux and Angouleme,
half a century earlier. The church lias seven parallel apses, a lan-
tern at the crossing, an elevated transept, and five aisles: the round -
arched cloister on the south side of the nave had coupled shafts with
storied capitals in the lower story and in the upper capitals of the
familiar Catalan sort, as at Santa Afia in Barcelona. The Abbot,
Ponce Mulnells, finished and dedicated it 1 1 50. The west front is
Lombard, with eaves-corbelling, a low tower on the north side, and
a great south tower four-square, with corbel, string course, and
pilaster strips, five stages of windows, and ajimez in the upper two.
The penthouse porch of a later date, carried on clustered shafts,
hardly obscures behind its wide, serene arches the famous screen of
carved stone that it protects. The whole west face of the nave is
covered with sculptures and treated, like those of Poitiers and
Angouleme. like a plaque of jeweller's work or a page of miniatures.
If the French examples ever were as coherent as this, earlier restorers
than we know have confused the scheme. Here all, with study,
becomes comprehensible. The door itself is easy to make out,
S. Peter and S. Paul set against pillars and two other columns
covcn-d entirely with diaper. They are related to the sculptures of
Moissac; and the little beasts crawling uncannily up a chamfered
corner were also present at Moissac, and also uncanny. It is impos-
sible to describe the richness of this door, which differs from the
lace of the wall chiefly in greater fineness and beauty of workman-
ship. The label of acanthus leaves was familiar at Zamora: tlirectly
inside that a scroll pattern that comes from Constantinople, if not
further, enlaces, in alternate rounds, animals and leaves. I'lie
archivolt next, which springs directly over the heads of the apostles,
i.s filled with littli: ^c'■nes Iroin their liv<.'S, bej.;inning on the left:
(1) S. lYirr with S. John cures a club-footed man ; (j) raises
Tabitha i (3) appears before Nero; (4) Simon Magus falls; (5)
the saint l^ imprisoned; (0) and crucified. The other half of the
arch ccjutinuc--, the ^tory <ji S. Paul straight: (]) The jiiurney to

150 GOTHIC ARCHITECTURE IN SPAIN

Damascus; (2) he is baptised; (3) preaches to Greeks and Jews;
(4) is bound (Acts xviii. 20); (5) prepared for execution; (6) be-
headed. The work, being done for a Uterate class, is explained by
inscriptions in this and the next row of scenes. These, however, read
downward both ways from the centre on the subject of Jonah and
Daniel. On the left of the top: (i) The word of the Lord comes to
Jonah ; (2) the whale swallows him ; (3) renders him up again ;
(4) he preaches at Nineveh; (5) sits under his gourd. On the right:
(i) Nebuchadnezzar's dream; (2) the idolatrous musicians about
the golden statue; (3) the three Hebrew children in the fire; (4) Bel
and the dragon; (5) Daniel in the lions' den. Separated from this
only by a curious folded ribbon is the story of Genesis, that must
be read across and across in corresponding scenes, starting from
the middle with (i) The figure of the Creator, with (2) and (3)
angels to whom (4) Cain offers a sheaf, and (6) being neglected
kills Abel, and to whom (5) Abel offers a lamb in a cloth,
but (7) is killed again. Up the door jambs, in a curious order
which is capable of learned explanation, are set the labours of
the months. The face of the church, though wTought all over,
is composed in four great masses : (I) A great cornice; (II) three
horizontal lines of narrative action ; (III) a row of important
figxires set in an arcade; (IV) a basement of rather Lombard beasts.
The whole expounds the Triumph of Christ — a preciser formula
would be hard to find, but one might also say, the Citv of God. In
the centre is enthroned the Ancient of Days, and the cornice is lifted
to leave him room; on either side angels adore, and one carries a
scroll, and beside one the eagle perches on a book — -these arc Evange-
lists, whose companion-creatures fill the spandrels over the door.
Twenty-two of the elders, crowned and making music, fill out the
array, the two for whom there was not room standing around the
corner. The band below these contains not only the twelve Apostles,
the Precursor, and Isaiah, but holy women as well — perhaps the
seven named in the canon of the Mass, SS. Felicitas, Perpetua,
Agatha, Lucy, Agnes, Cecilia, and Anastasia. Old Testament scenes
make up the other two horizontal bands : on the right, the smitten
rock, the murmuring Israelites, the flight of quails, the fall of manna,
and, below, Moses' hands held up, and the Amalekites consequently
overthrown in a series of episodes. Around the corner, horses and
riders are struggling together, and under S. John Baptist appears
the Passage of the Red Sea. The corresponding scenes on the
north side of the wall are taken from the Book of Kings, be-
ginning in the lower range at the left. David escorts the ark
to Jerusalem, dancing before it, while Michal mocks him from
,-1, tower ; and brings a plague upon Israel by numbering the
people; the Prophet Gad brings the word of the Lord. On the
range above, David, solaced by Abishag, promises to Bethsabc
and Nathan the succession for Solomon, who is joyfully enthroned,
and pronounces his famous judgment between the mothers. The
series ends with a tree of Jesse, encircling the Son of ;\Ian. Around
the corner are musicians, left over from the translation of the Ark,
and the translation of Elijah, which makes a pendant in symbolism
as well as position to the passage of the Red Sea. On this side in

LfiRIDA 151

the five niches (III) we find David in the centre as king and poet
directing the praise of God in the sound of the trumpet, on the lute
and harp, and with a bell, which must stand for the well-tuned
cymbals. On the south side corresponding to this the Eternal
Word gives the tables to Moses, in the presence of Joshua, Aaron,
and Caleb. Only in this last detail of this long account have I
in following my own judgment departed from that of Mossen Gudiol,
the learned curator of the Episcopal Museum at Vich, whose mono-
graph on this amazing fa9ade is unfortunately out of print, but
whom I have to thank for a copy of it and for other kindness. The
eissemblage and the system of the Scripture, even were it not so
beautiful, must make it, after Santiago, the finest Romanesque work
in Spain.

The great abbey church of San Juan de las Abadesas, founded by
Wilfred the Shaggy in the ninth century, and secularised by Pius II.,
was rebuilt for the third time by Abbot Ponce Mulnells in 1150;
and though further alterations in the sixteenth century, with pilasters
and cofferings and extra chapels, have done sad damage, one regrets
to hear that a restoration is contemplated again. The main cloister
is Catalan of the fifteenth century, with a bit of earlier arcade built
into the wall, but there is a tiny precious earlier cloister, of low-
round arches and storied capitals, like those at Gerona, Elne, and
San Cugat. The churcli is cruciform and barrel-vaulted, the choir
and nave one immense height, the transepts lower with a pair of
apsidal chapels to the east; in the ambulatory a deep Lady Chapel
and two barrel-vaulted apsidal chapels, set at the curve of the aisle,
at an oblique angle to it. This was, perhaps, to bring the altars nearer
to an eastern position, or perhaps to keep them all on radii struck
from the high altar; it' goes back, of course, to the French plan
referred to in Street's note on page 195, vol. i. A good arcade runs
around the inside of them, and a tomb in that of the south, though
late, shows a pure and lovely face ; in the north ambulatory a wooden
relief of Christ and the two SS. John has a curious reminiscence of
the panel compositions of Mino da Fiesole. The Retablo Mayor
carries statues of the two SS. John, and twelve scenes from their
lives, Italian painting by a Spanish hand with reminiscence of Luini:
the rood beam above the Sanctuary exhibits two dates, 1588, 1614,
of which the former may belong to the altar-piece and the latter
to further rebuildings. There is, for instance, a chamber contrived
above the Lady Chapel to enshrine a thirteenth-century Deposition
of enormous carved wooden rigures, very archaic, for the sake of a
-Miraculous Host, which has remained for several hundreds of years
uncorrupted, embedded in the forehead of the Christ. The short
nave is entirely occupied by the coro, and the great transepts serve
the needs of the congregation, the main door opening out of the
northern arm, and that to the cloister from the southern. The
town has other churches and a fine bridge. 1 regretted that 1 could
not make a longer visit or drive thence to the Seo de Urgell.

(2) At Tarrasa the parish church is of the familiar Catalan type,
immensely broad with a plain eighteenth-century western porch,
small windows high in the walls, a crypt as at Barcelona, and a
gigantic retable of the worst, filling the whole east end. The suburb

152 GOTHIC ARCHITECTURE IN SPAIN

of San Pedro de Tarrasa, separated by deep ravines from the town
proper, but only ten minutes to the left of the railway station as you
emerge, is the site of the ancient citadel of Egara. There, cut off
from the world by their own wall and cross-crowned gate, stands a
group of three aged churches. San Pere is a triapsidal (i.e. trefoil)
barrel-vaulted basilica, with transepts on original foundations, a
semi-dome on pendentives, and a nave of five bays, which was
probably once built with two aisles only. A long fourteenth-cen-
tury chapel runs down the north side; the crossing and apse are
of the tenth or eleventh century, the nave of the twelfth or thir-
teenth, according to Sefior Lamperez. Sefior Puig y Catafalch claims
I possible ninth-centur}' date for the former. Santa Maria was
consecrated by Raymond, Bishop of Barcelona, in 1112, but Sefior
Puig y Catafalch thinks the apse is Visigothic. It is scjuare without,
horse-shoe within; on the masonry of the transepts remain traces
of eastern apses: the pointed barrel -vault is higher than the arch
of the sanctuary. An oblong dome with lantern over the crossing,
inside, appears on the outside as a high square drum with its corners .
chamfered off, carrying a tower of two stages, pierced by one and
two windows, respectively. This gives the high-shouldered effect
of so many Auvergnat churches : the fa9ade is very Lombard, with
arches and pilaster strips, small later windows, and an opening above
them in the form of a Greek cross; the pilasters are continued
around the sides of nave and apse. Doubt is hardly tenable that
Lombard workmen did push across the southern flanks of the
Pyrenees, from sea to sea, or else straggle down from France through
every mountain pass : we found their mark in Galicia as in Catalonia,
and the contract for building the Seo de Urgell ^ was drawn in 1175
between the Bishop and R. Lambardo, with four other Lombards.
A better case for Visigothic origins exists in San Miguel, though
^L Enlart would bring it down to the first half of the twelfth century.
The ancient baptistery is built in the form of a Greek cross, the
corners filled in with quarter-domes, and the horse-shoe apse pro-
jecting. The central square is raised into a dome, with a lantern on
tiny tronipes in the angles, carried by very stilted arches, on eight
antique pillars. It is the very plan on which Germigny-des-Pres was
built by a Spanish bishop in 806. In 1906, some Catalan architects
dug here and found a piscina in the middle, and a crypt under the
apse, of trefoil form, which had spherical vaulting in the apses, marks
of windows, and a beginning of a nave. There may be a whole
church below, but for want of money the gentlemen had to fill up
and go away. On the outside, the sloping, tiled roofs at three
different levels are picturesque in the little priests' garden, planted
with cypresses and gay flowers. In the priests' house, which opens
on the garden and is opened at request, are now stored the early
rotables from the churches, one of S. Peter, in fragments, one of
S. Michael, insisting quaintly on the value of IMasses lor the souls of
the dead, and one by Jaime Huguet of Sant Kin y Sant Non, — i.e.,
SS. Abdon and Senen. For this he was paid on November 22, 1460,
and again, IVIarch 27, 1461. The usual Calvary crowns the whole.
The great predella shows SS. Cosmo and Damian, their martjrrdom
' In Villanueva y Geltru, quoted in this volume, p. 263, note 2.

LERIDA 153

and the miracle of the Moor's leg, and the main concern of the altar
dominates in live remaining panels. Two fair young lords who
testify before the emperor are cast into a den of lions and bears,
beheaded, and their relics translated. For their charm in face and
bearing I was not prepared. The saints are young knights, poetic,
standing easily for you to admire them, with no ungraceful sense of
their own distinction, " delicate youths, with the laair not prickly
on their chins." Any one who wanted to compare the composition,
of a tiled terrace overlooking a landscape of hills and river, with
that of Pollajuolo's SS. James, Eustace, and Vincent (1466), may
particularly come to feel how exquisitely the sentiment in Spain is
refined, romantic, and unreal. Another retable of Huguet's, con-
taining six scenes and the figures of S. Julita and her little son,
S. Quirico (Ciriacus), is at San Quirse de Tarrasa, within driving
distance, indeed, but reached more easily, and on foot, from
Sabadell.

(3) This is still to be seen on a lonely hill to the left. The house
between Sardanola and Sabadell, and the church near Monistroll,
though I have looked often, I have never succeeded in finding — but
they may stand yet, for all that.

(4) The whole region is now prosperous with factories, but fairly
unspoiled.

(5) On April i, 1301, at a special meeting, the Municipal Council
voted a new church for N. S. de la Aurora (or Alba), which was the
name of an earlier church called Canonica Aquisgranense. In 1315
the Bishop of Mallorca conceded indulgences for gifts to it; in 1322
various confraternities joined, and the council voted extra funds;
in the same year is mention of Berenguer de Montagud, lapidista.
October g, 1328, the first stone was laid, according to tradition — no
documents mention it. In 1548 they were almost at the fagade,
when a great fall of vaulting occurred. In 1596 it was finished.

(6) Read : " into a passage which communicates with the cloister."

(7) Moreover, the glass is bad, but over one of the side altars
stands Pere Serra's Ketablc of the Holy Ghost. Above the great
central Pentecost is the Coronation and a Calvary, and four angels
top the great ranges of panels, thirty-six small saints occupying
the vertical lines that divide them. The twelve storied panels
present, with a characteristic mingling of hieratic tradition and
fresh imaginative conception: (i) The Creation, when " all the Sons
of God shouted for joy"; (2) the Almighty admonishing Adam in
a green wood, already clad in a skin, and looking like the Son of
Man ; (3) the Annunciation ; (4) the Nativity ; (5) the Epiphany ;
(6) the Presentation : then, on the other side, the supernatural
moments of Christ's manhood : (i) Baptism ; (2) Transfigura-
tion ; (3) Christ appears new-risen to His Mother ; (4) and to
the .Vpobtles in the inner chamber; (5) He is taken up to Heaven;
(6) S. Peter preaches, having received the Gift of Tongues.
The predella holds four large and six smaller saints. In spite of
restoration and fresh gilding, the effect of this unspoiled trecento
work is enchanting. Happier because forgotten, other re tables and
fragments are still in the archives. These are kept in a range of
rooiiib u\'L-v the west })oicli, aiul arc most easily seen direct!}' after

154 GOTHIC ARCHITECTURE IN SPAIN

Mass, if one waylays one of the kind canons, or asks at the door of the
Casa Rectoral. The retable of S. Mark is given to Benito Martorell
on the strength of a contract he signed in 1437 with the shoemakers
of Barcelona for one precisely like it. In connoisseurship, both in
and out of Spain, this passes, I know, for evidence that the same man
was hired to repeat himself, but I am not so sure. At any rate, I believe
that two different men painted the retable of the Transfiguration at
Barcelona and this at Manresa— the former's astonishing turn for
sheer decorative composition, and the latter's immense sense for
romance and temperament, are almost mutually exclusive. In
1432 the curriers acquired a chapel dedicated to S. Mark: that dates
this retable, of which the three main divisions survive :

I. (i) S. Peter preaches, while S. Mark writes, and then sends
him on an errand; (2) S. Mark is entering Alexandria when
a cobbler wounds himself with an awl; S. Mark buys a pair of
shoes, preaches to the whole household, and baptises the couple
in a church. II. (i) Calvary; (2) S. Mark consecrates S. Anian.
III. (i) S. Mark, celebrating, is surprised by two soldiers ; (2)
dragged through the streets by ropes, and put to death ; his soul in
cope and mitre taken up by an angel dazzles a soldier; his funeral
takes place in a church. The lost side pinnacles will have held an
Annunciation. This is all the painting which has survived, and the
type of S. Mark so fine that it is a pity we could not have retained
the thoughtful scholar's face and silky beard. The retable of SS.
Michael and Nicholas of Bari is not by the same hand. There is
also a Catalan Deposition, rather wonderfully planned with the
heads all on a row, showing a remote Lorezetti influence, but keep-
ing the compacter silhouette; a retable of the Trinity by Gabriel
Guardia, containing an admirable portrait of the donor, interesting
for the choice of such scenes as the Creation of Eve, Abraham and
the Angels, and the Burning Bush. The contract was signed
September 24, 1501. Much more exists here, of lesser value, but
considerable pleasantness, and here is kept the great Florentine
frontal by Geri de Lapo.

(8) This is iiow gone; the mark of it still visible along the south
wall.

(9) Read, " east of it," or supply " and " before " between." The
paintings on the choir screen, between dilapidation and restoration,
are of little moment.

(10) The Carmen was founded in 1300 by four ecclesiastics, Pedro
Vidal, Jaime Joli, Garcia 'Gaucer, and Vicente Dalmau, to whom
the city ceded a castle founded by Recaredo and rebuilt by various
counts, one tower of which stood till 1822. In 1308 they began
building. The retables are of the seventeenth century, carved and
gilded, not remarkable for bad taste and rather systematic; the
cloister of the middle of the eighteenth.

(11) This maj- be Santo Domingo, begun 1318, or it may be San
Miguel, a smaller building, much more interesting, rebuilt 1384.
It had originally a single nave of four bays and chevet of five; the
quadripartite vault resting on corbels at the level of the string course
below the clerestory. The windows are of two lights below a
quatrefoil ; it has a rose, a wheel of bells, and huge bosses carved

LfiRIDA 155

with S. Michael — the Annunciation, the Fall of the Angels, the
Weighing of Souls, and the Defeat of the Dragon.

(12) The cloister is in better condition now: though the east walk
is still a store-room, the southern is now a mess-hall in all its splendid
breadth and height, and the stone of shafts and capitals is gradually
being freed from the encumbering plaster.

(13) It is gone now like the statues. The carvetl capitals of the
church, though respected, so far as I could see, by the soldiers, are
fast being eaten away by whitewash.

(14) San Lorenzo may possibly have been in existence before the
reconquest by Ramon Berenguer el Santo, though that would involve
its building in the eleventh century. A whole baroque church
continues to the north-east. As the retable of the cathedral was
carved in 1344 by Ferrer Bassa of Barcelona, he and his pupils
probably made this one as well, and the three delicate retables of
SS. Lucy, Ursula, and the Madonna of Mercy {de las Desemparados)
in as many little chapels on the north side.

(15) This has been rebuilt completely. The fragments I found
in the Provincial Museum along with many other scraps — capitals,
tombs, retables, and an altar-piece, called the " Retablo de los
Pahers," painted, in imitation of that Dalmau made for the Coun-
cillors, m 1445-50 most probably, with the Madonna and the
four Pahers of Lerida, between S. George and S. Michael. Most
of the sculpture shows French qualities — a fine S. Peter series, for
instance, of alabaster reliefs from the church of Combius^ — excepting
one little Italianate series of the Ascension, Deposition, a group of
sorrowing women, and a fine layman. Forgetting that there is
always an Episcopal Museum, 1 failed to search that out at Lerida,
and thereby missed, I am told, some other lovely remains, among
them the twelve apostles that Guillem Colvella made in 1301 ^or
the west door of the cathedral.

CHAPTER XVII

HUESCA — ZARAGOZA

To the north of the railwa}- between Lerida and Zaragoza, and
within easy distance of the stations of Monzon and Tardienta,
are the two old Aragonese cities of Barbastro and Huesca.
Monzon — a possession of the Knights Templars since a.d. 1143
— is still dignified by a castle on the hill^ which rises steeply above
the town, and in which there are said to be some remains of the
residence of their superior in Aragon. The accounts I obtained
of Barbastro made me think it hardly worthy of a visit (i). The
cathedral was built betw^een 1500 and 1533; and it is a small
church (about 140 feet in length), without either triforium or
clerestory, the groining springing from the capitals of the
columns, and being covered with ogee lierne ribs.^ Huesca
seemed to promise more, so leaving the railway at Almudevar ^
I made an excursion thither. It is a drive of three or four
hours from the railway; and the distant view's of the old city
are striking, backed as it is by a fine mountain range, on one
of whose lower spurs it is built. The cathedral stands on the
highest ground in the city: and the rocky bluffs of the mountain
behind it look like enormous castles guarding its oiceiutc. These
picturesque views are the more refreshing by the contrast they
offer tu the broad corn-co\ered plain at their feet. Two or three
miles from Huesca, on anotlier hill, are the remains of the great
monaster}- of Monte Aragon. which was, howe\"er, rebuilt in
1777, and is not very likely therefore now to reward examination.
The Plaza in front of the cathedral is surrounded by an im-
portant group of buildings- the palace of the kings of Aragon,
the college of Santiago, and others belonging to the old uni-
\ersity. The}' are mostly Renaissance in their design; but in
the old ])alace is a crypt called " la ("anipana del Rey Monje,"'
which seems to dale from the end of the twelfth century. It
has an apse r()\ered with a semi-dnnie; and a (]uadrii)artitc

' [-'arceris.i, Rccnod^K. v lUilrzas dc lispdfiii, .\rai:(>>i. p. i;:o.
^ Almudevar has a picturesque castle, u-ith a chapel on its eastern side,
but I \>."a^ utiaMc to exauiine it.

150

HUESCA 157

vault of good character covers the buildings west of the apse.
The arches are all semi-circular (2).

The cathedral was almost entirely rebuilt in the fifteenth
centur^', from the designs of a Biscayan architect, Juan de Olot-
zaga.'- The cloister on the north side is the principal remaining
portion of the older church, and this is so damaged and decayed
as to present hardly a single feature of interest save two or three
of the picturesque tombs corbelled out from the walls (3), which
are so frequently seen in the north of Spain.

The plan - of the cathedral consists of a nave and aisles of four
bays in length, with chapels between the buttresses. The Coro
is formed by screens which cut off the two eastern bays of the
nave; it opens at the east into the rather grand transept, which,
as is so invariably the case in the later Spanish churches, com-
pletely usurps the functions of the nave as the place of gathering
for worshippers. To the east of the transept are five apsidal
chapels opening out of it; that in the centre larger than the
others, and containing the High Altar. Three broad steps
are carried all across the church from north to south, in front
of these chapels. It struck me that the plan of this east end was
so \ery similar to that of some of the earlier Spanish churches^ as
to render it probable at any rate that Olotzaga raised his church
upon the foundations of that which was removed to make
way for his work (4). The steeple which takes the place of the
westernmost chapel on tlie north side of the nave is octagonal in
plan, but is much modernised, and finished with a brick belfry-
stage: it is evidently of older foundation than the church. The
columns between the nave and aisles are all clustered, and
the main arches are boldly moulded. There is no triforium, the
wall above the arcade being perfectly plain up to a carved string-
course which is carried round the church below the clerestory;
the windows in which are filled with flambovant tracery. The
groining is generally rather intricate, and has bosses at all the
intersections of the ribs. There is no lantern at tlie intersection
of the nave and transepts. It has been already said that the
Coro occupies the usual place in the nave; and it is clear that
it has never been moved, as there are small groined chapels
formed between the cohnnns on either side of it. The Reja at

' Ccau Beriiiudez (Arq. i. .S;^) sa\'s that tlie wcjrk was ronunciici'cl in
A.I). 1.(00, and not finished until a.d. 1513.

^ Sfe plan, I'latc' XXI., p. 161.

^ It will he sefn that tho plan is exactly tlie same as that ot the church
of Las Huelgas, Hiirgos (see Vol. 1 , i'latc II., p. 52), and the cathedral at

Tudelu (Plate XXI\' , p. .'051.

158 GOTHIC ARCHITECTURE IN SPAIN

the west end of choir is not old ; the usual brass rails are placed
to form a passage from the Coro to the Capilla mayor, across the
transept.

The reredos behind the high altar is carved in alabaster: it
is of the latest Gothic, but certainly very fine. Damian For-
ment, a Valencian sculptor, executed it between a.d. 1520 and
1533-'^ It is divided into three great compartments, the centre
rising higher than the others. Each compartment has a subject,
crowded lavishly with figures in high relief; whilst a broad band
of carving is carried round the whole, and many figures in
niches are introduced. The subjects are: t. The Procession to
Calvary; 2, the Crucifixion, with the First Person of the Holy
Trinity surrounded by angels in the sky; and, 3, the Descent
from the Cross. Between these subjects and the altar are
statues of the twelve Apostles and our Lord, and a door on either
side of the altar opens into the space behind the reredos (5).

The west doorway is said by Cean Bermudez to be the work
of Olotzaga. My own impression is that it is a work of circa
A.D. 1350. It is a fine middle-pointed doorway of rich character.
The arch is of seven orders; three enriched with foliage, and
the remainder with figures under canopies, of — i, figures with
scrolls; 2, angels; 3, holy women; 4, apostles and saints. The
tympanum has the B.V. Mary and our Lord under a canopy; she
is standing on a corbel, on which is a carved woman with asps
at her bosom; on either side of the canopy is an angel censing;
below, on the left, are three kings, and on the right the Noli me
tangere. The lintel has some coats-of-arms ; and there are seven
statues of saints in each jamb: and below them were subjects
enclosed within quatrefoils, all of which have been destroyed.'^
The gable over the doorway arch is crocketed, and pierced with
tracery, and has pinnacles on either side. The horn-shaped
leaf so often seen in English work is profusely used here, and in
the arches is generally arranged in the French fashion, a crochet.
The wooden doors are covered with iron plates beaten up into a
pattern, and nailed on with great brass nails.

The west end is finished at the top with a straight cornice,
with circular turrets at the angles, and pinnacles between, divid-

1 This reredos cost 5500 crowns (escudos) or libras jaquesas. — Cean Ber-
mudez, Arq. de Espana, i. 218. Damian Forment is said to have studied
under Donatello, which seems, however, on a comparison of dates, to have
been all but impossible. The epitaph on his monument in the cloister
here described him as " arte statuaria Phidiae, Praxitelisque ^Emulus," a
statement which must be accepted with the reserve usual in such ca=es. —
Bellas Artes en Espana, ii. 132.

- See Ainsa, Hisioria de Hi<esca. lib. 4.

HUESCA I5q

ing it into three compartments. The detail of all this upper part
is very poor and late in style, and altogether inferior to that
of the west doorway. The clerestory is supported by simple
flying buttresses, finished with rich pinnacles.

There are two other old doorways. That from the cloister (6)
on the north side is round-arched, with dog-tooth, chevron, and
roses carved on it; yet the detail seems to prove that it cannot
be earlier than a.d. 1300, whilst some of the carving looks as if
it were even later than this. The other door is in the south
transept, and certainly deserves examination. It has a small
groined porch formed between two buttresses in front of it: over
the arch is the Crucifix. S. Mary, and S. John; whilst on the
west wall are the three ]\Iaries coming with spices, etc., to the
grave of our Lord, which is represented on the east wall of the
porch, with the angel seated on it.

The church of San Pedro el Viejo, which I now have to men-
tion, is by far the most interesting in the city, being of much
earlier date than any part of the cathedral.^ It has a nave
and aisles of four bays, a transept with a raised lantern over the
crossing, and three parallel apses at the east end. A hexagonal
tower is placed against the north wall of the north transept, and
a cloister occupies the whole south side of the church; whilst on
the east of the cloister is a series of chapels or rooms of early
date. There is, so far as I know, no evidence of the date of this
work; but judging by its style, it can hardly be later than the
middle of tlie twelfth century, with the exception of the raised
vault of the lantern, which was finished, however, before the
consecration of the church, which is said to have taken place (7)
in A.D. 1241.-

The nave and aisles are \"aulted with continuous waggon-
vaults, the chapels at the east end with semi-domes, and the lan-
tern with a quadripartite vault, the ribs of which are enriched
with the dog-tooth ornament. The waggon-vault of the nave
is divided into bays by cross arches corresponding with the
piers of the arcades. The vaulting of the lantern springs from
a higher level than the other vaults, and has ridge ribs as well as
diagonal and wall ribs. The lantern is lighted by four circular
windows, which have rich early thirteenth-century mouldings,
and are filled in with tracerv wliich is evidently of Moorish origin.
A fine round-arched doorway, with three engaged shafts in each
jamb, leads from the transepts into the tower, which has groin-
ing shafts in each angle. The Coro here now occupies tlie

St":' i^i<jiiiid-}>laii on Plate .\.\1., )). lOi. - ParciTisa. Arat^on. p. 157.

i6o GOTHIC ARCHITECTURE IN SPAIN

western bay of the nave, and is fitted up with fair fifteenth-
century stalls, which, being carried across the end, block up the
old western doorway.

The whole church is built of red sandstone, but is whitewashed
throughout, and the exterior is much modernised, though the
old work is still in part visible. The west front has a bold arch
under the roof, which corresponds with the waggon-vault inside.

Interior of San Pedro, Huesca

The abacus from which this springs is carried across as a string-
course, and in the space enclosed between it and the arch is a
round-headed window, with a broad external splay and plain
label moulding. A very plain western doorway is now (as also
is this window) blocked up. The aisles have also small windows
high up in the walls, and the whole church is covered with
a roof of very flat pitch laid immediately on the stone vaults.
The lowest stage of the tower had windows in each of its dis-
engaged sides: it rises in four stages of equal height, divided
by string-courses, l)ut is capped with a modern belfry stage.

Plate XXI.

i62 GOTHIC ARCHITECTURE IN SPAIN

The lantern is carried up to the level of the top of its vault,
and then covered like the rest of the church with a fiat tiled
roof. A string-course, richly worked with a billet moulding,
is carried round the outer walls of the aisles, and round their
pilaster buttresses.

The cloister, though in a very sad state of dilapidation, is
still very interesting. It is covered with a lean-to roof, and has
round arches throughout springing from capitals, some of which
are carved with figures, and some with foliage only, but all of
rude character. Several arched recesses for monuments are
formed in the outer walls, but none of the inscriptions that I
observed were earlier than a.d. 1200. In the south wall six of
these arches have enormous stone coffins, each supported on
three corbels on the backs of three lions. These coffins are about
two feet deep, by seven feet in length, and covered with a gabled
stone cover. The columns in the arcades of this cloister are
curiously varied, some being coupled shafts, some quatrefoil
in section, some square, and some octagonal. Against the east
wall are four chambers opening into the cloister. That nearest
the church is the Chapel of San Bartolome, and of the same style
as the nave, covered with a low waggon-vault, and with the
original stone altar still remaining against the square east end.
The chapel next to this has a very late vault ; the next, a quadri-
partite vault; and the southernmost has a pointed waggon-
vault, with three plain, pointed-arched recesses in each of the
side walls.

Over the modern doorway from the cloister into the church
is the tympanum of the original doorway, rudely sculptured with
the Adoration of the Magi, above which two angels hold a circle,
on which are inscribed the monogram of our Lord, and the
letters A and 12.

I could find nothing else of much architectural interest in
Huesca (8). The Church .of San Martin has a plain thirteenth-
century west doorway, and that of San Juan — said to have lieen
consecrated in a.d. 1204 — seemed to have an apse of about that
date, with a central lantern-tower carried on pointed arches.
There are remains also of two of the town gateways, but they
are of no interest.

In the distance, as I approached Huesca, I had noticed what
looked like an old church at Salas, and, having time to spare, I
walked tliere. The way lay along fields and by the muddiest of
roads, where ruts were being levelled, and the whole made uni-
formly muddy, in order to accommodate the Bishop of Huesca,

SAI.AS, Ni;.\K IICI'SCA

WKSl FKONI (II I HI- (lirKCU

i64 GOTHIC ARCHITECTURE IN SPAIN

who was coming out in procession to have a service in the
church there. I found the east and west ends of the church
to be old, but the rest, inside and out, had been hopelessly
modernised. The east end retains nothing beyond three very
long slits for windows, about six inches wide, and not intended
for glazing. The west end is very fine, and almost untouched.
It has a noble doorway of six orders, very richly sculptured with
chevrons, dog-tooth, mouldings of first-pointed character, and
rich transitional foliage. The capitals have similar foliage, but
the shafts and their bases have been destroyed, and a modern
head to the door has been inserted within the arch. This door
is set forward from the face of the wall nearly four feet, and has
engaged shafts in the angles, and a richly-carved cornice. The
gable (which is of flat pitch) is filled with a large circular window,
the tracery of which has been destroyed. It has three orders
of moulding round it, one moulded only, the others carved
with a very bold dog-tooth enrichment. The label has rather
ingeniously contrived crockets of very conventional design. The
whole of this front is of very much the same character as the
early work in the cathedral at Lerida. It is only about a mile
and a half out of Huesca, and ought to be visited, as, with
the exception of San Pedro el Viejo, it is certainly the most
interesting work to be seen (9).

Travellers will find accommodation which is just tolerable in
the Posada at Huesca. They should not return, as I was obliged
to do, to Zaragoza, but should extend the journey to Jaca,
where there seems to be a fair Romanesque cathedral. Near
Jaca, too, Sta. Cruz de las Seros has a fine Romanesque church,
with an octagonal raised central lantern, and a steeple of several
stages in height on its north side. San Juan de la Peiia, a monas-
tery in the same district, has a fine Romanesque cloister, of the
same character as that of San Pedro at Huesca: but the church
is, I think, modern.^

1 returned from Huesca to the railway (10). and thence to Zara-
goza, hoping that, notwithstanding all it had suffered from wars
and sieges, something might still be found to reward examina-
tion. I have seen no city in Spain which is more imposing in
the distance, and yet less interesting on near acquaintance. A
great group of towers and steeples stands up so grandly, that it
is natural to suppose there will be much to see. l^ut whether
the French in their sieges destroyed everything, or whether it is

' Views of Jaca and San Juan de la Pefia are given by F. J. Parcerisa,
Recnerdos y liflU'zasjie Espana, Aragoii.

ZARAGOZA 165

that the city is too prosperous to allow old things to stand in
the way, it is certainly the fact that but few old buildings do
stand, and that none of them are of first-rate interest. The
river here is rapid and broad, and the view of the distant moun-
tains fine, whilst, partly owing to its being a centre for several
railways, it is a fairly gay and lively city, and is year by )-ear in
process of improvement, in the modern sense of the word.

There are here two cathedrals, in which I believe the services
are celebrated alternately for six months at a time, the same
staff serv'ing both churches. On the two occasions on which I
have stopped in Zaragoza, it has fortunately happened that the
old cathedral was open, and the exterior of the other promises
so little gratification in the interior, that I never even made the
attempt to penetrate into it.

The old cathedral is called the " Seu,"" par excellence, the other
being the Cathedral " del Pilar." The Seu ^ is the usual term for
the principal church, and the name of the second is derived
from a miracle-working figure of the Blessed \' irgin on a pillar,
which it seems that the people care only to worship half the
year (11).

The Seu is in some respects a remarkable church, l)ut it is so
much modernised outside as to be, with the exception of one
portion, quite uninteresting, and the interior, though it is gor-
geous and grand in its general effect, is of very late style and date,
and does not bear very much examination in detail. It is very
broad in proportion to its length, having two aisles on each
side of the nave, and chapels beyond them between the but-
tresses; and there are but five bays west of the Crossing, and of
these the Coro occupies two. There is a lantern at the Crossing,
and a very short apsidal choir. The nave and aisles are all
roofed at the same level, the vaulting springing from the capitals
of the main columns, and the whole of the light is admitted
by windows in the end walls, and high up in the outer walls of
the aisles. In this respect Spanish churches of late date almost
always exhibit an attention to the requirements of tlie climate,
which is scarcely ever seen in the thirteenth and fourteenth
centuries, and this church owes almost all its good effect to this
circumstance, for it is in light and shade only, and neither in
general design nor in detail, that it is a success. The detail,
indeed, is almost as much Pagan as Gothic. The capitals of the
columns, for instance, have carvings of fat nude cherubs, support-
ing coats-of-arms, and the groining, which is covered with ogee

' Sou, Scdcs, Sec.

i66 GOTHIC ARCHITECTURE IN SPAIN

lierne ribs^ has enormous bosses and pendants cut out of wood
and gaudily gilded.

There is some interesting matter in the history of the Cim-
borio over the Crossing. It seems that in the year 1500 there
was supposed to be some danger of the old Cimborio falling, and
the Archbishop, D. Alonso de Aragon, and his Chapter, there-
upon invited several artificers and skilled engineers to examine
the works, and advise as to its repair. At this Junta there were
present two maestros from Toledo — one of them Henrique de
Egas; Maestro Font, from Barcelona; Carlos, from Monte-
aragon (Huesca); and Compte, from Valencia; and they, having
deliberated with the artificers attached to the cathedral, re-
ported that it would be necessary to take down the Cimborio
and rebuild it, and do other repairs to the rest of the church.

This report having been presented, the archbishop some time
afterwards, in January, 1505, makes an appeal to the king on
the subject, in order that he may obtain the services of Henrique
de Egas as architect for the work. He says that he has had the
advice of the most experienced and able architects of the day,
and among them of Egas, and that they were all agreed that
the Cimborio must be taken down, which had been done. And
then he says that, inasmuch as the rest of the church seems
to be much in want of repair, and as Egas seemed to be a man
of great ability and experience, he was very anxious to procure
his aid, but that Egas had excused himself on the plea that he
had a certain hospital to build at Santiago in Galicia for the
king, who required him to go there. Whereupon the archbishop
begs the king, for the love of God our Lord, that he will ha\e
pity on him; and since there is no great necessity at Santiago,
and a \ery great one at Zaragoza, that he will command Egas
to undertake the work.

It is said that Egas did execute the work after all. But it is
impossible not to be amused at the enormous contrast between
those times and our own, if then it was necessary for an arch-
bishop to appeal to the king to make an architect undertake such
a work.^

' I am reminded by this of a curious passage of somewhat similar
character in the life of Sir Christopher Wren, which is to be gathered out
of the entries in the old parish books of S. Dionis Backchurch, Fenchurch
Street. Here Sir Christopher built a steeple, and when it was nigh com-
pletion the grave question arose whether they should have an anchor for
a weathercock. Sir Christopher preferred it, and some of the parishioners,
of course, opposed it. They appealed to the liishop, and after many inter-
views it was at last decided that the bishop should meet them at Sir
Christopher's at 8 o'clock a.m. to settle the matter, Sir Christopher's

ZARAGOZA 167

The detail of the Cimborio is, as might be expected from its
date, most impure. It is octagonal in plan, the canted sides
being carried on semi-circular arches thrown across the angles.
It is of two stages in height, the lower having square recesses
for statues, and the upper traceried windows. The general
scheme is Gothic, but the detail is all very Renaissance in
character.^

The choir is apsidal, but the apse is concealed by an enormous
sculptured Retablo, which, in spite of its very late date, is
certainly dignified in its effect.

Externally there are evidences of the existence of an earlier
church, the lower part of the apse being evidently Romanesque,
a portion of the buttresses and one of the windows retaining
their old character. The new work is of brick, the windows
generally of four lights, with flamboyant tracery, and the walls
crowned with rich cornices. The exterior of the Cimborio, as
well as of the church, owes much of the picturesqueness which
marks it to the fact that the brickwork is everywhere very
roughly and irregularly executed.

One portion of the exterior of the church is, however, most in-
teresting; for on the face of the wall, at the north-east angle, is a
very remarkable example of brickwork, inlaid with coloured tiles,
the character of which proves that it is, no doubt, part of the
cathedral which was approaching completion in the middle of the
fourteenth century, and earlier in date therefore than the greater
part of the existing fabric. This wall is a lofty unbroken surface,
about sixty-four feet in length from north to south, and is erected
in front of a building of two stages in height, and pierced with
pointed windows in each stage. It is built with bricks of, I
think, a reddish colour (though I am a little uncertain, owing to
their being now very dirty), which are all arranged in patterns in
the wall, by setting those which are to form the outlines forward
from one-and-a-half to two inches in advance of the general face
of the wall. The spaces so left are then filled in with small tiles

■' gentlcnian " (wIkj was always treated to soniethiug to drink by tlie
churchwarden when he came to the church) having made the engagement.
The bishop was punctual to his ajjpointiiient, but Sir Christopher seems
to have gone out for an early walk and forgotten all about it; and finally,
the Bishop of London, having waited an liour for the great man, retired
in despair, but ordered Sir Christopher's weathercock to be adopted.

' The following inscription on the Cimborif) fixes the date of its comple-
tion: " Ciinborium quo hoc in loco Uenedictus Papa XIII. Hispanus,
patria .Arago, geiite nobili Luna exstruxerat, vetustate collapsum, inajori
impensa erexit amplissiinus, illustrisfjue Alphonsus Catholici hCrdinandi,
Castella.', Arago, utriusqu(; Sicilitu regis (ilius, q. gloria finatur, anno 1520."

168 GOTHIC ARCHITECTURE IN SPAIN

set in patterns or diapers, the faces of which are generally about
three-quarters of an inch behind those of the brick outlines. The
tiles of are various shapes, sizes, and colours, red, blue, green,
white, and buff on white. The blue is very deep and dark in
tone, the green light and bright. The patterns are generally
of very Moorish character; and there can be no doubt, I think,
that the whole work was done by Moorish workmen. The
general character of this very remarkable work is certainly most
effective; and though I should not like to see the Moresque
character of the design reproduced, it undoubtedly affords
some most valuable suggestions for those who at the present
day are attempting to develop a ceramic decoration for the
exteriors of buildings. Here I was certainly struck by the grave
quiet of the whole decoration, and was converted to some extent
from a belief which I had previously entertained rather too
strongly, that the use of tiles for inlaying would be likely to
lead to a very gay and garish style of decoration, foreign to all
dignity and repose in its effect. There is an intersecting arcade
under the lowest windows, in which, as also in some other parts,
the ground of the panels is plastered ; and in this plaster panels
of tiles and single sunk disks of tile are inserted on the white
ground. The windows are pointed, and all of them have rich
borders to their jambs, which are continued round the arches.
Within their borders there appears to have been an order of
moulded brickwork, and then the window opening, which is
now blocked, but which may possibly ha\'e had stone monials and
tracery. The bricks used here are of the usual old shape, about
I ft. i^ in. long by 6 J in. wide. They are generally built alter-
nately long and short, but not by any means with any great
attempt to break the bond. The mortar-joints are also not less
than half an inch in thickness, and this, it must be remembered,
in a work the whole characteristic of which is the extreme deH-
cacy and refinement of the decoration. The tiles are fi\e-eighths
of an inch thick; some of them are encaustic, of two colours;
and all are, as is usual with Moorish tiles, glazed all over. This
tile and brick decoration begins at a height of about eight feet
from the ground, and is carried up from that point to the top of
the wall. Such work seems to be obviously unfitted to be close
to the ground; and the lower part of the wall is therefore
judiciously built with perfectly plain brickwork.

The most important church in Zaragoza after the cathedral
is that of San Pablo. This is an early thirteenth-centurx-
church of the same class as that of San Lorenzo at Lerida,

ZARAGOZA 169

having a nave of four bays^ and an apse of five sides with a
groined aisle round it. The side walls of the nave, which are
of enormous thickness, are pierced with pointed arches opening
into the aisles, which seem to be of the same date, though from
the enormous size of the piers they are very much cut off from
the nave. The groining ribs are of great size, and moulded with
a triple roll in both nave and aisles. Some trace of the original
lancet windows is still to be seen in the apse; but most of them
are blocked up or destroyed. The aisle is returned across the
west end of the nave; and there is a western door and porch,
with a descent of some eleven or twelve steps into the church.
The Coro is at the west end of the nave, and is fitted with stalls
executed circa a.d. 1500-20, with a Renaissance Reja to the
east of them. There is a good reredos, rich in coloured and sculp-
tured subjects, which is said to be a work of the beginning of
the sixteenth century, by Damian Forment, of Valencia, who, as
will be recollected, carved the reredos in the cathedral at Huesca.
The fine octagonal brick steeple is evidently a later addition to
the church, and rises from the north-west angle of the na\e. It
is very much covered with work of the same kind as the wall
veil at the cathedral, which I have just been describing, though
on a bolder and coarser scale; and it belongs, as far as I can
judge by its style, to somewhere about the same period.^ The
brick patterns here, as there, are in parts filled in with glazed
tiles; and the general effect of the steeple is very graceful,
rising as it does with richly ornamented upper stages, upon a
plain base, out of the low and strange jumble of irregular roofs
with which the church is now covered (12).

The great steeple, called the Torre Nueva, in the Plaza San
Felipe, is finer and loftier than that of San Pablo, and is, I
suppose, on the whole, the finest example of its kind anywhere
to be seen. It is octagonal in plan, and the sections of the
\arious stages differ considerably in outline, owing to the inge-
nious manner in which the face of the walls is set at various
angles. The face of most of the work is diapered with patterns
in brickwork as in the other Zaragozan examples; but the most
remarkable feature is, perhaps, the extraordinary extent to which
the whole fabric falls out from the perpendicular. This, which
is so common a fault with the Italian campaniles, arises here
evidently from the same causes, the badness of the foundations,

' Don P. de la Escosura {Espatia Art. y Mon. iii. 93) attributes this tower
and the church to the twelfth century, but, I feel confident, witliout good
ground for doing so, as far as the former is concerned.

170 GOTHIC ARCHITECTURE IN SPAIN

and the absence of buttresses. A great mass of brickwork has
been built up on one side, in order to prevent the further settle-
ment of this steeple; and it is to be hoped that the remedy may
be effectual; for Zaragoza can ill afford to lose so remarkable a
feature out of the scanty number still left; and it is valuable
also as one of the grandest examples of a ver}' remarkable class.
It is said to have been built in a.d. 1504 (13).

Another parish church in the principal street has a very
small brick steeple of the same class, but very simple, and with
it I think I must close my list of really Gothic erections here.
The Renaissance buildings have often a certain amount of Gothic
detail, and some Gothic arrangements of plan, but of so late and
debased a kind as to make them Httle worthy of much study.
Their real merit is their great size, and the rude grandeur of
their treatment. They are usually built of rough brickwork,
boldly and massively treated. They have always an arcaded
stage, just below- the eaves, which are very boldly corbelled out
from the w^alls, and generally supported on moulded wood cor-
bels, carrying a plate which projects some three or four feet from
the face of the wall, and throws, of course, a very fine shadow
over it. The patios, or court-yards, are lofty, and surrounded by
columns which carry the open stages of the first and second
floors. There is here no attempt at covering the brickwork
with plaster or cement; and accordingly, though the detail is
poor and uninteresting, the general effect is infinitely more
noble than that of any of our compo-covered, smooth-faced
modern London houses. The picturesque roughness of the
work which was always indulged in by the mediaeval architects
was no sin, it seems, in the eyes of the early Renaissance archi-
tects: and it is, indeed, reserved for our own times to reahse
the full iniquity of any honest exhibition of facts in our ordinary
buildings!

Among the buildings here which illustrate the transition from
Gothic to Renaissance the cloister of the church of Sta. En-
gracia seems to be one of the most remarkable. It is said to
have been constructed in 1536 by one Tudelilla of Tarazona,
and an illustration is given of it in Villa Amil.^ The Gothic
element seems here to have been as much Moresque as Gothic,
and hence the combination of these with Renaissance makes a
whole which is as strange and heterogeneous as anything ever
erected (14).

It will be seen that Zaragoza has not very much to interest

' \'ol. ii. plate 45.

2ARA(iOZA 171

an architect or ecclesiologist. Travellers in Spain who find it
necessary to recruit after rou,^hing it in country towns may no
doubt feel grateful for the creature comforts they will be able
to enjoy there, and it is now rather a centre of railway com-
muriication, being on the line of railway which runs from Bilbao
to Barcelona, and at the point where the line from Madrid
joins it.

NOTES

(i) The cathcch'al affords another interesting comparison of tlic
late Gothic in Spain and England, being covered with real Tudor
fan-vaulting. The town has a stirring history of four centuries'
struggle for the independence of its see against the claims of Huesca:
in the first thirty-three years of the sixteenth century the cathedral
was completely rebuilt, not by the munificence of princes and prelates,
but by the diocese; after forty more years of effort its rights were
confirmed by Philip II. and Pius V.

(2) These buildings, among other things, house the Provincial
Museum, which includes the legacy of D. Valentin Carderera (1880).
He had worked hard before 1873 to call the Museum into being,
and his collection considerably more than doubled its value. Four
sixteenth-century pictures from Sijena, in their flesh tones and their
use of crimson and green, recall the north Italian schools, but the
tiles and the lily-pot of the Annunciation are uncjuestionably Spanish
industrial art. Burgundian influences are stronger here in Aragon
than across the border : in one Virgin of the Rosary the angels have
rainbow wings; in another she has all about her the rainbow tones
of the Master of Moulins, and the moon set under her feet; SS.
Catharine and Barbara on the sides. A fifteenth-century altar-
piece shows in the Calvary the soldiers drawing strciws for the seamless
robe, and in the Glorification of S. \'incent a great carved throne,
in the niches of which stand angels with the instruments of his
passion — the millstone, X-cross, hammer, and scourges. He has
beautiful hands, and a thin lovely throat, a touching nialadif face.
This piece is attributed to Pedro Aponte (working 1 479- 1517),
not apparently by the good rule of putting the best picture and the
best name together, but because Martinez says Ferdinand the
Catholic ordered from him two fine pictures for the church of
S. Laurence in Huesca. A pair of saints entln'oned, SS. Stephen
and IJominic, are good portraits, one of a middle-aged, the other
of an elderly man. A S. l^ucy, said to be signed by Vincent Carducci,
the court painter of Philip III. and IV., is no better than one would
expect. The Spanish fancy for realism determines, in a Ketable of
the Baptist of the fifteenth century, some heads of Flerodias, her
husband, and her daughter, which constitute a tract in the best
manner of Zola, in the Museum are also preserved casts, and a
very few stones, taken from tlie cloister of San I'edro hi'fore it was
restored.

(3) One now — Imt others in recesses hardly less picturescjue.

172 GOTHIC ARCHITECTURE IN SPAIN

(4) The fuller history of the church confirms the conjecture. In
the prelacy of D. Jaime Sarocco (1273-89) a new cathedral was
begun; 1273 Jaime I. el Conquistador gave rents for the purpose.
The square form may be that of the foundations of an earlier mosque,
or may be in imitation of Romanesque abbey churches. It had three
aisles (the chapels between the buttresses are of the fifteenth century)
and the pillars and vaults of the aisles are strong and bold. Bishop
Martin Lopez de Aslor (1300-13) built the portal, and the lateral
doors are of his period. The middle of the fourteenth century
finished the aisles and covered the nave with wood, the fifteenth,
besides the chapels, added the cloisters and the belfry. Bishop John
of Aragon (1484-1526) thought the cathedral looked mean, and after
long consultation with masters from Aragon and Navarre the
chapter gave the work to Juan de Olotzaga (of Navarre or of Vas-
conaga). He began April 22, 1497, and finished in 151 5; he raised
walls, opened windows, built the fa9ade, flying buttresses, and vaults.
In the chapels east of the transepts are superb dadoes of azulejos,
and carved retables in the first one at the south, in a tiny chapel
east of the transept door, in the westernmost chapels of the south
and the north aisle. In the southernmost transept chapel, on a
painted ratable of the sixteenth century, there is Italian imitation
of the wrong sort, but there is also the look that Lotto gives to his
subtle women, sick at soul, and in a marriage of S. Catharine, on the
right side, in two figures of bishops, there is the old Spanish feeling
for rich textiles. In the second chapel of the north aisle an old
processional banner is set into the middle of the retable, painted in
tempera on linen in the purest French manner. All white and pale
grey, this j\Iadonna is muy preciosa in her lovely majesty. The
bent head and sensitive hands, the Child on her left arm, turning its
face up to hers, the folding of the drapery, all relate this to the
painted tombs at Salamanca. The retables being for the most part
contemporary with the finishing of the church, have a kind of
homogeneity that fits them for greatly furnishing a king's house.

(5) It has a double predella: (i) at the extremities SS. Laurence
and Vincent seated with books, the twelve apostles and the risen
Christ, in a mandorla, blessing; (2) the Last Supper, Agony in the
Garden, Betrayal, Flagellation, Buffeting, Ecce Homo, Pilate
washing his hands. The doors have SS. Peter and Paul. The
lowest stage of all is treated with rich Renaissance ornament, and
set on the northern and southern panels with medallion heads of
Forment and his wife, his a young and very fine Spanish face, with
sharp nose, hollow cheek, and puckered upper lip. One could not
ask for better than the small figures and scenes, free from fustian
and grandiosity in their fresh and clear loveliness. The jamb
statues of the west front are of the same style as those at Olite, and
are set on corbels with a figure underneath in the French manner. I
could only recognise SS. Laurence and Vincent and S. Orentius the
Bishop, and, in one of the quatrefoils below, the Creation of Eve.
The little figures in the archivolts are so charged with beauty that
it is hard not to affirm the workmen knew the work of Forment.

(6) The north door has a Madonna in the tympanum, between
angels, and remains of painting behind, filling in between the statuet

ZARAGOZA 173

of SS. George, Orentius, Urbicus, and perhaps Just and Pastor, with
a background of tapestry pattern. The cloister is walled up into
a dreary passage-way, but on the north side exist remains of an
older one, three round bays in the inner wall and the great diagonal
arch that carried a sloping timber roof. In the centre, where should
be the cloister garth, stands the Parroquia, which contains another
alabaster retable by Forment, fetched from Montearagon. Between
the Transfiguration and the Ascension is the Last Judgment, and
as predella the Epiphany, Christ among the Doctors, Deposition,
Pieta, Massacre of the Innocents, and Resurrection, with small
saints under canopies all the way up. The second and fourth of
the predella scenes, though by the same hand, are in lower relief,
subdued to hold a place behind statues now missing. The sweet-
ness still of the early Renaissance clings about the forms, and the
richness of the late Gothic charges the traceries and leafage.

(7) That may have been the consecration of the Retablo Mayor
(the present one was consecrated 1603). Seiior Lamperez thinks the
church was built from 11 34 to 11 37. At any rate its history is a
great one and typical. After the Reconquest of Huesca (1096),
Benedictine monks were fetched to it from San Pedro de Tomares in
Narbonne; therefore Ramiro II. loved it, who had been a monk
there in France. It flourished in the twelfth century, declined in
the middle of the thirteenth, in the fifteenth was secularised by
Ferdinand the Catholic, in the sixteenth came down to a priorate
and commandery. To-day it is a parish church. Lastly, it has
been through a restoration, fairly conservative inside, but ruinous
in the cloister. The chapels on the east wall are not vaulted as in
Street's plan, but are still in the making over.

(8) San Martin was destroyed in 1865. The outline of the ap.se
persists against the wall of a house, hardly so much in the memory
of old women. The walls and gates have been destroyed, and
the church of San Juan; the name of the Magdalena (of 1104), I
believe, and the retable I hope, have been transferred to another
church. S. Miguel, with a tower, is of 1238 and earlier, a good solid
Spanish building, yet untampered with.

(q) The way is marked by pilgrimage crosses. Sancho of Castile
(died October i 3, 1 173) built a sanctuary to N. S. de Salas. Jaime I.
was distinguished tor his liberalities to her. Pere Desvall, the
treasurer of Pedro IV., had a silver altar made for the sanctuary, to
replace the lamps he had taken for expenses of war. The present
church was built in 1200, and rebuilt in 1727.

Santa Cruz de la Seros, near Jaca. is a ninth-century foundation
for Benedictine nuns, who removed to Jaca in the sixteenth century.
In 084 Sancho of Navarre and his wife I3ofia Lrraca endowed it,
in 1061 Ramiro I. of .Kragon recommended it in a will to his
dau^jhter L'rraca, lujd-yG his other two (laughters — Sancha,
Teresa, then widowed — made donations, antl it was built in this last
time. The vaults of the transej)t belong to a reconstructitMi not
later than the twelfth century. The nave is ruined. The octagonal
lower, which is still standing, is a true lantern, though this is not
visible fridii ln-hnv. A n-tabk- ol 140'' \\:is at last accounts ^.till //;
situ.

174 GOTHIC ARCHITECTURE IN SPAIN

Founded in 1040 by Ramiro I., the catliedral of Jaca was in 1063
the seat of a council whose decrees nine bishops signed after con-
secrating the new church. Of this only the apses and the transepts
remain. To the end of the century belong the enclosing walls and
the west door, with the beginning of the west tower. The aisles are
of the late twelfth century, their vaults of the fifteenth, the vault
of the nave sixteenth. The alternation of cylindrical pillars with
cruciform piers is easily explained, as in French churches, and in
San Miilan of Segovia: the great piers carried the arches of the
barrel-vault in the nave and the columns only the cross-vaulting of
the aisles. Master Juan de la Abadia, painter of Huesca, received
for the Retablo Mayor, of Santa Orosia (now in her chapel), 250
" sucldos jaqitesas " in 1473, 610 more in 1495, and " the rest " the
following year. In the cloister, all rebuilt, are preserved tombs
of 1228 and 1253. The tympanum of the side portal contains some
curious bits of symbolism — Christ taking empire of death; the Hon
respecting a fallen man, which means God's judgments disarmed by
penitence.

San Juan de la Pefia is Romanesque of the end of the eleventh
century. ']"he crypt remains from the ninth-century hermitage,
founded by Sancho Garces (842), also a door from the church to
tlie cloister. At the end of the tenth Sancho el Mayor called one
Paterno from France, who introduced the Rule of Cluny.

The chapter-house was the seat of a coimcil 1054 or 1062. Sancho
Ramirez (1076) and his wife Dona Urraca rebuilt the church and
cloistt^r. In 1094 Peter I. left the siege of Huesca to go to the
consecration of the new building; about the mitldle of the next
century the cloister and dependencies were fmishetl : the cloister
has no roof because the jutting rock (peiia) covers it; the storied
capitals are of the first half of the twelfth century. The bell-tower
was burned in 1676: the new ugly monastery tlates from 1675-1717.
On .\ugust 25, t8()9, French troops burned inost of the church, but
the cloister and tlie head remain. It has.one nave, opening by three
arches into the head; the crypt contains tomI)s of abbots, the former
sacristy th(jsc of l<ings of Aragon.

These three I did not see because it rained when I got to Zaragoza,
and though I once pushed on to Huesca, I could not go further —
jiartly because the original plan involved taking the diligence from
Jaca to Sangiiesa and the trolley thence to Pamplona, visiting on
the way San Salvador de T^i^yre. This has a magnificent portal with
tv\o rows of statues and other scul]:)tures abov(> them (that M. Ber-
taux calls Toulousan Romanesciue and Senor Madazo thinks may
go back, some of them, to Carolingian times), and with northern
reminiscences and barbaric archaism, 'i'he building is archaic
Poitevin plus ("istercian: the portal belongs to the Chniiac church,
consecrated Oct. 21, 1098, and perfect till after 121 3; the present
nave was built by Cistercians in the fourteenth century.

Sangiiesa, though ignored by Baedeker, has a good electric service
from Pamplona; and contains three line churches — Santiago, of the
twelfth and thirteenth centuries, in transitional style; San Salvack)r,
of the fourteenth, with a Komanesque portal left from an earlier
chin'ch; and Santa .Maria la Real, built before i i ;, 1 , restored in the

ZARAGOZA 175

end of the twelfth or beginning of the thirteenth century. The
portal has a pointed arch set in a Romanesque facade and the same
bossy splendour as Angouleme and Poitiers, Ripoll and San Salva-
dor de LejTe.

(10) At Tardienta, now the junction for Huesca and Jaca, the
inn is plain. The church, however, is Mudejar ; not earlier than the
fourteenth century, I suppose, though the south aisle has a pointed
barrel-vault. The apses and a beautiful western tower are built in
the characteristic arcaded brickwork of the region thence westward :
the latter in four stages dwindling slightly and crowned with a low
octagon, slightly concave and strongly moulded. It owns, besides
the great baroque retable of S. James at the Altar Mayor, and a
fourteenth-century wooden group of the Crucifixion in a recess under
the tower, three painted altar-pieces, the worst of which is as good
as much in the Prado.

(11) The Virgi)! del Pilar is beset by worshippers the year round.
The retable by Damian Forment, i 509-1 1, is niuch more Renaissance
in the worse sense of the word than that at Huesca. He was born
in Valencia, and made the carved work of the retable and portal at
Gandia in 1501, and in spite of Moralez, who says that he died in
I 533, and the sacristan at Huesca, who shows his tomb in the cloister,
he probably made the retable for Santo Domingo de la Calzada in
1536. He may have begun the retable for the cathedral of Bar-
bastro and left it to a pupil, and he is said to have made the retable
at Poblet, but I do not believe it.

(12) San Pablo is probably, as it stands, of the fourteenth century,
tower antl all. Sefior T.amperez suggests, from the immense thick-
ness of the piers, that it may have been built with one nave only in
the Catalan way, and enlarged by the addition of aisles and ambula-
tory. The retable was carved 1516-24; the main scenes from the
life of S. Paul, the pretlella from the passion of Christ. Mannered,
of course, but dramatic in the same degree, if Raphael's tapes-
tries are good, then these are, with less sham antique and sham
grandeur, and a greater pleasure in telling clearly what
was (lone and felt. Here is no such attitudinising to show off
anatomy and draj^eries as had ruined, for instance, the I^etablo
.Mayor at N'akncia more than ten years earlier, .\ction is the sole
interest. In this altar-piece again the Spanish sj^irit contrives a
reconciliation between tlie passing age anil the new; the canopies
are late Gothic, interlaced and twisted like an old thorn-bush,
the gilding is dim and the coloiu" never mori' than suggested, like
leather (jr laccjuer. Tin- central altar of the ambulatory has a delicious
painted retable of S. Catharine with the Haptist and the Magdalen,
in which the general treatment o\ faces and draj^ery both, while
ctjmpletely S])anish, yet shows more influence from hlanders than
from Italy. It was painted, n'ycd 1470, by Honanat de Ortigia.
An rdtar-piece of SS. Peter and Paul, in the south anibulatorv. is
com[)let<'ly Italianate- in tin; golden and serene air of peisons ;ind
laiulsca])e — north Italian rather than Tuscan. Pits of another
retable which bc'longs here by Juan de Mor.iles are now in the
.\rc.h;cf)logical Museum at Madrid. ()l alabnster touched with gold.
it is faintly coloured about the heads: the N'iii/in a line hiir W(jinan

176 GOTHIC ARCHITECTURE IN SPAIN

and a great lady; the Adoration of the Shepherds beautiful too,
good as Italian work, but very different.

(13) The Torre Nuevo was taken down in 1894. The church next
mentioned is San Gil, built in the second half of the fourteenth
century, during the wars of Don Pedro the Ceremonious with Don
Pedro the Cruel of Castile.

(14) The fa9ade of Santa Engracia, by Juan de Morlanes and
Diego Morlanes, his son, recalls Lombard work and has much beauty
in the several statues. It is all that now remains of the original
foundation. The church of S. Mary Magdalen has a tower of the
fourteenth century, and that of S. Catharine a triptych of the school
of Jacomart, dated 1454 — a bishop between S. Paul the Hermit and
S. Michael. An alabaster retable from the Archbishop's Palace,
probably by Pere Johan de Vallfonoga, who began the Retablo
Mayor of the Seo, was last heard of in Paris.

CHAPTER XVIII

TAR A ZONA — VERUELA

I FOUND it a pleasant drive of two and a half hours, through
vineyards and olive-grounds, from Tudela to Tarazona. In
front all the way was the noble Sierra de Moncayo, which, accord-
ing to one of my Spanish fellow-travellers, is the highest mountain
in Spain, from which view, however, I humbly, and somewhat to
his annoyance, dissented. But whether he were right or not, it
is still of very grand height, and the more impressive in that
it rises by itself in the midst of a comparatively fiat country.
Behind us was an admirable view of Tudela, backed by the
brown and arid hills which skirt the Ebro; beyond them, in the
far distance, the Pyrenees ; whilst in the immediate foreground
we had a rich green mass of oli\'es and vines spread in a glorious
expanse over the country.

The villages on the road have nothing to boast of if I except
a pilgrimage church at Cascante, approached by a long covered
gallery from below, and a brick tower at Monteacadeo, of the
Zaragozan type. We passed, too, a newly-established convent
for monks, who are already beginning to build, in spite of the
ruin with which they have so lately been visited. But long
before the end of our journey was reached, the towers and
steeples of Tarazona rose attractively in front over the low
hill which conceals the complete view of the city until you are
almost close upon it.

Attractive as this general view undoubtedly is, this old city
does not lose when it is examined more closely and carefully. It
is not only in itself picturesque, but its situation on either side of
the stream which a few miles below falls into the Ebro is emi-
nently fine, and has been made the most of by the happy and
probably unconscious skill of the men who have reared on the
cliff above the water a tall pile of buildings on buildings, carried
on grand arches, corbelled here and buttressed there, and witli a
sky line charming in itself, and rendered doubly beautiful by the
sudden break in its outline caused by the lofty brick steeple of
la Magdalena - one of the finest of its class — which rears itself,
with admirable hardihood, on the very edge of the cliff. The
11 177 M

178 GOTHIC ARCHITECTURE IN SPAIN

streets and Plazas, too, of the old city are all picturesquely
irregular, full of colour and evidences of national peculiarities,
and climb the steep sides of the hills from the river-side to the
high ground at the northern end of the city, which is crowned by
the church of San Miguel. I call such skill as this " unconscious "'
because it is so much a characteristic of old works of this kind
that their authors- never exhibit any of that pert conceit which
so distinctly marks the efforts of so many of us nowadays. Old
architects fortunately lived in days when society was moderate
in its demands, and had not ceased to care for that which is true
and natural: sad for us that we live when every man wishes only
to excel his neighbour, and that without regard to what is true or
useful; so that, instead of obtaining those happy results which
always reward the artist who does exactly what is needed in the
most natural and unartificial manner, we, by our attempts to
show our own cleverness, constantly end in substituting a petty
personal conceit, where otherwise we might have had an enduring
and artistic success.

The cathedral stands very much alone, and away from the
busier part of the city, at the upper end of a grass-grown and
irregular Plaza, on the opposite side of the river from the Alcazar,
and indeed from the bulk of the houses. This Plaza, when I
first saw it, on a Sunday afternoon, was thoroughly beautiful and
characteristic as a picture of Spanish life. There was a foun-
tain in the centre, around which hundreds of peasants were
congregated in lively groups, talking at the top of their voices,
and all gay with whitest shirt-sleeves, bright-coloured sashes,
and velvet breeches, slashed daintily at the knees, to show the
whiteness of the linen drawers; and when I went on into the
church, I found in the Lady Chapel another group of them
kneeling before the altar, and following one of their own class
in a litany to the Blessed Virgin, the effect of which was striking
even to one unable to join in the burthen of the prayer.

The cathedral here is said to have been restored by Alonso
the First of Aragon, in the year 1 1 lo; but an old Breviary, cited
by Argaiz, fixes the foundation of the present cathedral in 1235,'
and with this date the earliest part of the existing church agrees
very closely. The plan ^ is very good, consisting of a nave of six
bays, with aisles and chapels between their buttresses, tran-
septs, a lofty Cimborio over the Crossing, and a choir of two
bays ended with a five-sided apse. The chapels in the chevet
have mostly been altered, though the first on the north side

■ Madoz, xiv. 593-599. "See Plate XXII., ]). 179.

Plate XXK.

/ /

Transept lautpni Trajibppl

^^^O O

^-4

I .SI. pi.

C 1 o 1 s t e

Befor<a?00

U'iCpiihn-Y

ilodei n.

':s^

"a J V-"t fr^i"£r(

k' 1 oi s t

Platk XXII.

i8o GOTHIC ARCHITECTURE IN SPAIN

appears to be original, and proves that the outhne of the plan
of the chevet could never have been \'ery good. This chapel is
four-sided in plan, but much wider at one end than the other,
and we must, I fear, give but scant credit to the architect who
planned it. The Lady Chapel is a late and poor addition of
a very inferior kind, and completely modernised — as indeed is
the greater part of the church — on the exterior. On the south
side of the cathedral there are old sacristies and a large cloister,
of which more presently. The west end seemed to me to have
been intended for two steeples, but one only has been completed,
and this is on the north side of the north aisle.

The remaining portions of the thirteenth-century church have
been so much altered that the general effect of the early work
is almost entirely destroyed. The columns and arches generally
are original; the former have carved capitals; many of the
latter are slightly horse-shoe in shape, and have labels enriched
with the dog-tooth ornament. The choir and transepts retain a
good simple arcaded triforium, carried on detached shafts, and
this returns across the gable-walls of the latter; it is of the
simplest early pointed character; so too are the choir windows,
which before their alteration appear to have been lancets, with
engaged shafts in their jambs, whilst in the eastern wall of the
transepts are windows of two lancet lights, with a circle above
within an enclosing arch. Most of the arches of the nave are
adorned with carved flowers on the chamfers, the efifect of which
is not good; indeed I half doubted whether they were not
plaster additions, though they seemed to be just too good for
this. The choir has two (and only two) flying buttresses; and
as they are evidently of early date, with pinnacles of the very
simplest pyramidal outline, they were probably erected to coun-
teract a settlement which showed itself immediately after the
erection of the church, for there is no evidence of any others
having existed. The walls of the apse had originally a richly
carved cornice, filled with heads and foliage. The groining of
the aisles is generally simple and early in date, and quadri-
partite in plan : that of the whole of the rest of the choir and
nave is of the richest description, and of the latest kind of Gothic.

Here, as is so frequently the case all over the world, the
builders of one period used an entirely different material from
that used by those of earlier times,^ so that you may tell with

1 The fact is worthy of record, because in these days, though it is often
manifestly convenient to use a different material from that which was
used by our ancestors, there are many well-disposed people who object

TARAZONA i8i

tolerable accuracy the date of the work by the material of which
it is built. Here the early church was entirely built of stone,
but in all the later additions brick is the prevailing material;
and at first sight it is in these later additions that we seem
to find almost all the most characteristic work in the church.
Many of tliese additions, as for instance the Churrigueresque
alterations of the clerestory, are thoroughly bad and contemp-
tible; but some of them, though they damage the unity of effect
of the building, and have taken the place of work which one
would much rather have seen still intact, are nevertheless
striking in themselves. Such is the singular and picturesque
Cimborio erected by Canon Juan Muiloz ^ in the sixteenth cen-
tury: it is certainly most picturesque, but such a curious and
complex combination of pinnacles and turrets built of brick,
and largely inlaid with green, blue, and white tiles, is perhaps
nowhere else to be seen. It is octagonal in plan, and of three
stages in height, the angles of the octagons in the several stages
being all counterchanged. Enormous coats-of-arms decorate
the fronts of the buttresses. The whole work is of the very
latest possible Gothic, utterly against all rules both in design and
decoration, and yet, notwithstanding all this, it is unquestion-
ably striking in its effect. The mixture of glazed tiles with
brickwork has here been carried to a very great extent, and the
result does not, I think, encourage any one to hope for much
from this kind of development. This work is not to be com-
pared to that at the east end of Zaragoza Cathedral, where a
plain piece of wall is carefully covered all over with a rich
coloured diaper of brickwork and tiles, which are all harmonious
and uniform in character, and — which is equally important — in
texture, and it has, on the contrary, great similarity to some
attempts to combine bricks and tiles which we see made in the
present day, and seems to show that these attempts are not to be
carelessly encouraged. For even when such work is first exe-
cuted, and the brickwork is fresh and neat, I think we always
feel that the smooth hard surface of the tile offers rather too
great a contrast to the rougher texture of the bricks; and whilst
the former is likely to remain almost unchanged for ever, the
latter is certain gradually to grow rougher and ruder in its aspect,
until, in the end, we shall have walls sliowing everywhere

to >uch a course as being au),unvvarrantable departure from old precedents;
yet, if our forefathers' example is to be followed, we ought to do as they
would have done in our circumstances.
' ilis name occurs in an inscription on it.

i82 GOTHIC ARCHITECTURE IN SPAIN

picturesque marks of age, and yet with their decorations as fresh
as if they had but just been introduced. Nothing can well be
worse than this; for if the appearance of age is to be venerated
at all, it must be somewhat uniformly evident; and it no more
answers to permit the decorations on an old and rugged wall to
be always new and fresh-looking, than it does to allow a juvenile
wig to be put on the venerable head of an old man !

The brick steeple of the cathedral is an inferior example of
the same kind as that of la Magdalena, which I shall have pre-
sently to describe; its upper half is modern, and the lowest stage
of stone. The west front is all modernised, and the north
transept is conspicuous for a large porch of base design, erected
probably in the sixteenth century, and exhibiting a curious
though very unsuccessful attempt t o copy — or perhaps I ought
to say caricature — early work.

The whole of the clerestory walls have been raised with a
stage of brickwork above the windows, which was added
probably in the sixteenth or seventeenth century.

The cloister, built in the beginning of the sixteenth century,
by D. Guillen Ramon de Moncada, is a remarkable example of
very rich brickwork. It deserves illustration as being of an
extremely uncommon style, and withal very effective. All the
arches and jambs of the openings are of moulded brick, and
there are brick enclosing arches, and a very simple brick cornice
outside; but the delicate traceries which give so much character
to the work are all cut in thin slabs of stone let into the brick-
work. Of course such a work was not intended for glazing, and
was an ingenious arrangement for rendering the cloister cool and
unaffected by the sun, even when at its hottest. The forms of
the openings here are certainly not good, and look much more
like domestic than ecclesiastical work; but in spite of this one
cannot but be thankful for novelty, whenever it is, as here,
legitimately obtained. The bricks are of a very pale red tint,
i2| inches long, 6J inches wide, and from ij to if thick, and
the mortar-joint, as usual, is very thick — generally about f of
an inch. The cloister is groined, and probably in brick, but is
now plastered or whitewashed unsparingly, and its effect is in
great degree ruined.

The sacristies are rather peculiar in their arrangement: they
are all groined, and one of them has a small recess in one angle
with a chair in it facing a crucifix, of which I could not learn the
use. Another of this group of buildings contains a fountain
under a small dome, the plashing of whose waters seemed to

TARAZONA

183

make it a very popular rendezvous of the people, and made itself
heard everywhere throughout the sacristies and their passages.
The stalls in the Coro are of very late Gothic, the bishop's
stall, with one on either side of it in the centre of the west end,
having lofty canopies. The Coro is more than usually separated
from the Capilla mayor, and there can be little doubt that it does
not occupy its original position. The men who built so long a

Cloister, Tarazona

nave would never have done so simply to render its length use-
less by so perverse an arrangement of the choir. Here, in fact,
the Coro occupies the same kind of position to which one so often
sees it reduced in parish churches in Spain, where it is usually
either in a western gallery, or at any rate at the extreme western
end of the nave, behind everybody's backs, and apparently out
of their minds !

A chapel on the north side of tlie nave, dedicated to .Santiago,
has a richly cusped arch opening from it to the aisle, and its

i84 GOTHIC ARCHITECTURE IN SPAIN

vault springs from large corbels, carved with figures of the four
evangelists, rudely but richly sculptured. It is mainly worthy
of notice now on account of the beauty of a panel-painting
still preserved over the altar: this is painted on a gold back-
ground, richly diapered, and the nimbi and borders to the
vestments all elaborately raised in gold in high relief. The
frame is richly carved with figures of saints, and gilt. The pre-
della has on either side of the centre S. John and the Blessed
Virgin, and four other holy women; in the centre a sculpture of
our Lord and four saints which serves as a pedestal for a well-
posed figure of Santiago ; and on either side of the saint are two
pictures with subjects illustrating his life. It is, on the whole, a
very fine example of the combination of painting and sculpture,
of which the Spaniards in the fifteenth and sixteenth centuries
were so fond. The paintings are less realistic than German work
of the same age, and, if not so delicately lovely as early Italian
works, are yet of great interest and merit (i).

Returning from the cathedral to the town, and before one
crosses to the opposite side of the river, a noble view of the build-
ings on the cliff above it is obtained from the bridge. The
grandest of these is an enormous bishop's palace, once I believe
the Alcazar; and close to it is the church of la Magdalena. The
interior of this is entirely modernised, but the east end outside
is a valuable example of untouched Romanesque. The eastern
apse is divided into three by engaged shafts, stopping with capi-
tals at the eaves-cornice, which is carried on a very simple corbel-
table. To the west of this church is the steeple to which I have
already alluded as giving so much of its character to Tarazona.
It is a very lofty brick tower, without buttresses, with a solid
simple base battering out boldly and effectively, and diapered
in its upper stages with the patterns formed by projecting bricks,
of which the builders of the brick buildings throughout this dis-
trict were so fond. At a -very slight expense a great effect of
enrichment is obtained; the dark shadows of the bricks under
the bright Spanish sunlight define all the lines clearly; and the
uniformity of colour and the absence of buttresses make the
general effect simple and quiet, notwithstanding the intricacy
of the detail. The upper stage of this steeple is, as I need hardly
say, a comparatively modern addition, but it no doubt adds to
its effect by adding so much to the height, and in colour and
design it harmonises fairly with the earlier work below.

The church of La Concepcion, not far from this, is a very late
Gothic building, with a western gallery whose occupants are

TARAZONA

CAMl'AMLE OI' LA MAGDALIiNA

i86 GOTHIC ARCHITECTURE IN SPAIN

quite concealed by stone traceries of the same kind as those in
the cloisters of the cathedral. The sanctuary walls here are
lined with glazed tiles, and the floor is laid with blue, green,
and white tiles, the colour of each of which being half white and
half blue or green allows of the whole floor being covered with a
diaper of chequer-work, which is very effective and very easily
arranged.

At the farther end of the city, and on the top of the long hill
on which it is built, is a church dedicated to San Miguel. This
has a simple nave with a seven-sided apse. The groining is all
of very late date, the ribs curling down at their intersection as
pendants, the under sides of which are cut off to receive bosses
which were probably large and of wood. This groining is pro-
bably not earlier than the end of the sixteenth century, though
the church itself is of the thirteenth or fourteenth century,
having two doors of one of these dates : that on the north side
has, in most respects, the air of being a work of the thirteenth,
but its sculpture seems to prove that it cannot be earlier than
the fourteenth century. It has the Judgment of Solomon carved
on one of the capitals, angels in the label, and a figure of S.
Michael above. The south doorway is executed in brick and
stone, and is of the same date as the other. A brick belfry on
the north side is enriched in the same fashion as that of la
Magdalena, and, like it, batters out considerably at the base, but
it is altogether inferior both in size and design (2).

From Tarazona I made a delightful excursion to the Abbey of
Veruela. It is a two hours' ride, and the path takes one over
a hill which conceals the Sierra de Moncayo from sight in most
parts of Tarazona. The scenery on the road was beautiful.
The town itself is always very striking; and as we ascended, the
views of the distant hills and mountains beyond the Ebro were
finer and finer. After riding for an hour and a half, a grand
view of the whole height of Moncayo is obtained; below it to
the right is a little village guarded by a picturesque castle keep,
and on beyond and to the left a long line of roof, and towers, and
walls girt around with trees, which seems to promise much to
reward examination : and this is the old abbey of Veruela. At
last the avenue is reached, which leads to the abbey gateway,
in front of which stands a tall but mutilated cross, which forms
the centre from which five paths — each planted with an avenue
of trees — diverge.

The history of this abbey is interesting. It was the first Cis-
tercian house in Spain, and was founded by a certain Don Pedro

i88 GOTHIC ARCHITECTURE IN SPAIN

de Atares, and his mother Teresa de Cajal^ who commenced it in
A.D. 1146^ completed it in 1151, and obtained its formal incor-
poration in the Cistercian order on the ist of September of
the same year. There was a foundation for twelve monks, who
were the first of their order to cross the Pyrenees, and who
established themselves definitively here on the loth August, 1 171,
under the direction of Bernard, Abbat of Scala Dei.^

I suppose the desolate situation of Veruela led to its being
carefully fortified, though, indeed, at the date of its foundation,
most religious houses were enclosed within fortified walls, and
the severe rule of the early Cistercians will account fully for
the remote and solitary situation chosen by the brethren who
planted this house where we see it: at any rate, whatever the
cause, it is now completely surrounded by walls, from which
round towers project at intervals. The walls and towers are all
perfectly plain, and surmounted with the pointed battlement
so often seen in early Spanish buildings. A walled courtyard
protects the entrance to the main gateway, and it is in front of
this that the avenues mentioned just now all unite.

The view here is very peculiar. In front are the low walls of
the outer court, with a raised archway in the centre; behind
these the higher walls and towers, with a lofty and very plain
central gateway, finished with an octagonal stage and low
crocketed spire of late date, but pierced at the base with very
simple thirteenth-century archways, leading into the inner court.
Beyond this, again, is seen the upper part of the walls, and the
steeple of the Abbey Church, backed by a bold line of hills.
Passing through this gateway, a long narrow court leads to the
west front of the church; and to the right of this court is a
long range of buildings, all of which I think are of compara-
tively modern erection, though the brickwork in a patio entered
by one of the openings is picturesque and good (3).

The west front of the ■church has a very noble round-arched
doorway, boldly recessed, and with many shafts in the jambs.
Above this is a small stone inscribed with the monograms X. P.
and A. 12. ; and then, higher, a delicate line of arcading carried
on slender shafts. All this work is set forward in advance
of the general face of the wall. The nave and aisles were each
lighted with a plain circular window, and the arcading up the
eaves of the western gable still remaining shows that its pitch
was always very flat. A steeple was built by an Abbat — Lope
Marco — in the sixteenth century, against the western bay of

1 Madoz, XV. 685.

VERUELA ABBEY CHURCH

iqo GOTHIC ARCHITECTURE IN SPAIN

the north aisle, and before its erection there was, I suppose, no
tower attached to the abbey.

In plan ^ the church consists of a nave and aisles six bays in
length, transepts with eastern apses, and a choir with an aisle
round it, and five small apsidal chapels. To the south of the
nave is a large cloister with a Chapter-house on its eastern side,
and other ranges of buildings on the west and south. To the
east, too, are large erections now occupied as a private residence,
and of which consequently I saw nothing properly, but without
much regret, as they did not seem to show any traces of anti-
quity, and had probably been all rebuilt in those halcyon days
in the seventeenth or eighteenth century, when Spaniards had
more money than they well knew how to spend.

If we compare this church with one of the earliest French
convents of the same order — as, for instance, Clairvaux — we
shall find a very remarkable similarity in most of the arrange-
ments. In both the church is approached through a long narrow
court, to which it is set in a slightly oblique line. In both, the
extreme simplicity, the absence of sculptuijes, the absence of a
steeple, are observed in compliance with the fundamental rules
of the Order. Both have their cloisters similarly placed, with
similar Chapter-liouses, and lavatories projecting from their
southern alleys. The sacristies and the great libraries are in
the same position — though here the latter has been converted
into an enormous hall — and there are here groups of buildings
all round the cloister, which were probably appropriated much
in the same way as were those at Clairvaux. Both, too, were
enclosed in a very similar way with walls and towers, though at
Clairvaux the enclosure was far larger than at Veruela.

It is clear, therefore, that the French monks who were brought
here to found this first Spanish (j'stercian house, came with
the plan approved by their Order, and it is probable with some-
thing more than the mere ground-plan, for the whole of the work
is such as might at the same date have been erected in France (4).

The whole exterior of the church is very fine, though severely
simple. The west front has already been described. The ex-
terior of the chevet is more striking. The roofs of the chapels
which surround it finish below the corbel-table of the aisle,
which has a steepish roof finishing below the clerestory; and
the latter is divided into five bays by plain pilasters. All the
eaves have corbel-tables, and the windows throughout are round-
licaded. The chapels on the eastern side of the transepts are

' Sir I'latc XXIII., p. 195.

VERITELA

iqi

of the same height as the aisle round the choir, and higher than
the chapels of the chevet. The design of the interior, though
very simple, is extremely massive and dignified. The main
arches are all pointed, thf, groining generally quadripartite (save
in the small apses, which are roofed with semi-domes), and the
piers large and well planned. Many of the old altars remain;
and among them the high altar in the choir, and those in the
chapels of the chevet. The former is arcaded along its whole
front, but has been altered somewhat in length at no very
distant period. Near it is a double piscina, formed by a couple
of shafts with capitals hollowed out witli multifoil cusping.

Chapel Altar, Veruela

The chapel altars are all like each other, and unlike the high
altar, which is solid, whilst they are stone tables, each supported
upon five detached shafts. They stand forward from the walls
in the centre of the apses, and have rudely carved and planned
piscinae, and credence niches on the right-hand side as you face
them.

The stones are marked in all directions ])y the masons, some
of them with a mere line across from angle to angle, but mostiv
with marks of the usual quaint description. A numl^er of
examples of them are given on the engraving of the ground-plan.

Some part of the floor is laid with blue and white tiles,
arranged in chevrons with good effect, and other parts with
tombstones of Abbats, wliose effigies are carved on them in low
relief. Tiiey are flatter than tlie somewhat similar stones in
some of the (lerman churches (as c.^'. at S. Elizabeth. Marburg),

iq2 GOTHIC ARCHITECTURE IN SPAIN

but are still a great deal too uneven on the surface to be suit-
able for a pavement.

The capitals are all very rudely sculptured^, and the whole of
the work has the air of extreme severity, almost of rudeness,
which might be anticipated from the circumstances of its erec-
tion. A chapel was built in the sixteenth century to the north
of the north transept by Ferdinand of Aragon, Bishop of Zara-
goza, and nephew of Ferdinand the Catholii:. It has nothing
remarkable in its design (5). Later than this a large chapel was
added to the east of the sacristy; and from what still remains of
the fittings of the Coro in the nave, they seem to have been still
later in date.

A fine late Romanesque door leads from the south aisle into
the cloister, the whole of which is a good work of the early
part of the fourteenth century, with well-traceried windows of
four lights. The groining piers are clusters of shafts, and the
buttresses on the outside are finished with crocketed gables and
a bold cornice carved with foliage. The traceries are now all
filled in with very thin panels of alabaster, which do not obscure
the light much, whilst they effectually keep out the sun; but
this precaution against sunshine does not seem to have been
much needed, if the men were right who raised a second stage
upon the old cloister, the Renaissance arcades of which are
all left perfectly open. On the southern alley of the cloister
there is a very pretty hexagonal projecting chamber, in which
no doubt — if we may judge by the analogy of Clairvaux — was
once the lavatory. The cloister has been built in front of, and
without at all disturbing, the original Chapter-house, on its east
side. The new groining shafts stand detached in front of the
old arcade to the Chapter-house, and the combination of the two
is managed very cleverly and picturesquely. This old arcade
consists of the usual arrangement of a central doorway, with
two openings on either side, all carried on clusters of detached
shafts with capitals of foliage. The Chapter-house itself is
divided into nine groining bays by four detached shafts; it is
very low and small, and its three eastern windows are blocked
up, but nevertheless its effect is admirable. One of its columns
has been spoilt by the elaborate cutting in of the names of a party
of Englishmen who ascended the Sierra de Moncayo to see the
eclipse of the sun in i860, and who recorded their not very
hazardous or important achievement in this most barbarous
fashion.

It is a fact quite worth notice here, that none of the old

VERUELA

193

windows are blocked up: the truth is that the churches from
which this was derived (6) were, in common with all Roman-
esque churches, taken straight from Italy, where the require-
ments of the climate were ver}'- similar to those of Spain. Yet
it was only very gradually that the northern architects discovered
their unfitness for a northern climate, and increased their dimen-
sions. Here they give just enough and not too much light; but
at a later day, when the northern churches were all window
from end to end, the same fault was committed; and when their
architects were employed to build in other climates, they fol-

Entrance to Chapter-House, Veruela

lowed their own traditions without reference to altered circum-
stances, as we see at Milan, at Leon, and elsewhere frequently.

The church at Veruela seems now to be but little frequented,
the high altar alone being ever used. The stalls of the Coro are
gone, and a shattered fragment of the old organ-case standing
out from the wall serves only as a forlorn mark to show where
it once stood. The buildings generally are sadly decayed and
ruinous, and I have seldom seen a noble building less cared for
or respected. It is sad to see this result of the suppression of
religious orders, and one may be permitted to doubt whether it
can be for the interest of religion that this noble foundation
should now be nothing more than the private residence of a
Spanish gentleman, instead of — as it was intended it should be

II N

194 GOTHIC ARCHITECTURE IN SPAIN

by its pious founder — a perpetual refuge from the cares of the
world of those in every age who aim to lead the holiest and
most devoted lives.

I left Veruela with regret that I was unable to obtain more
accurate notes of such portions of the monastic buildings as
probably still remain overlaid with the poor additions of a too
wealthy convent during the last three centuries. It is, however,
easily accessible, and the plan which I give of the church will
no doubt soon induce others to complete my examination where-
ever it has been defective.

On the ride back to Tarazona, we made a short detour to look
at what seemed to be an important church and village. Neither
could well have been less so ! The church was without anything
worth remark save a band of tiles, set chevron fashion, in the
cornice, and not harmonising at all well with the walls. The
village was wretched in the extreme.

At Tarazona I was much struck by the extremely good char-
acter of the common crockery in use in the inn and elsewhere.
It is all painted by hand, never printed; and the result is that,
even when simple diapers only are used, there is far greater
life, variety, and vigour in the drawing than there ever is in
our machine-made work. The colour seems generally to be
used in such a way as that when burnt it varies charmingly
in tint and texture. Every plate is different in pattern; and I
fear that, uncivilised as we might think these good Spaniards in
some things, they would be justly shocked were they to see the
wretchedly inferior patterns with which, after many years of
talking about art, we are still satisfied to decorate our earthen-
ware. These people excel, too, just as much in form as in
ornament. Their jugs are always quaint and good in outline,
and made with the simplest regard to what is useful.

NOTES

( i) The chapel east of this has almost as good a retable. a Madonna
of Mercy. Another, given by Sperandeo de Santa Fe, 1439, is now
in the Lazaro collection in Madrid. The cloisters have not much
of the pierced stone work, but in the church are still many good and
great tombs. It is said that the first cathedral was where La
Magdalena stands, and in 1473 a plan was abroad to move thither
again and give up the other, where soldiers had to guard the doors
against brigands daily: everything was prepared, the bull and the
indulgences were ready, when the question rose how to move the
tombs. They stayed with their dead.

VeRUGIiR ^BB€[Y:_(;rounb Plan oh'H;i> Q)u^i) ix: I'lau-xxiii.

I'l.ATK XXIII.

196 GOTHIC ARCHITECTURE IN SPAIN

(2) San Miguel is of the fifteenth century.

(3) The approach and the palace are both changed now. Veruela
is a house for Jesuit novices with a clausura against women which
does not fortunately include the church, chapter-house, and cloisters,
nor, I am told, the farm buildings. At these one can get homely but
decent lodgings, established, or rather restored, for the visiting
relatives of the young men. These, by the way, are not included in
the clausura.

(4) Pedro Atares, the lord of Borja, brought monks from
Scala Dei in Gascony as early as 1146, but they were not settled
before 1 171 : the high altar was consecrated in 121 1, and the church
in 1224. It may well be the work of the same man who
had already built Poblet, fetched from Scala Dei or Fontefroid.
Though the church is now bare and sad, the cloister robbed of its
alabaster panels, the nave stripped, cut off by a grille, and appar-
ently unused, the miraculous Madonna still reigns beautiful at the
high altar, and is at least four hundred years younger than the
tradition admits.

(5) It has, however, a lovely alabaster tomb of the Abbot Lupi
Marcos (died September 18, 1530), with his patrons, the sainted
bishops Valerius of Zaragoza and Lupus of Sens.

(6) Derived — as Street himself would have admitted — at very
long range, for he knew and said himself two pages back that the
plan came from France, precisely as from France came the plans and
the workmen for the great Italian abbeys of Fossanuova, Casamari,
and San Galgano.

CHAPTER XIX

TUDELA — OLITE — PAMPLONA

From Zaragoza the railway to Pamplona passes by Tudela.
The line is carried all the way along the valley of the Ebro, the
southern side of which is a fairly level open country, whilst on
the north bold, barren hills, stream-worn and furrowed in all
directions, rise immediately above the river. The broad valley
through which the railway passes is well covered with corn-land,
which, when I first passed, was rich with crops. To the south,
as Tudela is approached, are seen the bold ranges of the Sierra
de iMoncayo, whilst in the opposite direction, far off to the
north, soon after leaving Zaragoza the grand and snowy outlines
of the Pyrenees come in sight.

Alagon is the only considerable town passed on the road, and
there seems to be here an old brick belfry of the same character
as the great steeple of Zaragoza, and, like it also, very much
out of the perpendicular.

The cathedral dedicated to Sta. Maria at Tudela is one of the
same noble class of church as those of Tarragona and Lerida,
and quite worthy in itself of a long pilgrimage. It is said by
Madoz to have been commenced in a.d. 1135, and consecrated
in 1 188, and was at first served by Regular clergy, but Secu-
larised in 1238 (i). It is slightly earlier in date than the churches
just mentioned, yet some of its sculpture, as will be seen, lias,
perhaps, more affinity to the best French work, and is indeed
more advanced in style, than that with which the other two
churches are decorated. This may be accounted for, most
probably. b\- its more immediate neighbourhood to France. Its
scale is fairly good without approaching to being grand, and thus
it affords a good illustration of the great power which the medi-
x'val architects undoubted!}' possessed, of giving an impression
of vastness even with very moderate dimensions, and of securing
a thoroughly cathedral-like effect in a building much smaller
in all its dimensions than the ordinary cathedral of the middle
ages. Xo power is more to be desired by an architect; none
marks more distinctly the abyss l)etween the artist and the
mere meclianical builder; and none has been more lost sight of

197

igS GOTHIC ARCHITECTURE IN SPAIN

during the three centuries which have elapsed since the ecHpse
of the Pointed style in the sixteenth century. We see here the
usual subdivisions of parts, all well-proportioned and balanced.
The nave ^ is of four bays only in length, and this is now, and
perhaps was always in great part, occupied by the Coro : but, on
the other hand, the proportions of the transept are very fine, and
its internal perspective compensates in great degree for the loss
of that of the nave. Out of this transept five arches in the
east wall open to the choir and to four chapels, two on either
side: and it is remarkable that two of these have square east
ends, whilst all the rest have circular apses.

The plan of the columns is almost identical with that seen at
Tarragona and Lerida: but it is one of which the eye is never
satiated, inasmuch as it is well defined in its outlines, strong and
massive-looking, and evidently equal to all that it has to per-
form. The vaulting is all quadripartite, except in the two
eastern chapels on each side of the centre apse, or Capilla
mayor, which are roofed with semi-domes, the Capilla mayor
having its apse groined in five bays, with very bold groining ribs.

The arches are all pointed, very simply moulded with bold,
broad, flat soffits, generally of only one order, and with labels
adorned with dog-tooth. The bases and abaci of the capitals
are all square. The former have the transition from the circular
members to the square managed with admirable skill, tufts of
foliage occupying the angles. The latter throughout the church
are deep and boldly carved, as also are the capitals themselves.
These seem to be of different dates: all those on the eastern side
of the transept, and all the lower capitals of the nave, save the
west end p-nd first column, being very classical in their design, and
probably dating from early in the thirteenth century, whilst the
remainder appear to be generally of the latter part of the same
century. In the earlier capitals the abaci are all set square
with the walls, whereas in the later work they are set at right
angles to the arch which they have to carry, and often, there-
fore, at an angle of 45° to the walls.

The groining ribs are very bold, and well moulded. There is
no triforium, and the clerestory windows come down to a string-
course just above the points of the main arches. They are of
two lights, with a circle in the arched head, and their rear
arches are moulded and carried on engaged jamb-shafts. The
transepts have rose-windows in the bays next the choir, and
lancet- windows in the north and south bays, and the carved

' Sec grouud-plan, Plate XXIV'., p, 205.

TrDi:i.A CATIIKDKAI.

IN'TKKIOK OI- ( IIOIU

200 GOTHIC ARCHITECTURE IN SPAIN

abacus is carried over these as a label. There seem to have
been rose-windows round the principal apse at a lower level
than the other clerestory windows; but only one of these is
visible on either side, owing to the reredos: and I found it
impossible to get any near exterior view of the east end, owing
to the way in which it is built against by houses.

The west front had a large rose-window, which has been
blocked up, and it still retains a noble doorway, of which I shall
have to speak more in detail presently.

The north transept is now the least altered part of the church,
and in the extreme simplicity of its bold buttresses, the refined
beauty of its sculptured doorway, and the well-proportioned
triplet which fills the upper part of the wall, it recalls to mind
an English building of the thirteenth century. Unfortunately
the gable has been destroyed, and the walls and buttresses are
now finished with the straight line of the eaves. Almost the
only peculiarity in the detail here is the wide, external splay
of the windows between the glass and the jamb-shafts in the
centre of the monials. The south transept has a triplet similar
to that in the north transept, and has also lost its gable, and,
being more shut in than the other, is perhaps the most pictur-
esque in effect. A narrow lane leads up to it along the east
wall of the cloister, and this, turning abruptly when it reaches
the church, passes under a broad archway, which forms the
south front of a porch, and then, out of an eastern archway,
the street goes on again, twisting and turning in a fashion which
is not a little eccentric. The exterior of the eastern apse
retains its buttresses of slight projection, which run up to, and
finish under, the eaves-cornice, which is carried, as all the
cornices throughout the church are, upon boldly-moulded
corbels.

It is only at some distance from the cathedral that anything
is well seen of the turrets and tower, which give it most of
the character it possesses. The west end had, I think, two
small square towers, finished with octagonal turrets of smaller
diameter than the towers. Of these the south-western still
remains, but on the north side a lofty brick steeple was erected
in the eighteenth century. Another turret is strangely placed
over the centre of the principal apse. This is octangular in
plan, with lancet-windows in the cardinal sides, and the sides of
its spire pierced with two rows of small lights. The tile-roof
of the apse slopes up on all sides from the eaves to the base of
this turret; and, novel as its position is, it seemed to me to be

TUDELA 201

well chosen and effective.^ Other turrets rise out of the chapels
which have sprung up round the church, and these, with the
altered form of almost all the roofs, give a strange, informal,
and disjointed look to the whole cathedral, which is eminently
the reverse of attractive. Nevertheless the old work is there,
and only requires a moderate amount of attention in order to
understand the whole general character of the original
scheme.

There are three grand doorways, one to each transept, and
one at the west end. The former are not placed in the centre
of the gable, but close to the western side of the transept, either,
as is most probable, from a proper desire to leave space in front
of the altars of the small transept chapels, or because then,
as now, the ground was covered with houses, which made it
impossible to place them centrally.

The finest of the three doorways is in the centre of the west
front of the church, and its opening is more than nine feet in
• the clear, each of the jambs having eight shafts in square re-
cesses. Two corbels support the tympanum, which has now no
sculpture, nor any signs of ever having had any, and the arch
has eight orders of sculptured moulding. The capitals of the
columns in the jambs are all sculptured with subjects in a very
exquisite fashion. There is here no grotesqueness or intentional
awkwardness, but extreme beauty of design, simplicity of story,
and fitness for the position chosen. The abaci are carved
throughout with conventional foliage, well arranged and deli-
cately cut. I know little even of French carving of the thir-
teenth century which surpasses this beautiful work, and none
anywhere which more entirely deserves our admiration, or
which may more worthily kindle our emulation. It is true,
indeed, that here as elsewhere the cold formal critic may come
and prove to his own satisfaction that some portions of the work
are not academically correct: on the other hand, it is equally
true that it is not academically cold and soulless, for the men
who wrought here wrought of their love and enthusiasm, and
not merely because they were drilled and paid, and they afford
us, therefore, an example not to be despised of the truths, that in
art enthusiasm is worth more than skill, and feeling more than
knowledge; truths specially valuable in these days, when men
fancy tliey can convert all who call themselves architects into

' Tlif I'-ad fliche in a similar position at Reims cathedral will no doubt
be remcnilxrcd by many of my readers. No doubt, however, this work
at Tudela is earlier, and bi'ing of stone is even more remarkable.

202 GOTHIC ARCHITECTURE IN SPAIN

artists, not by making them rejoice in their work, but simply by
teaching them how to draw (2).

The subjects in the capitals are arranged in the following
order: — Nos. i to 8 are those in the left or northern jamb, and
Nos. q to 16 those in the right or southern jamb. Nos. i and 9
are next the opening, and Nos. 8 and 16 the extreme capitals
right and left of the centre.

1. The Creation of Angels. 9. Expulsion from Paradise.

2. Do. of Earth, Stars, etc. 10. Adam tilling, Eve spinning.

3. Do. of Trees. 11. Cain and Abel sacrificing.

4. Do. of Birds and Beasts. 12. Cain killing Abel.

5. Do. of Adam. 13. God cursing Cain.

6. Do. of Eve. 14. Cain, a fugitive.

7. The Fall. 15. Entry into the Ark.

8. Eve sleeping with a fig-leaf in her 16. The Sacrifice of Abraham,
hand, and the Serpent mocking her.

The two corbels which support the tympanum have on their
face angels blowing trumpets, and under them two lions, eating,
one of them two wyverns, the other a man. The archivolt has a
series of eight figures carved on key-stones at its intersection.
There are — beginning with the lowest — (i) the Agnus Dei, (2)
the Blessed Virgin, (3) an angel, (4) a martyr, (5) a king, (6) a
bishop, and (7) another king. On the sides the archivolt has on
the left the Resurrection, and the happiness of the blessed, who
are all represented in pairs; and on the right, the tortures of
the damned, full of terror and horror of every kind. In the first
rank of these unhappy ones are two bishops and an abbat learn-
ing the truth of our Lord's awful saying, " Where their worm
dieth not, and their fire is not quenched "" — a saying practically
ignored by our sculptors and carvers at the present day, who
seem to believe in no Last Judgment, no masculine saints, and
nothing but female angels; so far, at least, as one can judge by
the figures with which they cover so profusely the walls of some
of our new churches. The outer order of the archivolt has
angels all round it, with crowns and sceptres in their hands.
There can be little doubt, I suppose, that the tympanum was
intended to have a sculpture, or, perhaps, had a painting of a
sitting figure of our Lord in Judgment; without this figure the
whole scheme wants the key-note, to give tone and significance
to all its varied story. With it there would be few doorwa\-s
which would be altogether finer or more worshipful than this.

The transept-doors are rightly much more simple than the
western door, and the character of their sculpture has so much
Byzantine feeling that there can be no doubt they are of some-
what earlier date.

TUDELA 203

The north transept doorway has on its eastern capitals:
I. The Baptism of our Lord by S. John; 2, Herod's Feast; 3,
The head of S. John brought in a charger; — and on its western
capitals: 4, S. Martin giving his cloak to a beggar; 5, Our Lord
holding a cloth (?), and two angels worshipping; 6, S. Nicholas
restoring the two children to life. The door-arch is pointed,
and all its orders and the label are very richly carved, but with
foliage only. The south transept door is round-arched, and its
tympanum is not filled in. On the capitals of the western
jamb are: i, S. Peter walking on the Sea; 2, The Last Supper;
3, The Charge to S. Peter; — and on the eastern jamb: 4, The
Incredulity of S. Thomas; 5, The Walk to Emmaus; 6, The
Supper at Emmaus.

The west front has two large square turrets, one of which only
is carried up above the line of the roof. Its highest stage is
octagonal, with a lancet opening on each face, and is finished
with a low spire. A bold row of corbels is carried round the
turret between the octagonal and square stages, as if for the
support of a projecting parapet which no longer exists. The
western rose-window was inserted under a broadly-soffited and
bold pointed arch, which spans the whole space between the
turrets and rises nearly to the top of the walls.

The internal furniture of this church is not interesting. The
metal screens are of the sixteenth and seventeenth centuries.
The Coro occupies the second and third bays of the nave, and iron
rails are placed from its eastern door to the doorway in the
Reja or screen of the Capilla mayor, so as to preserve a passage
for the clergy. The reredos of the high altar contains sixteen
paintings, enclosed within a complicated architectural frame-
work of buttresses, pinnacles, and canopies. In the centre is
an enormous canopy and niche, in which is a modern effigy
of the Blessed Virgin. This combination of rich architectural
detail with paintings is not satisfactory to the eye; and it is
evident that sculptured subjects would liave been much more in
harmony with the framework (3).

In the south-east chapel of the south transept there is a
magnificent monument to the " Muy Honorable Sefior Mosen
Francis de Villia Espepa, Doctor, Cabalero, et Chanceller de
Navarre," and his " Muy Hoiiorable Duenj'a Dofia Vsabel,"
who died in 1423. The two effigies lie under a deeply-recessed
arch filled in with tracery, the recess l)eing adorned with sculp-
tured subjects on its three sides. There are eight Weepers in the
arcade on llie side of the tomb, ll was tocj dark to see what all

204 GOTHIC ARCHITECTURE IN SPAIN

the subjects were; but at the back our Lord is seated and
censed by angels; and below this He is represented in His
tomb, with His arms bound, with a weeping angel on either side.
I have left to the last all notice of the beautiful cloister on
the south side of the nave (4). The arcades, which open into
the cloister-court, are carried on columns, which are alternately
coupled and tripled or quadrupled; larger piers are introduced
in the centre of each side, in order to give additional strength.
The arches are generally simple and pointed, but on the north
and south sides they are chevroned on the inside. The engraving

which I give of the south-east
angle of this cloister will show
how elaborate the whole of the
work is. The capitals through-
out are carved with subjects and
foliage, and most of the latter is
of extremely delicate character.
The acanthus-leaf is largely in-
troduced. 1 had not time to
catalogue the subjects carved in
the capitals ; but so many of
them are concealed and so many
damaged, that I fear it would be
almost impossible at present to
do so at all completely.

I may with safety class this
small church at Tudela among
the very best it has been my
good fortune to visit in any part
of Europe ; and there is much in
its Iconography and in its sculptured detail which would reward
a much more lengthened examination than I was able to afford.
I saw but one other old church here — that of la Magdalena, in
the Calle de Sta. Cruz (5). It consists of a nave and choir,
vaulted with a pointed waggon roof, with bold transverse ribs
carried on carved capitals built in the side-walls. The chancel
makes a very decided bend to the north. There is a simple tower
on the north side, with a round-arched window of two lights in
the belfry stage, and a window of one light in the stage below it.
The west doorway is very fine: it is round-arched, and has in
the tympanum our Lord seated in a cjuatrefoil, surrounded by
the emblems of the four Evangelists. The label is carved, and
the orders of the arch are in part carved with acanthus, and in

Angle of Cloister, Tudela

Pi. A IK XXIV.

2o6 GOTHIC ARCHITECTURE IN SPAIN

part with figures. Among the latter are the twelve Apostles
and (apparently) the Descent of the Holy Ghost. The capitals
are also storied.^

From Tudela I availed myself of a special train on the rail-
way to Pamplona, which ran solely for the purpose of carrying
the passengers of a diligence from Madrid, and in which the
station-master obligingly gave me a seat. On the road we
passed the towns of Olite and Tafalla, the view of the former of
which gave so much promise that I returned there in order to
examine its remains properly.

Tafalla and Olite were of old called the Flowers of Navarre.
Olite now is dreary, desolate, and ruinous; and though Tafalla
looks a little more thriving, it too has lost all its former claim
to the title of a flower!

Jn Olite there are the extensive remains of a very fine castle,
which was built as a palace by the kings of Navarre, and two
interesting parish churches, Sta. Maria and San Pedro. Sta.
Maria consists of a wide nave of four ba3^s in length, and a small
apse at the east end. On the west side is a small cloister in
front of the principal entrance, which gives great picturesque-
ness to the whole work. The cloister is a work of the fifteenth
century, an irregular square in plan, and arcaded with a good
simple open arcade. The east side has been destroyed, in order
to allow of the grand western doorway of the church being seen.
This is protected by a penthouse roof, supported on two tall
columns, which have taken the place of the old arcade. The
church was built within the walls of the castle, but the cloister
seems to have been thrown out beyond their line on the town
side. There is a tower on the south of the nave, finished with
a gabled roof, and pierced with some good early-pointed openings.

The west front is a very elaborate work of the fourteenth
century. It has a central doorway, and a row of niches with
figures on each side of it, above a string-course, which is on the
same level as the springing of the doorway. The tympanum of
the door has sculptures of the Blessed Virgin Mary and our
Lord under a canopy in the centre; on the (proper) right, the
Baptism, the Flight into Egypt, and the Massacre of the Inno-
cents; and on the left, the Presentation, the Annunciation, and
the Nativity. The carving of the archivolt is rich, mainly of
foliage, but with two or three figures under niches introduced
capriciously in its midst. The jambs, too, are covered with

' There is, I believe, a fine old bridge of seventeen arches over the Ebro,
near Tudela: unfortunatelv 1 did not see it.

OLITE 207

carvings of subjects arranged in the oddest way; e.g. there are in
succession an Agnus Dei, an Annunciation, the Creation of Eve,
Adam tilling the ground, wyverns, an elephant and castle, the
Fall, a pelican vulming its breast with a goat standing on its
hind-legs and looking on; and so on with subjects which seem
to exhibit nothing but the odd conceits of the workman, and to
be arranged in no kind of order. The carving is all of that
crisp, sharp, clever kind, so seldom seen in England, but so
common in the fourteenth-century buildings of Germany, and
in which some of the Spanish sculptors were unsurpassed by
all save perhaps their own successors in the latest period of
Gothic art, whose works I have already described at Burgos,
Miraflores, and Valladolid. There are extensive traces of old
painting on the stonework of this doorway; and I noticed that
the detached shafts (of which there are four in each jamb) were
covered with a trailing branch of ivy, with green leaves and red
stems (6).

The interior of Sta. Maria is not very interesting, though its
scale is good, the groined nave being 36 feet wide by 108 feet
in length. The groining-shafts are commendably bold and
dignified. There is the usual late western gallery, and a modern
chapel and large irregular porch on the south side.

Sta. Maria stands, as I have said, partly within the walls of
the ancient castle or palace. This was dismantled in the course
of the Peninsular war, but is still an imposing ruin, with a vast
extent of enclosing wall, out of which rise several fine towers.
These are generally very simple, but lofty, and capped with
projecting machicoulis. I give an illustration of one in which
the finish is unlike any that I remember to have seen.^ The
window here is a good example of a traceried domestic window,
a straight stone transome being carried across under the tracery,
so as to make the window-opening square-headed.

Two grand towers on tiie eastern face of the castle are oct-
angular in plan, and one of them rises in three stages, each
slightly within the other, and each finished with fine corbelled
machicoulis.

The gateways have extremely small and low pointed arches,
looking like little holes in the great walls. Some of the walls
are finished with the common Arab type of battlement, the
coping of which is weathered to a point. The keep is a large
pile, with square towers at the angles; and near it is a large
hall with battlemented side-walls, which has the air of being

' Si'c illiistratiuu on next page.

2o8 GOTHIC ARCHITECTURE IN SPAIN

the earliest part of the castle, but into which I was unable to
gain admission.

At the other extremity of the town (or village as it ought
rather to be called) is the church of San Pedro. This forms an
important feature in the picturesque view of the place, owing
to its fine and peculiar tower and spire. This is built against the
south side of the church, is quite plain until it rises above the
roof, and then has two stages each pierced with windows; above
this a pierced overhanging parapet, carried upon very bold

Castle, and Church of Sax Pedro, Olite

corbels, and then a low octagonal stage, each side surmounted
by a crocketed gable, and the whole finished with a spire, the
entasis of which is very distinctly marked. An original design,
such as this is, deserves illustration. The height of the spire
bears, it will be seen, but a small proportion to that of the tower,
as is often to be observed in the case of good steeples; but the
most unusual feature is the enormous parapet, and taking into
account the position of the church just at the extreme angle of
the town, it may be supposed to have been built with some view
to military requirements. The greater part of the steeple is a
work I suppose of the fourteenth century — much later than the
church, which, saving modern additions, is a fine work of quite

OLITE 209

the beginning of the thirteenth century, if not earlier. The west
doorway is round-arched, having three shafts in each jamb, with
sculptured capitals, and an arch of six orders alternately carved
and moulded. The tympanum is sculptured with our Lord and
two censing ^ngels, and below are subjects from the life of S.
Peter: (i) His commission; (2) His walking on the sea; (3)
His trial; and (4) His crucifixion. Above the doorway is a
string-course carved in the fourteenth century, and in the gable
a wheel window within a pointed enclosing-arch. The plan of
the nave and aisles is of the same kind as that of the church at
Tudela, though on a smaller scale. A curious difference in the
design is the carrying up of the aisle groining almost to the same
level as that of the nave, whilst the transverse arches across the
aisle are at a much lower level, and have pointed and circular
windows pierced in the walls between the arches and the groin-
ing. The eastern part of the church is all modern and very
bad (7).

Olite is a very squalid and miserable place; but a few hours
may be well spent here; and the castle in particular, which has
been very badly treated within a few years, ought to be carefully
examined and drawn before it is too late. I was there on a hot
day in June — so hot as to make it difficult to work — and yet
on the summit of the hills, lying to the south-south-west of the
town, a good deal of snow was lying, and in the evening, as the
sun went down, the cautious Spaniards put on their great cloth
cloaks, and stole about muffled up to the eyes as though it were
mid-winter.

From Olite to Tafalla there was once, or was once intended
to be, a continuous subterraneous communication. The distance
must be some three or four miles, so that the story would appear
to be rather improbable. The intention of Charles III. of
Navarre to make such a communication between the great
palace he was building at Tafalla and the already existing
castle of Olite, is mentioned by Cean Bermudez under the date
of 1419; l)ut he gives no authority for his statement.

I was unable to stop at Tafalla: it is a more important place
than Olite, and has two churches, both apparently of the latest
Ciothic, with square-ended transepts, and windowless apsidal
clioirs like those of the late IJurgalese churches.

After leaving Tafalla the country becomes at every step wilder

and more beautiful. The hills rise grandly on either side, and

are bare and rocky. The railway passes under an aqueduct,

which in height, length, and simple grandeur of design, is worthy

II o

210 GOTHIC ARCHITECTURE IN SPAIN

to be ranked among the finest European aqueducts. It was built
at the end of the last century by D. Ventura Rodriguez. The
only old church I saw on this part of the road was close to Las
Campanas station. Its west front had a good doorway, and
above this a great arch rising almost to the point of the gable,
with a circular window pierced within it. The same design is
repeated in one of the churches of Pamplona.

The towers and walls of Pamplona are seen for some time
before they are reached. The railway follows the winding of a
pretty stream, and the city stands well elevated above it. The
situation is indeed very charming, the whole character of the
country being thoroughly mountainous, and the city standing on
an elevated knoll rising out of an ample and prosperous-looking
valley surrounded by fine hills.

The views from the cathedral and walls are very beautiful,
and as the town is large and rather handsomely laid out with a
grand arcaded Plaza in the centre, it gives a very favourable
impression of Spain to those who make it their first resting-
place on a Spanish tour.

The cathedral stands on the outside of the city and close to the
walls. It was commenced in a.d. 1397 by Charles III. of Navarre
who pulled down almost ^ the whole of the old church (built circa
A.D. 1 100). The planning of this church is both ingenious and
novel. Its chevet is entirely devised upon a system of equi-
lateral triangles, and, as will be seen by reference to my plan,-
the apse has only two canted sides, having a column in the centre
behind the altar; and though it is perfectly true that this two-
sided apse is in itself not a very graceful scheme, it is at the
same time equally true that the combination of the chapels with
the central apse is very ingenious and clever. The distortion of
the chapel next to the transept is very objectionable, and seems
to be without reason or necessity. There are transepts and a
nave and aisles of six bays in length, with side chapels along the
greater part of the aisles. The extreme shortness of the con-
structional choir makes it certain that the church was planned
for the modern Spanish arrangement of the Coro, which now
occupies two bays of the nave, lea\ing one bay between its
eastern Reja and the Crossing. The Reja of the Capilla mayor
is under the eastern arch of the Crossing, so that the low rails

' I believe a portion of the old cloister remains. I was not aware of
this, and seeing the fine late cloister, assumed, iinfortimately, that there
was nothing else to be seen.

- Plate XXV., p. 216.

A^K^"^^*"

212 GOTHIC ARCHITECTURE IN SPAIN

marking the passage from the Coro to the Capilla mayor are
very long. The detail of all the architecture is characteristic of
the late date at which the church was built. The columns are
large, but composed of a succession of insignificant mouldings,
so as to produce but little effect of bold light and shade: those
in the choir are cylindrical, with clusters of mouldings supporting,
and continued on as, the groining ribs, and they all lack that
definiteness of arrangement and plan which is one of the surest
tests of the difference between good and bad Gothic architecture
generally, as it is between the work of men of the thirteenth and
fifteenth centuries almost everywhere.

The internal effect of the cathedral is certainly very fine,
rhe peculiar scheme of the apse allows of the erection of a
Retablo of unusual height with less interference with the archi-
tectural features than is common ; and the whole design has the
merit which I have so often had to accord to the latest school of
Gothic artists in Spain, of having been schemed with an evident
intention of meeting and providing for the necessities of the
climate: and one consequence of this is that almost all the
windows are left as they were originally designed, and have not
been blocked up in order to diminish the glare. The clerestory
windows throughout are small, those in the transepts are only
small roses, and owing to the steep slope of the aisle roofs
there is a great space between these openings and the main
arcades. The three eastern bays of the nave have geometrical
traceries, whilst in the western bays and the choir they are
flamboyant in character; but I do not imagine that this slight
difference in character betokens any real difference in their age.
They all, in short, have somewhat of late middle-pointed char-
acter, though their actual date and their detail would make us
class them rather with works of the third-pointed style.

The stalls in the Coro are of Renaissance character, but
founded closely on the older models : and the Reja, to the east of
them, is of wrought iron, old, but with a Renaissance cresting.
The Reja in front of the Capilla mayor is much finer; it is of
wrought iron, and is made, as is so usual, with vertical bars,
set rather close together, and alternately plain and twisted.
What the lower part lacks in ornament the cresting more than
atones for; it is unusually ornate, consisting of interlacing ogee
arches with crocketed pinnacles between them, all very elabo-
rately hammered up. The horizontal bars and rails are also all
covered with traceries in relief, and at regular intervals on these
there are small figures under canopies. The whole stands upon

PAMPLONA 213

a moulded and panelled base of stone. The total height of this
screen is not less than thirty feet, of which the cresting is about
a third.

Of the other furniture I may mention some of the glass in the
clerestory, which is fine; and the old Retablos. Two of these
in the south chapel of the chevet are especially worthy of notice.
One of them has a crucifix (with the figure draped in modern
drapery) which has the feet half plated with sih'er, and behind
it are twelve prophets in rows of four over each other, and all
of them witli inscriptions referring to the Crucifixion — such as
the texts beginning " Foderunt manus,"' '" Vere languores nostros
ipse tulit," '' Post ebdomadas sexaginta dies occidetur,'" " Quid
sicut plage iste/' etc.

The western front is a poor Pagan work utterly out of keeping
with the remainder of the fabric, and erected in the last century
from the designs of D. Ventura Rodriguez. The rest of the
exterior is Gothic, but not at all striking. It was once well
garnished with crocketed pinnacles above its flying buttresses,
but they have now for the most part disappeared. The roofs are
flat and tiled, and hipped back in an ungainly fashion even at the
transepts. The north transept door has an unusuall}- fine ex-
ample of a latch-handle or closing ring; the handle has writhing
serpents round it, and the plate is perforated all over with rich
flamboyant traceries.

This cathedral is fortunate in retaining many of its old depen-
dent buildings in a very perfect state, but unfortunately I have
spent only one day in Pamplona, and I did not see by any means
all that is to be seen. For Cean Bermudez^ says that some
portions of the first cathedral, founded in a.d. iioo, still remain ;
particularly the small cloister and some of the buildings attached
to it (8). This was the last cathedral in Spain that obser\ed the
rule of S. Augustine, and the canons always lived in common:
the refectory, said to be of the thirteenth century, the kitchen and
offices, all still remain. Of about the same age as the cathedral
are the beautiful cloisters on its south side, and the Chapter-
house to the east of the cloister. It is said, indeed, that a part of
this cloister had been built some seventy years before the fall of
the old cathedral rendered it necessary to rebuild it from the
ground, and the style of much of the work encourages one to
believe the statement. It is certainly a very charming work in
every way: it is a square in plan, each side having six traceried
windows towards the centre court, and a small chapel breaks out

• Arq. de Espana, i. 83.

214 GOTHIC ARCHITECTURE IN SPAIN

into this at the south-west angle. The windows are all of four
lights^ filled with geometrical traceries^ with crocketed labels to
some and canopies to others, and delicate buttresses and pinnacles
dividing the bays. The low wall below the open windows is
covered with small figures in niches, and the walls above the
windows with panelling, as is also the parapet of the modern
upper cloister. The general conception is very ornate, and at
the same time very delicate and light in its proportions; and
it is rendered very interesting by the number of rich door-
ways, monuments, and sculptures with which the walls are
everywhere enriched. The door called " Of our Lady of the
Refuge " opens from the transept to the cloister; its front is in
the cloister, of which it occupies the north-western bay. In its
tympanum is a sculpture of the burial of the Blessed Virgin,
whose statue, with the figure of our Lord in her arms, occupies
the post of honour against the central pier. The reveals of
the jambs are filled with little niches and canopies in which are
figures and subjects; and below the bases, in a band of quatre-
foils, are on the one side the Acts of Mercy; on the other,
figures playing on instruments. Angels in the archivolt bear
a scroll on which is inscribed — " Quae est ista que ascendit de
deserto deliciis afifluens, innixa super dilectum suum ? Assumpta
est Maria in coelum." Against the east wall of the cloister is a
sculpture of the Adoration of the Magi, and next to this the grand
triple opening to the Chapter-house — a richly moulded door with
a two-light window on either side. In the southern alley are a
fine tomb of a bishop, the door of the Sala Preciosa adorned
, with a series of bas-reliefs from the life of the Blessed Virgin,
and another door with the Last Supper and the Entry into
Jerusalem; and close to the latter, but in the western wall, is
a doorway with the Crucifixion, and the Maries going to the
Sepulchre. Between these sculptured doorways the walls are
all arcaded with tracery panels corresponding to the windows;
and as all the mouldings are rich and delicate in their design,
and the proportions of the cloister very lofty, it will be seen
that I cannot be very far wrong in considering this to be, on
the whole, one of the most effective and striking cloisters of its
age. The projecting chapel on the south-west angle is exceed-
ingly delicate in its construction, and is screened from the
cloister with iron grilles (9). A quaintly trimmed box-garden
occupies the cloister-court to the no small improvement of its
effect.

On tiie eastern side is the Chapter-house; a very reiiuuk;il)le

PAMPLONA 215

work of probably the same age as the cloister, though of a
simpler, bolder, and much more grand kind of design. It is
square in plan, but the vault is octagonal, the angles of the
square being arched and covered with small subordinate vaults
below the springing of the main vault. Buttresses are placed
outside to resist the thrust of each of the eight principal ribs of
the octagonal vault; and these buttresses, being all placed in the
same direction as the ribs, abut against the square outline of
the building iathe most singular and, at first sight, unintelligible
manner. They are carried up straight from the ground nearly
to the ea\es, where they are weathered back and finished with
square crocketed pinnacles; whilst between them an open
arcade is carried all round just below the eaves. On the ex-
terior this Chapter-house seems to be so far removed from the
east end of the church as to have hardly any connection with it;
they are separated by houses built up close to their walls, and
present consequently a not very imposing effect from the
exterior; and standing, as the Chapter-house does, just on the
edge of the city walls, it is strange that it has fared so well in
the many attacks that have been made on Pamplona. The
interior is remarkable only for the grand scale and proportions
of the vault with which it is covered.

There are several other old churches here which deserve notice,
though none are on a very fine or grand scale. That of San
Satumino — the first Bishop of Pamplona — is remarkable chiefly
for the very unusual planning of its eastern end, which has
three unequal sides, out of which three unequal polygonal
chapels open.^ My impression is that there was never any
altar under the great apse, but that the high altar stood in
the central chapel, at its east end. The Coro is, and probably
was always intended to be, in the western gallery, the under
side of which is groined, and any arrangement of stalls on the
floor of such a church would be obviously inconvenient and
out of place. Two towers are built against the eastern bay
of the nave. The window tracery is of good geometrical middle-
pointed character, and the mouldings and other details all seem
to prove that the church was built about the middle of tlie four-
teenth century (10). The south doorway has the rare feature at
this period of capitals histories ; on the left hand are the Annun-
ciation, the Salutation, the Nativity, and the Flight into l^gypt:
and on the right our Lord bearing I lis Cross, the Descent from
the Cross, the Resurrection, and the Descent into Hell. The

' See grouiid-plau on J'latc -X.W'., \>. 2,1b.

PHlTRPL0N7i:-Gr,Dunb PM of li)g Oathgiir.al:- an^ of Sai

l+'H'cntarv W"yi-,
Modcn

PL/

XXV.

2i8 GOTHIC ARCHITECTURE IN SPAIN

Crucifixion forms the finial of the canopy over the doorway,
and three or four other subjects are concealed by the modern
framework round the door. There seems to be no reason why
the idea of such a plan as this should not be adopted again:
the termination of the nave by a kind of apsis, from one side of
which the chancel projects, is extremely good, and perhaps, on
the whole, the best way of effecting the change from the grand
span of so broad a nave to the moderate dimensions (just half
those of the nave) of the chancel. Such a church would prob-
ably hold about six hundred worshippers, all in sight of the altar,
and might, with advantage to its proportions, be lengthened by
the addition of another bay; and, simple as all its parts would
be, it would be a relief to eyes wearied by the flimsy weakness
of our modern Gothic work to look upon anything which
could not possibly be constructed without solid walls, massive
buttresses, and some degree of constructive skill.

The church of SanNicolas(i i) is of Romanesque date, but much
altered and added to at later periods. It consists of a nave
and aisles of three bays, a Crossing, and a short eastern polygonal
apse. The nave aisles retain their original waggon vaults, with
transverse ribs at intervals; but the other vaults are all quadri-
partite. The clerestory of the nave, too, consists of broad
unpierced lancets, which are probably coeval with the arcades
below them.

The exterior of this church is very much obscured by modern
additions and excrescences, but still retains some features of
much interest. There is a fine early western door, and above
this a rose-window filled with rich geometrical tracery, over
which is a very boldly projecting pointed arch, which abuts
against a tower on the north and against a massive buttress on
the south. The walls appear to have been finished at the eaves
with very bold machicoulis. At a much later date than that of
the church a lofty open cloister, with plain pointed arches, was
added on the western and northern sides.

On either side of the apse of this church, in front of the
Retablo and altar, are what look like two tabernacles for the
reservation of the Sacrament: but I had no opportunity of
learning the object of this double arrangement.

The views from the walls of Pamplona are eminently lovely; I
remember looking across to the east, over the flat which stretches
away from them to where the mountains begin to rise boldly
beyond; and, as my eyes wandered on, I began to turn my
thoughts eagerly homewards, and much as I had enjojed the

PAMPLONA 2i()

Spanish journey which ended at Pamplona, there was perhaps
no part of it which I enjoyed more than this, where I was ungrate-
ful enough to Spain to allow everything to be seasoned by the
near prospect of home.

NOTES

(i) The coUegiata was a cathedral only from 1783 to 1S51.

(2) Details in the portal, of women's dress, for instance, are French
beyond dispute, but all influenced by the Spanish regional types.
There, as at Leon and Santiago, the carvers wrought what they saw.

(3) I cannot agree in disapproval of this retable of N. S. la Blanca,
which was ordered by the chapter in 1489 from the architect and
painter Pedro Diaz of Oviedo, and finished in 1494. All the retables
in this church I vastly admired, even that of the fifteenth century
in the south aisle, devoted to S. Catharine and rich in unedited scenes
borrowed from miracle plays of her life and Our Lady's. That in
the south-east transept chapel was ordered by Mosen Frances de
Villa Espesa, chancellor of Navarre under Charles the Noble, who
was buried there in 1427. The predella contains eight panels of
the Passion, the pinnacles and divisions Christ in Glory, two prophets
and twenty-eight small saints ; the central part, under the inevitable
Calvary, an Epiphany and great Madonna of Mercy, with donors,
flanked on the Gospel side by the Annunciation, Noli Me Tangere, and
Pentecost, and on the Epistle side by the Nativity, Ascension of
Christ, and Dormition of the Blessed Virgin. Beyond these, again,
remain, in panels as fine as the central one and nearly as large, three
scenes each from the lives of S. Francis and S. Giles. The chancel-
lor's tomb M. Bertaux thinks came from the workshop at Pamplona
of Janin Lome of Tournai.

(4) The cloister is very easily missed, being separated from the
nave, in the Benedictine manner, by a closed door and a passage.
It is in the Cluniac tradition of Castile and Navarre, with special
characteristics of its own.

(5) LaMagdalena, of the thirteenth antl fifteenth centuries, keeps
its thirteenth century barrel-vault; the portal, set inside the present
door, is in the French style of the twelfth century and earlier than
that of the collegiata.

(6) The apostles are ranged, si.x on a side, along the west wall of
the church. They are unquestionably of the French school, but
they are not apparently all of one set. It is customary to compare
them with Santo Sepulcro of Estrella and San Saturnino of Artajona,
of whicii I have seen neither, and here record the names because if
comparable they are worth seeing. The facade and door belong, I
believe, well along in the fourteenth century. It is easier to conceive
of the apostles belated than of the grotesques anticipated. Inside,
an immense Italianate painted retable, dark and luminous, in
twenty-eight or thirty-two compartments, besides saints, belongs
in the same way I suppose to the sixteenth century. The painter
bore the same relation lo his Italian-trained master tiiat Lo Spagna

220 GOTHIC ARCHITECTURE IN SPAIN

and Mariotto Albertinelli did to theirs; he is sometimes very imita-
tive, but you can never confront him with what he imitates, and he
is sincere and conscientious.

(7) Seiior Madrazo dates San Pedro in the end of the twelfth cen-
tury along with the tower on the south ; that on the north in the
fourteenth or fifteenth.

(8) Except a few capitals behind a wire netting in a niche of the
cloister I could hear of nothing else, nor could another ecclesiolo-
gist who had lately been over the ground, Professor Desdevises of
Clermont-Ferrand.

(g) This was once the fountain house, for washing. The Sala
Preciosa was probably the canons' library. The refectory is of the
fourteenth century — the Hue and Cry after the Unicorn is carved
under the lector's pulpit, and the kitchen adjoining, that looks
thirteenth century, is probably a hundred years later. Since 1902
it shelters the alabaster tomb of Charles the Noble and Eleanor
his queen, which was begun in 1416 by Janin Lome, image-carver,
of Tournai, who ranged mourners in niches round about, like those
at Dijon. But in 141 1, when the tomb of Philippe le Hardi was
finished, Janin Lome was already established at Pamplona and had
made for the king a S. John Baptist. By him also may be the tomb
of the Infants of Luna in the north-east corner of the cloister, Mes-
sire Lionel of Navarre, who died 141 3, and his wife Doiia Elfa de
Luna. Six little saints and the Crucified in the midst are as vigorous
as the great portal figures of Champmol; and charming painted
saints on the wall above are as completely French as a curious
thirteenth century painting kept with a few other pictures in a
room opening from the inner sacristy. It is hard to get leave to
see these, " because people were always asking." In the rococo
sacristy itself, that looked like a favourite's dressing room, one can
count in rapid passing fourteen mirrors, and there may have been
more. In the cloister the door of the Barbazana, which must have
been once the chapter-house, was carved by the same sculptor as an
Epiphany on the wall close by, who signed " Jaques Perut fit cest
estoire." He also may have made la Preciosa. In 1349, a mer-
chant of Pamplona named Martin fetched from Paris a marble Virgin
which he gave to his native village of Huart-Araquil. This has
disappeared only lately, and a photograph in ^lichel looks, in effect,
native Spanish work, done under the prevalent French influence.
The cloister had been begun under a French prince, Philippe
d'Evreux, in the first half of the century, and finished by a French
bishop, Arnold of Barbazan, toward the end of it.

(10) San Saturnino is the oldest Gothic church in Navarre, and
belongs to the second half of the thirteenth century. The traveller
will be spared bewilderment if told that this church, like S. Pedro
at Olite and San Lorenzo at Lerida, has a whole church, larger and
later though less lovely, growing out of it like a fungus.

(11) liestored past remedy.

CHAPTER XX

GENERAL SUMMARY

It is time, now that I have described so many Spanish Gothic
buildings in detail, to undertake a somewhat more general
classification of them, both in regard to their history and their
style. Hitherto I have spoken of each building by itself, only
endeavouring to give so clear and concise an account of each as
was necessary in order that their general character might be
understood. But this kind of account would be incomplete
and almost useless without a more generalising and more sys-
tematic summary of the whole. And to this I propose to devote
this chapter.

There are, indeed, few parts of Europe in which it is more
easy to detect the influence of History upon Art than it is in
Spain. I dismiss from consideration the period of the Visi-
gothic rule, which lasted from a.d. 417 to 717; for though it
is possible that some works of this age still exist, as e.g. part
of the walls of Toledo, and the metal votive crowns of Guarrazar,
they do not really come within the scope of my subject, inas-
much as there is no kind of evidence that they exercised any
influence over the architecture of the Christian parts of the
country after the Moorish interregnum.

From the first invasion by the Moors in a.d. 711 down to
their expulsion from Granada in a.d. 1492, their whole history
is mixed up with that of the Christians; and, as might be ex-
pected, so great was the detestation in which the two races held
each other, that neither of them borrowed to any great extent
from the art of tlie other, and accordingly we see two streams
of art flowing as it were side by side at the same time, and often
in the same district- -a circumstance, as I need hardly say,
almost, if not quite, unknown at the same period in any other
part of Europe. Tlie Mosque at Cordoba in the ninth century,
the Alcazar and Giralda at Seville in the thirteenth, the Court of
Lions in the Alhambra in the fourteentli, some of the houses in
Toledo in the fifteenth century, are examples of what the Moors
were building during tlic \ery ])eri(jd of the Middle Ages in
which all the buildings wliich I liave described and illustrated

222 GOTHIC ARCHITECTURE IN SPAIN

were being erected ; the only exception to be made to this general
statement being that when the Christians vanquished the Moors
they usually continued to allow them to build somewhat in their
own fashion — as, for example, they did in Toledo — whilst on
the other hand, the Moors seem never to have imitated this
example, though they were of course utterly unable to sup-
press all evidence in their work of any knowledge of Gothic
buildings (i).

The reason of this was, no doubt, that throughout this period
any contrast drawn between the Moors and Christians in regard
to civilisation would generally, if not always, have been in favour
of the former. They were accomplished both in art and science:
their architectural works would have been impossible except to
a very refined people, and their scientific attainments are evi-
denced even to the present day by the system of artificial irri-
gation which they everywhere introduced, and which even now
remains almost unaltered and unimproved. The Christians, on
the contrary, were warlike and hardy, and in the midst of con-
stant wars had but scant time for the pursuit of art ; and finally,
when they had re-established their supremacy, they wisely
allowed the Moors to remain under their rule when they would,
and employed them to some extent on the works in which they
could not fail to see that they excelled.

Again, the subdivision of the country into several kingdoms,
administered under varying laws, owing no common allegiance
to any central authority, and inhabited by people of various
origin, might well be expected to leave considerable marks on
the style of the buildings; though, at the same time, the an-
tipathy which the inhabitants of all of them felt for the Moors
rendered this cause less operative than it would otherwise have
been. Some portions of the country had never been conquered
by the Saracens: such were the regions of the Pyrenees lying
betwixt Aragon and Navarre, the Asturias, Biscay, and the
northern portion of Galicia.^ And though it was by degrees
that the other states freed themselves from their conquerors, it
happened fortunately that the Christian successes generally
synchronised as nearly as possible with that great development
of Christian art which at the time covered all parts of Europe
with the noblest examples of Pointed Architecture. Toledo was
recovered by the Christians in a.d. 1085, Tarragona in 1089, Zara-
goza in 11 18, Lerida in 1149, Valencia in 1239, Seville in 1248,
whilst Segovia, Leon, Burgos, Zamora, and Santiago suffered

' Morales, lib. 12, caj). 76.

GENERAL SUMMARY 223

more or less from occasional irruptions of the Moors down to the
beginning of the eleventh century, but from that date were
practically free from molestation. By the middle of the fifteenth
century the number of states into which the country had been
divided was reduced to four, Castile, Aragon, Navarre, and the
Moorish kingdom of Granada. Of these Aragon and Castile are
the two of which I have seen the most, and, I may venture to add,
those in which the History of Gothic Architecture in Spain is
properly to be studied. For though it is true that Seville was
reco\-ered in the thirteenth century, and Cordoba about the same
time, it is equally so that most of their buildings are Moorish or
modern, the Gothic cathedral in the former not having been com-
menced until A.D. 1401, and the Moorish mosque in the latter still
doing service as the Christian cathedral ; and generally through-
out the South of Spain, so far as I can learn, there are but few
early Gothic buildings to be seen; whilst the late examples of
the style were designed by the same architects, and in precisely
the same style, as those which were erected in the parts of Spain
which I have visited.

Of these two great divisions of the country, Aragon included
the province of that name, together with Cataluna and Valencia;
and owing to the great political freedom which the Catalans
in particular enjoyed at an early period, to the vast amount of
trade with Italy, the Mediterranean, and the East carried on
along its extensive seaboard, and to its large foreign possessions
— which included the Balearic Isles, Naples, Sicily, and Sar-
dinia — the kingdom of Aragon possessed great wealth and
power, and has left magnificent architectural remains.

The kingdom of Castile in course of time came to include, in
addition to the two Castiles, Leon, Biscay, the Asturias, Galicia,
Estremadura, Murcia, and Andalusia: and here there was not
only a larger Spanish territory, but one peopled by a much more
varied population than that of Aragon, and which naturally, I
think, left a less distinct architectural impress than we see in the
other.

Each of these kingdoms of course inherited a certain number
of buildings erected under the rulers who had formerly held the
country. It is possible that some portion of the walls of Toledo
were built by the Goths; and at any rate we know by the for-
tunate discovery of the crowns at Guarrazar,^ that, whatever may
have been the state of the people in respect of other arts, that
of working in precious metals was in an advanced state.
' Sec Vol. I., p. 302.

224 GOTHIC ARCHITECTURE IN SPAIN

The Moors who succeeded them undertook undoubtedly large
works in many parts of the country. They first built the
Bridge of Alcantara across the Tagus at Toledo, and enclosed
several towns with strong walls, among others Valencia and
Talavera. They erected mosques and other public buildings, and
before the Christian conquests of the eleventh century had no
doubt imported much of a very advanced civilisation into the
country which they ruled. The mosque " Crista de la Luz,'' at
Toledo, is a remarkable example of delicate skill in design and
construction, and certainly in advance of the coeval Christian
works. The ingenuity of the planning of the vaults is extreme,
and though, at the same time, there is to our eyes an error in
trying to do so much in so very small a space — nine vaulting
compartments covered with varied vaults being contrived in a
chamber only 21 feet square — it is to be observed that this is
just one of the mistakes which arises from over-great educa-
tion and skill, and is in marked contrast to the kind of design
which we see in the simple, grave, but rude buildings which the
less cultivated Christians were erecting at the same period.

Of the early Christian buildings I think there can be but
little doubt that some at least still exist. There is no one year
in Spanish history which can be used as that of the Norman
Conquest is in England. Here people are accustomed to argue
as though before and after a.d. 1066 two entirely different
styles existed, with few, if any, marks of imitation of one from
the other, though of course both m.ust have had the same com-
mon Roman origin. This cannot be said in. Spain; and where
we find distinct and good evidence of the erection of churches
in the ninth and tenth centuries, and the buildings still standing,
with every architectural evidence of not being more modern
than the eleventh century, I see not why we should doubt their
greater antiquity. For looking to the solid way in which all
these early works were built, it seems to be extremely unlikely
that they should have required rebuilding so soon, or that, if they
were rebuilt, not only should older stones with inscriptions
recording the dates be inserted in the new walls, but also that
no kind of evidence — documentary or other — should be forth-
coming as to their reconstruction.

Several inscriptions on foundation-stones are given by Cean
Bermudez,^ and I regret never having been able to examine
the buildings in which they occur. One of the earliest of these,
Sta. Cruz de Cangas, is described as having a crypt (2); and a

1 Noticias de los Arq. de Espana, i. 1-14.

GENERAL SUMMARY 225

long inscription, with the date 739, on a stone in it is given
by Florez.^ But I gather from j\Ir. Ford that the church has
now been modernised. Cean Eermudez describes it as " strong,
arched, and without ornament." Another church at Santiahes
de Pravia has a labyrinthine inscription of a.d. 776, recording
its erection by the King Silo (3). This church was very small,
but had a Capilla mayor, two side chapels, a Crossing, and three
naves; in fact, was in plan completely and exactly what the
Spanish churches of the twelfth century were; and in this case
it may, perhaps, be doubted whether the inscription referred to
the church described, and was not taken from some older
building. But the most interesting probably of these early
churches is that of Sta. Maria de Naranco, near Oviedo. This
is described and illustrated by Parcerisa,'^ and is undoubtedly
a most remarkable example, though unfortunately I can find
no reliable evidence as to its probably very early date. It
seems to be planned with a view to a congregation outside the
church joining in the worship within, there being galleries and
open arches at the ends through which the altar might be seen.
I confess that the details which I have seen, as well as the plans
and views of this church, and of some portions of Oviedo Cathe-
dral, to which a similarly early date is ascribed, do not give me
the impression of work. which is sufficiently distinct in style to be
pronounced, as the Spanish writers have it, " obra de Godos,"
or work of the Goths. Yet it is undoubtedly of early date, and
probably, at any rate, not later than the tenth or eleventh cen-
tury. The detail is Romanesque, and the modification of plan
in such a building seems to point to some special use for it rather
than to some special age for its erection. On the other hand,
there is some reason to suppose that the church at Santiago,
which existed before the erection of the present cathedral, was
very similar in its plan;^ and if so, it would seem to fortify the
claim for a very early date for Sta. Maria de Xaranco.

I have thought it right to refer to these l)uildings on account of
the great age ascribed to some of them; but I have done so with
some hesitation, because I have not seen them myself, and it is
impossible to form any good opinion upon such questions as arise
in connection with them without careful personal examination.

It is a relief, therefore, to turn now to more certain ground,
and to s|jcuk of churches which 1 have myself seen. I think

' Esp. .S((s'. xxxvii. K6-07.

- Rccuerdos y Bcllc::as dc J:sf>., .isl. y I khi, p]i. 7(> and J.(.(.

' Sdt; the acciniiit (j1 it iii the lli^lunu C.uinpui,lt:Uanti, hb. i. cap. 7.S.

II r

226 GOTHIC ARCHITECTURE IN SPAIN

the earliest of these are the two old churches of San Pablo and
San Pere, at Barcelona^ said to have been built in a.d. 914 and
983. I see no reason whatever to doubt these dates; at least
it is improbable that if San Pablo was built in 914 it should
have required rebuilding before the end of the next century;
and no one I suppose would suggest a later date for it than
this. In any case it is a valuable example. The ground-plan
is cr iciform, with a central lantern and three eastern apses;
and the roofs are all covered with waggon vaulting and semi-
domes. The plan is quite worthy of very attentive considera-
tion, since with more or less modification of details it is that
which more than any other may be said to have been popular
in Spain in the twelfth and thirteenth centuries.

The question as to the quarter from whence it was derived
is one of the greatest possible interest, and admits, I think, of
but little doubt. It must be remembered that in considering
these questions there are no Pyrenees. The towns on what
is now the French side of the mountains were not then French;
and such places as S. Elne were not only really Spanish; but
so intimate was the connection existing between them and
places at a greater distance (as e.g. Carcassonne), that for our
purpose they may fairly be considered as being in the same
country. The plan which we see in San Pablo del Campo is one
which, having its origin in the East, spread to the north of Italy,
tvas adopted largely in Provence, Auvergne, and Aquitaine, and
was probably imported from thence to Barcelona. The central
lantern and the three eastern apses are rather Byzantine than
Romanesque in their origin; and though they are not common
in Italy, they are occasionally met with; whilst in the parts of
France just mentioned they are of frequent occurrence. The
church which I coupled with this— San Pedro de las Puellas,
in the same city — was consecrated in a.d. 983; it is also cruci-
form, but has no chapels east of the transepts. Here, too,
we have waggon-vaults, and a central dome.

The little church of San Daniel,^ at Gerona, not much later
probably in date than those first mentioned, is mainly remarkable
for the apsidal north and south ends of its transepts. This
common German arrangement is most rarely seen in Spain,
and deserves especial notice. Here it is coupled with a central
octagonal lantern, which has a very good effect. It is repeated
very nearly in the church at Tarrasa, and so far as the apses

' See p. 109. I am not certain as to the dedication. I refer to the small
church near San Pedro de los Galligans.

GENERAL SUMMARY 227

at the end of the transept, in the church of San Pedro, Gerona;
and there is considerable similarity between the latter and the
cathedral at Le Puy en Velay.

The succeeding century shows us the same type of plan be-
coming much more popular, and developed again in such close
imitation of some foreign examples as to make it almost impos-
sible to doubt its foreign origin. In these buildings the nave
has usually a waggon-vault, and this is supported by half barrel-
vaults in the aisles. There is no clerestory; a central lantern
rises to a moderate height; and three eastern apsidal chapels
open into the transepts, and are roofed with semi-domes. San
Pedro, Huesca— probably not later in date than a.d. 1096-1150
—is a remarkably good and early example of the class; and
will be found to be extremely similar to some of the churches
built about the same time on the other side of the Pyrenees.
The plan of the steeple ^ — which is hexagonal — deserves special
record ; and it may not be amiss to observe, that at Tarbes, in
the Pyrenees, the principal church not only has three eastern
apses, but also a central octagonal steeple; and the same type
is again repeated at San Pedro, Gerona — said to have been
commenced in a.d. 1117 — though here there are two apses
on each side of the principal altar, and all the detail of the
design is very Italian, or perhaps I should rather say Pro\engal,
in its character. If we compare some of these churches with
the earlier portions of the cathedral at Carcassonne, we shall
find them to be almost identical in character and detail, and
cannot a\oid coming to the conclusion that they were all
designed by the same school of architects or masons. Carcas-
sonne Cathedral has a nave and aisles divided by columns formed
of a square block, with an engaged shaft on each face : the cover-
ing of the nave is a waggon-vault with square ribs on its under
side, and that of the aisles is a quadrant. It is, in fact, almost
identical with San Pedro at Gerona. Go farther east, and in the
church at ]\Ionistrol, between Le Puy and S. Etienne, the same
design precisely will be seen in a remote French village far from
Spain.

About this period a type of church varying but little from
this became extremely common in Aquitaine and Auvergne:
and this again evidently influenced at least one of the Spanish
architects very much indeed: 1 allude to such churches as those
of Xotre Laiiic du l-'ort, Clermont Lerrand, and S. Sernin at
Toulouse — to name two only out of a large number. In these
' I'or illustration, etc., bcc p. lOo and Plate XXI., p. lOi.

228 GOTHIC ARCHITECTURE IN SPAIN

the ground-plan has usually nave and aisles^ transepts, central
lantern, and a chevet consisting of an apsidal choir with a sur-
rounding aisle, and chapels opening into it, with spaces between
each chapel. This plan, as I have already shown, is absolutely
repeated at Santiago with such close accuracy that one can
hardly avoid calling it merely a reproduction of S. Sernin at
Toulouse. '^ It is the more remarkable because for some reason
the early Spanish architects almost always a\"oided the erection
of a regular chevet, and adhered strictly to their first plan of
separate apsidal chapels on the eastern side of the transept. But
whilst the early French chevet was only copied at Santiago,
the other features of the French churches to which it belonged
were copied not unfrequently — these are the waggon-vaulted
nave, supported by half waggon-vaults over the aisles, and the
central lantern. Gradually the design of these various parts
was developed into a sort of stereotyped regularity, the instances
of which extend so far across to the Peninsula as to be very
surprising to those who have noticed the remarkable way in
which local peculiarities generally confine themselves to the
particular districts in which they originated. In course of time
the groining was varied, and in place of the round barrel-vault,
one of pointed section was adopted, and in place of it again the
usual cjuadrijjartite \ault. The examples which I have de-
scribed, and which belong to this class, are — San Isidoro, Leon;
San Vicente and San Pedro, Avila; several churches in Segovia;
the Old Cathedral at Salamanca; Lerida old Cathedral; Sta.
Maria, Benavente; and Santiago, la Corufia. Other churches of
precisely similar character exist at Valdedios, near Gijon; Villa-
nueva.and ^'illa Mayor, near Ofiis; San Antohn de Bedon,
between Ribadella and Llanes; Sando\aI, on the river Esla (4);
San Juan de Amandi, and Tarbes, on the French side of the
Pyrenees. Those in Segovia may be accepted as the best
examples of their class, and they are so closely alike in all their
details as to lead naturally to the belief that they were all
executed at about the same period, and by the same work-
men. The sack of the city by the Moors in 1071, when it is
said that thirty churches were destroyed, seems to point to the
period at which most of these churches were probably erected

^ Both these cinirches are planned npou precisely the same system ot
proportions founded upon the equilateral triangle. Taking the width of
the nave and aisles as the base, the apex of the triangle gives the centre
from which the vault of the nave is struck; and all the subordinate
divisions arc also so exactly marked that there is hardly room for doubt
that tlic system was distinctly recognised, and intentionally acted on.

GENERAL SUMMARY - 229

to take the place of those that had been destroyed; and it
seems to be certain that their leading features remained gener-
ally unaltered until about the end of the twelfth, if not far into
the succeeding century. Indeed it is remarkable in Spain, just
as it is in Germany, that the late Romanesque style, having once
been introduced, retained its position and prestige longer than
it did in France, and was only supplanted finally by designs
brought again from France in a later style, instead of
developing into it through the features of first-pointed, as was
the case in England and France.

In this general similarity there are several subordinate varia-
tions to be observed. At Santiago, for instance, we see an
almost absolute copy of the great church of S. Sernin, Tou-
louse, erected soon after its original had been completed. At
Lugo it is clear, I think, that the architect of the cathedral
copied, not from any foreign work, but from that at Santiago:
he was probably neither acquainted with the church at Toulouse,
nor any of its class. At San Vicente, Avila, again, though we see
the Segovian eastern apses repeated with absolute accuracy, the
design of the church is modified in a most important manner
by the introduction of quadripartite vaulting in place of the
waggon-vault, and the piercing the wall above the nave arcades
with a regular triforium and clerestory. The same design was
repeated with. little alteration at San Pedro, in the same city;
and in both it seems to me that we may detect some foreign
influence, so rare was the introduction of the clerestory in Spanish
buildings of the same age (5). Sta. ]\Iaria, la Corufia, again,
though it evidently belongs to the same class as the cathedral at
Santiago, has certain peculiarities which identify it absolutely
with that variation which we see at Carcassonne and Monistrol:"-
for here there are narrow aisles; and the three divisions of the
church are all covered with waggon-vaults, those at the sides
resisting the thrust from the centre, and, owing to their slight
width, exerting but slight pressure on tlie outer walls (6). The
distinction between this design and one in which the aisles are
covered with quadrant-vaults is very marked : and the erection
cif tlie cathedral at Santiago would not have been verv likely to
lead to tlie design of such a clnirch as this.

In all these cliurches the proportion of the length oi the'
choir to that of the nave is \cr}- .-iinall. I'sually the apses are
cither simp!}- added a'jainst the eastern wall of tlic transejDl.

' Tlir- Moni'-trol ! ivfer to i-; the \-i!la:,'(' In-twoc-n S. J-^tionnc and I.o l'u\-,
and ii'it the i)larf <>\ tlic 'am' uanK- at \\v.- font >^i .M<ints('rrat , in ("ataluria.

230 GOTHIC ARCHITECTURE IN SPAIN

or else, whilst the side apses are built on this plan, the central
apse is lengthened by the addition of one bay between the Cross-
ing and the apse. It is very important to mark this plan, be-
cause, however it was introduced — whether in such churches as
that of the abbey of Veruela, where the conventual arrange-
ment of Citeaux was imported, or in those earlier churches of
which San Pedro, Gerona, may be taken as an example, in which
from the first no doubt the choir was transferred to the nave, and
the central apse treated only as a sanctuary — the result was the
same on Spanish architecture and Spanish ritual. The Church
found herself in possession of churches with short eastern apses
and no choirs; and instead of retaining the old arrangement of
the choir, close to and in face of the altar, she admitted her laity
to the transept, divorced the choir from the altar, and invented
those church arrangements which puzzle ecclesiologists so much.
In our own country the same system to some extent at first
prevailed; but our architects took a different course; they re-
tained their choirs, prolonged them into the nave, and so con-
trived without suffering the separation of the clergy from the
altar they serve, which we see in Spain. ^ In one great English
church only has the Spanish system been adopted, and this,
strangely enough, in the most complete fashion. Westminster
Abbey, in fact, will enable any one to understand exactly what
the arrangement of a Spanish church is. Its short choir, just
large enough for a sumptuous and glorious altar, its Crossing
exactly fitted for the stalls of the clergy and choir, its na\-e and
transepts large enough to hold a magnificent crowd of wor-
shippers, are all misused just as they would be in Spain; whilst
the modern arrangements for the people— much more mistaken,
than they are there — involve the possession of the greater part
of the choir by the laity, and the entire cutting off by very solid
metal fences of all the worshippers in the transepts from the
altar before which they 'are supposed to kneel, and the placing
of the entire congregation between the priest and the altar.^

This digression v/ill be excused when it is remembered how
universally this tradition settled itself upon Spain, and how com-
pletely the perseverance in Romanesque traditions has affected

^ E.g. S. Albans, Winchester Cathedral, S. Cross Chapel.

^ The parallel holds good in very small matters. At Westminster the
clergy and choir assemble in the choir, and begin the service so soon as the
clock strikes. In several Spanish churches the same custom obtains. I think
it would be a great gain if the metal screens across the transepts were
moved so as to form the narrow central passage from the choir to the altar,
so common in Spain. They would then have some meaning and use,
which they certainly have not now.

GENERAL SUMMARY 231

her ritual arrangements, and with them her church architecture
from the twelfth century until the present day. The long choirs
which were naturally developed in England and France were
never thought of there; the choir was merely the " Capilla
mayor '' — -the chapel for the high altar; and the use of the
nave as the people's church was ignored or forgotten as much
as it was — very rightly — in some of our own old conventual
churches, where the choir was prolonged far down into the
nave, and the space for the people reduced to a bay or two only
at its western end.

I must now bring this discussion to a close, and proceed witli
my chronological summary; and here the Abbey Church at
Veruela ought to be mentioned, if regard be had to the date of
its erection — circa a.d. i 146-71 — though I must say that I have
not been able to discover that it exercised any distinct influ-
ence upon Spanish buildings. It is in truth a very close cop}-
of a Burgundian church of the period, built by French monks
for an order only just established in Spain, under the direction
probably of a French architect, and in close compliance with
the rather strict architectural rules and restrictions which the
Cistercians imposed on all their branches and members.^ The
character of the interior of this church is grand and simple, but
at the same time rather rude and austere; but the detail of
much of the exterior is full of delicacy: and the design of the
chevet, with its central clerestory, and the surrounding aisle
roofed with a separate lean-to roof, and the chapels projecting
from it so subordinated as to finish below its eaves, recalls to
memory some of the best examples of French Romanesque work.-
The beauty and refinement of the little Chapter-house here
lead me to suppose that it cannot be earlier than the end of the
century.

There are some of these churches which require more detailed
notice as being derived to some extent from the same models.
but erected on a grander scale, and if documentary evidence
can be trusted, whose erection was spread over so long a time
as to illustrate very well indeed the slow progress of the dexeloj)-
ment in art which we so often see in these Spanish buildings.
The old cathedral at Salamanca was building from a.d. 1120 to
1 178: Tarragona Cathedral was begun in 1131; Tudela, com-

' See p. 190.

' The design of this chevet is ahiiost a repetition of that of the church
at Avenicres, near Laval, which is said to have been comriKiiced as early
as A.u. 1040, though most of it is certainly later by a century than this.

232 GOTHIC ARCHITECTURE IN SPAIN

menced at about the same time, was completed in 1188: Lerida,
whose style is so similar to that of the others as to make me class
them all together, was not commenced until 1203, nor conse-
crated until 1278; and Valencia Cathedral, of which the south
transept of the original foundation still remains, was not com-
menced until A.D. 1262. Yet if I except the early and Italian-
looking eastern apse at Tarragona, most of the features of these
churches look as though they were the design of the same man,
and very nearly the same period; and it is altogether uninteUi-
gible how such a work, for instance, as Lerida Cathedral could be
in progress at the same time as Toledo and Burgos, save upon the
assumption that the thirteenth-century churches in an advanced
Pointed style, such as these last, were erected by French work-
men and artists imported for the occasion, and in a style far in
advance of that at which the native artists had arrived.

Yet I think few churches deserve more careful study than
these. I know none whose interiors are more solid, truly noble,
or impressive; and these qualities are all secured not by any
vast scale of dimensions — for, as will be seen by the plans, they
are all churches of very moderate size — but by the boldness of
their design, the simplicity of their sections, the extreme solidity
of their construction, and the remarkable contrast between these
characteristics and the delicacy of their sculptured decorations;
they seem to me to be among the most valuable examples for
study on artistic grounds that I have ever seen anj'where, and
to teach us as much as to the power of Pointed art as do any
churches in Christendom.

In all there is a very remarkable likeness in the section of
the main clustered piers. They are composed usually of four
pairs of clustered columns, two of them carrying the main
arches, and two others supporting bold cross arches between
the vaulting bays, whilst four shafts placed in the re-entering
angles carry the diagonal. groining ribs both of the nave and
aisle. The arches are usually quite plain and square in section,
the groining ribs are very bold and simple, and the whole
decorative sculpture is reserved for the doorways and the
capitals and bases of the columns. The windows have usually
jamb-shafts inside and out: and the eastern apses are always
covered with semi-dome vaults. Permanence being the one
great object their builders set before them, thev determined
to dispense as far as possible with wood in their construction,
and they seem to have laid stone roofs of rather flat pitch above
the vaultincr, and in some cases \erv inijeniouslv contrived

GENERAL SUMMARY 233

with a view to preventing any possible lodgment of wet, and so
any danger of decay. It may be said, perhaps, that fragments
only of these roofs remain, so that after all timber roofs covered
with tiles would have been equally good : but this is not so.
The ver}- attempt to build for everlasting is in itself an indication
of the highest virtue on the part of the artist. The man who
builds for to-day builds only to suit the miserable caprice of
his patron, whilst he who builds for all time does so with a
wholesome dread of exciting hostile criticism from those grave
unprejudiced men who will come after him, and who will judge,
not consciously perhaps, but infallibly, as to the honesty of his
work. In England we ha\'e hardly a single attempt at any-
thing of the kind, though in Ireland, in S. Cormack's Chapel
at Cashel, we not only have an example, but one also that
proves to us that we may build in this solid fashion, so that
our work may endure in extraordinary perfection come what
may — as it has there — of neglect, of desolation, and of desecra-
tion ! Yet of all the virtues of good architecture none are
greater than solidity and permanence, and we in England cannot
therefore afford to affect any of our insular airs of superiority
over these old Spanish artists !

Look also at the thorough wa}' in which their work was done.
The Chapter-houses, the cloisters, the subordinate erections of
these old buildings, are always equal in merit to the churches
themselves, and I really know not where — sa\'e in some of the
English abbeys which we have wickedly ruined and destroyed —
we are to find their equals. Nothing can be more lovely than
such cloisters as those of Gerona or Tarragona, few things
grander than that desecrated one at Lerida. whilst the Chapter-
house at Veruela, and the doorways at Valencia, Lerida, and
Tudela, deserve to rank among the very best examples of
mediaeval art.

There are yet two other grand early churches to be men-
tioned which do not seem to range themsehes under either of
the divisions already noticed, and which }et do not at all belong
to the list of churches of French design with which my notice of
thirteenth-century Spanish work must of necessity conclude.
These are the cathedrals of Sigiicnza and A\i!a.'^ Both of these
are, so far as 1 can see, but I0 a slight extent founded upon
other examples. Sigiienza (,'athedral seems to ha\'c had origin-
all}- three eastern apses: tlie [)lan is simple and grand, anrl
its srale. cither really, or a1 aii\- rate in effect. ver\' maj^nificent

' 1 liii^ht l/cili;i|). .1(1(1 'iara/Miia ( :it licdi-.il In tlii- li>! (7).

234 GOTHIC ARCHITECTURE IN SPAIN

The great size of the clustered columns^ their well-devised
sections, the massive solidity of the arches, the buttresses, and all
the details, make this church rank, so far at least as the interior
is concerned, among the finest Spanish examples of its age. At
Avila, on the other hand, we see a remarkable attempt to intro-
duce somewhat more of the delicacy and refinement of the first-
pointed style; and just as if the architect had been exasperated
by the obligation under which he lay to end his chevet within
the plain, bald, windowless circular wall projecting from the city
ramparts which was traced out for him, we find him indulging
in delicate detached shafts, a double aisle round the chevet, and
subsequently in such strange as well as daring expedients in the
way of the support of the groining and the flying buttresses, as
could hardly have been ventured on by any one really accus-
tomed to deal with the various problems which the constructors
of groined roofs ordinarily had before them. I venture therefore
to place these two churches at Siguenza and Avila among the
most decidedly vSpanish works of their day; I see no distinct
evidence of foreign influence in any part of their design, and
they seem to m.e to be fairly independent on the one hand
of the early Spanish style of Tarragona, Lerida, Salamanca,
and Segovia, and on the other of the imported French style of
Toledo, Burgos, and Leon.

And now I must say a few words on the three last-named
churches. I have already expressed my opinion as to their
origin, which seems to me to be most distinctly and undoubtedly
French. The history of the Spanish Church at the end of the
twelfth and beginning of the thirteenth century, points with
remarkable force to such a development as we see here. \^'hat
more natural than that the country which looked, on the re-
covery from its troubles — on the expulsion of the Saracen — to
its neighbour the French Church to supply it with bishops for
its metropolitan and other sees — should look also to it for a
supply of that instruction in art which had grown and flourished
there, whilst men were fighting and stri\-ing with all their
might and main here? And what is there more natural than
that French architects, sent over for such works, should first of
all plan their buildings on the most distinctly French plan, with
French mouldings and French sculpture; and then — as we see
both at Burgos and Toledo, in the singular treatment of the
triforia — should have gradually succumbed to the national and
in part Moresque influences by which they were surrounded?
At Leon the evidences of imitation of French work are so remark-

GENERAL SUMMARY 235

able, that no one capable of forming a judgment can doubt the
fact; and if at Burgos and Toledo they are not quite so strong,
the difference is slight, and one only of degree. I have already
spoken upon these points in describing the churches in question;
and here I will only repeat that, as the features of which I speak
are exceptional and not gradually developed, it is as certain as
anything can be that their style was not invented at all in Spain.
We have only to remember the fact, that at the same time that
Lerida Cathedral was being built, those of Toledo and Burgos
were also in progress, whilst that of Valencia was not comm.enced
until much later, to realise how fitful and irregular was the pro-
gress of art in Spain. It is, in fact, precisely what we see in the
history of German art. There, just as in Spain, the Romanesque
and semi-Romanesque styles remained long time in quiet pos-
session of the field, and it was not until the marvellous power and
success of the architects of Amiens and Beauvais excited the
German architects to emulation in Cologne Cathedral, that they
moved from their Romanesque style into the most decided
and well-developed geometrical Gothic. And just as Cologne
Cathedral is an exotic in Germany, so are those of Burgos. Leon,
and Toledo in Spain; so that, whilst Spaniards may fairly be
proud of the glory of possessing such m.agnificent works of art,
their pride ought to be confined to that of ownership, and should
not extend to any claim of authorship.

The demands of these three great churches upon our admira-
tion are very different. The palm must be awarded to Toledo',
which, as I have shown, equals, if it do not surpass, all other
churches in Christendom in the beauty and scale of its plan,
Undoubtedly, however, it lacks something of height, whilst later
alterations have shorn it also of some of its attractiveness in
design, the original triforium and clerestory remaining only in i
the choir. Nevertheless, as it stands, with all its alterations for
the worse, it is still one of the most impressive churches I have ;
e\er seen, and one in which the heart must be cold indeed (
tliat is not at once mo\'ed to worship by the awfulness of the I
place.

1 have already, in my account of this great church, entered
somewhat fully into a description of the peculiarities of its plan,
an.d the evidence which they afford of its foreign origin. The
unusual arrangement of tlic chevct. in which the vaulting bays
in both the surrounding aisles of the presbytery are made of
nearly the same size,^ by the introdiution of triangular \aulting

^ See ground-plan, Vol. I. Plate XI\'. \>. 3.(6.

236 GOTHIC ARCHITECTURE IN SPAIN

compartments, and in which the chapels of the outer aisle are
alternately square and circular in plan, renders it, however,
not merely an example of a French school, but one of the very
highest interest and peculiarity. There is no church, so far as
I know, similarly planned, though some are extremely suggestive
as to the school in which its architect had studied. The cathe-
dral at Le Mans has triangular vaulting compartments in the
outer of its two aisles, arranged somewhat as they are at Toledo,
but with inferior skill, the aisle next the central apse having
the unequal vaulting compartments, which have been avoided
here; but the surrounding chapels in these two examples are
utterly unlike. Notre Dame, Paris, also has triangular vaulting
compartments, but they are utterly different in their arrange-
ment from those in Toledo Cathedral.^ Neither of these
examples, in short, proves much as to the authorship of the
latter. A far more interesting comparison may, however, be
instituted between the plan of this chevet and that rare example
of a mediaeval architect's own handiwork, which has been handed
down to us in the design for a church made by Wilars de Hone-
cort, under which he wrote the inscription, " Deseure est une
glize a double charole. K vilars de honecort trova & pieres de
corbie." In English: " Above is (the presbytery of) a church
with a double circumscribing aisle, which Wilars de Honecort
and Peter de Corbie contrived together." ^ In this plan we find
these two old architects, not only introducing alternate square
and circular chapels round their apse, but also an arrangement
of the groining which looks almost as though they were acquainted
with some such arrangement as that of the triangular vaulting
compartments of Le Mans and Toledo. The diligent and able
editors of Wilars de Plonecort — M. Lassus and Professor Willis —
say that no such plan as this is anywhere known to exist; and I
believe they were nearly, though not, as I have shown, absolutely
correct in this assertion. At Toledo they still exist in part, and
once, no doubt, existed all round the chevet; and it may well, 1
think, be a question whether Peter, the architect of Toledo, had
not studied in the French school, and with these very men —
Wilars de Plonecort and Peter de Corbie — who, " inter se dis-
putando," as they wrote on this plan, struck out this original
scheme. At the same time it will be seen, on comparison of

' The round portimi of llie Tr-inplo Church, I.ondon, lias its aisle groined
with alternate bays ot square and triangular outline. The latter ha\"P no
ribs, and are constructed differently from those at Toledo.

- Facsimile of the Sketch-hook of Wilars dc Honecort. Eng. edit. Edited
bv Professor Willi';. Plate XX\'TT].

GENERAL SUMMARY 237

the two plans, that if he derived his idea from his brethren,
he developed it into a much more scientific and perfect
form.

It will be recollected that though I claim a French origin for
Toledo Cathedral, I allow that it is not only possible, but prob-
able, that, as the work went on, either Spaniards only were
employed on it, or (which is more likely) that the French
architect forgot somewhat of his own early practice, and was
affected by the work of other kind being done by native artists
around him. The evidence of this change is mainly to be seen
in the triforium and clerestory of the choir and transepts.

The religious gloom of the cathedral at Toledo is strangely
different from the religious brightness of that of Leon; for in the
latter, where the sole end of the architect seems to have been the
multiplication of openings and the diminution of solid points of
support, the artist in stained glass has fortunately come to the
rescue, and filled the windows with some of the most gorgeous
colouring ever seen, so as to redeem it from its otherwise utter
unfitness for its work in such a climate as that even of Northern
•Spain. I have already said that this church has not stood well.
It was, in truth, too daring, and has in consequence failed to some
extent. Yet, in spite of this, I cannot but admire immensely the
hardihood and the skill of the man who could venture — knowing
as much as he did — upon such a daring work as this; and I know-
not to whom to liken him so well as to the first architect of Beau-
vais Cathedral, though certainly the work at Leon has not failed
hO conspicuously as it did there. In both these churches the
arrangem.ent of the ground-plan of the chevet is so nearly similar
as to allow of their being classed together as at any rate works
of the same style, if they are not indeed both works of the same
school. Both ha\-e pentagonal chapels round the apse, and
square chapels to the west of them, and they were built within a
few years of each other.^ The detail at Leon is almost all very
i'Yench, and the windows of its clerestory are. in their general
design as well as in their detail, almost reproductions of those
at Saint Denis, in the peculiar mode adopted there of strengthen-
ing the principal monials by doubling the smaller monials in
width, without any change in their thickness.

The cathedral at Burgos is certainly in most respects a some-
what inferior work to that at Leon. It, too, is French; but its
architect was familiar not with the best examples of French art
in the lie dc France and Champagne, but only, f tliink, with
' iSiamai-, Lathcdial xsas cijiiiiucucfcl hi A.u. ij.:-i.

238 GOTHIC ARCHITECTURE IN SPAIN

those of the somewhat inferior Angevine school. The plan of
this chevet^ was probably never so fine as that of Leon, though
it was very similar to it. Here, too, I think, we see some local
influence exerting itself in the design of the triforia throughout
the church, whereas at Leon the original scheme seems from first
to last to have been faithfully adhered to. But if Burgos Cathe-
dral is far inferior in scale to that of Toledo, and somewhat so to
that of Leon in skilfulness of design, it is in all other respects
equally deserving of study, and is in its general effect at present
far more Spanish than either of them. The many additions have
to a great extent, it is true, obscured the original design; but
the result is so picturesque, and so far more interesting than an
unaltered church usually is, that one cannot well find fault. The
main failure of the design is the smallness of the scale, and the
loss of internal effect owing to the alteration of the primitive
arrangements by the placing of the Coro in the nave, and the
leaving of the ample choir unoccupied save by the altar at its
eastern end.

The succeeding great division of Gothic art is much more
distinctly marked and more uniform throughout Spain, whilst
at the same time it is even less national and peculiar. There
are in truth very considerable remains of fourteenth-century
works, though, perhaps, no one grand and entire example of a
fourteenth-century building. All these examples are extremely
similar in style; and I think, on the whole, more akin in feeling
and detail to German middle-pointed than to French. The
west front of Tarragona Cathedral, the lantern and north tran-
sept of Valencia Cathedral, the chapel of San Ildefonso, the
Puerta of Sta. Catalina, and the screen round the Coro at Toledo,
Sta. Maria del Mar and the cathedral at Barcelona, the chevet
of Gerona Cathedral, the north doorway and nave clerestory of
Avila Cathedral, and the cloisters of Burgos and Veruela, afford,
with many others, fair examples of the design and details of
churches of this period. The traceries are generally elaborately
geometrical and rather rigid and ironlike in their character, the
carving fair but not especially interesting — dealing usque ad
nauseam in diapers of lions and castles — and the whole system of
design one of line and rule rather than of heart and mind. Yet,
in this, Spain reflected much more truly than before what was
passing elsewhere in the fourteenth century; and exhibited, just

^ See the plan, Vol. I., Plate I., p. 40. The chapel marked B is,. I think,
the only original one; and this repeated five times will probably give
the exact plan of the original chevet.

GENERAL SUMMARY 239

as did Germany, France, and England ^ at the same moment, the
fatal results of the descent from poetry and feeling in architec-
ture to that skill and dexterity which are still in the nineteenth
century, as they were in the fourteenth, regarded — and most
wrongly regarded— as the elements of art most to be striven after
and most taught. Art, in truth, was ceasing to be vigorous and
natural, and becoming rapidly tame and academical!

Yet if these works are not very national, they are at any rate
most interesting and deserve most careful study. He was no
mean artist who made the first design for Barcelona Cathedral,
who completed the chevet of Gerona, or who designed the steeple
at Lerida, or the cloisters of Burgos, Leon, or Veruela. At this
time indeed art was cosmopolitan, and all Europe seems to have
been possessed with the same love for geometrical traceries, for
crockets, for thin delicate mouldings, and for sharp naturalesque
foliage, so that no country presents anything which is absolutely
new, or unlike what may be seen to some extent elsewhere.
There are perhaps only two features of this period which I need
record here, and these are, first, the reproduction of the octagonal
steeple, which, as v/e have seen, was a most favourite type of the
Romanesque builders; and, secondly, the introduction of that
grand innovation upon old precedents, the great unbroken naves,
groined in stone, lighted from windows high up in the walls, and
inviting each of them its thousands to worship God or to hear
His word in such fashion as we, who are used to our little English
town churches, can scarcely realise to ourselves.- But on this
point I will say no more because its consideration more naturally
arises in the succeeding period, in which the problem was more
distinctly met and more satisfactorily settled.

The survey of Spanish art in the fifteenth century is, I think,
on the whole, more gratifying than it is in the fourteenth. In
the earliest churches, as the models from which they were de-
rived were first of all built in hot climates, the windows were
small and feu-, the walls thick, the roofs flat-pitched, and the
whole construction eminently suited to the physical circum-
stances of the country. But these models, having been taken to

* The commerce of the south of Spain with England was considerable;
and it is just possible that some of the middle-pointed work in Valencia
may have an English origin. The English sovereigns encouraged the
Catalan irad'-rs by considerabl'' immunities to frequent their ports during
the fourtei-nth century. — .Macphersou, Annals of Commerce, i. 502, etc.
■ ^ I speak oidy of town churches here: our little English village churches
are the most perfect in the world, so tlioroughly cliaracteristic, and at the
same time so suitable for their work, that we may always study them with
greater gain than any others elbewhere in Europe.

240 GOTHIC ARCHITECTURE IN SPAIN

the north of Europe^ and there largely and perhaps thought-
lessly copied, in spite of the vast difference of climate, were soon
found to be unfitted for their purpose, and were consequently, in
due course of time, developed into that advanced style of Gothic
of which the main characteristic is the size and beauty of its
windows. Of course this development was just that of all
others which ought not to have been tolerated at all under a
southern sun; and we must allow the fifteenth-century architects
the credit of having discovered this, and of having returned very
much to the same kind of design as that in which their thirteenth-
century predecessors had indulged.

The examples of this age which 1 have described will have
given a fair idea of their main characteristics. The magnificent
size, the solid construction, and the solemn internal effect of
such churches as those of Segovia, Salamanca, Astorga, Huesca,
Gerona, Pamplona, and Manresa. would be sufficient to mark the
period which produced them as one of the most fertile and
artistic the world has ever seen. We may approach such build-
ings full of prejudice in favour of an earlier style of architecture,
of a purer form of art; but we cannot leave them without
acknowledging that at least they are admirable in their general
effect, and if not conceived in the very purest art, still conceived
in what is at any rate a true form of art. By the time in which
they were erected, Spain had become far more powerful than
ever before; she was quite free from all fear of the xMoors, and
was so rich as to be able to expend vast sums of money in works
of art and luxury. She had also more trade and communication
with her neighbours; and no doubt their customs and their
schools of art had become so familiar to Spanish architects as
to lead naturally to some imitation of them in their works. In
their later works we find, at any rate, a development beyond
that point at which Spaniards had before arrived, and noticeably
an affection for the French chevet or apsidal choir surrounded
by a procession-path and group of chapels. This arrangement,
which, when it was adopted at Veruela, Santiago, Burgos, Leon,
and Toledo, was evidently only adopted because the architects of
these churches were French, was a favourite one of the artists
of the fifteenth century. Huesca and Astorga alone of the
great churches mentioned just now are founded upon the old
Spanish type of parallel apses at the east end: the others are all
founded upon that of the French chevet with some modifications
in the details of their design. Of these, few are more interesting
than that which we sec in the cathedral at Pamplona, the che\'et

GENERAL SUMMARY 241

of which is. to the best of my behef, unique in its curious use of
the equilateral triande in the plan. This is perhaps the most
novel modification of the French plan; but among all of them
it is impossible not to award the palm, most decidedly, to
the really magnificent works of the Catalan School. In other
parts of Spain the great churches of this period had no very
special or marked character; nothing which clearly showed
them to be real developments in advance of what had been done
before or elsewhere. In Cataluiia, on the other hand, there was
a most marked impulse given by a Mallorcan artist at tlie latter
part of the fourteenth century; and to the influence of his school
we owe some of, I suppose, the most important mediaeval
churches to be seen in any part of Europe. Their value consists
mainly in the success with which they meet the problem of
placing an enormous congregation on the floor in front of one
altar, and within sight and hearing of the preacher. The vastest
attempt which we have made in this direction sinks into some-
thing quite below insignificance when compared with such
churches as Gerona Cathedral, Sta. Maria del Mar, Barcelona,
or the Collegiata at Manresa. The nave of the former would
hold some two thousand three hundred worshippers, tliat of the
next hard upon three thousand, and that of the third about two
thousand. Their internal effect is magnificent in the extreme;
and if, in their present state, their external effect is not so fine, it
must be remembered, first of all, that they have all been much
mutilated, and, in the next place, that their architects had evi-
dently mastered the first great necessity in church-building — the
successful treatment of the interior. In these days it is impos-
sible to say this too strongly: men build churches everywhere in
England, as though they were only to be looked at, not wor-
shipped in; and forget, in fact, that the sole use of art in con-
nection with religion is the exaltation of the solemnity of the
ritual, and the oblation of our best before the altar, and not the
mere pleasing of men's eyes with the sweet sights of spires rising
among trees, or gables and traceried windows standing out amid
tlie uninteresting fabrics of nineteenth-century streets !

In our large towns in England there is nothing wc now want
more than something which shall emulate the magnificent scale
of these Catalan churches. 'IMiey were built in the middle
ages for a large manufacturing or seafaring population; and we
have e\X'rvwhere just such masses of souls to be dealt with as
they were provided for. But then, of course, it is useless to
recommend such models if they arc only to be used as we use our

242 GOTHIC ARCHITECTURE IN SPAIN

churches^ for four or five hours on Sundays, instead of, as these
Spanish churches were and still are, for worship at all sorts of
hours, not only on Sundays, but on every day of the week also.
When English Churchmen are accustomed to see churches
thoroughly well used ; when no church is without its weekly, no
great church without its daily Eucharist; and when they see
none, great or small, without their doors open daily both for
public and private prayer — then, and not till then, can we ex-
pect that they will allow architects any chance of emulating the
glories achieved by these old men. Till then we shall hold fast
to our insular traditions of little town churches and subdivided
parishes, and shall doubt the advantages of enormous naves, of
colleges of clergy working together, and of those other old
Catholic appliances, which must be tried fully and fairly before
we give up in despair the attempt to Christianise the working
population of our large cities.

The general idea of these great fifteenth-century churches
has no doubt already been grasped by my readers. Worship at
the altar appears to me to be the key to the design and arrange-
ment of many of them, for nowhere else in Europe, I suppose, can
we find a church on so very moderate a scale as the Cathedral at
Barcelona crowded in the way it is with altars, and so planned
and fitted up as to make it absolutely useless as a place of
gathering for a large number of persons at one service. But if
this multiplication of side altars was here carried to excess, one
of the most remarkable examples of an attempt to glorify the
high altar, and at the same time to provide for one enormous
and united congregation, is unquestionably that which is pre-
sented by Sta. Maria del ]\Iar in the same city. This church has
its prototype at Palma in Mallorca, and I much regret that I
have never yet been able to visit that island, for, so far as I can
learn, it seems that the mainland owed much to it in the way of
architectural development, and that some of the finest examples
of the Catalan style in this age are still to be seen there.

The special devotion to the altar service which is exemplified
in Barcelona Cathedral led naturally to other architectural deve-
lopments. Such are the remarkable church of Santo Tomas at
A\'ila, with its western choir and eastern altar both raised in
galleries, and its arrangement for the congregation of worshippers
l)elow. Such again is the church of El Parral, Segovia, with its
deep western gallery for the choir, its dark, gloomy, and austere
nave, and the concentration of light and window round the altar.
Indeed, tlie institution of the western gallery, so common — 1

GENERAL SUMMARY 243

might almost say so universal — in small churches at this period
in "Spain, arose from the same feeling as did the removal of the
choir into the nave in the larger churclies. The object of all
these changes was to give the people access to the altar, and
usually they seem to have been made upon the assumption that
no one would care to assist at the ser\ices in the choir itself. I
am \ery much inclined to think that tlie rise of this feeling was to
a great extent an accident, and the result of the fact that almost
all the early Spanish churches were founded on models in which
the eastern limb of the Cross was so very short that the choir
or Chorus Cantorum must almost always have occupied the
eastern part of the nave, or the Crossing under the central
lantern. This must have been almost a necessity in such cathe-
drals as those of Lerida, Tudela, and Sigiienza: whilst in others,
as those of Tarragona, Tarazona, and Avila, the space must
always have been cramped, though a choir might have been
accommodated. Of the larger churches Burgos alone has a
really large constructional choir. In Toledo it is very short,
and in Leon certainly below what we usualh' find in a French
church of the same age and pretensions.

The cathedrals of Sego\da and Salamanca are the two latest
great Gothic churches in Spain,, and in some respects among
the grandest; and here, as might be expected, the Spanish
custom as to the position of the Coro had become so thoroughly
fixed and invariable, that the choir proper is very short, and
built only for the altar. The plan of Segovia Cathedral is
very fine and well proportioned; whilst that of Salamanca has
l^een unhappily ruined by the erection of a square east end, in
place of the apse which was first of all intended: and this, in
place of emulating at all the noble design of any of our English
eastern ends, is contrived with but little skill, the aisle returning
across Ijehind the altar, whilst beyond it to the east there is
a line of chapels similar to those beyond the aisles.

Of the later styles I need say but little. They are not Gothic,
and this is a summary of Gothic architecture only; yet it is
interesting to look into their history if only to notice how curious
the fact is that at the same time that men like Berruguetc
were desiunini: in the most thoroughly Renaissance style,
fuan (ji! de Hontahon was still painfully superintending the
erection (jf a great (Gothic cathedral. The remarkably Gothic
staircase to the Hall at Christ Churcli, Oxford (a.d. 1640); the
Gothic window traceries of Stone C^hurch, Kent, of the same
date; the rebuildinLr of Tfigham I'crrers steeple b\- the great

244 GOTHIC ARCHITECTURE IN SPAIN

Archbishop Laud^ and of the spire of Lichfield Cathedral by good
Bishop Hacket in 1669, are well-known instances of the remark-
able love for Christian art which Englishmen retained long after
the fashion for Pagan and Renaissance art had set in. And it
is not a little interesting to find the same contest going on in
Spain, and the same love for the old and hallowed form of art
exhibited.

I cannot see much — I might almost say I can see nothing —
to admire in the works of the Renaissance school in Spain. It
was in their time that the discovery of America raised the
country to the very summit of her prosperity^ and right nobly
did she acknowledge her duty by the offerings she made of her
wealth. Few Spanish churches are without some token of the
magnificent liberality of the people at this time, and one is obliged
to acknowledge it in spite of the horror with which one regards
the works they did, and the damage which their execution did
to the older buildings to which they were added.

It would be dreary work to follow the stream of Spanish art
down by Berruguete and Herrera to Churriguera and so on to our
own time ; and the only fact of interest that I know is that the
old scheme of cruciform church with a central lantern is still
the most popular, and that down to the present time almost
every modern church has been so planned, with a lantern dome
rising from above the intersection of the nave and transepts.

Fortunately, down to this time the tide of " Restoration " has
hardly reached Spain, and one is able therefore to study the
genuine old records in their old state. There are no Salisbury
Chapter-houses or Worcester Cathedrals to puzzle us as to
whether anything about them is old, or whether all may be dis-
missed or discussed as if it were perfectly new; and so it affords
a field for study the value of which cannot be overrated, and
which ought not to be neglected (8). It must not be supposed
that this field of study is limited to the general scheme of the
churches. On the contrary, their fittings and furniture, their
appendages and dependent buildings, are unsurpassed in interest
by those of any other land, and in addition to these there are
several other heads under which my subject naturally presents
itself.

First among them is that of church furniture. Xo country is
perhaps now so rich in this respect as Spain. Few of course—
if any — of her churches retain their old furniture in its original
place earlier in date than the fifteenth centurv. It is true that
the magnificent baldachin and Retablo at Gerona, the screens

GENERAL SUMMARY 245

round the Coro at Toledo, and the beautiful painted Retablo in
the old cathedral at Salamanca, are earlier than this; but these
are exceptions to the rule. The great glory of the country in
this respect are such Retablos — rich in sculpture, covered with
gold and colour, and in paintings of no mean merit, and lofty
and imposing bevond anything of the kind ever seen elsewhere —
as those of Toledo Cathedral or the Carthusian Church of Mira-
flores. In these one hardly knows whether to admire most the
noble munificence of the founders, or the marvellous skill and
dexterity of the men who executed them. It is not only that
they are rich and costly, but much more, that all the work in
them is usually good of its kind, and far finer than the work
of the same age and style which we see in the Netherlands
and Germany. The choir stalls, again, are often magnificent.
Nothing can be more interesting than the contemporary chronicle
of the capture of Granada which we see in the lower range of
stalls at Toledo: they are full of character and spirit, and
represent what was no doubt felt to be a truly religious enter-
prise, with at least as much fidelity as any view of our own
military operations at the present day ever attains. to. Other
churches have choir fittings, like those of Zamora, full of curious
interest to the student of Christian iconography; like those at
Palencia, remarkable for the exceedingly elaborate character of
their traceries and panelling; and like those of Gerona, valuable
for the fine character of the rare fourteenth-century woodwork
which has been re-arranged in the modern Coro. Turn again
from the choir stalls to the other fittings of the choir. Seldom
xjlsewhere shall we see the old columns for the curtains at the
side of the altar still standing as they do at Manresa. Nowhere
shall we see such magnificent choir lecterns, in brass as that of
Toledo, or in wood as that of Zamora; nowhere else such pretty
and sweet-sounding wheels of bells for use at the elevation of the
Host; nowhere, perhaps, so many old organs, many of which, if
not Medireval, are at any rate not far from being so; nowhere else
so many (jr such magnificent Rejas or metal screens and parcloses,
as in this country. In every one of these works Spanish work-
men exrelled, because they devoted themselves to them. We
hav • lists of men who made screens, of others who carved the
choir stalls, of others who made Retablos, and of others, aLrain,
who painted and gilded them. Each class of men is named after
the furniture to tlie execution of which they devoted tliemsches,
and occasionally individuals rose to rare eminence from this kind
of work. The time was late, indeed, when it happened, but see

246 GOTHIC ARCHITECTURE IN SPAIN

how Borgona and Berruguete strove for mastery over their work
on the upper stalls at Toledo, or how the poor Matias Bonife, at
Barcelona, was bound to carve no beasts or subjects on his stalls,
to which we may suppose he was addicted ; and how his successor
died of distress because the Chapter did not like the pinnacles
he added to the canopies; and consider how people interested
themselves in the matter, how they were excited in the contest
between Borgoiia and Berruguete, and no doubt in the others
also, and we see at once how different was the position which
these men occupied from that which, so far as we know, their
contemporaries in England held.

The monuments in the Spanish churches are not the least of
their glories. From one of the earliest and finest, that of Bishop
Maurice at Burgos, there is a sequence illustrating almost every
variety of Gothic down to that exquisite I^enaissance monument
of the son of Ferdinand and Isabella at Avila, in which — in
spite of the date and style — the old spirit still breathes an air
of grace, refinement, and purity over the whole work. Such
chapels as those which enshrine these monuments — that of
the Constable at Burgos, of Santiago at Toledo, of Miraflores
near Burgos — are well fitted to hold the most magnificent of
memorials; for were it not that such a work as the tomb of
Juan II. and Elizabeth is almost unmatched anywhere for the
skill and delicacy of its workmanship, and that some of the
others are almost equally sumptuous, the chapels within which
they are erected would appear to be in themselves the noblest
remembrances of the dead.

Of the dependent buildings of these great churches I have
had to speak over and over again. The ground-plans which I
have given will show how complete they usually are. Their
arrangement varies very much. The cloister, for instance, is on
the north-east at Tarragona; the north at Sigiienza, Toledo, and
Leon; the west at Lerida and Olite; the south at Santiago,
Palencia, Tudela, and Veruela; and the south-east at Burgos.
The Chapter-houses by no means always stand on the east of the
cloister, though they usually retain the old triple entrance, and
the remaining buildings seem to vary very much in the positions
assigned to them.

The roofing of Spanish churches lias been incidentally noticed
in various places throughout this volume. It was almost always
of stone. So far as the interior roofing is concerned, the changes
that are seen are of course very much the same as those which
marked the vaults of most other parts of Europe at the same

GENERAL SUMMARY 247

period. At first the cylindrical Roman vault, then the same
vault supported by quadrant vaults over the aisles, then simple
quadripartite vaults, and finally vaults supported on very
elaborate systems of lierne ribs. But there are some minor
peculiarities in these vaults which deserve record. The waggon
vaults generally have transverse ribs on their under side, and
occur usually in buildings in which all the apsidal terminations
are roofed with semi-domes — and they are sometimes (as in
Lugo Cathedral, and" Sta. Maria, la Coruiia) pointed. The early
quadripartite vaulting is generally remarkable for the large size of
the vaulting-ribs, and for the very bold transverse arches which
divide the bays. Ridge-ribs are hardly ever introduced, and the
ridge is generally very httle out of the level. The vaults of
Leon Cathedral are filled in with tufa in order to diminish the
weight, but I have not noticed any similar contrivance elsewhere.
Down to the end of the fourteenth century the vaulting seldom
if ever had any but diagonal, transverse, and wall-ribs ; and even
in many of the works of the succeeding century the same judi-
cious simplicity is seen. But usually at this time it became the
fashion to introduce a most complicated system of lierne ribs,
covering the whole surface of the vault, dividing it up into an
endless number of small and irregularly shaped compartments,
and very much damaging its effect. My ground-plans of Segovia
and (new) Salamanca Cathedrals show how extremely elaborate
these later vaults very frequently were. There is another form
of vault which is not unfrequently met with: this occurs where
a square vaulting bay is groined with an octagonal vault. In
these examples a pendentive is formed at each angle of the
square, and thus the octagonal base is formed for the vault.
Examples of this are to be seen in the Chapels of San Ildefonso
and Santiago at Toledo Cathedral, in three of the late Chapels
at Burgos Cathedral, and in the Chapter-house of Pamplona
Cathedral. The fashion for this vault arose probably from the
custom which had obtained of building central lanterns, which
were frequently finished with octagonal stages, and consequently
vaulted with octagonal vaults. So far as to the internal roofing.
Ttie evidence I have fr)und of the old external roofing in some
cases is e\en more interesting. It is clear that many of the
earl}' churches were intended from the first to be built entirclv
of stone in the roof as well as in the walls. A\ila, Toledo, and
Lerida Cathc(h-a!s. and tlie Collegiata at Manrcsa, still retain
some of tlieir old stone covering; and though it is ti'ue that in
none of these cases has the attempt to construct an absolutcl^'

248 GOTHIC ARCHITECTURE IN SPAIN

imperishable building been perfectly successful, it appears to me
that the workmen and architects who attempted to carry such
plans into execution deserve all our admiration. I have de-
scribed these roofs in the course of my notes upon the churches
in which they occur, and here I need only refer to my descrip-
tions and illustrations.

In sculpture Spain is not so rich as France, but on the whole
probably more so than England. The best complete Gothic
work that I have seen is at Leon; but it oflFers no variety what-
ever from the best of the same age in France. T have given
the various iconographical schemes, so far as I could manage
to do so, in describing the several works, and here I will only
repeat that, to my mind, the triple western doors at Santiago^
— completed in a.d. ii88 — are among the finest works of their
age, and deserving of the greatest care and tenderness on the
part of their guardians. Most of us are conscious how much
good sculpture adds to the interest of good architecture.
Usually, however, we spread our modern sculpture too lavishly
in all directions if we have the money to spend. But even in
this there may be too much of a good thing; the mind and eye
become satiated, and sicken; and not half the real pleasure is
felt in seeing some modern works that would be if the work had
been somewhat less lavishly applied, somewhat more thought-
fully, or as at Santiago, in one spot, leaving the whole of the
rest of the church in its stern, rude simplicity.

The domestic architecture of Spain in the middle ages is, as
might be expected, very much less important than the religious
architecture. Probably the wealth of the fifteenth and sixteenth
centuries was even more damaging to the former than it was
to the latter. At any rate, no country — Italy excepted — con-
tains a greater number of showy Renaissance palaces in all its
principal towns than Spain does ; and there can be little doubt
that they took the place of Gothic houses to a very considerable
extent. Either I was very unlucky, or, if I saw what is to be
seen, I must pronounce Spain to be unusually barren of old
examples of domestic buildings. Of the twelfth and thirteenth
centuries I have hardly seen a single example, save the house
which I have described at Lerida; whilst of the two following
centuries, the best examples seem to be confined very much to

^ See Vol. I., frontispiece. In so small an engraving — putting out of view
the extreme difficulty of eetting a faithful transcript of a careful sketch of
sculpture — it is impossible to do justice to sucli a work; and Imust ask
my readers rather to accept my statement then to pass judgment by aid
only of the illustration.

GENERAL SUMMARY 249

the Mediterranean seaboard. In this part of Spain are the
simple houses lighted by ajimez windows, which I have described
and illustrated; they extend all along the coast from Perpirian
to Valencia, and are usually so much alike as to produce the
impression that they are all made from the same design. Later
than this, the public buildings at Barcelona and Valencia, the
palace of the Dukes del Infantado at Guadalajara, the museum
and other convents at Valladolid, the house of the Constable
Velasco at Burgos, and the great hospital at Santiago, are no
doubt magnificent examples of their class. In these the build-
ings are generally arranged round courtyards, which are sur-
rounded bv passages opening to the court, and lighted either
with open arches or with traceried windows. Rich and noble
as some of these buildings are, there is little that is interesting
or picturesque in them, and they seldom attain the degree of
importance of which one would suppose such an architectural
scheme skilfully treated would admit. Their date is rarely
earlier than circa a.d. 1450, and the detail of their mouldings
and sculpture is consequently of the latest kind of Gothic.
There is, however, a rude barbaric splendour in some of the
courts or patios at Valladolid. where this kind of building is seen
to perhaps c^^reater advantage than anywhere else.

The castles of Spain deserve, apparently, much more attention,
and are in e\ery way more important, than the other domestic
buildiiiffs. Those at Olite, Segovia, and Medina del Campo
have been already described; and there is, no doubt, a vast
number of buildings of somewhat similar character to be seen,
especially in those parts of the country which formed for a time
the frontier land between the Moorish and Christian kingdoms.
Generally, they are remarkable for the unbroken surface of their
lofty walls, crowned with picturesque and complicated pro-
jecting turrets at th.e anciles. The scale on which they are built
is magnificent, and their walls still stand almost untouched by
the ages of neglect from which they ha\-e suffered. In the same
way the walls which encircle the Spanish cities are often still so
perfect throuLrhout their circuit that it is almost possible to
persuade oneself that they have l)cen untouched for three hun-
dred years. Avila, Lugo. Segovia. Toledo, Pamplona. Astorca.
Gerona. Tarragona, and many ijther towns are girt round with
so (lose an array (;f tower anrl wall as to make them still
look fit for defence. The age of these walls varies much; but
most are prohablv of earh- foundation, owing their first ererti^.n
to the days when the Moors still from time to time rode raiding

250 GOTHIC ARCHITECTURE IN SPAIN

across the land. They are always of extraordinary soHdity,
and consist usually of plain walls with circular projecting towers
at short intervals.

The materials used by Spanish architects and builders seem
to have been granite, stone, and brick. Granite was used in
some of the very earliest constructions; but after the intro-
duction of Christian art into the country, nothing but stone was
used for two or three centuries, when granite was again made
use of. We see the same thing in England; and no doubt the
admirable masons who played so important a part in the de-
velopment of Christian architecture must have detested the
hard, coarse, and unyielding material, when they compared it
with the more easily-wrought free-stones which lent themselves
so kindly to their work. The Spanish masons were always, I
think, skilful; and in the fifteenth century, when Gothic art
was glowing forth in all the glory of decay, pre-eminently so. I
know no mere execution of details more admirable in every way
than that which we see, for instance, in the work of Diego de
Siloe. It reaches the very utmost limit of skilful handiwork.
It is not very artistic, but it is so clever that we cannot but
admire it; and I doubt much whether the best of our own works
of the same age can at all be put in comparison with it. It is
generally marked by the extraordinary love of heraldic achieve-
ments which is so characteristic of the Spaniards. There are
some of the fagades of the later churches which are adorned with
absolutely nothing but coats-of-arms and their supporters ; and
I know no work which is less interesting in spite of its extra-
ordinary elaborateness. The decorations of parts of our Houses
of Parliament give some idea of this sort of work, though they
are by no means so painfully elaborate.

The masons seem to have worked together in large bodies,
and the walls are marked in all directions with the signs which,
then as now, distinguished the work of each mason from that
of his neighbour, but I have been unable (save in one or two
cases) to detect the mark of the same miason in more than one
work; and from this it would seem to be probable that the
masons were stationary rather than nomadic in their habits,
a deduction which is fortified by the difference of general char-
acter which may, I think, be detected between tlie groups of
marks in different buildings. Occasionally the number of men
employed on one building seems to have been unusually large,
and it is clear therefore that there were great numbers of masons
in the country. In the small church of Sta. ?>Iaria, Benavente,

GENERAL SUMMARY 251

there are the marks of at least thirty-one masons on the eastern
wall; as many as thirty-five were at work on the lower part of
the steeple at Lerida; whilst in one portion of Santiago Cathedral
there appears to have been as many as sixty. These numbers
would be large at the present day; and are very considerable
even if compared with such a building as Westminster Abbey^
where, in a.d. 1253, when the works were in full progress, the
number of stone-cutters varied from thirty-fi\e to seventy-
eight.

The use of bricks was not, so far as I have seen, very great.
They were used either in combination with stone, plaster, or
tiles, or by themselves. Examples of their use in combination
with stone may be seen at Toledo. Here, in all the Moorish or
Moresque examples, the walls are built of rubble stone, with
occasional bonding-courses of brick, and brick quoins. This
kind of construction, which has been sometimes adopted of late
years in England, is obviously good and convenient, but wanted,
to some minds, the authority of ancient precedent ; and here
at Toledo we are able to show it from a very early period. Tn
the very early Puerta de Visagra (circa a.d. 1108-36) single
bonding-courses of brick are used at a very short distance apart,
whilst in the later works, such as the steeples of San Roman and
La Magdalena, the bands are farther apart, and consist fre-
quently of two or three courses of brick, whilst the string-courses
and corbel-tables are formed of projecting bricks, which are
seldom, if ever, moulded. This, indeed, may almost be said to
be the special peculiarity of Spanish brickwork; for in every
other part of Europe, so far as I have seen, where bricks are much
used, they were always more or less moulded. These examples
are useful, however, as showing how very much richness of effect
can be obtained by the use of the simple rough material in the
simplest way. At Zaragoza, at Tarazona, at Calatayud, and
elsewhere, the buildings and their steeples are covered with
panels and arcades, formed by setting forward some of the bricks
a few inches in advance of the face of the wall. In some cases,
as in the Cimborio of Tarazona Cathedral, and the east wall of
Zaragoza, the spaces so left are filled in with extremely rich work
m coloured tiles, the effect of which is far less garisii and strange
than might have been expected.

The most curious feature that 1 have noticed about Spanish
brickwork is that it always, or almost always, appears to have
been the work of Moorish workmen, and not of the Christian
workmen by whom tlic great cliurches throughout the country

252 GOTHIC ARCHITECTURE IN SPAIN

were erected. The Moors continued to live and work in many
towns long after the Christians had recovered them ; and wher-
ever they did so. they seem to have retained, to a great extent,
all their old architectural and constructive traditions. We see
this most distinctly in the markedly different character of the old
Spanish brickwork both from the other Spanish architectural
developments of the day, and also from any brickwork of the
same period that is seen in other parts of Europe. If after
leaving Zaragoza the traveller were to cross the Pyrenees, and
then make his way to Toulouse, he would find himself again in
the midst of brick buildings, erected at various times from the
twelfth to the sixteenth century; but he would find them utterly
different in style from the brick buildings of the Zaragozan dis-
trict, and thoroughlv in harmony with the stone buildings which
were being erected at the same time in the same neighbourhood.
And this brings us in face of one of the m.ost curious evidences
of the extremely exotic character of most Spanish art. Spain
was the only country in Europe, probably, in which at the same
time, during the whole period from a.d. 1200 to a.d. 1500,
various schools of architecture existed much as they do in
England at the present day. There were the genuine Spanish
Gothic churches (derived, of course, from Roman and Roman-
esque), the northern Gothic buildings executed by architects
imported from France, and in later days from Germany, and
the Moresque buildings executed by Moorish architects for
their Christian masters. Of these schools I have already dis-
cussed tv/o in this chapter, and I must now say a few words
about the third.

I do not propose to speak here of Moorish art, properly and
strictly so called, but only of that variety of it which we see
made use of by the Christians, and which throughout this
work I have called " ?*Ioresque.''" Of these, the most remark-
able that I have seen are in that most interesting city of Toledo,
which, so far as I can learn, seems to surpass Seville in work
of this kind, almost as much as it does in its treasures of Chris-
tian art. Here it is plain that, though Christians ruled the
city, }iIoors inhabited it. The verv planning of the town, with
its long, narrow, winding lanes; the arrangement of ihe houses,
with tlieir closed outer walls, their patios or courts, and their
larLie and magnificent halls, speak strongly and decidedly in
fa\-our of the Moorish origin of the whole. And when we com.e
to look into the matter in detail, this presumption is most fully
supported : for everywhere the design of the internal finishing

GENERAL SUMMARY 253

and decorations of the houses and rooms is thoroughly Moorish,
executed with the remarkable skill in plaster for which the Moors
were noted, and with curious exhibitions here and there of a
knowledge, on the part of tlie men who did them, of the Gothic
details which were most in vogue at the time.

It may well be supposed that if the Moors were thus influenced
by the sight of Christian art, the Christians would be not less so
by the sight of theirs. I fully expected when I went first to
Spain that I should find evidences of this more or less every-
where; I soon found that I was entirely mistaken, and that,
though they do exist, they are comparatively rare and very
unimportant. This will be seen if I notice some of the most
remarkable of the examples.

(i.) In Toledo Cathedral the triforium of the choir is decidedly
Moresque in its design, though it is Gothic in all its details, and
has carvings of heads, and of the ordinary dog-tooth enricliment.
It consists of a trefoiled arcade; in the spandrels between the
arches of this there are circles with heads in them; and above
these, triangular openings pierced through the wall; the mould-
ings of all these openings interpenetrate, and the whole arcade
has the air of intricate ingenuity so usual in Moorish work. It
might not be called Moresque in England, hut in Toledo there
can, I think, be no question that it is the result of Moorish
influence on the Christian artist. So also in the triforium of
the inner aisle of the same Cathedral the cusping of the arcades
begins with the point of the cusp on the capita], so as to produce
the effect of a horse-shoe arch: and though it is true that this
form of cusping is found extensively in French buildings in the
country between Le Puy and Bourges, here, in the neighbour-
hood of the universal horse-shoe cusping of the jMoorish arches,
it is difficult to suppose that the origin of this work is not Moorish
also. The same may be said with equal truth of the triforium at
the east end of Avila Cathedral.

(3.) The towers of the Christian churches in Toledo, at
Illescas,at Calatayud, at Zaragoza, and at Tarazona, all appear
to me to be completely Moresque. Those in Toledo make no
disguise about it, the pointed arches of their window open-
ings not e\en affecting to be Gotliic in their mode of construc-
tion. So also in some of the churclies of Toledo much ol the
work is completely Moresque. The church of Sta. Lcocadia
is a remarkable example of the mixture of Romanescjue and
Moresque ideas in the same buildin;:.

(3.) Ill inanv buildings some small portion of Moorisli orna-

254 GOTHIC ARCHITECTURE IN SPAIN

ment is introduced by the Christian workman evidently as a
curiosity, and as it were to show that he knew how to do it, but
did not choose to do much of it. Among these are (a) the traceries
in the thirteenth-century cloister at Tarragona,^ where the
Moresque character is combined with the Christian symbol; (b)
the interlacing traceries of the circular windows in the lantern
of San Pedro, Huesca; ^ (c) the carving of a Moorish interlacing
pattern on the keystone of a vault at Lerida; (d) the filling in
of the windows of the Cloister at Tarazona with the most elabor-
ate pierced traceries ; '"^ (e) the traceries of the clerestory of the
aisle of the chevet of Toledo Cathedral: (/) and similar semi-
Moresque traceries inserted in Gothic windows at Lugo, and
many other places, where everything else is purely Gothic.

(4.) The introduction of coupled groining ribs, as in the vault
of the Templars' Church at Segovia, and in that of the Chapter-
house at Salamanca. The Moorish architects seem always to
have been extremely fond of coupled ribs. We see them in
several of the vaults in the church or mosque called Crista de
la Luz ; ^ and the principal timbers of the wooden roofs of the
synagogue " del Transiio " are similarly coupled. It is an
arrangement utterly unknown, so far as I remember, in Gothic
work, and there can be no doubt that in these examples it is
Moresque. The vault of the Chapter-house at Salamanca, which
also has parallel vaulting ribs, produces, as will be seen ° in the
centre, the sort of star-shaped compartment of which the Moorish
architects were always so fond.

(5.) The Moorish battlement is used extensively on walls
throughout Spain. It is weathered on all sides to a point, and
covers only the battlements, and not the spaces between them.^

(6.) The ^Moorish system of plastering was considerably used,
not only at Toledo, but also to a late period on the Alcazar and
on houses and towers at Segovia. Here, however, though the
system of design and the .mode of execution are altogether
Moorish, the details of the patterns cut in the plaster are gener-
ally Christian.

(7.) The Moorish carpentry is very peculiar, and is constantly
introduced in late Gothic v/ork. Most of my readers have
probably seen the ingenious puzzles which the Moors contrived
with interlacing ribs in their ceilings at the Alhambra, illustrated

^ See p. 33 and illustrations on ground-plan, Plate XV., p. 40.
- See p. 161. ^ See p. 183. ' See Vol. I., p. 305.

■' See ground-plan, Vol. I., Plate IV., p. 104.

° See illustration of this battlement at Las J-Iuelgas, \'ol. I., page 45, and
on the walls at \'eruela, page 187.

GENERAL SUMMARY 255

with so much completeness by Mr. Owen Jones; these patterns
are constantly used in Gothic buildings for door- framing; and
examples of this kind of work may be seen frequently^ and
especially in towns — like Valencia and Barcelona — on the eastern
coast.

These e\idences of Moorish influence upon Christian art in
Spain are, it will at once be seen, rather insignificant, and serve
on the whole to prove the fact, that Christian art was nearly as
pure here as it was anywhere. This is precisely, I think, what
might have been expected. For where a semi-religious war was
for ages going on between two nations, and where art was, as it
almost always is — God be praised — more or less religious in its
origin and object, nothing can be imagined less probable than
that their national styles of art should be much mixed one with
the other. It is probable, on the contrary, that each would have
a certain amount of pride in this practical way of protesting
against his enemy's heresies, so that art was likely to assume
a religious air even greater and deeper than it did elsewhere.

The mention of the religious element in art leads natural!}'
to the consideration of that art which m^ost objectively ministered
to the teaching of religious truths and history — the art of Paint-
ing. The admirable and interesting work of ]Mr. Stirling ^ begins
just where I leave off, and almost treats the painters before
Velasquez, Murillo, and Joanes as though they had never existed.
But in truth I suppose it is necessary that the whole subject
should be studied from the beginning; and though we can never
hope for such a mine of information about mediaeval Spanish
painters as Messrs. Crowe and Cavalcaselle have given us about
their Italian contemporaries, it is not, I think, unreasonable to
suppose that a good deal of information might still be obtained.
I regret very much that in all my Spanish journeys my time
has been so fully occupied with purely architectural work that I
have never been able to pay so much attention as they seemed
to deserve to the early paintings that I saw. Yet the works of
liorgoiia at Avila, the paintings round the cloister and choir-
screen at Leon, the painted Retablos at Barcelona, Toledo, and
elsewhere, seemed to me to be often very full of beauty botli of
drawing and colour. Their number is \evy great, and most of
them are still in the very places for which they were originally
painted. Their character appears to me to be utterly different
from that to which we are accustomed as marking Spanisli
painting. Almost all our ideas are formed, as it seems to nic,
* innals of the Aiiisls <ij Sjium, iM.i-S,

256 GOTHIC ARCHITECTURE IN SPAIN

on the work of a school of painters who, adopting reHgious art
as their special vocation, and shutting themselves out almost
entirely from any representation of any other kind of subject,
contrived unfortunately to take the gloomy side of religion, and
to paint as though an officer of the Holy Office was ever at their
elbow. How contrary this spirit to that of the earlier men, who,
so far as I have seen, painted just as naturally religious men,
cheerful, hearty, and unaffected by the souring influence of the
Inquisition, might be expected to paint ! Their work appears to
me to give them an intermediate place between the tenderly
delicate treatment of the early Italian masters, and the intensely
realistic and consequently very mundane style of the early Ger-
man painters; but it is always bright, cheerful, and agreeable
both in manner and choice of subject. The names of but a few
of these early men are preserved, and unfortunately next to
nothing beyond their names. Among them are Ramon Torrente
of Zaragoza, who died in 1323; Guillem Fort, his pupil; Juan
Cesilles of Barcelona, vv'ho at the end of the fourteenth century
contracted for the painting of the Reredos at Reus, and some of
whose handiwork may not impossibly remain among the Retablos
still preserved in the cloister chapels of Barcelona Cathedral;
Gherardo d'Jacobo Starna (or Stamina), born at Florence in
1354, who before the end of the fourteenth century spent several
years painting in Spain; Dello. also of Florence, and a friend of
Paolo Uccello, who died somewhere about 1466-70;^ Rogel, a
Fleming, who painted a chapel at Miraflores in a.d. 1445; Jorge
Ingles (probably an Englishman), who was painting in Spain
circa a.d. 1450; Antonio Rincon,- who was born at Guadalajara
in 1446, studied under Ghirlandaio for a time, and. subsequently
residing at Toledo, painted in a.d. 1483 the walls of the old
sacristy, and died circa 1500, with tlie reputation of being the
painter who had most contributed to the overthrow of the
medieval style; finallv,-Juan de Borgona, who may be men-
tioned as one of the latest and greatest of the earlier school, and
almost the only one of tliem whose known works are still to be
seen. His great work appears to have been a series of paintings
round the cloister of Toledo Catliedral, whicli have all been

1 Tho paintines at I.( ou st;f m to me to be such as one might expect at
the hands of Dillo D^ Hi. He is said to have made Seville his place of
residence during th" niauy years that he sp'^nt in Spain. But the period
of his abode there is just that during which the paintings at Leon ■'.vere
executed.

-See the short account of these painters in Mr. Stirling's Annals of the
Artists rif Spain, \-'A. i. chap. ii.

GENERAL SUMMARY 257

destroyed; besides which he executed other works in the
sacristy^ chapter-house, and Mozarabic chapel there, and in the
Cathedral at Avila. The feature which strikes one the most in
these early works is the strange way in which sculpture and
painting are combined in the same work. The great Retablos
which give so grand an effect to Spanish altars are frequently
adorned with paintings in some parts and sculptured subjects in
others. The frames to the pictures are generally elaborate
architectural compositions of pinnacles and canopies, and con-
sequently the art is altogether rather decorative than pictorial
in its effect. Sometimes, when the altar is small, and the Retablo
close to the eye, this is not so much the case, and I have seen
many of the pictures in these positions look so thoroughly well
as to give a very high impression of the men who produced them.
They are almost all painted on panel, and, as might be expected,
on gold grounds. Old wall-paintings are comparatively rare:
I have seen no important series save that which I have described
at Leon, and of the later of these some at least appeared to me to
be extremely Florentine in their character.

This general review of the whole course and history of Spanish
art seemed to be necessary in order to give point and intelligil)le
order to the various descriptive notices which have been gi\en
in the previous chapters of this book. It is probable that some
of my readers may after all think that I have had but little
that was new to tell them. Possibly this may be so. The
history of art repeats itself everywhere in obedience to some
general law of progress; and it might have been assumed before-
hand that we should find the same story in Spain as in PVance,
Germany, or England. But the real novelty of my account is,
I take it, this — that whereas generally men credited Spain with
forming an exception to a general rule, my business has been
to show that, on the whole, she did nothing of the sort. Just as
we obtained a French architect for our Canterbury, as the
people of iMilan obtained one from (Germany for their cathedral,
as the architect of S. Mark at \'enice borrowed from the I^ast, as
he of Perigueux from S. Mark, as he of Cologne from Amiens or
lieauvais, so Spain profited, no doubt, from time to time, by tlie
example of her French neighbours. JJut at the same time she
formed a true branch of art for herself, and one so vigorous, so
noble, and so worthy of study, that 1 shall l)e disappointed
indeed if her buildings are not ere long far more faniiiiur tlian
they now are to P'.nglish ecclesiologists.

I think, too. that the occasional study of anv ancient school

II K

258 GOTHIC ARCHITECTURE IN SPAIN

of architecture is always attended with the best possible results
to those who are themselves attempting to practise the same
art. It recalls us, when necessary, to the consideration of the
points of difference between their work and ours; and thus,
by obliging us to reconsider our position, may enable us to see
where it is defective, and where the course we are pursuing is
evidently erroneous. I have already noticed incidentally, in
more than one place in this work, the noble air of solidity which
so often marks the early Spanish buildings; I need hardly say
that in these days none of us err on this side, and that in truth
our buildings only too often lack even that amount of solidity
which is necessary to their stability. And this leads me natur-
ally to another questionable feature in modern work, which is
to a great extent the cause of our failing in the matter of solidity.
These noble Spanish buildings were usually solid and simple;
their mouldings were not very many, and their sculptures were
few, precious, and delicate. • There was little in them of mere
ornament, and never any lavish display of it. Sculpture of the
human figure was but rarely introduced, and whatever sculpture
there was, was thoroughly architectural in its character. How
different is the case now ! Hardly a church or pubhc building
of any kind is built, which — whate\'er its poverty elsewhere —
has not sculpture of foliage and flowers, birds and beasts, scat-
tered broadcast and with profusion all over it. However bad the
work, it is sure to be admired, and as it is evidently almost
always done without any, or with but little interference of the
architect, he is often tempted to secure popularity for his work
in this easiest of ways. I know buildings of great cost which
have been absolutely ruined in effect by this miserable practice;
and I know none in the middle ages in which so much carved
work has been introduced, as has been in some of those which
have recently been erected. I believe it to be a fact that more
carving — if the vulgar hacking and hewing of stone we see is to
be called carving — has been done in England within the last
twenty years than our forefathers accomplished in any fifty
years between a.d. uoo and 1500! And I believe equally that,
if we limited ourselves to one-tenth of the amount, there would
be more chance of our having time to think about it and to
design it ourselves.

•The same misfortune that has befallen us with foliage will
soon befall us with figures. It has suddenly been discovered that
every architect ought to be able to draw the human figure, and
soon, I fear, we shall see it become the fashion to introduce

GENERAL SUMMARY 25q

figures without thought or value everywhere. If men would but
look at some of our own old buildings, they would see how great
is still the work which has to be done before we understand how
to emulate the merits of those even among them which have no
sculpture of any kind in their composition, and how great the
architect may be who despises and rejects this cheap kind of
popularity.^ And they ought to take warning, by the compari-
son of old work and old ways of working with new, of those too
attractive but most dangerous schemes for seducing them from
the real study of their art into other paths, certain, it is true, of
popularity, but full of snares and pitfalls, which, as we see on all
sides, entrap some of those even who ought to have been aware
of their danger.

Sculpture in moderation is above everything beautiful. Sculp-
ture in excess is very offensive. These Spanish churches
teach us this most unmistakably if they teach us anything
at all; and as the main object of the study of ancient art —
the main object of those who wish to " stand in the old ways
where is the truth "—is to derive lessons for the present and
future from the practice of the past, I am sure that, in applying
the results of my study of Spanish art in the warning which I
here very gravely give, I am only doing that which as an artist
I am bound to do, if I care at all for my art.

NOTES

(i) There is, however, a paralleHsm in the changes that, for
instance, Moorish capitals went through, century by century,
curiously like the contemporaneous development of Gothic. I had
better admit, moreover, explicitly, what Street implies not very
clearly, a Mudejar type of church architecture in brick, most easilj^ to
be studied about Zaragoza and Sagahun.

(2) Santa Cruz de Cangas (in Asturias, to be readied from Oviedo)
was rel)uilt in 1C32, and is abandoned at present.

(3) The ancient Romanesque church of S. John Evangelist at
Santiafies de Pravia was completely restored a few years ago. Don
Silos was king in Pravia 774-783; he brought back from .Merida,
and enshrined, bones of Santa Kulalia.

(4) In Asturias, San Pedro (h; Villanueva, of the twelfth century,
'llic ( luircii rttaiiis only the head and the portal, the rest luing

' 1 venture to rff,'ard the stern simplicity of Mr. Buttcrfiold's noble
cliurcli of S. .Ml);!!! as iiis silent protest against the vulgarity in art to
which I lierc refer. Without any sculpture, this church is from first to
last the work of a f^reat master of his art, and one for which his brother
artists owe him a great deht of gratitude.

26o GOTHIC ARCHITECTURE IN SPAIN

remade in 1687 and the three aisles thrown into one. It has three
semi-circular apses opening together and historied capitals; three
arches on coupled columns, with Attic bases and very simple leafage,
are the remains of the entrance to the chapter-house.

Santa j\Iaria de Villamayor keeps a magnificent semi-circular apse
with a blind arcade inside below, and a great sanctuary arch. It is
certainly of the thirteenth century: the capitals have grand leaves.

San Antolin de Bedon, built by Abbot John or James, 1175 or
1 176, is Romanesque in type, with pointed arches and a groined
vault in the crossing. It has three aisles, a transept and a lantern,
and three semi-circular apses of rough masonry, with lines of ashlar.
It sounds rather fine and is perfectly accessible from the railroad
between Santander and Gijon.

Sandoval, in I.eon, a Cistercian foundation of 1 167, has three rich
parallel apses with fine clustered shafts, and two columns in the
jambs of the moulded windows. The aisles are very high, the main
arcade and aisle vaults pointed, the transepts short and high with
gables; the nave has a barrel-vault carried on engaged Romanesque
shafts, and was finished westward in the fifteenth century. A
pointed door in the tran.sept has Romanesque mouldings.

(5) History and style both show this influence to have been
Burgundian.

(6) Sefior Lamperez says that San Alartin of Segovia is unique in
this — but the aisles are about of a height.

(7) It might be better to say that Zaragoza created a regional
style, and from it are derived the Collegiata of Santa Maria at Cala-
tayud, the cathedral of Tarazona, and that of Terucl as far as tlie
transepts.

(8) This is no longer quite true; the rebuilding of Ripoll and
r(>pairing of Santa Maria la Blanca in Toledo, for instance, have
talsificd the evidence beyond remedy. Still, on the whole, Spain has
suffered less wanton Avrong than either {"ranee or Italy.

CHAPTER XXI

THE SPANISH ARCHITECTS OF THE MIDDLE AGES

The history of the architects of the middle ages has never been
written, and so few are the facts which we really know about
them, that it may well be doubted whether it ever can be. Yet
were it possible to do so, few subjects would be more interesting.
To me it always seems that the most precious property of all
good art is its human and personal character. I have always
had an especial pleasure in tracing out what appear to be such
similarities between different buildings as seem to prove, or at
least to suggest, that they were designed by the same artist : for,
just as in painting a work becomes far more precious if we know
it to be really the handiwork of a Giotto or a Simone Memmi, so
in the sister art a building is far more precious when we know it
to be the work of an Elias of Dereham, an Alan of Walsingham,
or an Eudes de Montreuil; and if we are able, as in their case, to
start with the knowledge that certain men did certain works, the
interest of such investigations is at once manyfold enhanced.

This is precisely the point at which we have now arrived in
regard to Spanish buildings; for the notices of their architects
which I have given in various parts of this book are so numerous
that I think I shall do well to collect them together in their
order; and to sum up, as much as one can learn from the docu-
ments relating to them, as to the terms on which they carried on
their work, and generally, indeed, as to the position which they
held.

In the earliest period, and just when any information would
have been more than usually interesting to us, I have been able
to learn next to nothing of any real value as to the superin-
tendents (jf .Spanish buildings.

One of the first notices of an arcliitect is that contained in
an inscription in San Isidoro, Leon, to the memory of Petrus de
Deo, of whom it was said, " l^rat vir miric abstinentiic, et multis
florebat miraculis; '" and, what is even more to our purpose, he
is said to have built a Ijridge. He " supera'dificavit '" the church
of San Isidoro, and, from the reference to his saintly life, one is
inclined to suspect that he must have been a priest and probably

2bi

262 GOTHIC ARCHITECTURE IN SPAIN

a monk; if so, it is important to note the fact, inasmuch as
almost all the other architects or masters of the works referred
to in all books I have examined, seem to have been laymen, and
just as much a distinct class as architects at the present day are.
The expression " superaedificavit " does not tell us much as to
the exact office of Petrus de Deo; but the next notice of an
architect is not only one of the earliest, but also one of the most
curious; this is in the contract entered into by the Chapter of
Lugo with their architect Raymundo of Monforte de Lemos,
in A.D. 1 129; and from the terms of his payment, which was to
be either in money or in kind, it is clear that, whatever his
position was, he could not leave Lugo, but was retained solely
for the work there. The terms of the contract are very worthy
of notice, and may be compared with some of the similar agree-
ments with the superintendents of English works, who frequently
stipulated for a cloak of office and other payments in kind,
though I doubt whether we know of any English contract of so
early a date. It is clear from the payment of an annual salary,
and an engagement for the term of his life, that Maestro Ray-
mundo was distinctly an architect, not a mere builder or con-
tractor; it seems that he was a layman, and that his son followed
the same profession. The title given him in the contract,
" Master of the works," is, as we shall find, that which in course
of time was usually given to the architect; though I am not
inclined to think that it makes it impossible that he should also
have wrought with his own hands. Indeed, the very next notice
of an architect is of one who certainly did act as sculptor on his
own works. This was Mattheus, master of the works at Santiago
Cathedral. The warrant issued by the king Ferdinand II., in
A.D. 1 1 68, granted him a pension of a hundred maravedis annu-
ally for the rest of his life,^ and, though the amount seems to be
insignificant, the fact of any royal grant being made proves, I
think, not only the king's-sense of the value of a fine church, but
also somewhat as to the degree of importance which its designer
may have attained to, when he was recognised at all by the
king. On the other hand, when twenty years later the same
man (no doubt) wrote his name exultingly on the lintels of the
church doorway, which was only then at last finished,^ there
can be no doubt that he had been acting there both as sculptor

' See Appendix. The maravedi was, I believe, a more valuable coin
then than it is now, so that it is difficult to say what amount of money at
the present day this grant really represents.

This inscription is referred to in Vol. I., p. 192.

ARCHITECTS OF THE MIDDLE AGES 263

and architect: and if, from a modern point of view, he lost
caste as an architect, he no doubt gained it as an artist; and even
now, if one had to make the choice, one would far rather have
been able honestly to put up one's name as the author of those
doorways, than as the builder of the church to which they are
attached. It will be noticed that here, just as at Lugo, the
master of the works was appointed at a salary for his lifetime,
and held his office precisely in the same way as do the surveyors
of our own cathedrals at the present day.

Much about the same time, in a.d. 1175, a most interesting
document was drawn out, binding one Raymundo, a " Lam-
bardo," ^ to execute certain works in the cathedral at Urgel, in
Cataluna. It is very difficult to say whether this Raymundo
was the architect and builder, or only the builder, of the church,
though I incline to believe he was both. He was to complete
his work in seven years, employing four " Lambardos," and, if
necessary, " Cementarios,"' or wallers, in addition; and in return
he was to be paid with a Canon's portion for the rest of his life.
The mode of payment, the engagement for life, and the fact
that there is no mention whatever of any materials to be provided
by Raymundo, as well as the absence from the contract of any
reference to a master of the works, lead, I think, to the conclu-
sion that he was in truth the architect, but that he also super-
intended the execution of the works, and contracted for the
labour. -

' I do not know the meaning of this term: it is evidently the name of a
trade or calling, and probably corresponds with " masons," as distinguished
from "wallers;" the two terms, "Lambardos" and "Cementarios,"
being used somewhat in opposition to each other.

Cementarius is one of the earliest terms used in documents referring to
English buildings, and no doubt would be properly translated by the word
" mason; " but in the case of the Urgel contract, it seems there were to
be several " Lambardos," and, as " Cementarios " were only to be employed
if absolutely necessary, there must have been some distinction between
them, which was more probably of grade or degree than of profession.
Possibly the " Lambardos " may have been members of a guild, " Cemen-
tarios " common masons.

■•'This contract is given by Don J. \'illanueva, Viagc IJterario a las,
If^lcsias de Kspana, i.x. 298-300. I extract from it the parts wliieh arc
especially interesting: —

" Ego a. Dei Gratia Frgellensis ejiiscopus, cum consilio et comuiii
vohmtate omnium canonicoruni I'rgellcnsis ecclesiae, commendo til)i
Raymundo Lambardo opus beatae Mariae, cum omnibus rebus tarn
mobilibus quam immobilibus, scilicet, mansos, alodia, vineas, census, et
cum oblationibus oppressionum et penitentialium, et cum elcmosinis
fidelimn, et cum numis clf-ricorum, et cum omnil)us illis, quae hucusque
vel in antea alifjuo titulo videntur spectasse sive spectare ad prepliatum
f)pus beatae Mariae. Et preti rea damns tibi cibum canoniealem in onmi
\'ita tua, tali videlicet pacto, ut tu fideliter et sine omni enganno elaudas

264 GOTHIC ARCHITECTURE IN SPAIN

The next notice I find of an architect is in a.d. 1203, when
the architect of Lerida Cathedral, one Pedro de Cumba, is
described as " Magister et fabricator," and there can be no doubt,
therefore, that he not only designed butexecuted the work, which,
as we go on, we shall find to have been a not very uncommon
custom; but it is rare, nevejtheless, to see this title of " Fabri-
cator " given to the architect, who is usually " Magister operis,"
and no more;^ as, indeed, we see in the case of the successor

nobis ecclesiam totam, et leves coclearia sive campanilia, unum filum super
omnes voltas, et facias ipsum cugul bene et decenter cum omnibus sibi
pertinentibus. Et Ego R. Lambardus convenio Domino Deo, et beatae
Mariae, et domino episcopo, et omnibus clericis Urgellensis ecclesiae, qui
mode ibi sunt, vel in antea erunt, quod hoc totum, sicut superius scriptum
est, vita comite, perficiam ab hoc presenti Pascha, quod celebratur anno
dominicae incarnationis M.° C.° LXXV.°, usque ad VII. annos fideliter, et
sine omni enganno. Ita quod singulis annis habeam et teneam ad servitium
beatae Mariae, me quinto, de Lambardis idest IIII. lambardos et me,
et hoc in yeme et in estate indesinenter. Et si cum istis potero
perficere, faciam, et si non potero addam tot cementarios, quod supra
dictum opus consumetur in prephato termino. Post VII. vero annos,
cum iam dictum opus, divina misercordia opitulante, complevero, habeam
libere et quiete cibum meum dum vixero, et de honore operis et avere
stem in vohmtate et mandamento capituli postea. Preterea nos, tam
episcopus, quam canonici, omnino prohibemus tibi Raymundo Lambardo,
quod per te, vel per submisam personam, non ahenes vel obliges aliqua
occasione quicquam de honore operis, quae modo habet, vel in antea
habebit. De tuo itaque honore, quem nomine tuo adquisisti, et de avere,
fac in vita et in morte quod tibi placuerit post iUud septennium. Si forte,
quod absit, tanta esterilitas terrae incubuerit, quod te nimium videamus
gravari, liceat nobis prephato termino addere secundum arbitrium nostrum,
ne notam periurii incurras. Sed aliquis vel aliqui nostrum praedictam
relaxationem sacramenti facere tibi non possit, nisi in pleno capitulo,
comuni deliberatione et consensu omnium. Et quicquid melioraveris in
honore operis, remaneat ad ipsum opus. Si vero pro melioracione honoris
operis oporteret te aliquid impignorare vel comutare, non possis hoc facere
sine consilio et conveniencia capituli. Juro ego R. Lambardus, quod hoc
totum, sicut superius est scriptum, perficiam, et fidelitatem et indempnita-
tem canonicae beatae Mariae L'rgellensis ecclesiae pro posse meo, per Deum,
et haec sancta evangelia=Sig + num R. Lambardi, qui hoc iuro, claudo
ct conf\rmo = Sig -\- num domni ArnaUi Urgellensis episcopi," etc., etc.
^ E.g. at San Cristobal de Ibeas —

Era M. C. LXX.

Fuit hoc opus fundatum

Martino Abbate regente

Petrus Christophorus

Magister hujus operis fuit.

Or another at Ciudad Rodrigo —

Aqui yace Benito Sanchez,

Maestro que fue de esta obra, e

Dios le perdone. Amen.

So too the inscription given in Vol. I., p. 325, of the architect of Toledo.
The same term was used extensively at the same time over the greater
part of Europe.

In France we have these among others: — " Ci git Robert de Coucy,

ARCHITECTS OF THE MIDDLE AGES 265

of Pedro de Cumba, one Pedro de Penafreyta, who is described
on his monument by this title only.

In the thirteenth century we have the names of several
architects, but nothing more than their names; and the only
point which seems worthy of special note is that, so far as I can
learn, none of them were ecclesiastics; whilst, from first to last,
I have found no reference to anything like freemasonry. Indeed,
on both these points, the histor}^ of Spanish architects seems
to be singularly conclusive; and there can be little doubt that
they carried on their work entirely as a business, and always
•under very distinct and formal engagements as to the way in
which it was to be done.

In the fourteenth century the earliest notice is that contained
in an order of the king, in 1303, dated at Perpifian, and directed
to his lieutenant in Mallorca, requiring him to go at once " cum
Magistro Poncio " to Minorca, to arrange about the building a
town hall, which the king wishes to have built with round
towers, " sicut in muro Perpiniani; " and two years later the
king writes again, " Item audivimus turrim nostram Majori-
carum, ubi stat angelus ictu fulgens fuisse percussam et aliquan-
tulum deformatam. Volumus quod celeriter sicut magister
Poncius et alii viderint faciendum celeriter restauretur." ^ Here
it is, to say the least, doubtful whether Master Ponce was archi-
tect and adviser only, or also the mason who was to do the work.
But this could not have been the case with the two architects
of Narbonne, employed in the rebuilding of the cathedral at
Gerona, one of whom was appointed in a.d. 1320-22 at a salary
of two hundred and fifty sueldos a quarter, and under agreement
to come from Narbonne six times a year. Here, whilst the old
plan of making the architect enter into a kind of contract is
adhered to, we seem to have a distinct recognition of a class of
men who were not workmen, but really and only superintendents
of buildings — in fact, architects in the modern sense of the word.

Maitre de Notre Dame et de Saint Nicaise, qui trepassa I'an 131 1." In
A.D. 1251, at Rouen, " Walter de St. Hilaire, Cementarius, magister opcris,"
is mentioned; and in a.d. 1440, in the same city, we have this inscription:
" Ci git .M. Alexandre de Berneval, Maistre des Qiuvres de Massonerie au
Baillage de Rouen et de cottc eglise." In Italy the same term was
connnonly used, as, e.g., in the Baptistery at Pisa, which has the inscrip-
tion, " Deotisalvi magister hujus operis; " and again in the church at
-Mensano near Siena, which has " Opus quod videtis Bonusamicus magister
fecit." But in England, according to Mr. Wyatt Papworth, who has
devoted much pains to the elucidation of the subject, the term " Master
of the works " appears to be very seldom employed, and sometimes of the
officer called the " operarius " iu Spain, rather than of the architect.
' Villaiiucvu, I'iai^c lit. .\.\i. :o6.

266 GOTHIC ARCHITECTURE IN SPAIN

About the same time, Jayme Fabre (or Fabra), a Mallorcan,
seems to have been one of the greatest architects of his day, and
to have given a very important impulse to the principal pro-
vincial development of architecture of which we see any evidence
in Spain — that of Catalufia. From a contract entered into in
A.D. 1 318, between him and the Superior and brethren of the
convent of Santo Domingo at Palma, in Mallorca, it seems that
he was bound by an older agreement to execute the works of
their church; and that he then promised to come back whenever
required to Palma, from Barcelona, whither he was going to
undertake another work at the desire of the king and the
bishop. This " other work " was the cathedral, and here we
know that Fabre was employed till a.d. 1339, when he and the
workmen ^ of the church put the covering on the shrine which
contained the relics of Sta. Eulalia, in the crypt. It is impossible
to read the account of the completion of the shrine of Sta. Eulalia
at Barcelona without feeling that Fabre superintended a number
of masons, and acted in fact as their foreman, though this is no
reason whatever why he should not also have designed the work
they executed. He seems to have carried on the two works at
Barcelona and Palma at the same time; for, on the 23rd June,
A.D. 131 7, a year only after his agreement with the convent of
Santo Domingo at Palma, he was appointed master of the works
of Barcelona Cathedral, with a salary of eighteen sueldos each
week, and payment of his expenses on his voyages to and from
Mallorca. Soon after this time, in a.d. 1368, the fabric rolls
of the cathedral at Palma, in Mallorca, record the name of
Jayme Mates, who was " Maestro Mayor " of the work at Palma,
and had a salary of twenty pounds a year, besides six sueldos a
day for the working days, and two for festivals. -

In the same year we have the very interesting contract
between the Chapter of San Feliu, Gerona, and Pedro Zacoma,
the master of the works of the steeple; by this, it seems, he did
not contract for the work, but had permission to employ an
apprentice on it, and he was not to undertake any other work
without the consent of the " Operarius," or Canon in charge of
the works, save a bridge on which he was already engaged. He
was to be paid by the day, with a yearly salary in addition. I
have given the contract at p. no of this volume. Zacoma is

' Fabre is spoken of in the inscription on the shrine as Jacobus " Majori-
carum, cum suis consortibus." ,

- These fabric rolls contain the name s of .Martin Mayol, G, Scardon,
Hernardo Desdons, and Jaymr Policrr, as painters of pictures between
A.D. 1,527 and 1339.

ARCHITECTS OF THE MIDDLE AGES 267

called in it the " Master of the work of the belfry." He must
ha\-e been employed constantly at the church, or it would not
have been necessary to prevent his undertaking other works;
and in such a building a man could hardly have been constantly
employed without absolutely working as a mason.

It may be thought that the " Operarius " was the real archi-
tect; but I find, at this time, that most collegiate and cathedral
churches had a Canon whose special duty it was to make arrange-
ments with the master of the works. Sometimes they are called
" Canonigos fabriqueros/' at others " Obreros," or else, as in this
case, " Operarii." Some examples of the apphcation of these
terms may be given to prove what I say: — In a.d. 1312, for
instance, the Chapter of Gerona appointed two of their own
body — one an archdeacon, the other a Canon — to be the obreros
of their works. ^ In a.d. 1340 the " Operarius " was gathering
alms in Valencia and the Balearic Isles for the works at Gerona
Cathedral.''^ In an inscription of a.d. 1183, at S. Trophime at
Aries, Poncius Rebolli is called " Sacerdos et operarius; " at
Palencia, in a.d. 1321, there was an " Obrero," or Canon in
charge of the works, as he is described by Davila.^ In the
inscription on a stone in the choir of Lerida Cathedral,* the two
offices of the " operarius "' and the " magister et fabricator " are
contrasted, and the double office of the latter seems to make it
impossible that the former can have been the architect. The
fabric rolls of Exeter Cathedral contain, in a.d. 1318, a payment
to the " Custos operis " for the adornment of the high altar: and,
no doubt, he held the same post as the Operarius in Spain.

At the end of this century Juan Garcia de Laguardia was
named " Master-mason " of the kingdom of Navarre, by a royal
writ, at the wage of three sueldos a day. His title adds another
to those already mentioned.

In A.D. 1 39 1 Guillermo Colivella undertook to make twelve
statues of the apostles, at Lerida, at the price of 240 sueldos
for each statue; and subsequently, in a.d. 1392, he is styled
" Magister operis " of the see of Lerida, and " Lapicida,'' and he
had the superintendence of the stained glass windows which Juan
de San Amat was making for the apses of the church, with the
stories of the apostles.^ He was evidently, I think, a builder,

' See p. 93. '' See p. no. ' See Vol. I., p. 69. ■* See p. 130, note 3.

'■ \illanueva, Viage Lit. a las Iglestas de Espana, xvi. 99, says that
" Lapicida " does not really mean a cutter of stones, whicii would be
described as " pica petras." In vol. xxi. p. 107, however, he speaks of
" Lapicida " as the Latin ttrni correspond inj,' to " i)iraiiedres " in the
vulgar tongue; and he says sculptors of figures calk-d themselves
" Iniagin,i\ re>."

268 GOTHIC ARCHITECTURE IN SPAIN

and y£t held very much the office of a modern architect as super-
intendent of the whole work. Jayme Fabre describes himself as
" Lapicida," but was also the " Master of the fabric " at Barce-
lona; whilst Roque, who succeeded Fabre at Barcelona^ was
also called master of the works only, and received three sueldos
and four dineros a day, besides a hundred sueldos a year for
clothing.

Just about this period we have what appears to be a rather
important reference to the separate offices of the architect
and builder in the same work; for it seems that during the
construction of the tower of the cathedral at Valencia, one
Juan Franck acted as architect, with a succession of men as
builders and contractors under him.^ I confess I do not adduce
this example with much confidence, inasmuch as one of them
was Balaguer, whose mission to Lerida has already been
mentioned, and who is moreover termed, in a contemporary
document, an " accomplished architect."

In the fifteenth century, the notices of architects are more
numerous, and their position becomes much more clearly
defined.

In A.D. 1410 a contract was entered into by one Lucas Ber-
naldo de Quintana — master mason, as he is called in it — for the
rebuilding of the church at Gijon in the Asturias. In this
contract '^ there is no reference of any kind to plans, or to a
directing architect or superintendent of any kind; but the
dimensions and form of the building are all carefully described
in such a way as to lead to the conclusion that the notary who
drew up the contract had some sort of plan before him. It is
said, for instance, " that the church is to be twenty- five yards
long by twelve and a half wide, with three columns on each
side, three vaults each with three ribs crossing them, and all the
arches, pilasters, etc., as well as the door (which is to be twelve
and a half feet high by- eight wide), to be of wrought stone.
There is to be a turret for two bells over the door, etc." " Item,
the ' master ' is to be allowed to use the materials of the old
church." The contract was entered into on March 10, 1410, and
the key of the building was to be delivered up on the ist of May,
141 1, and finally two sureties were bound with the contractor.
The whole deed is so very formal and careful in its terms, that
there can be no doubt that Quintana acted as architect as well

1 See p. 8.

'■'The contract is given at length by Cean Bermudez, Arq. de Espaiia,
i. 257-261.

ARCHITECTS OF THE MIDDLE AGES 269

as builder, for otherwise the name of the architect would
necessarily have been mentioned.

It was in a.d. 141 5 that the Valencian authorities sent their
architect on a tour of inspection among church steeples in Cata-
luiia, and as far as Narbonne, on the other side of the Pyrenees,
in order that they might be sure of a good design for their own ;
but this is a very rare, if not a unique, instance of such a
proceeding. In the year following the Junta of Architects was
assembled at Gerona, and we have in it the first example of that
habit so common in this day, of consulting bodies of men, instead
of trusting in one skilled man, which from this time forth seems
to have been extraordinarily popular in Spain. Incidentally,
the records of the proceedings of this Junta are valuable, as
gi\'ing the names of many architects and the works on which
they were then engaged; but they are still more valuable as
showing how decided and independent of each other in their
opinions these men were. All of them probably were archi-
tects; but it is observable that all but two call themselves
" Lapicidae; " that two of them held somewhat inferior offices
— one being the " Socius " of the magister operis, and the other,
" Regens," in the place of the master. Another is " Magister
sive sculptor imaginum; " and two only — Antonino Antigoni
and Guillermo Sagrera — call themselves masters of the works.
Their answers seem to prove that they were all men of consider-
able intelligence, but at the same time generally disposed,
just as a similar body would be now, to declare rather for the
usual than the novel course. It is to their credit that they
all maintained the perfect practicability of the work proposed,
and the judgment of the Chapter seems to have been as much
influenced by economical considerations as by artistic, seeing
that a majority of the architects decided against the proposed
pl;m on artistic grounds, whilst some of them said that it would
certainly be the least costly. It was intended at first that two
of the architects consulted should be asked to prepare a plan for
the work; but this does not seem to have been done after all.
the plan of the master of the works at the cathedral having l:)een
agreed to and carried into execution.

There cannot be a shadow of doubt that at the beginning of
the fifteenth century most of the superintendents of buildings, in
Catalufia at any rate, were sculptors or masons also. Their
own description of themselves is conclusive on this point; at the
same time their answers are all given in the tone and style of
architects, and it is f)uite certain tluit , had there been a superior

270 GOTHIC ARCHITECTURE IN SPAIN

class of men — architects only in the modern sense of the word —
the Dean and Chapter would have applied first of all to them.
The answers which these men gave ought to be carefully read, as
they are valuable from several points of view. Several of them
seem to speak of some recognised system of proportioning the
height of a building to its width; one of them suggests using
light stone for the vaulting; and another, Arnaldo de Valleras,
was evidently anxious to supplant the existing master of the
works, and announced what he would do if the works were
intrusted to him. I cannot help thinking that they had before
them the plans of Guillermo de Boffiy, and that the similarity
of the suggestions made by some of them as to the position
of the windows and the proportions of the work are to be taken
as an evidence of their desire to affirm what he had proposed.

In the same year in which this Junta of architects assembled
at Gerona, one of their number — Guillermo Sagrera — was acting
as the architect of the church of S. John, Perpiiian, a building
which is still remarkable for the enormous width of its nave.
Ten years later he contracted for the execution of the Exchange
at Palma, in Mallorca, according to plans which he presented,
and upon certain specified conditions, from which it appears
very clearly that Sagrera was both l)uilder and architect, being
bound to find scaffolding and all materials. The only difference
one can see between Sagrera and an ordinary builder or con-
tractor of the present day is, that he presented the plans himself,
and that there is no trace whatever of any architect or superin-
tendent over him. It is doubted by some whether this mixture
of the two offices of builder and architect was ever allowed in the
middle ages; but this agreement (of which I give a translation
in the Appendix) is conclusive as regards this particular case,
and we ma}' be tolerably sure that such a practice must have
been a usual one, or it would hardly have been adopted in the
case of so important a building.

Sagrera seems to have remained a long time at Palma, but
having quarrelled with his employers there, and his dispute
having been carried before the King of Aragon, at Naples, for
settlement, the completion of the work was intrusted to one
Guillermo Vilasolar, '' lapicida et magister fabricse," who bound
himself on March 19th, a.d. 1451, to complete the works which
had been commenced. Two of the clauses in this agreement
are worth quoting; they are as follows: —

I St. " That I, the said Guillermo Vilasolar, am bound to
execute within the next toniinu vear all the traceries and termina-

ARCHITECTS OF THE MIDDLE AGES 271

tions of cornices which I have to make in the six windows of the
said Exchange of Felanix stone, in the following form:^ — The
traceries of two of the said windows according to the design which
I have delivered to you, and the traceries and the cornices of the
remaining four windows just as they were commenced by Master
Guillermo Sagrera, formerly master of the fabric of the said
Exchange; which traceries and cornices of all the said six
windows I am bound to make entirely at my own cost, with all
necessary scaffolding, stone, lime, gravel, and wages for the
complete finishing of tlie said traceries and cornices.

" Item. — That for making all the said traceries and cornices
as descrilied, in the said six windows, you, the said honourable
guardians, shall be bound to give and pay of the goods of the
college to me, the said Guillermo Vilasolar, two hundred and
eighty pounds of Mallorcan money in the following way, viz.:
fifty pounds down, and the remainder of the said two hundred
and eighty pounds when the said traceries and cornices to the
said six windows shall have been executed."

So that here again, just as in the case of Guillermo Sagrera,
we have a mason contracting for his work, and himself making
the drawing according to which it is to be done.

After his quarrel with the authorities at Palma, Sagrera seems
to have undertaken work for the King in the Castel Nuevo at
Naples, for which he used stone from Mallorca, and where he
was styled " Proto-Magister Castri Novi.'' His work at Palma
seems, from the accounts I have been able to obtain, to have
much resembled that of the Lonja at Valencia, which I have
described and illustrated in this work.

In A.D. 1485, when Calahorra cathedral was rebuilt, an archi-
tect seems to have been so formally appointed, that the words
used appear to me to be quite worth transcribing here: " Mier-
coles a ocho dias del mes de junio, aiio a nativitate Domini,
millessimo quatorcentessimo octuagessimo quinto coepit ;Edifi-
cari Capella mayor S. Marine de Calahorra. Composuerunt
primuin lapidem Johannes Ximenes de Enciso decanus, et Petrus
Ximenes archidiaconus de V'erberiego, et ego Rodericus Martini
Vaco (ie l'>ncis(), canonicus ejusdem ecclesiic, et artium et theo-
logiic magister, dedi duplam unam auri in auro, dicens ha-c verba
magistro Johanni .x'difiratori principali pnedictic (apclhc: acci-
piteinsignum \'estri lal)oris, et en |)r<)testationcm. cjuod Dominus
Deus ad cujus gloriam et honorem ecilesia et ('a])t'lla ista luiuiari
in(i[)it, implchit, residuum ad prcf'cs glorios;!' X'irL'inis Maria'
matris sua-, et Sanctorum inartiruni lleinelerij et (aU'ddiiij,

272 GOTHIC ARCHITECTURE IN SPAIN

in quorum honore fundata est ecclesia. In quorum testimonium
supradicta manu propria subscripsi. Rodericus artium et
theologise magister."

It is remarkable that in the case of so important a city as
Seville there is no mention of an architect to the cathedral before
A.D. 1462, in which year Juan Norman was appointed, with
Pedro de Toledo as assistant (" aparejador ") till a.d. 1472, when
the Chapter appointed three " Maestros Mayores " or principal
masters, to the end that the work might go on faster: but it
seems, as might be expected, that these men were none of them
architects, for in a.d. 1496 the archbishop, being at Guadalajara,
was persuaded that it was not well to trust such ill-informed
persons, as their employment would end in loss to the fabric^ and
so he called in one Maestro Jimon, who went to Seville and was
made Maestro Mayor until a.d. 1502.

The works at the Parral, Segovia, a.d. 1472-94, afford another
example of an architect acting also as contractor for the work;
and about the same time a monk of this convent, Juan de
Escobedo, superintended the repair of the aqueduct, and was
afterwards sent to the Queen (Isabella) to report to her on the
state of various buildings in Segovia.

In 1482 Pedro Compte, of Valencia, said to be " Molt sabut en
Vart de la pedra/' was the architect of the Exchange at Valencia —
a building evidently copied to some extent from Sagrera's Ex-
change at Palma ; and at a later date he was employed upon some
water-works for the keeping up the waters in the Guadalaviar
at Valencia. He held the post of Maestro Mayor of the city,
with an annual salary. In him we seem to have not only an
architect and engineer, but one of so much character and influ-
ence as to hold important posts, being " alcaide perpetuo "
as well as Maestro Mayor of the city.

In the beginning of the sixteenth century the new cathedral
at Salamanca was commenced, but only after a vast amount of
consultation among architects. The King had to order Anton
Egas of Toledo, and Alfonso Rodriguez of Seville, to go to Sala-
manca and decide upon the plan for the church, and these two
men drew up a joint plan which they presented to the Chapter;
two or three years later, nothing having been done in the mean-
time, a Junta of nine architects was assembled, who jointly agreed
on a very elaborate report, detailing all the parts and propor-
tions of the church: and their report having been presented, the
Chapter forthwith proceeded to elect a master of the works. ^
' See the translation of these documents in the Appendix.

ARCHITECTS OF THE MIDDLE AGES 273

Rodrigo Gil de Hontafion was appointed; and by his will, dated
in May, a.d. 1577, it appears that he had a house rent free, as well
as his salary of 30,000 maravedis a year.^ He had also liberty
to undertake other works ; for, a few years later, he designed the
cathedral at Segovia, and by his will it seems that he had several
other churches in hand, in some of which it is evident that he
acted as contractor, as he complains bitterly of the difficulties he
had been put to by the large sums he had paid for the work at the
church of San Julian at Toro, without being repaid by the autho-
rities. It is remarkable that the works at Salamanca were
examined from time to time by two architects, who reported
whether Hontaiion was following the instructions laid down for
his guidance by the Junta, and this supervision rather leads to
the inference that the design was not made by Hontafion, but
prepared for him; and that it was necessary, as it is nowadays,
to employ some one to see that he executed his work properly.
The curiously exact terms of the report of the Junta, which
specifies the height, thickness, and proportions of all the walls
in the church, could not have been adopted as they are unless
the Junta had some plans before them when they drew up their
report, and on the whole I think it probable that the plan which
Egas and Rodriguez prepared formed the basis on which they
proceeded. This plan is still said to be preserved in the archives,
and it would be very interesting to see how far it agrees with
the church which has been erected.^

But, on the other hand, there is a report upon the state of the
works in a.d. 1523, given by Cean Bermudez, which tends to
confirm Hontaiion's position as a real architect.^ It is signed by
three architects, Juan de Rasinas, Henrique de Egas, and Vasco
de la Zarza. They go into the question of the height to which the
vaults ought to be carried, they say the walls are built properly,
and,finally,that they were shown a plan of Juan Gil deHontafion's
for some alteration of the work, and that in their opinion it is
good, and they have, therefore, signed it with their names.

There are other instances at this time of the assemblage of
Juntas of architects, of which one or two may properly be men-
tioned here; one of these was in reference to the Cimborio of
the cathedral at Zaragoza which fell in a.d. 1520, when a number

' Ttiis suMi would probably be equal to about £90 or £100 per aiinuin at
the |)reseiit (lay.

- Other plans still preserved in Spain are, the original design for the
church of San Juan de los Reyes, Toledo, and that for tlu; west front of
Barcelona Cathedral. I have tried in vain to obtain copies of these plans.

'■ .In/. i/(- I-'.s[>iina, i. 282-28,1.

II S

274 GOTHIC ARCHITECTURE IN SPAIN

of architects were at once called together to advise as to its
reconstruction; and again, in the same way, when the Cimborio
at Seville fell, in a.d. 151 i, several architects were consulted,
and after they had reported, one of them — Hontafion, the
fashionable architect of the day — was selected to manage the
execution of the work.^

At this late date we have, I believe for the first time, the
singular description of a man as " master maker of churches."
This occurs in the contract entered into by Benedicto Oger, of
Alio, for the erection of a church at Reus. From the terms of
the contract Oger seems to have been a mason : he was to have
three others with him, and was bound not to undertake any
other work. And if the authorities desired it they were to have
his work examined by another " master," though whether by one
of his own grade, or a superior man, does not appear.

Another contract of a somewhat similar kind was entered into
in A.D. 1518 by Domingo Urteaga for the erection of the church
of Sta. Maria de Cocentaina, in Valencia. He bound himself to
go with his wife and family to Cocentaina, where the town was
to give him a house rent free. He was to do all that a " master "
ought in the management of such a work, without attending to
other works, and was to receive each day for himself five sueldos,
and was to provide two assistants and two apprentices, the
former to have three sueldos each, and the latter one and a half.
He was to be every day at the work, having half an hour for
breakfast, and an hour for dinner in winter, and an hour and a
half in summer. Here again, though Urteaga was evidently only
a foreman of the works, there is no reference to any superintend-
ent or architect, and nothing is said about any plans which are
to be followed. I conclude, therefore, that in this case too the
foreman of the masons was really the architect.

In addition to the men I have here rapidly mentioned, there

^ We have accidental evidence of the fact that Hontafion was an archi-
tect, for the " Master of the Works " of La Magdalena, Valladolid, con-
tracted in A.D. 1570 to build the tower and body of ihe church according
to his plan for a specified sum. But it will be observed that the date of
this agreement is very late, and that, whilst the maker of a plan had
become an architect in the modern sense of the word, the Maestro Mayor
had descended to be, in fact, nothing more than the contractor for the
work, also in the modern sense. Somewhat in the same way we know
that when the lantern of Burgos Cathedral fell, in a.d. 1339, I'elipe de
Borgona was summoned from Toledo to superintend the two cathedral
masters of the works: from which it seems probable that they executed
the work which Borgona designed. So again at an earlier date, in a.d.
1.375, Jayme Castayls executed some statues for the west front of Tarragona
cathedral, under the direction of Bernardo de Vallfogona, the Maestro
Mavor.

ARCHITECTS OF THE MIDDLE AGES 275

were many others whose work was confined to the design and
execution of certain portions of buildings; such a one was
Berengario Portell, " lapicida " of Gerona, who in a.d. 1325
entered into a contract for the execution of the columns of the
cloister of Vique Cathedral, and who is commonly said to have
executed the columns and capitals for the cloister at Ripoll
also. Such, in later days, was Gil de Siloe, who both designed
and executed the monuments at Miraflores; and such, though
in a less eminent position, were the various wood-carvers, decora-
tors, painters on glass, makers of metal screens, and the like,
the names of a great number of whom are still preserved in the
volumes of Cean Bermudez.^

There is also another officer who ought not to be forgotten
here — the " aparejador " or assistant of the architect — clerk of
the works as we should call him. About his office there is no
doubt, but it will have been observed that some men who held
it — as e.g. Juan Campero — have at other times acted as archi-
tects or contractors, which is precisely what might be expected.

There are a few but not very important cases of competition
among artists recorded in the work of Cean Bermudez; but gener-
ally they seem to me to have been rather competitions for the
execution of work than for its design. Such, for instance, was
the competition for the execution of the monument of D. Alvaro
de Luna and his wife in Toledo Cathedral, when the design of
Pablo Ortiz was selected.^ Cristobal Andino is said to have
competed unsuccessfully with other men, in a.d. 1540, for the
execution of the iron screens of Toledo Cathedral. Cean Ber-
mudez speaks also of a competition among architects as to the
rebuilding of Segovia Cathedral; ^ but I doubt whether his state-
ment can be depended on.

The result at which we arrive after this resume of the practice
of Spanish architects is certainly that it was utterly unlike the
practice of our own day. Whether it was either better or worse
I can hardly venture to say; it seems to me, indeed, to be of
comparatively little importance whether an architect is paid as
of old by the year, or as now by a commission on the cost of tlie
works; probably the difference in amount is seldom serious;
but on the other hand it is possible that where special contracts
are made the sums paid are not always the same, and so the

' Bellas Artes en Espaiia. This cataloguo of artists includes those who
lived before the year 1500, the names of fifty sculptors, thirt\' pointers,
several silversmiths, workers in stained gl^i'^s, niid others.

- See Vol. I., p. 346. -^ See Vol. I., p. 258.

276 GOTHIC ARCHITECTURE IN SPAIN

absurd rule by which at present the best and the worst architect
both get the same amount of pay for their work is avoided;
one result of this rule is, that the architect of the highest repu-
tation, in order to reap the pecuniary reward to which he is
entitled, is tempted to undertake so much work that it is im-
possible for him to attend to half of it, and so in time, unless
he have an extraordinary capacity for rapid work, his work
deteriorates, and his reputation is likely to suffer.

The other old custom common in Spain — of architects con-
tracting for the execution of their own works — does not seem to
deserve much respect; yet one cannot but see that it was a
natural result of the universal feeling and taste for art which
seems to have obtained in the middle ages; and though it would
now certainly be mere madness to ask any chance builder to exe-
cute an architectural work, there are undoubtedly many builders
who are at least as well fitted to do so as are a large number of
those who, without study or proper education, are nevertheless
able, unchallenged by any one, to call themselves architects.

On the whole, then, it is vain to regret the passing away of a
system which is foreign to the nature and ideas of an artistic
profession such as that of the architects of England now;
though if these old men, whose art and whose interests pulled
opposite ways — seeing they were architects and contractors— did
their work so honestly that it still stands unharmed by time,
we may well take great shame to ourselves if the rules for our
personal respectability, about which we are all so jealous, are yet
in practice so often compatible, apparently, with a system of
shams and makeshifts, of false construction and bad execution, of
which these old architect-builders were almost wholly guiltless.

The questions between ourselves and them, when simply stated,
are these — Whose work is best in itself, and whose work will
last the longest? If these questions cannot be answered in our
favour, then it is absurd to protest vigorously against the prac-
tice which we see pursued by such men as Juan Campero, Martin
Llobet, Juan de Ruesga, Guillermo Sagrera, or Pedro de Cumba,
and we shall do well to admit, whenever necessary, that he is
the best architect who designs the best building, whatever his
education; though it is undoubtedly true that he is most likely
to be the best architect who is the best taught, the most refined,
and the most regularly educated in his art.

It is often, and generally thoughtlessly, assumed, that most of
the churches of the middle ages were designed by monks or
clerical architects. .So far as Spain is concerned, the result at

ARCHITECTS OF THE MIDDLE AGES 277

which we arrive is quite hostile to this assumption, for in all the
names of architects that I have noticed there are but one or two
who were clerics. The abbat who in the eighth or ninth century
rebuilt Leon Cathedral is one; Frater Bernardus of Tarragona,
in A.D. 1256, another; and the monk of El Parral, who restored
the Roman aqueduct at Segovia, is the third; and the occur-
rence of these three exceptions to the otherwise general rule
proves clearly, I think, that in Spain the distinct position of
the architect was understood and accepted a good deal earlier
than it was, perhaps, in England. In our own country it is in-
deed commonly asserted that the bishops and abbats were them-
selves the architects of the great churches built under their rule.
Gundulph, Plambard, Walsingham, and Wykeham, have all been
so described, but I suspect upon insufficient evidence; and those
who have devoted the most study and time to the subject seem
to be the least disposed to allow the truth of the claim made for
them. The contrary evidence which I am able to adduce from
Spain certainly serves to confirm these doubts. I was myself
strongly disposed once to regard the attempt to deprive us of
our great clerical architects as a little sacrilegious; but I am
bound to say that I have now changed my mind, and believe
that the attempt was only too well warranted by the facts. In
short, the common belief in a race of clerical architects and in
ubiquitous bodies of freemasons, seems to me to be altogether
erroneous. The more careful the inquiry is that we make into
the customs of the architects of the middle ages, the more clear
does it appear that neither of these classes had any general
existence; and in Spain, so far as I have examined, I have met
with not a single trace of either. I am glad that it is so; for in
these days of doubt and perplexity as to what is true in art, it is
at least a comfort to find that one may go on heartily with one's
work, with the honest conviction that the position one occupies
may be, if one chooses to make it so, as nearly as possible the
same as that occupied by the artists of the middle ages. So that,
as it was open to them — often with small means and in spite of
many difficulties — to achieve very great works of lasting archi-
tectural merit, the time may come when, if we do our work
with equal zeal, equal artistic feeling, and equal honesty, our
own names will be added to the list, which already includes
theirs, of artists who have earned the respect and affection of all
those whose everyday life is blessed with the sight of the true
and beautiful works which in age after age they have left l)ehind
them as enduring monuments of their artistic skill.

APPENDIX

CATALOGUE OF DATED EXAMPLES OF SPANISH
BUILDINGS, FROM THE TENTH TO THE SIXTEENTH
CENTURY INCLUSIVE

Note. — The dates of those Examples which are printed in Italics appear to me
to be very uncertain, or are those of buildings which I have not visited.

Date. Place. Remarks.

914 Barcelona Church of San Pablo del Campo

said to have been built.
983 Barcelona San Pedro de las Puellas conse-

crated.

1017 Gerona Church of Saint Daniel commenced.

1038 Gerona Consecration of first Cathedral, of

which remains exist.

1058 Elne Consecration of Church.

1063 Leon The Panteon, San Isidoro, appears

to have been finished in this year.

1078 Santiago Cathedral commenced.

1078 Santiago South transept doorways erected.

1085 Toledo The Church " Cristo de la Luz "

existed before this date.

1090 AviLA Town walls commenced.

1091 AviLA Cathedral commenced.

1 109 Toledo Outer circuit of walls.

1 1 17 Gerona Church of San Pedro de los Galli-

gaiis commenced.

1 1 17 Gerona Cloisters of Cathedral erected.

1 1 08 j

to Toledo Puerta dc \'isagra erectetl.

1 126 '

1 1 20 Salamanca Old Cathedral commenced.

1 128 Santiago I'^abric of Cathedral so far tinislied

as to be used.

1 129 Lugo Cathedral commenced.

1131 Tarragona Cathedral commenced.

279

28o GOTHIC ARCHITECTURE IN SPAIN

Date. Place. Remarks.

1 1 36 Salamanca Santo Tome dc los Caballeros con-

secrated.

1 146 Barcelona Collegiata of Sta. Ana founded.

1 146 Veruela Abbey commenced.

1 149 Leon Church of San Isidore consecrated

in this year.

1 156 Salamanca Church of San Adrian consecrated.

1 171 Veruela Abbey first occupied, and probably

completed in this year.

1173 Barcelona Royal Chapel of Sta. Agueda, at-

tached to the palace of the Counts
of Barcelona, completed.

1 173 Salamanca Church of San Martin consecrated.

1 174 Zamora Cathedral completed.

1 175 Santiago Chapel beneath west front of Cathe-

dral finished about this year.

1 177 Lugo Cathedral finished.

1 178 Salamanca Cloister of old Cathedral in course

of erection; Chapter-house prob-
ably erected at same time.

1 179 Salamanca Church of S. Thomas of Canterbury

consecrated.

1 180 Burgos Convent of Las Huclgas com-

menced; inhabited in 1 187; for-
mally established as a Cistercian
Convent in 1 199.

1 180 PoBLET Benedictine Monastery founded.

1 188 Santiago Western doors of Cathedral fin-

ished.

1 188 TuDEi^A Cathedral consecrated.

1203 L^rida First stone of Cathedral laid.

1208 Segovia Templars' Church consecrated.

1 212 Toledo '. . . Bridge of San Martin erected.

1 219 MoNDONEDO Cathedral commenced.

1 22 1 Burgos First stone of Cathedral laid.

1 22 1 Toledo Church of San Roman conse-

crated.

1227 Toledo First stone of Cathedral laid.

1230 Burgos Cathedral first used in this year.

1235 Tarazona Cathedral founded.

1239 Barcelona Chapel of Sta. Lucia, and doorway

from cloister into south transept
of Cathedral.

APPENDIX

281

Date.

1232-84

1258
1262

1273
1278
1278

Place.

.\VILA

1287
1292

1298

1303

1316-46

1318

1321
1328

1329
1329

1332

'345
134^^

i34'J
135U

Toledo .
Valencia

Leon

LfeRIDA . . . .
Tarrago.na

Barcelona
AVILA

Barcelona
Leon

1310-27 L6RIDA

Gerona. . . .

Palencia . .
Barcelona

Barcelona
Barcelona

Gl'AUALAJAR

Barcelona

Barcelona
Gerona ....

Valencia .
Lugo

Remarks.

Central Lantern of San Vicente
built.

Bridge of Alcantara rebuilt.

First stone of Cathedral laid.
South transept and apse of this
date.

Cathedral in progress

Cathedral consecrated.

Nine of the statues of the Apostles
in west front of Cathedral exe
cuted.

Nuestra Senora del Carmen
founded.

Considerable works in the Cathe-
dral under Sancho II., Bishop
of Avila, 1 292-1 353.

New Cathedral commenced.

Cathedral finished (save the towers)
before this date.

Western side and entrance to clois-
ter of Cathedral, and tower at
S.W. angle of cloister, erected
between these years.

Chevet of Cathedral in course of
building.

Choir of San Feliu completed be-
fore this date.

First stone of Cathedral laid.

Sta. Maria del Mar commenced,
and completed in 1383.

North transept of Cathedral.

Sta. ]Maria del Pi commenced, and
consecrated in 1353.

Chapel of Holy Trinity in the
Church of Santiago.

Crypt and Chapel of Sta. luilalia
in the ("athedral completed.

SS. Just y Pastor commenced.

Retablo of Altar and 15aUlachin
erected.

Puerta de Serrancjs erected.

Church of Santo Domingo conse-
crated.

282 GOTHIC ARCHITECTURE IN SPAIN

Date. Place. Remarks.

1350 Zaragoza Easi wall decoration executed.

1 35 1 Gerona Stalls in Choir of Cathedral exe-

cuted.
1366 Tgledo Synagogue (now Church "del

Transito ") completed.
1368-92 Gerona Steeple of San Feliu in course of

building.
1369 Barcelona Casa Consistorial commenced;

finished in 1378.

1374 I--'^ Coruna Chapel of the Visitation in Church

of Sta. Maria.

1375 Tarragona Completion of Statues in west front

of Cathedral.

1380 Toledo Bridge of Alcantara repaired.

1 38 1 Valencia First stone of the Micalete (tower

of the Cathedral) laid.

1383 Barcelona Sta. Maria del Mar completed.

1383 Barcelona The Casa Lonja, or Exchange,

founded.

1388 Barcelona West doorway of San Jayme.

1389 Alcalade Henakks Tower of Archbishop's Palace.
1389 Toledo Cloister and Chapel of San Bias

completed.

1 389 Toledo Bridge of San Martin built.

1 39 1 L6rida West doorway of Cloister com-

pleted.

1 397 Lerida Steeple of Cathedral in course of

erection.

1397 Pamplona Cathedral commenced.

1399 Burgos Chancel and Aisles of Sail Gil

founded.

1400 Huesca . . Cathedral commenced.

1404 Valencia Lantern or Cimborio of Cathedral

completed.

1405 Toledo Synagogue (now Church of Sta.

Maria la Blanca) converted into
a Church, and much altered.
14IU Palencia Stalls in Choir of Cathedral exe-

cuted.

141 5 Burgos Church of Convent of San Pablo

erected.

1416 Barcelona San Jayme in progress.

1 41 6 L^RiDA Steeple of Cathedral completed.

APPENDIX 283

Date. Place. Remarks.

1416 Manres.\ The CoUegiata in progress at this

date.

1416 Perpinan Cathedral in progress.

1416 Tarragona Reredos of High Altar.

141 7 Gerona Nave of Cathedral commenced.

1418 Toledo West front of Cathedral com-

menced.

1424 Valenci.'V. Tower of Cathedral completed.

1425 Toledo The N.W. Steeple of Cathedral

commenced.

143 1 Cervera Steeple of Sta. Maria.

1435 Burgos Convent of San Pablo commenced.

1436 Barcelona Casa de la Disputacion erected.

1438 Olite Considerable works in progress.

1440 AviLA Tower of San Vicente completed.

1440 Medina del Cami-o Castle " de la Mota."

1442 Burgos Spires of Cathedral commenced.

1442 Toledo Chapel of Santiago (built by D.

Alvaro de Luna) erected.

1442 Valladolid San Pablo commenced.

1444 Barcelona The Hala de Panos completed.

1444 Valencia Puerta de Cuarte.

1448 Barcelona Cloister of Cathedral completed.

1453 B.^RCELONA Sta. Maria del Pi consecrated.

1454 Burgos Convent of la Cartucca, Miraflores,

commenced.

1458 Gerona South door of nave of Cathedral.

1459 Toledo Facade " de los Leones " (South

transept).

1459 I Valencia West end of nave of the Cathedral

to - erected, and (probably) the

1482 ' Chapter-house.

1461 Guadalajara .... Palace del Infantado.

1463 Valladolid San Pablo completed.

1465 AviLA Canopy over the Shrine of San

Vicente.

147 1 .\sTORGA First stone of Cathedral laid.

1472 Segovl\ Capilla Mayor of El Parral com-

menced.

1476 loLEDO San Juan de los Reyes, Toledo,

commenced.

1480 Burgos Stalls in the Coro of Chapel at .Mira-

flores.

284 GOTHIC ARCHITECTURE IN SPAIN

Date. Place. Remarks.

1480-92 Valladolid College of Sta. Cruz.

1482 Valencia The Casa Lonja commenced.

1482-93 AviLA Convent of Santo Tomas.

1483 Toledo Doorway of old Sacristy.

1484 Toledo Bridge of Alcantara fortified.

1485 Segovia Vaulting of El Parral finished.

1487 Burgos Chapel of the Constable.

1488-96 Valladolid College of San Gregorio.

1489 Toledo Monument of Alvaro de Luna in

Chapel of Santiago in Cathedral.

1489-93 Burgos Monument of Juan and Isabel in

the Church at Mirafiores.

1490 Lerida South Porch.

1494 Segovia Tribune in Church of El Parral

rebuilt.

1495 Toledo Lower range of Stalls in Coro of

Cathedral.

1497 AlcalA de Henares Church of SS. Just y Pastor com-

menced.
1497-15 12 Burgos Stalls in Coro of Cathedral.

1498 Alcala de Henares College of San Ildefonso com-

menced.

1499 Valladolid Church of San Benito.

1500 Toledo Retablo of High Altar.

1503 Medina del Campo Capilla Mayor of Church of S.

Antholin.

1504 Santiago Hospital of Santiago.

1504 Toledo Entrance to Winter Chapter-

room.

1504 Zaragoza The Torre Nueva in course of con-

struction.
1504-10 Palencia Cathedral completed.

1 505 Zaragoza .....".. Cimborio, or Lantern, of the Seu

commenced.
1507 S.\N Sebastian . . . Church of San Vicente commenced.

1 507 SiGTJENZA Cloister of Cathedral completed.

1508 Irun Church commenced.

1509 Alcala de Henares Church of SS. Just y Pastor com-

pleted.
151 3 Leon San Isidore, new Choir erected.

1 513 Salamanca First stone of new Cathedral laid.

1 5 14 Palencia Cathedral Chapter-house and Clois-

ter.

APPENDIX 285

Date. Place. Remarks.

1 5 1 5 Huesca Cathedral completed.

1 5 18 AviLA Monument of Don Juan in the

Church of Santo Tomas.
1520 Huesca The Retablo of the Principal Altar

commenced.

1520 Tarazona Cathedral Cloister.

1520 Zaragoza Cimborio of the Seu completed.

1525 Segovia Cathedral commenced.

1 53 1 Toledo Chapel de los Reyes Nuevos.

1533 Santl^go Cloisters.

1536 Zaragoza Sta. Engracia, Cloister erected.

1543 Toledo Upper range of Stalls in Coro of

Cathedral.
1 548 Toledo Rejas of Capilla Mayor and Coro of

Cathedral.

1550 Tarazona Cimborio of Cathedral.

1553 Alcala de Hen ares Patio of University.

1 567 Burgos Lantern or Cimborio completed.

1572-90 Manresa Steeple of the Seu or Collegiata

completed.

1576 Valladolid Church of La Magdalena.

I 579 Gerona Vault of Cathedral fmished.

1 !;8r) Burgos . Capilla Mayor in the Church of San

Gil.

CATALOGUE OE ARCHITECTS, SCULPTORS, AND
BUn.DERS OE THE CHURCHES, ETC., MENTIONED
IX THIS WORK

Abikll rCiLH.i.F.KMo]. One of the Junta of Architects consulted at
Gerona in a.d. 14 16. At this time he was
Master of the Works at Sta. Maria del Pi,
San Jayme, and the Hospital of Santa Cruz
in Barcelona.

Ai AVA [Juan uk]. One of the Architects summoned to the
Junta at Salamanca in a.d. i 5 i 3. He was a
native of Vitoria, and master of the works of
the ("atlu (lr;il at J'latf)i( in.

286 GOTHIC ARCHITECTURE IN SPAIN

Aleman [Juan].

Alfonso [Juan].
Alfonso [Rodrigo].

Sculptor. Wrought at the western and
southern doorways of Toledo Cathedral,
a.d. 1462-66.

Sculptor. Wrought on the fa9ade of Toledo
Cathedral in a.d. 1418.

Maestro Mayor of Toledo Cathedral, probably
the Architect of the Cloister and Chapel of
San Bias, the first stone of which was laid
August 14, 1389. He designed the Carthu-
sian Convent of Paular, near Segovia, in

A.D. 1390.

Andino [Crist6bal df,]. Made the iron Screen of the Capilla Mayor
in Palencia Cathedral in a.d. 1520; the
Screen of the Chapel of the Constable at
Burgos in 1523; and in 1540 he competed
unsuccessfully with other men for the erec-
tion of the Screens and Pulpits of Toledo
Cathedral.

Master of the Works in the town of CasteUon
de Empurias, and one of the Junta of Archi-
tects consulted at Gerona in a.d. 141 6.
Probably a native of Biscay. Architect (?)
and Builder of the Church of San Benito at
Valladolid, which was commenced in a.d.
1499. He contracted for the first part of the
work for 1,460,000 maravedis, and for the
remainder for 500,000.

Silversmith ; a native of Leon. His work is
thoroughly Renaissance, and, though much
praised, really very uninteresting. Circa
1520-77.

A German; father of Antonio, born in 1470-
80; dec. circa 1550. A famous Silver-
smith. Worked at Leon, Toledo, etc.

Argfnta [Bartot,om6]. Master of the works, Gerona Cathedral,
1325 to 1346. He seems to have superin-
tended the erection of most of the Choir now-
standing.

Sculptor and Master of the Works of Leon
Cathedral. Architect of Choir of San Isidoro,
Leon. In a.d. 15 12 he was one of the Junta
of Architects consulted as to rebuilding Sala-
manca Cathedral. In 1 5 1 3 lie went to Seville
to examine the fabric of the Catlicdral, for

Antigoni [Antonio].

Arandl-^ [Juan de].

Arfe [Antonio de].

Arfe [Enrique de].

Badajoz [Juan df].

APPENDIX 287

which he received a fee of 100 ducats. In
1522 he went to Salamanca to see that the
works at the Cathedral were being properly
executed. In 1 545 he was Architect of the
Monastery at Exlonza near Leon, and calls
himself " Architector " in an inscription on
its wall.

BAL.\r.uER [Pedro]. Architect of the Tower of Valencia Cathe-
dral in A.D. 1414. He is called an " Arqui-
tccto perito " in a contemporary document,
and was paid for going to Lerida, Karbonne.
and elsewhere to examine their steeples
with a view to his own work.

BARTOLOMfi. Sculptor, Tay>-a^o»a. Executed in a. d. 127S

nine of the Statues of the Western Doorway.

Bartolome. Silversmith, who executed part of the Rc-

tablo of Gerona Cathedral in a.d. 1325.

Benes [Pedro]. Made the Canopy over the .■\ltar at Gerona

Cathedral before a.d. 1340.

Bernardus [FraterI. Magister Operis of Tarragona Cathedral in
a.d. 1256.

Berriguete rAi.oNSo]. Architect, Sculptor, and Painter. Went
to Italy in a.d. 1504, and studied at Rome
and Florence: afterwards, in a.d. 1520, re-
turned to Spain, and held the appointment of
Maestro Mayor to Charles V. Executed the
Stalls and Retablos of San Benito, Valladolid,
in 1526-32, and the upper range of Stalls on
the Epistle side of Toledo Cathedral in 1 543.
His works are numerous, and he was the
great reviver of Pagan architecture in
Spain.

Blav [Pedro], .\rchitect of the Casa de la Disputacion, Bar-

celona in 1436 according to Ccan Bcrmudez.
But this seems impossible, unless there were
two of the same name, as one was Maestro
Mayor of the Cathedra! in 1 5S4.

BoFi-iv \(\v\i li;r.mo]. .\rchitect of Xavc of Ge>-(j)2fl Cathedral in a.d.
14 1 '^i. It was to discuss and advise upon his
plan that a Junta of twelve .Architects was
summoned; their opinitjns are given in tlie
.\pj)endix 11, and in the end iiis plan was
carried into execution.

Ik)N(Ks ;.\i<.\ArT. A native of ,\\ (in tlii' eouutv of i'uix).

288 GOTHIC ARCHITECTURE IN SPAIN

Bonifacio [Pedro].

BoNiFE [Matias].

Directed the works at the Mole of Tarragona,
for which he was also the contractor, in a.d.
1507.

Bonifacio [Martin Sanchez]. Maestro Mayor of Toledo Cathe-
dral from 1 48 1 to 1494. He executed the
doorway of the old Sacristy, circa 1484.
Painter on Glass. Executed some of the
windows in the nave of Toledo Cathedral in
a.d. 1439.

Made the lower range of Stalls in the Coro of
Barcelona Cathedral in a.d. 1457.

BoRGONA [Felipe de]. Sculptor of the upper range of Stalls on the
Gospel side of Toledo Cathedral. He was
consulted as to the design for the Cimborio
or lantern of Burgos Cathedral, and executed
the Sculptures under the arches of the apse
in the same church. He is said to have been
Maestro Mayor of Seville Cathedral (?), and
was one of the Architects consulted as to
Salamanca new Cathedral in a.d. 15 12. He
died in 1543.

Painted in a.d. 1495 the Cloister of Toledo
Cathedral. In 1 508 painted five subjects for
A Vila Cathedral. He dec. circa 1533.
Executed the Retablo of the Chapel of San
Jldefonso, Toledo, in a.d. 1500.
One of the Junta of Architects consulted at
Salamanca in a.d. 1512, and afterwards
appointed assistant to the Architect there.
In 1 529 he was engaged as builder at El Par-
ral, Segovia. In 1 530 he contracted with the
Chapter of Segovia for the removal and re-
erection of the old Cloisters. He had been
employed by Cardinal Ximenes as Architect
and Builder at Torrelunga.
Sculptor of Barcelona. One of the Junta at
Gerona in 1416, and Master of the Fabric of
the Cathedral at Urgel.

Architect engaged on Steeple at Manresa
from a.d. 1572 to 1590.

Carpintero [Macias]. a native of Medina del Campo, and Architect
and Sculptor of the College of San Gregorio,
Valladolid, in a.d. 1488. He is said to have
committed suicide in a.d. 1490.

BoRGONA [Juan de].

Bruxelas [Juan de].
Campero [Juan].

Canet [Antonius].

Cantarell [Giralt].

APPENDIX 289

Carreno [Fernando de]. Master of the Works at the Castle,
Medina del Campo, 1440.

CastankdaTJuan de]. Architect at Burgos a.d. 1539. He was one
of the Cathedral architects, and wrought
under Felipe de Borgofia in the rebuilding of
the Cimborio, which he completed in a.d.
1 567. He is said to have designed the Gate-
way of Sta. Maria at Burgos.

Castayls [Maestro Jayme]. Sculptor, Tarragona, in 1375.
Executed by contract some of the Statues
in the Western Doorway of the Cathedral,
under the direction of Bernardo de Vallfo-
gona, the Master of the Works. He executed
three of the Apostles and all the Prophets,
and bound himself to make them all life-size.

Cebrian [Pedro]. Master of the Works, Leon Cathedral, a.d.
1175.

Centellas [el Maestro]. Made the Stalls for the Choir of
Palencia Cathedral in a.d. 141 o. A native
of Valencia.

Cervia [Berexguer]. Made the terra-cotta Statues in the South
Door of Gerona Cathedral in a.d. 1458. He
also made a Statue of Sta. Eulalia and a
Ci'oss of terra-cotta for a doorway in Barce-
lona Cathedral.

Cespides [Do.mingo]. Maker of the iron Reja, cast of the Coro,
Toledo Cathedral, in a.d. i 54S.

Cii'RKs [Pedro]. Maestro Mayor of Gerona Cathedral in a.d.

1430.

CoLivELi.A 'CriLi.ERMo]. Mastcr of the Works at Lerida Cathedral,
a.d. 1397. He had contracted in a.d. 1391
for the execution of some Statues for a door-
way, and was evidently therefore a working
Sculptor.

Coi.oNiA ri'RA.N'cisco de]. Said to have been related to Juan and
Simon de C'olonia. He was an Architect of
Burgos, and was employed in a.d. 1515, and
again in i5J2, by the Chapter of Salamanca
Cathedral, to go there and examine the works
to see that J. (i. de Hontanon was executing
tlii'm according to the ])Ian.

Coi.o.N'i.v rjtjA.N" Di;]. Designed tlie u])pir ])art ol the Western
Stee])lcs ol Burgos ("athedral. They were
commenced in a.d. 144J, and in 1456 one
II T

2Q0 GOTHIC. ARCHITECTURE IN SPAIN

spire was completed, and the other nearly so.
San Pablo, Valladolid, is also said by some to
be his work in 1463. He was Architect of
the Chapel of the Constable at Burgos in 1487,
and made the design for the Church at Mira-
fiores, for which he was paid 3350 maravedis.
He is said to have been a German by birth,
and to have been brought to Spain by Bishop
Alonso de Cartagena when he returned from
the Council of Basel.

Coi.ONiA [Simon de]. Completed the Church at Miraflores from
A.D. 1488 to 1500. He was son of Juan de
Colonia, and died before a.d. 1512.

Comas [Pedro]. Maestro Mayor, San Feliu, Gerona, in a.d.

1385. He seems to have been Maestro
Mayor of Gerona Cathedral from a.d. 1368 to

1397-

CoMPTE [Pedro]. Architect at Valencia, employed on the
Cathedral, and one of the Architects con-
sulted as to the rebuilding of the Cimborio of
Zaragoza, and the Architect of the Lonja at
Valencia. In i486 he superintended the
laying of a marble pavement in the Cathedral
there. He is described in a contemporary
MS. as being " Molt sabut en I'art de la
]:)edra." lie was made perpetual " Alcaide "
of the Lonja, or Exchange, in 1498, with a
salary of 30 sueldos a year. He was " Maes-
tro Mayor " of the city, and was employed on
some engineering works for it: one of them
was the bringing the waters of the river
Cabriel to augment those of the Guadalaviar,
and in a.d. 1500 he was engaged on another
similar work.

Covarritbias [Ai.on.so de]. .\ native of Burgos. He was one
of the Architects consulted as to the erection
of Salamanca Cathedral in 1513. He com-
peted with Diego de Siloc for the erection of
the Chapel " dc las Reyes Nuevos," Toledo
Cathedral, and succeeded, 1531-34. Was
Maestro Mayor of Toledo from 1534 to 1566.
Employed on the Archbishop's Palace at
Alcald. Employed by the King on the Al-
cazars at Madrid and Toledo in 1537. He

APPENDIX 291

was paid 25,000 maravcdis a year, and com-
pelled to attend his work six months in the
year, during which time he received four
reals a day for maintenance. He married
Maria de Egas, a daughter, it is thought, of
Anequin de Egas; and his son was after-
wards Bishop of Segovia. Various Royal
writs in reference to his work and payment
are given by Cean Bermudez, Arq. de Esp.,
i. 304-7.

Cruz [Difgo de la], .\ssisted Gil de Siloe in his works in the
church at Miraflnyes, Burgos, a.d. 1496 to
1499.

CuMBA [Pkdro dk]. " Magister et fabricator " of the Cathedral at
Lerida in a.d. 1203.

Deo [Petrus de]. Master of the Works at San Isidoro, Leon, in
A.D. 1065. He also built a bridge called " de
Deo tamben," and seems to have had a great
repute for sanctity.

Doi.Fi.N' [ei. Maestro]. Painter on Glass. Commenced painting the
windows of Toledo Cathedral in a.d. 1418.

Egas [.Vxequin de]. Of Brussels. Maestro Mayor of Toledo
Cathedral in 1459, and erected the facade
"■de los Leones " about that year. He had
an " aparejador " (or clerk of the works),
Juan (or Alfonso?) Fernandez de Llena.

Ega.s [.Xnton]. In 1 509 was engaged at To/<?^o Cathedral.and

receivcil two writs from the King ordering
him to go to Salamanca to assist other Archi-
tects in deciding on the plan of the new
Cathedral. In a.d. 15 10, conjointly with
.'\lonso Rodriguez, he drew a plan for the
Cathedral.

E(;as [E.MRiQtJE de]. Succeeded his father as Maestro Mayor of
Toledo in a.d. 1494, and held the office until
his death in a.d. 1534. He was summoned
witli other .Vrchitects to decide what shouhl
l)c (lone after the fall of the Cimborio at
Smile. \lr built the Hcjspital " dc los lis-
j)iritos," ;it T'llcdo, in 1504-14, and the
K(n-<ii i hjspital at Sa)itiaj^o in 1 5 i<;. Altered
tin; .M(jzarabic Ciiapel at Toledo, and built
tlie Ilosi)ital of Sta. Cntz, Valladolid. went
in 1515 with two other Architects to examine

292 GOTHIC ARCHITECTURE IN SPAIN

EscoBEDO [Fr. Juan

liSTACIO.

Fabre, or Fabra

Fa VARUS [Jacobo de].
Font [Carlos].
Font [Juan].

FORMENT [DaMIAN].

Frances [Pepro].

J. G. de Hontanon's work at Seville, for
which he was paid 120 ducats of gold. He
and Juan de Alava then made plans to-
gether for the Capilla Mayor at Seville. He
was ordered by the King to go to Zaragoza to
examine the Cathedral, but endeavoured to
excuse himself on the ground that he had the
Royal Hospital at Santiago in hand. In
1529 he appears to have gone again to Sala-
manca to see whether the work at the Cathe-
dral was being done perfectly by J. G. de
Hontaiion. He went to Malaga on another
occasion with the same object. In a Royal
writ issued in his favour, in a.d. 1552, he is
called " Maestro de Canteria " — Master of
Masonry.

de]. a monk of the Convent of El Parral,
Segovia. He repaired the Roman Aqueduct
at Segovia in a.d. 148 i.
Native of Alexandria, Engineer, constructed
the Mole at Barcelona, 1477.
[Jayme]. Was Architect of the Dominican
Convent at Palma, Mallorca, in a.d. 131 7.
This seems to have had a single nave of enor-
mous width. He was ordered in 1 307 to go to
Barcelona to act as Architect at the Cathe-
dral. In 1339 he assisted at the translation
of the remains of Sta. Eulalia to the crypt
under the high altar. He is said to have died
circa 1388. He seems to have been the
architect from whose work most of the later
Catalan buildings were derived.
A native of Narbonne, and Architect of
the Chevet of Gerona Cathedral in a.d.
1320.

Of Montearagon. Was consulted with others
as to the rebuilding of the Cimborio of Zara-
goza Cathedral in a.d. 1500.
Architect engaged on Steeple at Manresa in
a.d. 1572-90.

Executed the alabaster Reredos of Huesca
Cathedral in 1520-33.

Painter on Glass. Executed some of the
windows of Toledo Cathedral, circa 1459, in

APPENDIX

293

company with two Germans, Pablo and
Cristobal .

Franck [J u anJ. One of the Architects employed on the 'lower

of Valencia Cathedral, between a.d. 1381
and 1418. He was employed in 1389 at the
Monastery of Guadalupe.

Gallego [JuANJ. Master of the Works at El Parral, Segovia, in

A.D. 1459-72.

Gallkgo lPedroJ. " Gobernador de los Torres " at Leon Cathe-
dral in a.d. 1 175.

Garci.\ [AlvarJ. .\rchitect of Avila Catliedral in a.d. 1091, a

native of Navarre.

Go.MAR [Francisco]. Executed the Porch in front of the South
tloorway of Lerida Cathedral, in a.d. 1490.

Go.MEz ._.\lvarJ. Maestro Mayor of 7"(i/crfo Cathedral ; in a.d.

1418 he designed the West Front and Tower
of the Cathedral. The papers in the arcliives
of the Cathedral speak of him as " apareja-
dor dc las canteras," which seems to imply
that he was a superintendent of masons. He
was appointed to this office in a.d. 1425, and
is the first recorded to have held it; from
his time the names of the architects of Toledo
Cathedral arc all known.
de]. Made additional Stalls for Palcncia
Cathedral, and moved the old stalls from the
choir into the nave, in a.d. 15 18.
One of the Architects summoned to the Junta
at Gcro)ia in a.d. 1416. At this date he was
Maestro Mayor of Barcelona Cathedral, and
calls himself " lapicida et magister operis."

GuAb Jla.n]. -Architect of the Convent of San Juan dc los

Reyes, Toledo, commenced in a.d. 1476. His
portrait (together with those of his wife and
children) is preserved in a mural painting in
the Convent.

Gli.vgl A.Mi's JuA.NNEs dk]. " Lapicida " of the town of Marbon>ic,
and one of the Junta of .Vrchitccts at Gerona
in A.D. 1 4 16.

Gu.MiEL iPedko). .\rchitect of SS. Just y Pastor, at Alcald dc

Uouircs, in a.d. 1497-1509. Ife was " Rcgi-
dor " of the city in 1492, and Architect to
Cardinal Ximenes, and both their names
were inscribed on the first stone of tlie

Gladalupe [Pedro

GuAL [Bariulo.me].

294 GOTHIC ARCHITECTURE IN SPAIN

College of San Ildefonso at Alcald, which
was laid in 1497. He died circa 15 16.

Gutierrez [Antonio]. Executed the Entrance to the Summer Cliap-
ter-house, Toledo Cathedral, in a.d. 1504.

Henricus " Magister operis " of Leon Cathedral; he

deceased in a.d. 1277.

HoLANDA [Alberto de]. Painter on Glass, of Burgos. Executed
several windows in a.d. i 520 for Avila Cathe-
dral at a charge of 82 maravedis the foot.

Hontanon [Juan Gil de]. Was Maestro Mayor of Salamanca
Cathedral when it was resolved to rebuild it.
He made plans, which are still (it is said)
preserved, with the signatures of four Archi-
^ tects who were called in to advise upon them.

He seems, however, to have followed some
plans prepared in a.d. i 5 10 by Alonso Rodri-
guez and Anton Egas, and to have been
appointed Architect in 15 13, after having
given a joint report with nine other Architects
on the mode of construction of the Cathedral.
Subsequently other Architects, Martin de
Palencia, Francisco de Colonia, Juan de
Badajoz, and others, were summoned to
Salamanca by the Chapter to certify that
he wa^ adhering to the plan originally agreed
to. In one of their reports they speak of a
plan made by Juan Gil, of which they ap-
prove. In I 513, after the fall of the Cim-
borio at Seville, he was summoned (after a
Junta of four Architects had reported) to
superintend the work, and before 1522 he
made plans for the new Cathedral at Segovia,
which was commenced in that year. He
deceased in 1531.

Hontanon [Juan Gil de]. Son of Juan Gil. Assisted his father
in his work at Salamanca.

Hontanon [Rodrigo Gil de]. Second son of Juan Gil. Con-
tinued his father's works at Salamanca (with
a salary of 30,000 maravedis and a liouse)
and Segovia : he erected the Pagan fa9ade of
the College at/3 Icald de Henaves, and churches
in various towns. In the paper appointing
him " Maestro Mayor " of Salamanca Cathe-
tlral, he is called " JMaster of Masonry." His

APPENDIX 295

will proves that he contracted tor as well as
designed some buildings, as he complains
bitterly of the losses he has sustained in this
way, especially in the Church of Sa)i Julian
at Toi-o, for which he could not get paid.
This will is dated May 27, 1577.

Juan [Pedro]. Sculptor. Executed the Reredos of Tarra-

gona Cathedral in 1426-36.

Lapi [Geri]. Embroiderer, of Florence. He made an

Altar-cloth for the Collegiate Church at
Manresa, which still exists, and is inscribed
with his name.

Lle.na [Jtan Fernandez de]. " Aparejador " or assistant to .\ne-
quin de Egas, Architect of Toledo Cathedral
in A.D. 1459.

Llobet [Marti.n]. Completed the Micalete at Valencia in .\.d.
1424. He seems to have been a mason, and
contracted for the execution of the work.

LoyuER [.Miguel]. Made the Canopies of the Upper Stalls in the
Coro of Barcelona Cathedral in a.d. 1483.

Luna [Hurtado de]. Maestro Mayor of the Church at Irun in a.d.
1508.

Maeda [Juan de]. Assistant to Diego de Siloe, who by his will,
inA.D. I 563, left him all his plans and designs.

Mans [Pedro]. Enlarged the Reredos in Palencia in a.d.

I 5 18.

.Matheus. Master of the Works of Santiago Cathedral,

from A.D. 1 168 to 118S.

Maiienzo 'G. Fernandez de]. .Vrchitect of Church at Mira-
florcs. from a.d. 1466 to 1488, after the death
of Juan de Colonia.

MoTA [GuiLLERMUs DE la]. " Socius magistri " of Tarragona
Cathedral, and one of tlie Junta of .Vrchitects
at Gerona in a.d. 1416. He completed the
Retablo of Tarragona (Cathedral (commenced
by Pedro Juan in 1426).

N'arbo.nne [ENRigui; of], .\rchitect of Chevet of Gerona Cathe-
dral in a.d. I 3 16.

Na\akro [.Miguel], Cxjntracted for the iTectionof the CloisttTs ol
San /'rtnniscii cl Grande, Wileiuia. in a.d.
1421.

N II, I ij I .Xi.fj.vscj]. .\]>|)<)iiitc(l " ( )l)rer(» Mayor " ot tlie Works ;it

the Castle " de la .Mota," Medina del Canipo,
in A.D. I47'^

296 GOTHIC ARCHITFXTURE IN SPAIN

Olotzaga [Juan de].

Orozco

Ortiz

[Juan de].
[Pablo].

Paradiso [Mateo].

Designed and commenced the Cathedral at

Huesca in a.d. 1400. He is said to have

carved the statues for the fa9ade.

One of the Junta of Architects assembled at

Salamanca in A.'D. 1512.

Executed the Monuments of the Constable

Alvaro de Luna and his wife, in the Chapel of

Santiago in Toledo Cathedral. He obtained

this work in a competition, and contracted

for its execution in a.d. 1489.

Architect of the Tower on the Bridge of

Alcantara, Toledo, in a.d. 1217.

Penafreyta [Pedro de]. Master of the Works of Lerida Cathe-
dral, deceased in a.d. 1286.

Perez [Pedro] or " Petrus Petri." Master of the Works of
To/eiio Cathedral. He deceased in a.d. 1290.

PiTUENGA [Florin de]. Superintendent of Works in building the
Walls of Avila in a.d. 1090. He is said to
have been a Frenchman.

A Catalan, Maestro Mayor of Gerona Cathe-
dral circa a.d. 1346-68.

Master of the Works of Lugo Cathedral,
which was commenced in a.d. 1129. The
agreement for his payment is given in Vol. I.,
p. 171. He was evidently the Architect, and
not the builder, of the Cathedral.
Built the Steeple of La Magdalena, Valla-
dolid, under contract, and according to the
plans of Rodrigo Gil de Hontafion, in 1570.
Maestro Mayor of Leon Cathedral; he de-
ceased in a.d. 143 1, and on his monument he
is called " Maestro " of Leon and " apare-
jador " of a chapel at Tordesillas, in which he
was-buried.

Sculptor of the lower range of Stalls in the
Coro of Toledo Cathedral in a.d. 1495.

Rodriguez [Alonso]. Maestro Mayor of Seville Cathedral in a.d.
1503. In 1 5 1 o, at the command of the Iving,
he went to Salamanca- with Anton Egas, and
prepared a plan for rebuilding the Cathedral,
and afterwards went to the island of San
Domingo to build a Church at Sanlucar.
Made the Iron Screen across the Coro of
Palencia Cathedral in a.d. 1555.

Plana [Francisco de].

Raymundo.

Rio [Francisco del].

Roan [Guillen de].

Rodrigo.

Rodriguez [Caspar].

APPENDIX 297

Rodriguez [Juan]. Built the Church of San Pablo, Burgos, be-
tween A.D. 141 5 and 1435.

Romano [Casandro]. Superintendent of Works in building the
Walls of A Vila in a.d. 1090.

RoQL'E [el Maestro]. Built the Cloister of Barcelona Cathedral,
which was completed in a.d. 1448. He was
appointed Master of the Works in a.d. 1388.

RuAN [Carlos Galtes de]. Master of the Works at Lerida Cathe-
dral a.d. 1397 to 1416. He was employed on
the Campanile.

RuEbG.\ [Juan de]. An inhabitant of Seg-dt^^fl. Way employed by
the monks of El Parral to reconstruct the
Gallery for the Coro in their Church in a.d.
1494; he also completed Palencia Cathedral
A.D. 1506-10, and seems to have been a
builder rather than an architect.

Sagrera [Guillermo]. Master of the Works of 5. Joint, Pcrpinan,
in a.d. 1416. In the same year he served on
the Junta of Architects at Gerona. In 1426
commenced the Lonja or Exchange at Palma
in Mallorca, for which he was both Architect
and Contractor, and carried it on until a.d.
1448 or 1450, when he quarrelled and went
to law with his employers. He then went to
Naples, and commenced the Castel Niiovo
there in 1450, of which he is described as
" Protomagister " in a Royal writ of that
year.

Sal6kzanu [.Martln de]. Contracted to complete I'dlencia
Cathedral in a.d. i 504, and deceased in
1 506.

Sanchez [Bonifacio]. Was Maestro Mayor of Toledo Cathedral in
A.D. 1481-94, and designed the Entrance to
the old Sacristy.

Sanchez [Martin]. Executed the Stalls in the Coro of the Church
at Miraflores, near Burgos, in a.d. 1480.

Sanchez [Pedro]. " Mayordomo " of the Castle at Burgos dur-
ing its construction in a.d. 1 295.

San J LAN [Pedro DEJ. A native of Picardy, and Maestro Mayor of
Gerona Cathedral in a.d. 1397.

Santa Cei.ay [.Mkiuel de]. Architect of the Church ol San Vicoite,
San Sebastian, in a.d. i 507.

Sa.ntillana [Juan de]. Executed the painted glass at Miraflores,
Burgos, circa 1480.

298 GOTHIC ARCHITECTURE IN SPAIN

Saravia [Rodrigo de]. One of the Junta of Architects assembled
at Salamanca in a.d. i 5 i 2.

SiLOE [Diego de]. Son of Gil de Siloe the Sculptor. One of the
revivers of Pagan art in Spain. He executed
various works in Granada, Seville, and Ma-
laga, and deceased in a.d. 1563.

Siloe [Gil de]. Sculptor of the INIonuments of Juan and

Isabel, and of Alfonso their son, in the
Church at Miraflores, Burgos, and of the
Retablo in the same Church, between a.d.
i486 and 1499.

One of the Junta of Architects at Salamanca
in a.d. 1 5 12.

Of Tarazona. Architect of the Cloister of
Sta. Engracia, Zaragoza, in a.d. 1536.
Architect of the Church of San Vicente, San
Sebastian, a.d. 1507.

Executed Stained-glass in the Church at
Miraflores in a.d. 1480.

Architect of West end of Nave of Valencia
Cathedral in A.D. 1459.

One of the Architects of Burgos Cathedral.
He was consulted as to the rebuilding of Sala-
manca Cathedral in 15 12, and wrought under
Felipe de Borgoiia in rebuilding the Cimborio
of Burgos Cathedral, between a.d. 1539 and
1 567. He built the Renaissance Gateway
on the East side of the South Transept
between 15 14 and 1524.

V^ALL-LLEBRERA [Pedro de]. Architect of the Steeple of Sta. Maria
Cervera, a.d. 143 i.

Valleras [Arnaldus de]. " Lapicida " and " Magister operis "
of _ the Collegiata at Manresa. One of the
Junta of Architects consulted at Gerona in
A.D. 1416.

Vallfogona [Bernardo de]. IMaestro Mayor of T(7)';'flo-o,2« Cathe-
dral in a.d. 1375.

Vallfogona [Pedro de]. Executed Reredos of High Altar,
Tarragona, and was one of the Junta of
Architects at Gerona in a.d. 1416.

Valmeseda [Juan de]. Executed the Statues in the Reredos,
Palencia Cathedral, in a.d. 15 18.

Vantier [Rollinus]. Maestro Mayor of Gerona Cathedral in
a.d. 1427.

Tornero [Juan].
tudelilla.
Urrutia [Juan de].
Valdevieso [Juan de].
Valdomar.
Vallejo [Juan de].

APPENDIX ^99

XuLBE [Johannes de]. One ot the Junta of Architects assembled at
Geroiia in a.d. 1416. He describes himself
as son of Paschasius de Xulbe and " Lapi-
cida."

Xulbe [Paschasius de]. Master of the Works of Church at
Tortosa, and one of the Junta of Architects
at Gerona in a.d. 1416.

Zacoma [Pedro]. Architect of the Tower of San Feliu, Gerona,
in a.d. 1368.

DOCUMENTS RELATING TO THE CONSTRUCTION OF
THE NEW CATHEDRAL AT SALAMANCA

Royal Order of Ferdinand the Catholic, requiring Alfonso Rodriguez to
go to Salamanca to choose the site and to make a design for the
Construction of the Cathedral.

The King to the M.\ster Major of the Works of the Church of
Seville.

SI^•CE it has now to be decided how the Church of Salamanca may
be made, in order that the building and its design may be made as
it ought, I agree that you may be present there. I charge and com-
mand you that, instantly leaving all other things, you may come
to the said city of Salamanca, and, jointly with the other persons
who are there, you may see the site where the said church has to
be built, and may make a drawing for it, and in all things may give
your judgment how it may be the most suited to the Divine worship
and to the ornature of the said church; which, having come to pass,
then your salary shall be paid ; which I shall receive return for in
this service.

Done in Valladolid, the 23rd day of the month of November,
I 509, etc'

Order of the Queen iJoiia Juuna to the same

Recites that the King, her Lord and I'ather, had given an older,
which she repeats, fjuoting the document above given, and then
proceeds: — " And now, on the part of the Church of the said city of
Salamanca, relation has been made me, that, althougii the said order
was notified to you, until now you have not come to do anything in
' tCan Bprtnudcz, J/i/. dc /'.'.s/). i. 2^^.

300 GOTHIC ARCHITECTURE IN SPAIN

the business of which mention is made therein, making various
excuses and delays; and it has been demanded of me, as for this
cause of your not having come there is much delay in the work of
the said church, to order you at once to come to the said city of
Salamanca to make yourself acquainted with the affairs contained
in the said order, as was by it commanded, or as my will might be;
which, being seen by those of my council, it was agreed that I
should order this my letter to be given for the said reason; and
I find it good, as I command you, that immediately that this my
letter shall be made known to you, without making any excuse or
delay, you shall go to the said city of Salamanca, according and
as by the said order was commanded, in order that, conjointly
with the other persons who have to make themselves acquainted
with the before-said matter, thou mayest give a plan how the said
church may be made, which done, the salary will be paid you for
the said church, which you are entitled to have for the coming, and
staying, and returning to your house; and thou mayest not fail in
this, under pain of my displeasure, and of 50,000 maravedis for my
treasury.

" Given in the most noble city of Valladolid, 26th day of the month
of January, from the birth of our Saviour Jesus Christ 15 10 years." '

Writ of Ferdina)id the Catholic to Anton Egas, ordering him to go to
Salamanca to choose the site and make the plan for the Cathedral,
November 2 ^rd, 1509.

Anton Egas is ordered to go at once, and, jointly with the other
architects there assembled, make a plan, etc.; which done, his
salary, which he receives on service, shall be paid him there. This
writ is endorsed as having been served on his two maids, Maria and
Catalina, he and his wife being both away.

Declaration or Information which Alonso Rodriguez and Anton Egas
made before the Chapterof Salamanca on the mode of constructing
the Cathedral.

In Salamanca, the second day of the month of May, 15 10, Senor
Gonzalo de San \'icentc, representative of S. A., being with the
Chapter, present the Reverend Senors D. Alfonso Pereira, Dean of
Salamanca, and other persons, dignitaries and beneficiaries, who were
in Chapter, in order to acquaint themselves touching the order and
plan of their church, oath being taken in the due form by the Seiiors
Alonso Rodriguez, Maestro of Seville, and Anton Egas, IMaestro
of Toledo, persons deputed by his Highness for the ordering and
' Ccan Bcrmudez, Arq. de Esp. i. 286.

APPENDIX 301

planning of the said church, that all affection and passion, partiality
and interest, or any other cause, being well and faithfully postponed,
they determine and declare, according to God and their conscience,
the most commodious plan and site that may be fitting for the adorn-
ment of the said church, and for the utility of it and of this city,
without prejudice and wTong to the Schools of this University of
Salamanca; both of whom made the said oath, and replied to its
confession, and said, " So I swear, and Amen."

And under the said oath they presented a plan and outline of the
said church, drawn on parchment to the heights and widths of the
naves, and thicknesses of the walls, and projections of the buttresses,
the whole taken in writing by me the said notary; the which they
affirmed by their names in my presence, and said that the site
marked out by them for where the said church — our Lord per-
mitting — ought to be, would not do any wrong or prejudice to the
said Schools, rather they would be benefited and adorned, because
the site of the said church commences ten feet further from the gate
" del Apeadero " of the Schools, being set back from the street by
the said Schools fifty feet, in front of the said church, from the line
of the church as it now is. And because there was a diversity in
the opinion of these Masters as to the proportion of length to breadth
in the Capilla mayor, they agreed to meet in Toledo in ten days, and
to select an umpire between them if it were necessary, so that the
decision should be arrived at with more circumspection, and sent
within fifteen days to the said Seiior San Vicente, or to this Chapter.'

Declaration or Judgment which was pronounced in Salamanca in a
Junta which was held Sept. ^rd, 15 12, by the Masters of
Architecture Anton Egas, Juan Gil de Hontanon, Juan de Badajos,
Juan de A lava, Juan de Orozco, Alonzo de Covarrubias, Juan
Tornero, Rodrigo de Saravia, and Juan Campero, as to the mode
of constructing the Cathedral.

That which appears to the Masters who were called and assembled
by the most reverend and most magnificent in Christ, Father and
Lord Don I-'rancisco de Bobadilla, by the grace of God, and of the
Holy Church of Rome, Bishop of Salamanca, and of the Council of
the Queen our Lady, and by the I^everend the Dean and Chaj)ter of
the Church of Salamanca, to give the plan of the site and building of
this holy church and temple, which it has been unanimously decided
by the said Lord Bishop and Chaj^ter — our Lord Helping — to make
and begin, Ls as follows; —

j-'irstly, the said Masters decided that the site of tin- church
' Coan Bermudez, .Irq. de lisp. i. 287.

302 GOTHIC ARCHITECTURE IN SPAIN

should be in length as far as the church of San Cebrian, ami in width
as far as the Schools.

Item. — That the three clear naves should begin from the line of
the tower unto the place of the Schools, so that all the three doors
of the front may show themselves and be clear of the tower.

Item. — They determine that the church should be directed and
turned as much as possible to the east ; and it appears to them that
it can turn directly to the said east.

Item. — They determine that the principal nave may have fifty feet
in width in the clear, and a hundred and ten in height.

Item.. — That the side naves shall have thirty-seven feet in clear
width, and seventy feet in height, or seventy-five, not being of the
height of the other.

Item. — They determine that the chapels opened in the side walls
may have twenty-seven feet in clear width, and forty-three or forty
five in height.

Item. — That the three gable walls of the west front may have
all three seven feet of thickness, and the side walls throughout the
church six feet; but to some of the said ^Masters it appeared that
the end walls should be eight feet in thickness.

Item. — That the buttresses of the end walls may project beyond
the wall twelve feet, and in thickness may have seven feet in front.

Item. — That the buttresses of all the side walls of the church may
be five feet thick in front, and project six feet beyond the wall outside.

Item. — That the divisions of the chapels in the walls may be seven
feet thick.

Item. — That the four principal columns of the Cimborio may be
eleven-and-a-half feet thick.

Item. — They determine that the head of the Trascoro may be
octagonal. 1

Item. — They determine that the Capilla maj-or may have in length
and breadth two chapels of the sides.

Item. — That the chapels in the walls of the Trascoro may be
twenty-seven feet in depth from wall to wall, and that in the spaces
of the walls and buttresses in the angles of the octagons, which are
formed between the chapels on the outside, sacristies for each
chapel may be made.

Item. — Thev declare that tlie feet of which in this their declara-
tion and tletermination mention is made, are to be taken as the
third of a yard; and (marking out the form of the said church) the
said Masters declare that from tlie mark towards the door of the

' In the margin of this paragraph is written, in the hand of Maestro Juan
del Ribero Kada — "It has been built square." The word "Trascoro"
seems to be used here of the east end of the church.

APPENDIX 303

Schools to the first step there may be seven yards and a third, which
is twenty-two feet.

Item. — They declare that the wall of the west front within the
tower has to be begun forty-nine feet from the corner of the said
tower on the inside, and should be in thickness from there forward
so much as to leave forty-nine feet of the tower visible.

Item. — They declare that the wall of the side nave, from towards
the old church, has to come with the side of the tower, and has to
contract itself the thickness of the said wall in the said tower.

And inasmuch as some persons, as well members of the Chapter
as out of it, have held certain opinions in regard to the site of the
said building, and where it ought to stand, the said Lord Bishop and
Chapter, desiring to avoid and escape such opinions as at present
and in future may impede the order ami form of the said building,
command the said Masters to give the reasons and motives that may
have moved them to direct and propose the site and position deter-
mined on by them, and not the other places, lines, or sites suggested ;
and that they shouUl say specifically foi their satisfaction why, with
all quietness and willingness, the order, form, and site laid down
by them may be followed. The which said Masters,, in order to
satisfy the persons who either held or might hold opinions contrary
to their own, gave the following reasons: —

Firstly. That making or putting the church in another ])art or
site than that determined on by them, it and its cloister would
be separated from the view of the city, and would be concealed ; that
it could not be seen round about, only the end wall by itself, antl the
Chevet by itself, and there would be no entire view.

I'he second reason is, that the said church would be ])ut behind
the schools from the Crossing almost to the end, where the best
view and the most frequented part of the cluuch ought to be,
because there the doors have to be ])laced.

The third reason is, that of the cloister — which already exists —
the twcj parts are so placed that it would leave a narrow passage be-
tween the church and the .'\rchbishop's chapel, and the library and
Chajiter-house, and the said chapels would remain separated, anil
one would enter tin in from the narrow j)assage, and in a roundabout
way; for thougii it might be desired to make ;i (l(;or from the Chevet,
it c<jul(l not be done, Ix'cause the sacristy would prevent it.

The fourth reason which they give is, tiiat if the said ciiurch has
to be moved to an(jther site oppost;(l to tliat declared and <U'ter-
ininetl cm by tluTn, the t(jwer would ha\e to be destroyed, which is a
g(«><l and singular work, and could not be rei)uilt witiiout a great
.sum of maravcdis, aiiil the ( iiureli louid not be without a lower.

The liitii reason is, tiiat if the said (.iuuch has to be iiio\-ed to

304 CxOTHIC ARCHITECTURE IN SPAIN

another site, it will be necessary to take down the house of the said
Lord Bishop, and to restore it opposite the front of the church ;
and in order to restore it, besides the great sum of maravedis it
would cost, it would be necessary to destroy fourteen houses, the
rent of which is of much value, and this would be costly to the
church, and involve loss to the treasury of the Chapter.

The sixth reason is, that in order to make the cloister on another
site contrary to their determination, many houses must be taken;
and in order to make it on the south, it would be necessary to go
into it by what is called the River-door, and afterwards to be more
away from the city, and out of view, and it would be very costly to
make the foundations of such great depth, and to raise the walls
to the level of the church.

The seventh reason which they give is, that the Chevet of the
church would cover the door of the chapel of the Archbishop and
the library in order to join them.

The eighth reason which they give is, that the Crossing would not
come in the line of any striet, and there would be no way out by
way of the cloister, because the new and old cloister would stop it;
and supposing a remedy to be sought, by separating the new cloister,
it would be so high when they had to go out, that it would have at
least more than fifteen steps, and the entrance would be by a narrow
passage; because on one part would be the new cloister, and on the
other part of the old cloister the chapel of the Archbishop.

The ninth reason which they give is, that the church would
encroach upon the principal street of the schools, which comes
before the house of his Lordship, and the other street, " del Desa-
fiadero; " so that if there was none at the apse of the church there
would be no way out; and the height of the church, putting it so
much between the sun and the schools on the south, would take
away much of their light, and darken them much.

The which reasons they give against the opinions of them who
say or desire to say that the site of the said church should be towards
the house of the Lord Bishop, and towards the street " del Desnfia-
dcro ; " and in order to answer the other opinion of some who argue
that the site of the said church could go through the cloister, which is
already built to the River bridge, because this would not be a con-
venient site for the church; and in order to oppose the opinion for
it, they give the following reasons: —

Firstly. That it would be more separated from the city, and
would not go well with the schools, and would lack the appearance
which it would have going, as is agreed, towards the schools.

The second reason which they give is, that it would stand at an
angle with the schools, and would be an ugly thing, and the fa9ades

APPENDIX 305

of the church and the schools would not be harmonised together by
the said arrangement of the plan.

The third reason which they give is, that the Plaza of the Lord
Bishop's house would be narrowed in great part, so that the Plaza
would be a street; and the height of the church would shut out the
sun from the said house of his Lordship, and would stifle it very
much ; and the doors of the church would be behind the tower in the
view as one comes from the city through the Street of the Schools.

The fourth reason which they give is, that the west front of the
church would have to join the wall of the Archbishop's chapel, and
through its inequality and depth it would be necessary to have
many steps through that part, and towards the town not any, and
this would be a defective and ugly thing.

The fifth reason which they give is, that, making the cloister
towards the Schools, all the view of the church would be shut out,
and the cloister would be gloomy, and it would be without the
harmony and order of good churches, and without grace.

The sixth reason which they give is, that the church standing
close to the chapel of the Archbishop and the library, its height
would shut out the light from the small chapels in the walls, and
there would be no exit for tlie water from the roof of the middle of
the church at that part.

The seventh reason which they give is, that in order to make the
new church it would be necessary to clear out immediately all the
church and the cloister, and the chapel of the Doctor of Talavera,
and of Sta. Barbara, and the Chapter-house ; and in their opinion it
would be a grand inconvenience to be so many years without having
where to celebrate the Divine offices.

The eighth reason which they give is, that if the church is separ-
ated from above, and put as in a corner, part in the shade through
the one part of the tower and cloister, and through the other of the
library and the chapel of the .\rchbishop, it could not have as much
of its walls in light as is convenient.

The ninth reason which they give is, that the door of the transept
would come out so high from the street, in their opinion, as more
than ten or twelve steps, and would cut across the street " del
Chanire," and would be bad in its arrangement, and a place where
nui.-^ancc would be caused.

This opinion having been given, it is then pronounced by the
deputies appointed by the Chapter to confer with the architects,
that as they were all agreed both as to the site and as to the general
form of the church, and as they are such learned and skilful men,
and experienced in their art, their opinion ought certainly to be
act'd on. \^n^ ior the nion- certainty it was thought well to make
II U

3o6 GOTHIC ARCHITECTURE IN SPAIN

every one of the architects take an oath. " by God and S. Mary,
under whose invocation the church is, and upon the sign of the
cross, upon which they and each of them put their right hands
bodily," that they had spoken the entire truth, which each of them
did, saying " So I swear, and amen." '

The report of the architects having been received, the Chapter
then say that the many singular and great Masters of the Art of
Masonry (canteria) who had been consulted had agreed on a plan,
but that it will be necessary to choose and elect a Master (Maestro)
and an overseer (aparejador).^ On the same day, Sept. 3rd, 1512,
Juan Gil de Hontafion, " Master of Masonry," was appointed prin-
cipal master of the works (Maestro principal), and Juan Campero,
mason, overseer, with a salary to the former of 40,000 maravedis a
year, and 100 maravedis more for each day that he assisted at the
works; and to the latter of 20,000 maravedis a year, and 2^ reals
per day.^ And on the loth May, 1538, Rodrigo Gil de Hontafion
was appointed principal master of the works, with the salary of
30,000 maravedis a year. Alonso de Covarrubias seems to have been
joined with Rodrigo Gil de Hontafion as master.* By R. G. de
Hontafion's will it seems that he also had a house rent free from
the Chapter. °

SANTIAGO CATHEDRAL

Warrant of King Ferdinand II., issued in 1 168, in favour of Maitheus.
Master of the Works of Santiago Cathedral, copiedfrom the A r chives.

In nomine Domini nostri Jesu Cliristi. Amen. Majestati regiae
convenit eis melius providere, qui sibi noscuntur fidele obsequium
exhibere, et illis prsecipue, qui Dei sanctuariis et locis indesinenter
obsequium probantur impendcre. Ea propter ego Fernandus Dei
gratia Hispaniarum Rex ex amore Omnipotentis Dei, per quem reg-
nant reges, et ob reverentiam sanctissimi Jacobi patroni nostri
piissimi, pro munere dono, et concedo tibi magistro Matheo, qui
operis pra^fati Apostoli primatum obtines et magisterium, in uno-
quoque anno in medietate mea de moneta Sancti jacobi refectionem

' I'Yom Cean Bermudez, Not. de los Arq. y Arquos de Espana,i. 293-299.

^ The sense of this word is given in Connelly and Higgins's Dictionary , as
" the substitute of the chief architect of the building, who places the
workmen and distributes the materials according to the arranjjenients of
the plan."

' ("ean T^ennudez, i. 300. ^ Ibid. i. 313. '^ Ibid. i. 317.

APPENDIX 307

duaxum marcharum singulis hcbdomadibus, ct quod defuerit in una
hebdomada suppleatur in alia, ita quod hsec refectio valeat tibi
centum maravotinos per unumqnemque annum. Hoc munus, hoc
donum do tibi omni tempore vitae tuae semper habendum quatenus et
operi Sancti Jacobi, et tuae inde pcrsonae melius sit, et qui viderint
praefato operi studiosius invigilent et insistant.

Si quis vero contra hoc meum spontaneum donativum venerit,
aut illud quoque modo tentaverit infringere, iram incurrat decunti
pcrtinentis, et iram regiam, et mille aureos parti tuae tamquam
excomunicatus cogatur exolvere. Facta carta apud Sanctum
Jacobum, viii. kalcndas Marti, Era m. cc. vi. Rcgnante rege Dfio
l'>rnando Legione, Extremadura, Gailecia in Asturiis.

Ego Dfis F. Dei gratia Hispaniarum Rex hoc scriptum quod fieri
jussi proprio roborc conlirmo.

[Signed also by various Bishops and Grandets.]

SEGOVIA CATHEDRAL

Mrntoif nf the CaiKui of Segovia J nan Rndrigiicz, in 'ivhirli is rrlatcd
all that happened as to the Coustntetion nf the Cathedral from the
year 1522, in ivhich he began to exercise the government and
administration of the fabric, until the year 1562, in ivhich, througli
infirmity, he gave it up. — From the Archives of the Cathedral.

After reciting his pious reasons for his undertaking, he continues
liis Memoir as follows; entering first of all into various particulars
in reference to the subscriptions for the work and so fortli, lie then
goes on: —

" We commence, in the name of God, to give an account of the
t'orin and order which prevailed in the work of thf said church
and cloister, Chapter-house, libraries, tower, sacristy, and place for
relics,* and all the other necessary ollices, which until this time ha\-e
been paid for, and now belong to the said lioly ciiurch, free from all
interest or tax.

" Commencing at the beginning, which was in the said yi-ai' of
1520, when the Chapter was driven out of the other ihurcli by
rea.-^on of tlie alterations already mentioned, they liad tlie clivine
ollices in tlie Church of Sta. Chira, which tlie monk>> of the order (jf
Sta. Clara had left, who at jiresent reside in the nionasti;ry of San

' Saiirario. — This, I think, sonietinics iniaiis the cliapel, coniuioiih' c.iiled
the Farroquia, or Chapel of the Cathcdraljl'arisli.

3o8 GOTHIC ARCHITECTURE IN SPAIN

Antonio el Real; and beginning by having the divine office on the
floor of the church on some benches or logs of wood, which were
placed for it from the door of the church as far as the rooms of the
keepers of the wardrobe of the convent which were there, after-
wards they made a tribune on some pieces of timber or posts for
the Coro, in order to have the holy office; and afterwards they put
the altars right with Retablos and images, which they brought
from the old church ; and they put right the old cloister, which had
some high battlements; and they overcame difficulties and put
everything in order to be able to make use of it, and set right the
chapel where the Crucifix and Sacrament were, and where the
chaplains said their office. Then, likewise, was made a hall of the
old corridors, in which the Chapter was held, where it was for some
years, until that one was made below close to the chapel of the Cru-
cifix. And then the tower was raised, and there they placed some
of the bells of the other old church, and others they made new in the
town of Olmedo; and they got a new clock from Medina del Campo,
and put the whole in the old tower.

" Then, in consequence of the narrowness of the church, they took
some houses in which lived the wardrobe-keepers, and pulled them
down, and made a wall of lime and stone in front, and placed there
the Coro of the old church, and repaired it in the said place where
the divine office was said, and placed the iron screens of the two
Coros ; the whole of which was done between the said year of 1 5 20
and June 8th, 1522, when, by the consent and resolution of the
Lord Bishop D. Diego de Rivera, and of the Dean and Chapter of the
said church, it was agreed to commence the new work of the said
church, to the glory of God, and in honour of the Virgin Mary and the
glorious San Frutos and All Saints, taking for master of the said work
Juan Gil de Hontaiion, and for his clerk of the works (aparejador)
Garcia de Cubillas.

" Thursday, the 8th of June, 1522, the Bishop ordered a general
procession with the Dean and Chapter, and clergy, and all the
religious orders. Solemn mass was said in the Plaza of San Miguel,
before the doors of the said Church of Sta. Clara, and there was a
sermon, and absolution, and general pardon to all who had erred;
and they demolished the other church, and gave absolution for all
the faults and sacrileges which might be committed in it, as is the
case in all general pardon of sins. I'rom there the Bishop, Dean
and Chapter, clergy and religious, went in procession to the part
where was the foundation of the principal wall of the foot of the holy
church, and in that place where the principal door was to be, which
is now called ' del Pardon ; ' and the Master of the works and the
officials being there with stone and mortar, the Lord Bishop placed

APPENDIX 309

the foundation in the middle where the said door had to cotne, which
is called ' del Pardon.' Giving first his benediction on the com-
mencement of the work, he put a piece if silver with his face on it,
and others of metal with certain letters, and upon them placed the
stone and mortar. The workmen then raised the building.

" All this solemnity, as I have told, began to the glory of God
our Lord, the Virgin Mary, and All Saints, for the promotion of
the said work. This was settled and arranged between the Lonl
Bishop, the Dean and Chapter, to be executed in masonry of a
rough description, by reason of the great poverty of the said church.
.\nd I then, feeling this, conferred on this matter with the saiil Juan
Gil de Hontanon and Garcia de Cubillas, and it seemed to them to
be a great pity to execute the work in such a way in so celebrated a
city. And the Lord Bishop, the Dean and Chapter, having con-
sidered this, thought it well to give leave, confiding in the providence
of our Lord, that it should be done as I had petitioned, for which
many thanks be given to our Lord."

" The building being commenced, as I have said, on Thursday,
July 8th, 1522, was carried on according to the plan first of all
given, beginning from the principal door at the foot of the church,
which is called ' del Pardon,' corresponding to the principal nave,
and going on in order, taking the chapel and the chapels in the
walls, of which there arc five on either side, ten in all, where at
present the private masses and endowments which the said church
has are said.

" .Vfter the same manner the principal pillars in the aaid church
were built, which divide, and on which is raised the principal nave,
and on either side one, in all five collateral naves; the principal, of
115 to 120 feet in height, and 54 in width, from line to line; the
collaterals, 80 feet in height each one of them, and 38 in width, and
the chapels between the buttresses, of which there are ten, 50 feet
of height, and 26 in width, as, thanks to God, they have all been
made and finished to perfection, as may be seen.

" The building, so far erected, reached only to the two principal
pillars of the Crossing, which are twelve feet in width, because they
are the two upon which the Cimborio will have to be built, and
the other two pillars will embellish the work which has to be done
presently, when the Capilla mayor ami the Crossing are erected.
1 he other round pillars of the body of the said church are ten feet
in thickness, and are ten in all, and upon them were built the main
nave and its collaterals.

" Likewise I may mention that these principal pillars, tor fear
there shoukl be any misfortune or bursting in the work, were all
compacted throughout their body, with shaped stones, in pieces of

310 GOTHIC ARCHITECTURE IN SPAIN

the same thickness as those which are in the face of the work; so
that there is not the least thing omitted which could give strength.

" Likewise the walls were made, three extending past the said
three principal pillars, which were made for the Cimborio and
Crossing, where the high altar was placed, and the Blessed Sacra-
ment kept, and the conventual masses said ; and on one side, towards
the Alumzara, a little sacristy was made, or a vestry for the ministers
of the high altar, where they kept their boxes for the things necessary
for the altar and choir.

" Likewise the walls were built, where the stalls of the Coro are
placed for the divine offices, ornamented and made up with such
additional seats as were required, in order that they might occupy
the width of the principal nave; and at the sides they made offices
with their furniture for holding the singing and reading books for
the divine offices of the said church, with doors at the sides for going
out by at the sermon-time.

" Likewise they made high galleries on either side of the Coro, in
which they placed the organs, finished and adorned, as, at present
appears, for the service of our Lord.

" Likewise the cloister was founded, which was that which stood
in the old church, which Juan Campero, master of masonry, under-
took by contract for the sum of 4000 ducats, according to the
contract with which he took it ; and in the said buildings it was im-
possible to foresee, at the first, every necessary thing, because time and
the work itself showed many things which at first were not known;
and so, beginning to feel the said cloister would be low, by agreement
with the said John Campero, they gave him 400 ducats, in order
that he should raise it a yard, which gave him grace enough; and
70,000 maravedis, in order that he should do the door of the said
cloister, which was not in his contract; and likewise he made a
condition that he should not be obliged to go more than five feet
below the ground.

" In the same manner they made many other adornments in the
said cloister beyond what was in the contract with the said Juan
Campero, such as making many things of granite, and others of
carpentry, which were to have been of common masonry; which
was all of much cost, so that the expenses mounted beyond the
contract of the said Juan Campero another 4000 ducats, which was
in all 8000, a little more or less, as appears by the account-book
which the said Juan Campero kept.

" Item. — To the glory of God and the honour of His Blessed
Mother the building of the tower was commenced, which is at the
lower end of the said church, and which is a very solemn edifice. Its
bulk without the walls is thirty-three feet, and it is square. The

APPENDIX 311

walls are four from base to summit, and each one ten feet thick ; and
one of them which goes from the church is fifteen feet at the bottom.

" Item. — This tower is more lofty than that of the cathedral at
Seville, meaisured by a line, more than once brought from thence.
It is wider than that of Toledo by one-third part, as will be seen
by those who like to measure it. This measures, as I say, 33 feet
inside, and that of Toledo 22 feet. I say this in order that the good-
ness of this tower may be known. Outside the chapel and above it
is another very good chapel for the service of the church, in which
necessary things can be kept; and over this chapel, and in the
said tower, is another chamber, where is placed the man who attends
to the bells, with all his family, and with all the offices necessary for
his living; and above this, in the said tower, is another chamber,
which is where the bells are hung in their frames in their order. And
above this chamber, at the four sides or corners of the said tower,
there are four pillars, from which rise four flying buttresses, which
support another building, after the fashion of a censer with its
windows. The clock is here, etc." " I hold this building of the
tower to be noble and important, just as I hold it to be certain that
it would be difficult to build it now for 50,000 ducats."

Likewise there are three principal chambers which abut against
one wall of the tower, and go as far as the Calle Mayor of Barrio-
nuevo, which measure 80 feet or more. One of them below is all
made with a vault of good mason's work for the workmen's tools,
timber, scaffolding, ropes, and other instruments required for the
prosecution of the works; and when the said church is finished it
will be kept for precious things of various kinds of which the church
has need, for aiitos, etc., which take place in such churches, so as
not to have to make them anew each time. This chamber has a
very good door for entrance, and sufficient lights to enable them to
keep everj'thing that is required to be put there.

" Over this room, on the level of the cloister, is the cloister
Chapter-room, which is 53 feet long, a little more or less, and a
wide, with very good windows, and glazing, and wooden ceiling
made with fretwork, admirably executed by tlie hands of good
workmen; cjuite an important room. It is of the height proper for
a good room. There is no other painting in it than an inscription
all round. The pavement is of white and black stone, the black
from .\illon, and the wliite Otero de Herreros. The seats are tem-
porary; but a large quantity of walnut ha.s been bought for them.
The doors of the Chapter-room are ail of walnut, made by very goo<i
workmen, and with frames of black elm.

" Before entering into the Chapter-house there is a staircase
which has three landings for going to the library, with its steps of

312 GOTHIC ARCHITECTURE IN SPAIN

hard stone, and its breast-wall with the four Evangelists placed
against the columns; and in the four windows which light the
stairccise are the four principal doctors of the Church; and below
the said staircase is a room in a vacant space, whose windows look
into the Calle de Barrionuevo, which is for the Secretary of the
church to keep all the writings, and books, and bills of the said
church, and is placed close to the Chapter-house, of which the said
Secretary keeps the keys. This room is of the width of the stair-
case, and its size from the wall of the Chapter-house is 27 feet, which
are what remain of the 80 over and above the 5 3 which the Chapter-
house measures. The third part, and last in order of the above-
mentioned rooms, which is called the library, is the same width
and length. It has four windows, two towards the street, and two
towards the cloister, and in them medallions of SS. Peter and Paul,
John Baptist, and John the Evangelist.

" And in order to answer satisfactorily any complaints of the
Sefiores of the city, we may make a comparison with the Church of
Salamanca, which is the same kind as this church, and commenced
by the same Master, though this church is 100 feet broader than
Salamanca, which was begun by the same Master a long time before
that of Segovia was commenced anew. The said work at Salamanca
had all the ground on which it was built, so that the site cost nothing,
whereas at Segovia the whole site required was bought, and redeemed
of rents which were heavy," etc. etc.

LIST OF SUBJECTS CARVED ON THE SCREENS ROUND
THE.CORO OF TOLEDO CATHEDRAL

These screens extend across the west end of the Coro and along its
northern and southern sides. The central subject over the western
doorway, and two subjects on either side of it, have been destroyed
in order to make space for a more modern sculpture. The side
screens appear to have been cut off abruptly at the eastern end,
so that possibly some subjects may have been removed from this
part. The subjects are arranged as follows: Nos. i to 9, counting
from the north-west angle of the screen to the western doorway;
Nos. 12 to 1 9, from the central doorway to the south-west angle of
the screen; Nos. 20 to 40 along the southern screen, going from west
to east; and Nos. 41 to 61 along the northern screen, going from east
to west. Some of the subjects are doubtful, and some unintelligible

APPENDIX 313

to me ; and I have marked all such in this list with a note ot interroga-
tion. The whole of the subjects illustrate the earlier passages in
the Old Testament in chronological order.

1. Chaos.

(loD looking at a broken ark, and fragments of rock on the ground.

2. Creation of the firmament.

(ioD standing with the sea behind, and supporting an arc over
His head.

3. Creation of fowls and fishes.

Central figure of Cod, birds flying above, fishes and birds swim-
ming below.

4. The creation of sun, moon, and stars.

CiOD with His hands extended. In the two upper corners (dexter
side) the sun and four stars; (sinister side) the moon and four
other stars. There are clouds round the feet of God.

5. God reverenced by angels.

A standing figure of much majesty, with four angels on either
side, some kneeling, some standing. "^

6. Fall of Lucifer. 2

In the centre God, and on either side, above, angels; and below,
figures falling headlong.

7 The Creation of Adam.

(ioD moulding a figure into the shape of a man.

Nos. 8 and g, the central subject over the doorway into the
Coro, and 10 and 1 1 are destroyed.

Nos. 12 and 13 are transposed.

1 3. God meeting .Adam and Eve, and showing them the tree in the

garden.
12. God meeting Adam and Eve in the garden after the Fall.
They hold leaves in their hands.

14. The expulsion of Adam and Eve.

On the left a tree, in front of it a battlemcuted tower or gate, before
which is an angel. Adam and Eve going away.

15. Adam tilling the ground, Eve with a child in her arms looking

at him.

lO. Cain killing Abel (?), or Adam finding the dead body of

Abel. (?)

A man half supporting a dead body of a younger man.
17. Adam digging a grave for Abel.

A man digging in the ground.

' Tiiis subject occurs in the well-known illustrations of Queen .Mary's
I'salter, 2 H. VII., at the liritish Museum library. It is described as
■' Here God reposes on His throne with His angels."

^This subject occurs in the Biblia I'auperum, with the following inscrij)-
tion: — " Legitur in Apocalypsi xii" Cap" et in iii° Vsaya xiiii Cap° (|uod
lucifer cecidit p(-r superliiam de cel(j cum ouuiibus suis adhereutibus."

314 GOTHIC ARCHITECTURE IN SPAIN

1 8. God meeting Cain.

19. 'J\vo figures in a niclie at the angle of tlie western and southern

screens, both looking up as if in prayer.

" Then began men to call upon the name of the Lord."

South side.

20. (?)

A figure speaking to a bo}'; behind, and half-coucealed among
trees, another figure of a man naked.*

21. (?)

A man with an axe which he has let fall. He has been cutting
branches from a tree, and lifts up his hands in prayer: behind
him stands a woman.

22. (?)

A man with a long axe resting from his labour; a woman stands
behind him, and they both look towards a young man who
speaks to them.

23. (?)

The end of a building. On the left of it an angel and a young
man who looks out from it to the right, where are trees, and
below them the mouth of a whale swallowing a man.

24. The burial of Methuselah. ( ?)

Five figures surrounding a tomb in which they bury a sixth.

25. Noah finds grace in the sight of the Lord. ( ?)

Two figures in supplication, apparently, before the third.

26. Noah and one of his sons before the ark.

Noah turns his head towards God, who speaks from a cloud and
desires him to go into the ark.

27. The ark on the waters.

On one side of the roof a dove, and on the other one with a twig
of a tree. The ark has three tiers of openings: beasts look out
of the lowest, men and women from the next, and birds from
the highest.

28. The ark resting on the land, and the drunkenness of Noah.

Above Noah prays by a tree. Below, Ham lifts up the garment
of Noah, who is lying on the ground, and Shem and Japheth,
kneeling, cover their faces with their hands.

29. Probably the promise to Abraham that he should be the

father of many nations. ( ?)

On the left, two figures conversing; on the right, three tiers of

figiures. Dead bodies below, two seated figures above them, and

one seated figure above again.

30. Lot and the Angels.

Lot kneels before two angels.

31. Abraham's sacrifice.

Isaac bound and lying on the ground. Abraham behind him
looks back to an angel, who speaks and points to the ram in
a thicket.

* [This will be the death of Cain. — G. G. K.]

APPENDIX 315

32. Abraham and Isaac.

Abraham binding the ram, Isaac standing looking on, with his
hands in prayer.

H- Rebekah and Jacob.

Rebekah speaking to Jacob, who shows her that his arms have
no hair on them.

34. Isaac blessing Jacob.

Isaac sits up in bed, turns his face away from Jacob, and feels
his arms. The e.xpression of blindness is extremely well
conveyed.

35. Esau's distress.

Isaac supports himself on one arm on his couch ; with the other he
gesticulates to Esau, who stands before him with his hand
before his face, and evidently in grief.

36. Jacob's dream. (?)

A man seated before a tree with his hand up to his face.
n. Jacob wrestling with the Angel.

38. Joseph sold to the Ishmaelites.

39. Joseph's brethren return to Jacob with his coat.

40. Joseph's brethren bowing down before him.

This is the last subject on the south side of the Coro. It is
possible that it may have been returned on the eastern side
of the columns at this point, so as to allow of two more
subjects being introduced on either side; but if so, these
subjects have been destroyed. The first six subjects on the
screen on the north side, Nos. 41 to 46, are all very similar
— a king seated, with generally many persons in various
attitudes around him; possibly these subjects, with the
four which may have been destroyed, represented the ten
plagues of Egypt. I cannot discover any other explanation
for them.

47. The institution of the Passover.

Figures marking the lintels and side posts of a house.

48. The institution of the Passover.

The sacrifice of the lamb, several figures standing round au altar.

4'j. The smiting of the first-born of the Egyptians. ( ?)

Two subjects, one above the other; in each a dead body laid out,
and people looking on.

50. The passage of the Red Sea.

The people are walking on tlic water.

51. I'he drowning of the Egyptians.

52. .Moses stretching his hand out over the water.

-Moses stoops down and touclics Ww water witli his hand.

3i6 GOTHIC ARCHITECTURE IN SPAIN

53. Exodus xvi. 10-12. " The glory of the Lord in the cloud."

God speaking to a crowd of kneeling figures.
54 Exodus xvii. 45-6. Moses at the rock in Horeb. (?)

God (with a cruciform nimbus) speaking out of the clouds to
Moses, who speaks to a group seated before him (probably the
elders of Israel, v. 6).

55. Jethro, Zipporah, Gershom, and Eliezer coming to Moses. (?)

Exodus xviii.

Moses kneeling on the right, three figures seated on the left, and
another speaking from out of foliage above. I can think of no
other subject which this sculpture can represent.

56. ( ?) The people giving their ear-rings to Aaron to make the

molten calf. Exodus xxxii. 24.

Three figures on either side of one who stands in the centre. They

seem to be throwing things into the flames, in the midst of

which is a serpent.

57. Moses' hands stayed up. Exodus xvii. 12. (?)

Three figures, two holding a book (apparently) under the hands
of the fourth, who appears to be much fatigued. There are
flames in the foreground, in the midst of which is a small head.

58. Exodus xix. 10. (?) The people washing their clothes at

Moses' order.

A central figin-e pointing to a sort of well in the centre.

59. Massacre of the worshippers of the molten calf.

60. Exodus xxiv. 29.

Moses holds the two tables of the Law, and is surrounded by other
figures all touching the tables.

61. Exodus xxiv. 32, 33.

The two tables held by two figures above a draped altar; four
figures kneeling before them.

With this subject the series concludes.

I have thought it quite worth while to give this short account of
the work because it is rather rare to find so large a number of Old
Testament subjects treated in this way. On the whole, too, I think
that this is the most important work of the age in Spain. The
sculptured works of this period (the fourteenth century) are com-
paratively rare. The most important of those which I have men-
tioned in this book are the north doorway of Toledo, which has a
series of subjects in all of which the Blessed Virgin appears; at
Burgos the three western doors, which liave — (i) the birth of the
Blessed Virgin, (2) the Assumption, and (3) the Coronation; in the
south door, our Lord with the evangelists, saints, and prophets; and
in the north door, the Last Judgment. At Leon, the three western
doors, which have — (i) subjects from our Lord's life, introducing the
Blessed Virgin, (2) the Last Judgment, and (3) the Coronation of

APPENDIX 3T7

the Blessed Virgin Mary; the south transept, on one door our Lord,
the evangeUsts and apostles, and on another the death of the Blessed
Virgin Marj'; the north transept, our Lord surrounded by saints.
Avila cathedral has, over its north door, our Lord in the centre, the
Betrayal, Last Supper, and Coronation of the Blessed \'irgin Mary;
and the Resurrection of the Dead in the archivolt; and various
other smaller works. I know no other example of the introduction
of Okl Testament subjects.

In all these examples the character of the sculpture is very simi-
lar; the architectural framing of niches and canopies is of the best
kind of Middle Pointed; and the draperies, faces, and pose of the
figures are very much the same as one sees in work of the first
half of the fourteenth century at Bourges and elsewhere in France.
The subjects round the Coro at Toledo are superior to the others in
the facility which the regularity of the openings gave for the free
treatment of the sculptures, and in the variety of treatment which
the subjects naturally involve. But on the other hand, the artistic
skill of the sculptors who were employed at Leon cathedral seems to
me to have been greater than that of the sculptors of any other
Spanish work of the same age. And though the character, mode of
design, and manner of execution are all extremely French, I do not
know why we should have any doubt about the ability of Spaniards
to execute such work, when we consider how e.xceedingly skilful
they were in the succeeding age, when they perhaps excelled any
other sculptors of the same period.

The French work to which this Spanish sculpture has most
similarity, appears to me to be that of the three western doors of
Bourges cathedral. In some respects, indeed, there is so much like-
ness between the two that one can hardly avoid supposing that the
sculptor at Leon had himself been at Bourges. And it is interesting
therefore to observe that one of the most remarkable series of sculp-
tures illustrating the early portion of the Old Testament is that
which is carve<l in the spandrels of the arcade which is carried all
round the lower part of the jambs of the Bourges doorways. I have,
in the earlier part of this work, observed that there is evidence of the
same men having wrought at Burgos, Leon, .\vila, and Toledo.

3i8 GOTHIC ARCHITECTURE IN SPAIN

AGREEMENT BETWEEN JAYME FABRE AND THE SUB-
PRIOR AND BRETHREN OF THE CONVENT OF SAN
DOMINGO, AT PALMA IN MALLORCA

Sit omnibus notum, quod ego magister Jacobus Fabre lapicida,
civis Majoricarum, praesenti stipulatione convenio vobis fratri Petro
Alegre, gerenti Vices-Prioris conventus fratrum PrEedicatorum Ma-
joricarum antedicti et Notarij infra scripti stipulantis, vice et nomine
dicti conventus; quod quando Prior dicta> domus fratrum Praedica-
torum Majoricarum, vel ejus locum tenens, voluerit, et requisiverit
me, quod redeam ad hanc civitatem Majoricarum ex Barchinona,
quo iturus sum in pnesenti, causa faciendi illuc aliqua opera, vel
ea dirigendi cum licencia vestra, et fratrum dictae domus, ad praeces
Illustrissimi Domini Regis Aragonum, et venerabilis Domini Bar-
chinonensis Episcopi; ego illico recepta monitione vel requisitione
vestra vel Prioris dictae domus, seu ejus locum tenentis, omnibus
operibus et negotiis postpositis, redeam ad hanc civitatem Majori-
carum, salvo justo impedimento et quod vobis et fratribus vestri
conventus faciam, et consumabo opera vestri monasterij, et alia
opera faciam prout pactus sum, et facere teneor, ut continetur in
quodam publico instrumento, facto inter me et venerabilem Fr.
Arnaldum Burgeti, dudum Priorem dictae domus; quod instrumen-
tum sit validum, et nihil pro praedictis ille videatur innovatum, aut
mutatum. Quod si per me steterit quod non redeam, cum citatus
fuero, et non compleverim praedicta cum ea complere possim,
tenear dare, et per validam, et solemnem stipulationem dare pro-
mitto operi vestri dicti monasterij in manu et posse Notarij infra-
scripti, vice et nomine dicti operis stipulantis, pro pena, et nomine
pena", quinquaginta libras regalium Majoricensium moneta' perpeta-
minutorum, quae pro damnis, et interesse computtantur, qua pena
soluta, vel non, nihilominus rata maneant haec praedicta, et cetera
contenta in instrumento inter me et dictum fratrem Arnaldum
Burgeti facto, et pro praedictis attendendis, et non contraveniendis,
obligo vobis, et vestro conventui supradicto, et nomine infrascripti
stipulantis, vice et nomine ejusdem monasterij me, et omnia bona
mea, ubique habita, et habenda. Ad haec ego ^laymonus Peris civis
Majoricarum," etc. etc. " Actum est hoc ^lajoricis octavo idus Junii,
anno Domini millessimo trecentessimo septimo dccimo sig ^ nuin
Magistri Jacobi Fabre," etc. etc.

APPENDIX 3Tq

REPORTS OF ARCHITECTS ON THE PLAN FOR THE
COMPLETION OF THE CATHEDRAL AT GERONA—
A.D. 1417

Jtinta of Twelve A rchitects, upon the mode which ought to be followed in
the construction of the Cathedral ofGerona, with the Reports of each
nf them as they appear in the archives of the said Church.

In nomine Sanct;E ac individuic Trinitatis, Patris, et Mlii, ot
Spirit us Sancti. Amen.

Etsi mansiunculas et domos profanas mundanorum usibus dicatas
fideles Domini erigunt et fabricant opera polimento, quanto magis
ipsi fideles verique zelatores fidei orthodoxae circa templi Domini
fabricam construendam devotius accelerare deberent? Numquid
prisci patres pro archa Domini tabernaculum opera daaurato miri-
fice fabricaverunt? Hodie namque archa illa-verissima, et sanctissi-
mum illud Mamua in templo Domini a catholicis pra^servantur.
Dignum quin imo et congruum potest et debet a quolibet rcputari
ut domus ilia quam orationis Veritas nominavit, in qua etiam illud
sacrum Christi fidelibus pignus datum reconditur et tenetur, arti-
ficioso ex politis lapidibus opere construatur. Haec enim domus
rite noscitur pastori verissime dcdicata, in ilia nempe populus
Domini et oves ejus Paschua- cibum dulzoris assumunt. Sane in
domo ista latices sacrosancti noxas perimunt, culpas diluunt et
veternas cuilibet occurrenti. Heu igitur, quam dolendum sacrum
Domini templum ecclesiam Sedis clarissima- Gerundensis imper-
fectum opere minorari ! Idcirco cunctis pateat, quod reverendus in
Christ(j Pater et dominus dominus Dalmacius, Dei gratia cpiscopus
(ierundensis, ipsius ecclesia; tunc electus, et honorabilc capitulum
ecc!esi;r Gerundensis pra^dicta- pra'inissa omnia pio sidere aspcc-
tantes, considerantesque a quantis citra temporibus fabrica dicta-
Sedis cessavit ex diversorum controversia juxta opinioncs varias
artiticum subsecjuentes, nonnulli enim asscrebant opus dict:e labrica'
sub navi una debere congruentius consummari, atlirmantes illud lore
nobilius, (juam si sub tribus navibus opus hujusmodi subsecpiatur.
Alii autem a contrario asscrebant dictum ()])us sub i)r()secutione
trium navium continuari debere, dicentcsijue, quod lirinius et pro-
portionabilius esset cajiiti jamque cifpto, (piam si cum na\i una ipsa
fabrica prosequatiir, (|U()niam opus navis imius multum reddunt
debile distantia j)arict iiin, ac ctiain tcstudiiiis altitudo; et (|uod

320 GOTHIC ARCHITECTURE IN SPAIN

terraemotus, tonitrua, ventosque vagantes timebit apetentes etiam
circa directionem operis dictas fabricae consummandae solertius
vacare. ac de opinione praedictorum veridica informari : et adeo
ut controversia et opiniones hujusmodi clarius tollerentur, convo-
caverunt artifices peritissimos, lapiscidas de diversis partibus regni
hujus, et etiam aliunde ad hanc civitatem Gerundae, quorum nomina
inferius annotantur, indeque habitis collationibus plurimis, tarn
coram dictis reverendo domino Episcopo, tunc electo, et honorabili
capitulo dictae ecclesiae Gerundensis, quam alias inter ipsos artifices
opere praemisso subjecto primitus oculis cujuslibet eorundem cer-
nentium opus, quod coeptum fuerat, et qualiter hucusque fuerat;
prosecutum in illo, et formatis super hujusmodi opere prosequendo
articulis infrascriptis.

Inquiry ^

In the name of God our Lord, and the Virgin our Lady Saint
Mary, the " Maestros " Superintendents and masons summoned for
the direction of the works of the cathedral of Gerona, must be asked
the following questions: —

1. If the work of one nave of the said cathedral church, com-
menced of old, could be continued, with the certainty of remaining
secure and without risk.

2. Supposing that it is not possible to continue the said work of
one nave with safety, or that it will not be lasting, whether the
work of three naves, continued on, would be congruous, sufficient,
and such as would deserve to be prosecuted ; or, on the contrary,
if it ought to be given up or changed; and in that case unto what
height it would be right to continue what is begun, and to specify
the whole, in such sort as to prevent mistake?

3. What form or continuation of the said works will be the most
compatible and the best proportioned to the Chevet of the said
church which is already begun, made, and finished ?

The " maestros " and masons, before being asked these questions,
must take their oath; and after having given their declarations,
the Lord Bishop of Gerona and the honourable Chapter shall elect
two of the said masters, in order that they may form a plan or
design, by which the work will have to be continued. All which
the secretary of the Chapter will put in due form in a public writing.

' This interrogatory, and the declarations of the twelve architects, are
in the Catalan idiom in the original, and are translated into Castilian by
Fr. Jose de la Canal, Esp. Sag. xiv. 227-244. I have thought it best to
give an EngUsh translation.

APPENDIX 321

III

Successive dicti artifices, lapiscidae sigillatim, ad partem medio a
se corporaliter praestito juramento deposuerunt, et suam intentionem
dixerunt in et super opere prelibato diebus, mensibus et annis
inferius designatis et sub forma sequenti. Die jovis vicessima tertia
mensis Januarii anno nativitatis Domini millesimo cccc. sexto
decimo magistri et lapiscidas sequentes juraverunt et deposuerunt
apud civitatem Gerundae infrascripti, praesentibus et interroganti-
bus venerabilibus viris dominis Arnaldo de Gurbo, et Joanne de
Pontonibus canonicis, et Petro de Boscho praesbitero de capitulo
dictae ecclesiae Gerundensis ad hoc per dictos reverendum dominum
electum in Episcopum et capitulum Gerundense deputatis super arti-
culis praeinsertis et contentis in eisdem ut sequitur.

Paschasius de Xulbe lapiscida et magister operis siye fabriccs
ecdesicB sedis Dertusensis super prima dictorimi articulorum sibi
lecto medio juramento interrogatus, dixit : —

1. That according to his knowledge and belief it is certain that
the work of one nave of the cathedral of Gerona already commenced
is secure, good, and firm; and that the foundations or bases of the
old work already made are also so, and that the rest will be so
if they are constructed in the same manner, and that they will he
sufficient to sustain the vault of the said work of one nave.

2. Supposing that the work of one nave is not carried out, it is
certain that the one of three naves, already commenced in the said
church, is good and firm. But in the event of the plan of three
naves being adopted, he says, that it would be necessary that the
vault which is over the Coro, towards the altar of the same church,
should be pulled down, and that it should be unroofed, in order
that it may be raised eight palms — a little more or less — above what
it is now, so that it may correspond to its third in its measurements.

3. That the plan of three naves is more compatible ;ind better
proportioned to the Chevet of the church than that of one nave.

Interrogatus. — Whether, in joining the lower voussoirs on the
capital of the pillar over the pulpit, which corresponds to the other
of the Coro, in case the work of three naves is carrietl out, there will
be any risk of causing a settlement in the said pillar? — I answer,
that there will be none, and that it can be done with safety.

II X

322 GOTHIC ARCHITECTURE IN SPAIN

Joannes de Xulbe lapiscida, filius dicti Paschasij de Xulbe. regevs
pro dicto patre suo fabricam prcsdictam, sive opus dictcB EcclesicB
Dertusensis, simili juramento a se corporaliter prcBscripto, inter-
rogatus super prcsdtctts articulis deposuit id infra. Et printo
super prima artictilo interrogatus, dixit: —

1 . That the work of the nave already commenced can be continued,
and that it will be good, firm, and without danger; but that the
arches must be made to the tierce point,' and that the principal arch
must be shored up. That the first abutments of the old work,
situated on the south, are good and firm, and that, making the others
like them, they will be so also, and sufficient to sustain the vault
which has to be executed in the said church.

2. That if the plan of one nave is not to be followed, it is possible
to continue that of three ; and that it will be more beautiful, stronger,
and better than the other. But that the three naves ought to be
carried on according to those in the choir of the church; and then
it will be more beautiful and admirable. .\nd tha.t the new vault
which is contiguous to the Chevet ought to be taken down, because
it is bastard, and because it does not correspond with the said
Chevet.

3. That the work of three naves in the form which has just been
explained is the most compatible and the best proportioned to the
Chevet of the church.

Interrogatus. — Whether in joining the lower voussoirs of the arch
above the capital of the pillar which is above the pulpit, corre-
sponding to the other of the choir, in case the work of three naves
is carried out, there will be any risk of causing a settlement in the
said pillar? — I say no, provided that the arches are well shored, so
that they can have no thrust.

Petrus de Vallfogona, lapiscida et magister fahriccB Ecclesice
Tcrraconensis juramento pradicto niedio\sitper dictis articulis inter
rogatus deposuit. Et prima super primoarticulointerrogatusdixit: —

I. That the work of the said church, already commenced, of one
nave can be continued, and that it will be good, safe, firm, and
without risk. That the abutments antl foundations of the old work
are so, and that those which have to be made will be so if con-
structed in the same way, and that they arc sufficient to support

APPENDIX 323

the vault which such a work ought to have. But that the abut-
ments made towards the campanile require to be strengthened more
than those constructed on the south side.

2. That if the plan of one nave is not carried out, that of three is
congruous and worthy to be continued, provided that the second
bay of vaulting, as far as the capitals and lowest voussoirs inclusive,
is taken down; yet if above the principal arch a discharging arch is
erected, it will not be necessary to move the lower voussoirs or the
capitals, and it would be possible to raise the Crossing of that vault
all its width as much as is required ; and it could have a light in the
gable, which could have a clear opening of fifteen or sixteen palms,
which would be a notable work. He says further: that the lower
voussoirs which are in the northern and southern angles ought to
be altered, and that they ought to be reconstructed in accordance
with the plan of three naves.

3. That without comparison the plan of three naves, in the form
which has just been explained, is more compatible and more pro-
portioned to the Chevet of the church than the plan of one nave.

Interrogatus. — Whether, in case the plan of three naves is carried
out, there will be any danger in opening a hole in the pillar over
the pulpit corresponding to the other of the Coro at the time of joining
the voussoirs above the capital? — He said, that there would not;
and that it could be done with safety.

VII

Postmodum die veneris vicessima quarta dictorum mensis et anni
in manu et posse mei ejusdem Bernardi de Solerio, notarii sub-
scripti, praesentibus et interrogantibus dictis dominis Arnaldo de
Gurbo, Joanne de Pontonibus, et Petro de Boscho, magistri et
lapiscidae sequentes super pradictis, medio simili juramento, depo-
suerunt ut secjuitur.

\Tn

(irii.i.iikMis 1)1'. I. A MoTA, laf^is( I'dd, si>cius magistri in o pert- fabric cb
I'ldt'sio' '/'trfcK ,iiuf siiprr pra'dictis articulix, medio juramcnli), ut
siipta iidirrugciiits dcpositit. I:t prima super prima artinda intrr-
rngatici, dixit : ~

I. 1 hat he considers that the plan of the church commenced with
one nave could Ik- well executed, and that the Crossing will be
tirm; but that it is r)ljserved in old works, that bulky buildings,
as tiiat of one na\'e would be, sink svith eartlujuakcs or with great

324 GOTHIC ARCHITECTURE IN SPAIN

hurricanes, and for these causes he fears that the work of one nave
might not be permanent.

2. That the plan of three naves is good, congruous, and one that
deserves to be followed, provided that the second Crossing may be
new to the lowest voussoirs; and that its principals be demolished
as far as the capitals, and that horizontal courses of stones be
carried up to the height of fourteen or fifteen palms. That the
springers which are towards the north and the south ought also to
be taken down, and that they ought to be reconstructed in proper
proportion to the plan of three naves.

3. That without comparison the plan of three naves is more com-
patible and more proportioned to the Chevet of the church than that
of one nave.

Interrogatus. — If there will be danger in opening a hole in the
pillar near the pulpit, to place the springers ? — He said that there
would not be any risk.

Bartolom^us Gual, lapiscida et magister open's scdis Barchinonensis
super prcBdictis articidis, iit supra dicitur, interrogatus, medio jura-
mento prcsdicto deposuit. Et primo super prima artictdo interro-
gatus dixit : —

1 . That the bases and abutments of the old work of one nave are
sufficiently strong, making a wall over the capitals between the
abutments, which may rise a " cana " ^ from the windows, and that
from that wall a vault may spring, which will abut against each of
the abutments, and in this way they would remain safe. No doubt
the vault may remain firm over one nave, so that it may resist earth-
quakes, violent winds, and other mishaps which may occur.

2. That the plan of three naves is good, congruous, and such as
deserves to be carried out; but that the new vault of the second
arch, the last done, ought- to be taken down to the springing, and
ought to be raised until there is room in that place for a circle
(" una O ") of fourteen palms of opening; and in that way there
will be beautiful and notable work, and it will not be necessary to
undo the whole to the springing line.

3. That the plan of three naves is beyond comparison much
];etter proportioned and more compatible to the Chevet of the church
than that of one nave.

Jntevrogatus. — Whether there will be any risk in making an
opening in the pillars in order to join the springers of the arches?

' " Cana," a measure of two ells l-lemish.

APPENDIX 325

— He said that there would not be; but he counsels that, when the

said arch is taken out, the foot of the arch voussoir in the pillar

which has to be altered should be larger than the other, because
that has not so much weight on it.

Antonr's Canet, lapiscida, magister sive sculptor imaginitm civitalis
BarchinoncB, magisterque fahrica sedis Urgellensis super prcedictis
articidis iii prcsdicitHr, interrogatiis medio dicto juramento deposuit
Et primo super prima articulo interrogatus, dixit : —

1 . That according to his knowledge and conscience the plan of
one nave, already commenced, can be continued with the certainty
that it will be good, firm, and secure: and that the abutments which
the said work has are good and firm for the support of the vault,
and all that is necessary in order to carry on the said work.

2. That the work already begun of three naves is gootl and well
proportioned, but that it is not so noble as that of one nave; and
that if the work of three naves is continued it would be necessary
that the vault of the second bay of the middle nave should be taken
down to the capitals; and that the capitals as well should be taken
down eight or ten courses of stone, and so that the first pillar may be
joined, which was constructed in the head of the grand nave, con
tiguous to the Chevet of the church, and that the opening shall not
be made so low in the pillar, and the springing of the arch stones
may be introduced in it better. And though it is true that in this
way the (triforium) gallery may be lost, it is worth more to lose it
than the bright effect of light in the temple, which could be secured
by a round window in the said grand nave. But that, if the .second
nave is followed out as it was commenced, it will be most gloomy.
I'or which reason he is sure that if the plan of three naves is to be
good, it is necessary for it to Ije carried out working in the way he
has described.

3. That the j)]an of one nave would be much more comj^atibie and
better proportioned to the Chevet of the church as it is already
commenced and completed, than that of three naves, because the
said Chevet was commenced low; and that the plan of one nave
will be executed with a third at least of the cost of three naves.
That if the plan of one nave is lollowed, the galleries, which are
beautiful, will not be lost, and the church will be beyond comparison
much more light.

326 GOTHIC ARCHITECTURE IN SPAIN

GuiLLERMUS Abieli., lapiscida et magister operum seu fabricarum
ecclesiarum Beatcs Maries de Pinii et BeatcB Marice de Monte
Carmelo, et de Monte Sion, et Sancti Jacobi BarchinoncB, et hospi-
talis SanctcB Cruets, civitatis ejusdem, sic etiam super prcsdictis,
dicto juramento medio, interrogatus, dixit : —

1. That according to his understanding and good conscience the
work already commenced of one nave can be continued, and will be
good, firm, and secure; and that the foundations which it has, the
rest being made in the same way, are good and firm to support the
work of one nave without danger.

2. That the plan of three naves is good, beautiful, and more
secure than the other, wherefore it deserves to be continued. But
that the vault of the second bay of the middle nave ought to be
taken down to the springers, and be raised afterwards by its third,
so that a fine round window may be had there, and to make an
upper vault above the principal: and in this way the plan of three
naves will be very beautiful.

3. That without any doubt the plan of three naves is more com-
patible and adequate to the choir of the church as it is now, than
that of one nave, because that of one nave would be so wide that it
would have great deformity when compared with the Chevet of the
church.

XII

Arnaldus de Valleras, lapiscida et magister operis sedis Minorisee
super dictis articulis, prout alii, interrogatus deposuit medio dicto
juramento ut sequitur. Et primo super primo articulo interrogatus
dixit : —

1. That the work of ofie nave, already commenced, can very
well be continued, and will be good, firm, secure, and without
risk; and that the foundations which the said work has, and the
rest which may be made like them, are good, and sufficient to sus-
tain the work of a single nave; and that, though they might not
be so strong, they would be firm and secure. He says further,
that the work of the Church of Manresa is now being constructed,
which is higher than this, which has not such great or strong foun-
dations, and is not of so strong a stone. It is true, he says, that
the Manresa stone is lighter, and combines better with the mortar
than that of Gerona; and that, if he could have to con.struct the

APPENDIX 327

latter church, he would make the vault of other stone which was
lighter, and which combined better with the mortar, but that the
vaulting ribs, the lower part of the walls, the abutments, and the
rest of such work could be executed in Gerona stone.

2. That the plan of three naves is good, congruous, and deserves
to be carried out, provided that the vault of the second arch of
the middle nave is taken down to the springers, and that they also
are taken down, so that the work may be raised by its dimensions;
so that it will be possible to have over the principal of the first arch
a round window of twenty palms opening, with which it will look
very well and not be disfigured.

3. That the plan of three naves in the manner which has been
described is, without comparison, more fitting and better propor-
tioned to the existing Chevet of this church than that of one nave;
because that of one nave would make the choir appear to be so
small and mis-shapen, thiit it would always demand that it should
be raised or made larger.

htterrogaius. — Whether there would be any danger in opening a
hole in the pillars in order to insert the abutments? — He said that
there would not; and that if he, the deponent, should do the work,
lie would commence first by opening a hole in the pillars in order
to join the abutments, since in that way they could not settle or
give way, as certainly and without doubt might happen. That he
was ready to come and continue this work in the manner which
he had described ; obtaining the licence of the city of Manresa, with
which he had contracted to construct the church there.

XIII

•A.NTO.MUs .\.\rK;oNi, magistcr maJDr opcris ecclcsia vUIcb Castilionis
Impiirianim super prcediciis interrogatus, dicta juramento medio
dcposuit. lit prima super prima articiilo interrogatus dixit : —

1. That the plan of one nave, formerly commenced, could be con-
tinued well and firmly without any risk; and the foundations that
it has, and the rest which have to be made like them, are sulticient
to sustain with all firmness the said work of one nave.

Interrogatus. — Whether the work of one nave, in case it were made,
would run any risk of falling with hurricanes ami cartluiuakes? —
He said that there was no cause for fear.

2. Ihat the work of three naves continued ot late is not con-
gruous, nor of sucli sort as that its plan could be followed, because
in no way could it be cc^nstructed with the same dimensions. 13ut
it is true that if the vault of the bay last done is taken down to the

328 GOTHIC ARCHITECTURE IN SPAIN

springers, and raised afterwards fourteen or fifteen palms in its
measurements, the plan of three naves would be more tolerable,
though it could never be called beautiful or very complete.

3. That he has no doubt that the work of one nave would be for
all time without comparison the most beautiful, more compatible and
better proportioned to the Chevet of the church than that of three
naves, since it will be always clear that the latter was not done
carefully and with good taste.

Interrogatus. — Whether in case the work of three naves is carried
out, there will be any risk in opening a hole in the pillars in order
to join the abutments? — He said that it could be done, but not
without danger.

XIV

GuiLLERMUS Sagrera, niagister opens sive fahriccB ecclesies Sancti
Joannis Perpigniani ut supra interrogatus dicto juramento medio
deposuit. Et prima super prima articulo interrogatus dixit : —

1. That the plan of one nave, formerly commenced, can be con-
tinued, and that it will be good, firm, and secure; and that the
foundations which it has, with the rest which must be made in the
same way, are sufficient to sustain it.

Interrogatus. — Whether if the one nave is adopted there will be ,
risk by reason of earthquakes and violent winds ? — He said that with
the earthquakes which he has seen, and the winds which naturally
prevail, there would be no danger that the said work should fall or
become decayed.

2. That the work of three naves lately commenced is not con-
gruous, and does not deserve to be carried on; and in case it is
continued, in the first place the vault of the second bay ought to
be taken down from the springers to the capitals ; in the second, also,
the other pillars which were made afterwards ought to be taken
down, in order that they may be raised fifteen palms or thereabouts;
and that with all this the work will not be completed well, but on
the contrary will be mesquin and miserable. That the gallery,
which would be lost, could not remain there; that it would not be
possible to place the series of windows due to the work between the
chapels higher than they would be in a single nave, owing to the
thrust or pressure of the arches, which would be towards the gallery,
corresponding to the new pillars of the enclosure of the choir, and
would come against the void of the gallery, wherefore the work would
not have the firmness it ought to have. The deponent concludes,
saying, that for these and other reasons the said work of three naves
would not be good or advantageous.

APPENDIX 329

3. That the plan of one nave would be beyond comparison more
compatible and more proportioned to the Chevet of the church
already built, commenced, and completed, than would one of three
naves; and he says it is the fact that the said choir of the church
was made and completed with the intention that the remainder of
the work should be made and carried out with a single nave.

Joannes de Guinguamps, lapiscida, habitator civitatis NarboncB super
prcedtctis artictdis, sicut alii prcedicti interrogatiis medio dicta
juramento deposuit ut sequitur. Et prima super prima articulo
interrogatus dixit : —

1. That the work already commenced of one nave could very well
be made and continued; and that when it is done it will be very
good, firm, and secure, without any dispute; and that the founda-
tions which are already made in the old work, and the others which
will be made in the same way, are good, and have sufficient strength
to maintain the work of a single nave.

2. That the plan of three naves latterly continued is not con-
gruous or sufficient, and should not in any way be made or followed,
because it never will have resisonable conformity with the Chevet.

3. That the plan of a single nave is beyond comparison more fit
and proportioned to the choir of the said church, than would be that
of three naves, for several reasons, ist. That the deponent knows
that the plan of a single nave with the said choir would be more
reasonable, more brilliant, better proportioned, and less costly.
2nd. Because, if the work is carried on with one nave, there would
not be the deformity of difference that disgusts. And though .some
may say that the plan of a single nave would make the choir look
low and small, the more on that account would no deformity be
produced, rather it would be more beautiful; and the reason is, that
in the space which would be left between the top of the choir and
the centre of the great vault, there would be so large a space that
it would be possible to have there three rose windows: the first
and principal in the middle, and another small one on each side:
and these three roses would do away with all deformity, would give
a grand light to the church, and would endow the work with great
perfection.

Interrogatus. — Whether, if the plan of three naves is adopted, it
would be dangerous to open the pillars in order to join in them the
springers corresponding to it? — He said that he would not do it or
consent to it on any account, because great danger, great wrong,

330 GOTHIC ARCHITECTURE IN SPAIN

and great damage would result, since in no part could the work be
brought to perfection, and such a fissure could not be made without

great risk.

XVI

Postmodum die Lunae, quae fuit vicesima octava mensis Septem-
bris, anno jam dicto a Nativitate Domini millessimo cccc. sexto
decimo, ad instantiam dicti domini Petri de Boscho operarii hoc
anno dictae ecclesiae Gerundensis, super ipsius regimine operis una
et in solidum cum honorabili viro domino Francisco Sacalani canon-
ico dictae ecclesiae electi et deputati apud domos Thesaurariae dictae
ecclesiae Gerundensis coram dictis reverendo in Christo patre et
domino domino Dalmacio Dei gratia episcopo et honorabili capi-
tulo ejusdem ecclesiae Gerundensis ad tactum cimbali, ut moris est,
ibidem convocatis et congregatis; ubi fuerunt praesentes dictus reve-
rendus dominus dominus Dalmacius, episcopus, et honorabiles viri
Dalmacius de Roseto, decretorum doctor, archidiaconus de Silva
in dicta ecclesia Gerundensi, Arnaldus de Gurbo, Joannes de Pon-
tonibus, Guillermus de Brongarolis, sacrista secundus, Joannes de
Boscho Thesaurarius, Joannes Gabriel Pavia, Petrus de Boscho prae-
dictus, Guillermus Marinerii, Petrus Sala, Franciscus ]\Iathei, et
Bartholomeus Vives, presbiteri capitulares et de capitulo ante dicto,
capitulum ejusdem ecclesiae Gerundensis facientes, representantes et
more solito celebrantes: dicti articuli et dictae depositiones, et dicta
a dictis artificibus super eisdem in scriptis redacta et continuata in
dicto capitulo publice, alta et intelligibilli voce de verbo ad verbum
lecta fuerunt, et publicata per me eundem Bernardum de Solerio,
notarium, supra et infra scriptum. Et eis sic lectis et publicatis,
illico dicti reverendus dominus episcopus et honorabile capitulum
super concludendo et determinando per quem modum juxta opi-
niones, depositiones et dicta dictorum artificum melius pulchrius et
efficacius dictum opus praefatae ecclesiae Gerundensis sub prosecu-
tione videlicet unius aut trium navium prosequatur et consumetur,
retinuerunt sibi deliberationem et ad hujusmodi fuerunt pro testibus
presentes et evocati discreti viri Franciscus Tabernerii et Petrus
Puig presbiteri benefhciati in dicta ecclesia Gerundensi.

XVII

Deinde vero die Lunae octava mensis Martii anno a Nativi-
tate Domini millessimo cccc. decimo septimo alius artifex lapiscida
infrascriptus juravit et deposuit in dicta civitate Gerundae in posse
mei Bernardi de Solerio notarii supra et infra scripti, praesentibus
et interrogantibus venerabilibus viris dominis Arnoldo de Gurbo,

APPENDIX 331

canonico, et Guillermo Marinierii presbitero de capitulo dictae
ecclesicB Gerundensis, ad hoc per dictos reverendum dominum Dal-
macium episcopum et honorabile capitulum Gerundense, specialiter
deputatis super articulis praeinsertis, et contentis in eisdem ut
sequitur.

XVIII

GuiLLERMUS BoFFiY, magtster opens sedis dictcB ecclesicB Gerundensis
siniili juramento a se corporaliter prcBstito super prima articulo
dictorum articulortim interrogatus, dixit et deposuit : —

1. That the work of the nave of the church of Gerona, already
begun, could be made and continued very well ; and that if it is
continued it will be firm and secure without any doubt, and that
the foundations, and others which may be made like them, are and
will be good and firm enough to sustain the said work of one nave.
And that it is true that the said foundations or abutments, even if
they were not so strong, would be sufficient to maintain the said
work of one nave, since they have a third more of breadth than
is required : wherefore they are very strong, and offer no kind of
risk.

2. That the work of three naves for the saitl church docs not merit
to be continued when compared with that of one nave, because great
deformity and great cost will follow from it, antl it would never be so
good as that of one nave.

3. That the work of one nave is, without comparison, the most
conformable to the choir of the church already commenced and
made, and that the plan of three naves would not be so. And that,
if the plan of one nave is carried out, it would have such grand advan-
tages, and such grand lights, that it would be a most beautiful and
notable work.

XIX

I'ost pradicta autem omnia sic habita et secuta, videlicet tlie
Luna', intitulata (juinta decima dicti men.sis Martii, anno jam dicto
a Xativitate Domini millesimo cccc. decimo se[itimo, mane videlicet,
post missam sub honore beata' Maria; X'irginis gloriosa; in dicta
Gerundensi ecclesia solemniter ceiebratain, dictis reverendo in
Christo patre et domino domino Dalmacio episcopo, et honorabilibus
viris cajjitulc} dicta; ecclesia' Gerundensis, hac de causa ad trinuin
factum cimbali, ut moris est, de mandato dicti domini episcoj)! a[)ud
domos pra-dictas 1 hesaurari;e dicta- ecclesia' Gerundensis simul
cf)nvocatis et congregatis: ubi coiivcncrunt, et fuerunt pra.'sentes
dictus reverendus dominus Dalmacius episcopus, et honorabiles viri

332 GOTHIC ARCHITECTURE IN SPAIN

Dalmacius de Raseto, decretorum doctor, archidiaconus de Silva,
Arnaldus de Gurbo, Joannes de Pontonibus, canonici, Guillermus
de Burgarolis, sarista secundus, Joannes de Boscho, Thesaurarius,
Joannes Gabriel Pavia, Petrus de Boscho, Guillermus Marinerii,
Petrus Sala, Bacallarii in decretis, Franciscus Mathei et Bartholo-
meus Vives licentiatus in decretis, presbiteri capitulares et de
capitulo ante dicto, ipsi reverendus dominus episcopus et honora-
biles viri et capitulum praenotati, sicut praemititur capitulariter
convocati et congregati, et capitulum dictae ecclesiae Gerundensis
facientes, representantes, et more solito celebrantes, visis et recogni-
tis per eosdem, ut dixerunt, praedictorum artifiicum et lapiscidarum
depositionibus ante dictis in unum Concordes deliberaverunt, sub
Navi una prossequi magnum opus antiquum Gerundensis ecclesies,
praelibatis rationibus quae sequuntur : turn quia ex dictis praemis-
sorum artificum clare constat, quod si opus trium navium supra-
dictum opere continuetur jam coepto, expedit omnino quod opus
expeditum supra chorum usque ad capitellos ex ejus deformitate
penitus diruatur et de novo juxta mensuras ccEpti capitis reformetur:
tum quia constat ex dictis ipsorum clare, eorum uno dempto, nemine
discrepante, quod hujusmodi opus magnum sub navi una jam ccep-
tum est firmum, stabile et securum si prosequatur tali modo et
ordine, ut est coeptum, et quod terraemotus, tonitrua nee turbinem
ventorum timebit : tum quia ex opinione multorum artificum prae-
dictorum constat, dictum opus navis unius fore solemnius, notabilius
et proportionabilius capiti dictae ecclesiae jam incepto, quam sit opus
trium navium supradictum: tum quia etiam multo majori claritate
fulgebit quod est laetius et jucundum ; tum quia vitabuntur expensae,
nam ad prosequendum alterum operum praedictorum modo quo stare
videntur opus navis unius multo minori praetio, quam opus trium
navium, et in breviori tempore poterit consumari.

Et sic rationum intuitu prasmisarum dictus reverendus dominus
episcopus et honorabile capitulum supradictae ecclesiae Gerundensis
voluerunt, cupierunt, et intenderunt, ut dictum est, opus magnum
unius navis prasdictum, quantum cum Deo poterunt prosequi et
deduci totaliter ac effectum. Et talis fuerunt intentionis domini
episcopus et capitulum ante dicti praesente me eodem Bernardo de
Solerio, notario supra et infra scripto et pra:sentibus venerabilibus
viris, etc. etc. etc.

APPENDIX 333

CONTRACT OF GUILLERMO SAGRERA FOR THE
EXCHANGE AT PALMA

C'Uitract entered into at Palma in Mallorca, March 1 1, 1426, by which
the Architect Guillermo Sagrera bound himself to construct or to
continue the Construction of the Exchange of that City, according
to Plans which he presented, and to the Conditions expressed.

Recites the names of the contracting parties for the erection of the
fabric of the Exchange which is being built in the Place called " del
Boters," outside the walls of the city.

(The following conditions were written in the " Lemosin " or
Mallorcan idiom.)

Firstly. — That the said Guillermo Sagrera promises and agrees in
good faith with the said honourable members of the Building Coun-
cil (Fabriqueros), that, God helping, he will complete the building
of the said Exchange, to the covering of its vaults, in the first twelve
years from the date of the contract : the said Exchange to be eight
" canas ' of Monpeller " in heiglit, reckoning from the pavement
to the keystone.

Item. — That the said twelve years being passed, the said Guillermo
Sagrera will be obliged in the three succeeding years to make and
finish all the towers, turrets, and other works which pertain to the
said Exchange above the roof.

ftem. — That the said Guillermo must and is bound to do all the
said work at his own cost and charge, as well what may be neces-
sary by reason of his art, as for wooden scaffolding and centering;
and also for paying for all the stone, lime, gravel, and all the instru-
ments and tools necessary for the work; and in the same manner for
all tlie workmen, officials, and others working in the said Exchange
and outside it; and lastly all the other things necessary tor its
completion.

Item. — That the said Guillermo is obliged to continue ami com-
plete the said work of the Exchange in the lorin which was begun,
and according to the designs given and put into the hands of the
lifmourable Council of the Fabric by the said Guillermo.

//(■»(.— 1 hat the said Guillermo binds himself to buikl from the
base and to complete all the pillars and keystones of the said Ex-
( liaiige in Santani stone, fluted and according to the said design, and
to i\(>()T it with the same stone, and to lay the ti-nac e with the mixture
ol burnt clay and fresh lime which they (all " Ircspoll."

' .\ " cana " iquaK tvvd vards and three inches Spanish ineasiin-.

334 GOTHIC ARCHITECTURE IN SPAIN

Item. — That the said Guillermo binds himself to make the
pendents of the said Exchange of Solleric stone.

Item. — That the said Guillermo binds himself to make on the
outside part of the said Exchange, and above the gable of the door-
way which looks towards the Royal castle of the said city of Mal-
lorca, a solemn tabernacle with the figure of the modest Virgin our
Lady Saint Mary.

Item. — That the said Guillermo binds himself to make on the
other three fronts of the same Exchange, that is on the outside of
each one of them, a figure of an angel, each one with his tabernacle
over him; and that each of the said angels have on one side the
Royal scutcheon, and on the other that of the said city of Mallorca,
in the form and manner which may be pleasing to the said honourable
Council of the Fabric.

Item. — That the said Guillermo binds himself to make in each
one of the four corners of the said Exchange on the outside a grand
statue, each one in his tabernacle, similar to the angels: that is, in
the corner which looks towards the Pi Gate, that of San Nicolas ; in
that which looks towards the church of San Juan, that of S. John
the Baptist ; in that which looks towards the Arsenal, that of Sta
Catalina; and in that which looks towards the said Royal castle,
that of Sta. Clara; in the form and manner which may please the
said honourable Council of the Fabric.

Item. — That the said Guillermo binds himself to make in one of
the four turrets of the corners of the said Exchange a room where a
clock can be placed.

Item. — That the said Guillermo binds himself to cover the abut-
ments or buttresses with sharp-pointed stone weatherings, and in
the top of each of the said weatherings there must be a great knop
on which a flower-pot can stand; and that the balustrade which
surrounds all the top of the Exchange shall be pierced with openings.
And all the things which are at present within the said Exchange
shall belong to the said Guillermo; and it is further declared that
the aforenamed will not have to make gates nor iron screens in the
said Exchange.

Item. — That the said honourable Council of the Fabric are to give
and pay to the said Guillermo, on account of all the things before said
and specified, 22,000 pounds of Mallorcan money, in instalments, in
the form and manner following: To wit. That the said honourable
Guardians and those who succeed them in the office of Guardians of
the Merchants' Affairs shall be obliged to pay each year to the said
Guillermo the sum for which they may have alienated the right of
dues on the merchandise imposed by the said Mercantile College upon
all the stuffs and merchandise entering and sailing from the island of

APPENDIX 335

Mallorca, reserving to the said honourable Guardians in each year
1 50/. of the said money of Mallorca for the expenses and business
of the College; and the said price of the said dues, the 150/. already
referred to being deducted, is to be reserved for the said Guillermo
every year in payment and satisfaction of the said 22,000/.; and
this for such time and until the above-mentioned is wholly and
completely paid and satisfied to the whole extent already mentioned.
Declaring however and agreeing in which, the said Guillermo shall
be bound to spend each year out of his own stock on the said work of
the Exchange 500/. of the said money beyond that which he shall
receive of the said price of the dues of merchandise.

Etc. etc.

Signed March iith, 1426, by Guillermo Sagrera, Francesco
.\nglada, and Juan Terriola, and by others.'

' Cean Bermudez, Arq. de Expaiia, i. 276-279.

INDEX

Abadia, Juan de la, ii. 174 n.
Abbeys described —

Fontefroid, ii. 118 n.

Piedra, i. 297 n.

Pontevedra, i. 212 n.

RipoU, ii. 149 n.-i5i n.

Veruela, i. 234; ii. 32, 186 et seg.,
196 n«., 230, 231, 238, 230
Abbeys mentioned —

Citeaux, i. 342; ii. 230

Fitero, i. 298 n.

Santa Maria de Huerta, i. 297 «.,
298 n.

Rueda, i. 298 n.

Westminster, i. 327 «.; ii. 98 n.,
230, 230 n.
Abiell, GuiUermo, ii. 77, 285, 326
Acuna, Bishop Luis, i. 24 n., 25 «.,

26, 28
Adam, Juan, ii. 132, 132 n.
Agde, Cathedral at, ii. 115
Agen, Bernard of, i. 294 n.
Aguilar, Bartolome de, i. 293
Ajimez windows — meaning of term,
ii. 12, 14

In Barcelona, ii. 83, 84

In Gerona, ii. 112

In Lerida, ii. 146

In Perpifian, ii. 115

Near Sabadell, ii. 120

In Segovia, i. 274

In Tarragona, ii. 38

In Valencia, ii. 12, 14
Alagon, ii. 197
Alameda, Lerida, ii. 128

V'iilafranca del Vierzo, i. 171
.Alava, Juan de, i. 106, 108; ii. 285,

301
.Albi, Cathedral of, ii. 98 n.
.Alcala de Henares, i. 282

Bishoi)'s I'alace, i. 284, 293 n.

San lldefonso, i. 284, 293 n.

SS. Just y Pastor, i. 282, 283,
293 n.

L'liivcrsity of, i. 283
Alcantara, Bridge of, Toledo, i. 300,

301 n., 320 ('/ seq.
Alcazar, Segovia, i. 257, 203, 2(16,
273, 274, 270 n.

Toledo, i. 300, 301, 30 ? 11., 353
Alcman, [uau, ii. 2X(>

Alemany, Pedro, ii. 87 n.

Alfonso, Bishop of Cartagena, i. 22,
24 «., 28, 46

Alfonso, Juan, ii. 286

Alfonso, Rodrigo, i. 343; ii. 286

Alhama, i. 297 n.

Alicante Railway, i. 299; ii. i

Almanza, Castle at, ii. i

Almedina, bVrrando de, ii. 17 n.

Almudevar, ii. 156, 156 n.

Altar frontals from St. Paul's
Cathedral in Valencia Cathe-
dral, ii. 10, 10 n.

Amiens, Cathedral of, i. 140, 141,
327 n. ; ii. 98 n.

Andino, Cristobal de, i. 72 n.; ii.
275, 286

Ansurez, Don Pedro, i. 82

Antigoni, Antonino, ii. 269, 286, 327

Aponte, Pedro, ii. 171 n.

Arandia, Juan de, i. 84; ii. 286

Aranjuez, i. 299; ii. i

Architecture in Spain-
Twelfth century, ii. 231-233
Thirteenth century, ii. 231-238
Fourteenth century, ii. 238-239
L'ifteenth century, ii. 239-243
Later styles, ii. 243-244
Contrasted with Hnglish, ii. 257-

259
Arfe, Antonio de, ii. 286
Arfe, Enricjue de, ii. 286
Argenta, Bartolome, ii. 93, 286
Arlanzon, i. 32, 38
Armeria, .Madrid, i. 27()
Artajona, Churcli at, ii. 2i() >i.
Aspargo, ii. 42 n.
Astorga, i. i(>()

Cathedral of, i. i(j<), 170, i,S.| ;i)/.;
ii. 240

Plaza de la Constitucion in, i. ihij

Wails of, i. Uu), i«,( n.
.'Vtares, Don i'edro de, ii. iSo, iSS,

196 n.
Audieiicia, X'alencia, ii. 17 n.
.Avila, i. 230

Catiiedral of, i, 230 el s<'(/., 2 Si 11 n. ;
ii- 30, i^.',, 234, -: ^'^

San .Andre-,, i. 25.) "•

San I'edro, i. 230, 250, 251 ; ii. 228

San Seenndo, i. 2,S.( h.

337

338 GOTHIC ARCHITECTURE IN SPAIN

Avila — continued

San Vicente, i. 230, 240 et seq.,

254 nn.; ii. 228, 229
Santo Tomas, i. 230, 251 et seq.,

254 M.; ii. 242
Walls of, i. 230, 231

Bafo, Jacomart, ii. 19 n.

Badajoz, Juan de, i. 103, 137 7i., 160,

163; ii. 286, 301
Balaguer, Pedro, ii. 8, 9, 131, 268,

287
Barbastro, Cathedral of, ii. 156,

171 n.
Barcelona, ii. 51

Casa Consistorial, ii. 81, 83, 84
Casa de la Disputacion, ii. 83, 84,

88 n.
Cathedral, ii. 56 et seq., 86 nn., loi
Lonja, ii. 85, 88 n., 91 n.
N. S. del Carmen, ii. 81, 82, 88 n.
San Anton, ii. 83, 85 n., 88 n.
San Cucufate del Valles, ii. 52,

52 n., 88 n., 89 n., 90 n.
San Geronimo, ii. 83
San Javme, ii. 77
San Miguel, ii. 82, 83, 88 n.
San Pablo del Campo, ii. 52 et seq.,

85 n., 226
San Pedro de las Puellas, ii. 34,

55, 85 n., 226
Santa Agata, ii. 56, 77, 80, 81,

88 n.
Santa Anna, ii. 55, 56, 85 n.
Santa Maria del Mar, ii. 60, 70-7.1,

87 «., 88 n., 117 n., 122, 238
Santa Maria del Pi, ii. 74, 76, 77
SS. Just y Pastor, ii. 74, 75
Barcelonette, ii. 52
Bartolome, Maestro, ii. 23, 35 «., 287
Bassa, Ferrer, ii. 90 n., 155 n.
Baths de la Cava, Toledo, i. 303 n.
Bayonne, i. 6

Cathedral, i. 7, 11 n.
Beauvais, Cathedral of, i. 141, 1 42
Bellegarde, Fortress of, ii. 1T4
Benavente, i. 125

San Juan del Mercado, i. 126,

134 n.
Santa Maria del Azogue, i. 125 et

seq., 134 n., 186; ii. 228
Scenery around, i. 125, 128
Benes, Pedro, ii. 287
Berrnejo, ii. 148 n.
Bernardo, Archbishop of Toledo, i.
95, 114, 114 «., 288, 324 «.,
353 n.
Bishop of Siglienza, i. 288
Bishoj) of Zainora, i. 114, 114 n.

Bemardus, Frater, ii. 23, 42 n., 277
Berruguete, Alonso, i. 59 n., 79, 84,
86, 86 n., 117, 163, 239, 254,
345, 345 n., 348, 351, 356 n. ;
ii. 243, 244, 246
Betanzos, i. 180, 185 n., 186 n.
San Francisco, i. 186 n.
Santiago, i. 185 n., 186 n.
Biarritz, i. 7

Bidart, Church at, i. 8, 12 n.
Bishop's Palace, Alcala, i. 284,

293 n.
Blay, Pedro, ii. 84, 287
Boffiy, Guillermo, ii. 93 n., 94, 96,

270, 287, 331
Boncks, Arnau, ii. 287
Bonifacio, Martin Sanchez, ii. 288
Bonifacio, Pedro, ii. 288
Bonife, Matias, ii. 68 «., 246, 288
Borassa, Luis, ii. 148

Painting by pupil of, ii. 42, 90
Borgoiia, Felipe de, i. 25, 345, 345 n. ;

ii. 288
Borgofia, Juan de, i. 21, 239, 239 «.;

ii. 246, 256, 257, 288
Bourges, Cathedral of, i. 327 n., 332,

335, 336; ii. 98 n.
Brickwork, ii. 251, 252

At San Pedro, Gerona, ii. 25
At Tarazona Cathedral, ii. 181
At Zaragoza Old Cathedral, ii. 167,
168, 181
Bridge of Alcantara, Toledo, i. 300,
301 n., 320 et seq.
del Arzobispo, Villafranca, i. 344 n.
San Martin, Toledo, i. 301, 320,

322 et seq., 344 n.
Zamora, i. 124
Bruxelas, Juan de, ii. 288
Bull-tight in Madrid, i. 281-282
Burgos, i. 10, II

Cathedral of, i. 11, 13 et seq., 42,

65 nn., 82, 336; ii. 234-239
Fonda de la Rafaela, i. 11, 12 n.
Hospital del Rey, i. 64, 67 n.
La Merced, i. 64
Puerta de Santa Maria, i. 64
San Esteban, i. 54 et seq., 66 n.
San Ciil, i. 59 et seq., 63 n., 66 n
San Juan, i. 62, 74
San Lesmes, i. 62, 65 n., 67 ti.
San Lucas, i. 62, 67 n.
San Nicolas, i. 50, 54, 66 n.
San Pablo, i. 62, 63, 67 n., 74
Santa Maria la Real, i. 17, 21, 27,
32, 38, 65 n., 80, 266; ii. 157 n.
Burgos, Garcia de, i. 60
Biirgundian influence on Spanish
art, ii. 229, 231, 260 «.

INDEX

33Q

Cadell, Amaldo, ii. 90 n.
Calahorra, i. 298 n.
Calatayud, Town of, i. 295 n., 307 n.
Calatrava, Knights of, i. 310, 310 n.
Calle de Alcald, Madrid, i. 281
Camargo, Pedro de, i. 60
Cambre, Church in, i. 186 n., 187 n.
Campero, Juan, i. 106, 106 n., 260,
263; ii. 275, 276, 288, 301, 310
Camprodon, Francisco, ii. 91 n.
Canet, Antonius, ii. 288, 325
Cantarell, Giralt, ii. 124, 288
Canterbury Cathedral, ii. 98 n.
Cardenas, Gutierre de, i. 293
Cardener, ii. 120

Carderera, D. Valentin, ii. 171 n.
Carducci, Vincent, ii. 171 n.
Carlos, Maestro, ii. 166
Carpintero, Macias, i. 84; ii. 288
Carrerio, Fernando de, i. 227; ii. 289
Casa Consistorial, Barcelona, ii. 81,
83, 84
de la Disputacion, Barcelona, ii.

83, 84, 88 n.
de Mesa, Toledo, i. 303 n., 313, 314
Lonja de Sedia, Valencia, ii. 9, 14
Casandro, i. 231
Cascante, Church at, ii. 177
Castaneda, Juan de, i. 25; ii. 289
Castayls, Maestro Jayme, ii. 23,

35 n., 48 n., 274 n., 289
Castejon, i. 298 n.
Castellejon, i. 299
Castles, ii. 249
At Almanza, ii. i
At Medina del Campo, i. 226, 228
At Olite, ii. 206, 207
Of San Cervantes, Toledo, i. 301,
301 n., 303 n., 344 n.
Cathedral arrangements common in

Spain, i. 17
Cathedrals described —

.^storga, i. 169, 170, 184 nn.; ii.

240
.\vila, i. 230 et seq., 2.')4 nn.\ ii.

30, 233, 234, 238
Barbastro, ii. 156, 171 n.
Barcelona, ii. 56 et seq., 86 nn., loi
Burgos, i. II, 13 et seq., 42, 65 nn.,

82, 336; ii. 234-239
Figucras, ii. 113, 114, 117 n.
(ierona, ii. 92 et seq., 116 n., 233-

238, 240, 241
Huesca, ii. 156 et seq., 172 tin., 240
Jaca, ii. 164, 174 ri.
Leon, i. 135 et seq., 164 nn.; ii.

234-238
I.crida {New Cathedral), ii. 128,
129; {Old Cathedral),!. 336; ii.

4 n., 8 n., 9, 22, 23, 28, 30, 128
et seq., 155 nn., 197, 198, 228,
232, 233
Lugo, i. 171 et seq., 185 nn.
Palencia, i.68et seq., 81, 89 nn., 348
Palma, ii. 70, 71, 91 n., 122, 242
Pamplona, ii. 210 et seq., 220 nn.,

240
Perpifian, ii. 96, 98 n., 99, 106,

114, 115, 117 n.
Salamanca {New Cathedral), i. 94,
95, 103 et seq., 129 «., 130 n.,
184 n., 317 ; ii. 240-243; {Old
Cathedral), i. 94, 95 et seq., 115,
128 nn., 129 nn.; ii. 30, 228,

231-233
Santiago, i. 189 et seq., 212 tin.;

ii. 108, 228
Segovia, i. 228, 257 et seq.; ii.

240-243
Siglienza, i. 286 et seq., 294 «.;

ii. 233, 234
Tarazona, ii. 178 et seq., 194 «.,

233 n., 260 n.
Tarragona, ii. 22 et seq., 42 nn.,

146, 197, 198, 231-233, 238
Toledo, i. 300, 323 et seq., 355 n.;

ii. 30, 234-238, 245
Tudela, i. 291; ii. 22, 28, 146,

157 n., 197 et seq., 219 nn., 231,

232, 233
Valencia, i. 319; ii. 3 et seq., z6nn.,

232, 233, 238
Valladohd, i. 79, 80
Vique, ii. 119, 147 «., 148 n.
Zamora, i. 114 et seq., 130 n.; ii.

245
Zaragoza {Seu), ii. 163 et seq.;

{Virgin del Pilar), ii. 163,

175 n.
Cathedrals mentioned —
Agde, ii. 115
Albi, ii. 98 n.

Amiens, i. 140, 141, 327 «.; ii. qSn.
Bayonne, i. 7, 11 n.
Beauvais, i. 141, 142
Bourges, i. 327 «., 332 n., 333,

336; ii. 98 M.
Canterbury, ii. 98 n.
Chartrcs, i. 164 nn., 167 «., 187 n.,

327 n., 333, 336; ii. 98 n.
Cologne, i. 327 n.; ii. 98 n.
Le Mans, i. 331, 333; ii. 236
L(! Puy en Velay, ii. 227
Lincoln, i. 327 n.
Milan, i. 143, 327 n.
Narbonne, ii. 98 n.
Notre Dam(!, Paris, i. 327 n., 332,

335; ii- 230

340 GOTHIC ARCHITECTURE IN SPAIN

Cathedrals mentioned — continued
Rheims, i. 140, 327 n.; ii. 201 n.
Teruel, ii. 20 n., 260 n.
Toulouse, ii. 98 n.
Troyes, i. 327 n.
Cebrian, Pedro, i. 137; ii. 289
Centellas, El Maestro, i. 70, 71 ; ii.

289
Cervera, ii. 127

Santa Maria, ii. 128
Cervia, Berenguer, ii. loi, 289
Cesilles, Juan, ii. 256
Cespides, Domingo, i. 348 n. ; ii. 289
Chapels described —

Of Constable Velasco, Burgos

Cathedral, i. 22, 65 n.
El Panteon. See Santa Catalina
Lady Chapel, Tarazona Cathedral,

ii. 178, 180
Mozarabic Chapel, Old Cathedral,

Salamanca, i. 112
San Bartolome, San Pedro, Huesca,

ii. 162
San Bias, Toledo Cathedral, i. 343,

343 «■
San Ildefonso, Toledo Cathedral,

i- 331, 341, 343, 344, 345; ii.

238
San Ildefonso, Zamora Cathedral,

i. 115, 115 n., 131 n.
San Jerome, LaConcepcion,Toledo,

i- 355 n.
San Juan de Regla, Leon Cathe-
dral, i. 150
San Martin, Burgos Cathedral, i. 21
San Pedro, Toledo Cathedral, i.

332
Santa Ana, Burgos Cathedral, i.

24 n.
Santa Catalina, Burgos Cathedral,

i. 24 n.
Santa Catalina, San Isidoro, Leon,

i. 157, 158, 159, 162, 166 nn.
Santa Lucia, Barcelona Cathedral,

ii. 57, 66, 82
Santa Lucia, Toledo Cathedral, i.

337, 338
Santa Tekla, Tarragona Cathedral,

ii. 44 n.
Santiago, Leon Cathedral, i. 144,

148
Santiago la Vajo, Santiago Cathe-
dral, i. 196, 212 n.
Santiago, Tarazona Cathedral, ii.

183, 184
Santiago, Toledo Cathedral, i. 344
Chartres, Cathedral of, i. 164 nn.,

167 «., 187 «., 327 n., 335, 336;

ii. 98 n.

Church furniture in Spain, ii. 244-246
Churches, Convents, etc. —

Corpus Christi, Valencia, ii. 16,

17 M.
Cristo de la Luz, Toledo, i. 303 «.,

304eis«9., 353n., 354n.; ii. 224
Cristo de la Vega, Toledo, i. 302,

303 n., 320, 342
Del Carmen, Manresa, ii. 127, 154 n.
Del Transito, Toledo, i. 303 n.,

310 et seq., 354 nn.
El Magistral. See SS. Just y

Pastor of Alcala.
El Parral, Segovia, i. 257, 262,

263, 276 n.; ii. 242
La Antigua, Guadalajara, i. 285,

294 M.
La Concepcion, Tarazona, ii. 184,

186
La Concepcion, Toledo, i. 303 n.,

315, 318, 320, 354 n., 355 n.
La Magdalena, Huesca. See San

Juan, Huesca
La Magdalena, Tarazona, ii. 177,

184, 194 n.
La Magdalena, Tudela, i. 293;

ii. 204, 206, 219 n.
La Magdalena, Valladohd, i. 83,

84, 88
La Magdalena, Zamora, i. 120 et

seq., 131 M. ; ii. 146
La Merced, Burgos, i. 64
La Vera Cruz. See Templars'

Church, Segovia
Las Huelgas. See Santa Maria la

Real de las Huelgas, Burgos
Mercenarios, Toledo, i. 344 n.
Mosque, Toledo. See Cristo de la

Luz
Nuestra Seiiora de la Aurora,

Manresa, ii. 120, 153 n.
Nuestra Senora del Arribal,

Toledo, i. 303 n.
Nuestra Seiiora de las Huertas,

Sigiienza, i. 295 n.
Nuestra Senora del Campo-Santo

Vejo, Sigiienza, i. 295 n.
Nuestra Senora del Carmen, Bar-
celona, ii. 81, 82, 88 n.
Nuestra Senora del Transito,

Toledo. See Del Transito
San Andres, Avila, i. 254 n.
San Andres, Segovia, i. 272, 276 n.
San Antholin, Medina del Campo,

i. 228, 230, 254 n.
San Antolin de Bedon, ii. 228,

260 n.
San Anton, Barcelona, ii. 83, 85 «.,

88 n.

INDEX

341

Churches, Convents, etc. — continued

San Bartolorae, Toledo, i. 303 n.,
. 315, 319

San Benedict, Santiago, i. 218 n.

San Benito. See Del Transito,
Toledo

San Benito, Valladolid, i. 83, 84,
85 et seq., 92 n.

San Claudio, Zainora, i. 123, 131 n.

San Clemente, Segovia, i. 277 n.

San Cristobal, Salamanca, i. 130 n.

San Cucufate del V'alles, Barce-
lona, ii. 32, 52 »»., 88 (I., 89 >(.,
90 n.

San Daniel, tierona, ii. 109 n.,

116 n., 226, 226 n.

San Domingo, V'alencia, ii. 9, 9 n.
San Emilian, Salamanca, i. no n.,

130 n.
San Esteban, Burgos, i. 34 et seq.,

66 n.
San Esteban, Granollers, ii. 113,

117 n.

San Esteban, Segovia, i. 245, 266,

268, 276 u.
San Eugenio, Toledo, i. 315, 319,

354 «•
San Facundo, Segovia, i. 272,

276 H.
San l-"eliu, (ierona, ii. 92, 93 «.,

109 et seg., 116 n.
San Felix, Santiago, i. S18 n.
San Francisco, Betanzos, i. 186 tt.
San Francisco, Lugo, i. 176, 177,

185 n.
San I-Yancisco, Palencia, i. 74,

76, 90 n.
San (ieroninio, Barcelona, ii. 83
San Gil, Burgos, i. 59 et seq., 65 n.,

66 n.
San Gil, Zaragoza, ii. 170, 176 «.
San Ciines, Toledo, i. 303 n.
San Gregorio, Valladolid, i. 83, 84,

87, 92 nn.
San Ildefonso, Alcala, i. 284,

293 «.
San Isidoro, Leon, i. 136, 140,

154 el seq., 166 nn., 174, 334 «,;

ii. 228
San Isidoro, Zaniora, i. 120
San fayme, Barcelona, ii. 77
San Jayme, I-"onulles, ii. 113,

116 n., 1 17 «.
San Jen'ininio, Santiagu, i. 198,1

218 n. I

San (nan d<; .Ainandi, ii. 228 [

San Juan dc Bafios, i. 91 n. '

San Juan del .Mcrcado, Benaventc,

1. 126, 134 n. I

San Juan, Burgos, i. 62, 74

San Juan, Huesca, ii. 162, 173 ;/.

San Juan, Lerida, ii. 128, 145, 146,

155 n.
San Juan de las Abadesas, RipoU,

ii. 151 n.
San Juan, Santianes de Pravia, ii.

225, 250 n.
San Juan, Segovia, i. 273, 276 u.
San Juan de Duero, Soria, i. 298 ;i.
San Juan de la Penitencia, Toledo,

i. 303 n.
San Juan de los Reyes, Toledo,

i- S.")!, 351 n., 356 «.
San Juan de la Puerta Nueva.

See San Miguel, Zaniora
San Julian, Salamanca, i. 130 n.
San Justo, Toledo, i. 303 n.
San Lazarus, Palencia, i. 77, 91 n.
San Leonardo, Zamora, i. 122 et

seq., 131 n.
San Lesmes, Burgos, i. 62, 63 n.,

67 n.
San Lorenzo, Lerida, ii. 128, 145,

153 «., 220 «.
San Lorenzo, Segovia, i. 273,277 «.
San Lucas, Burgos,, i. 62, 67 n.
San Lucas, Toledo, i. 303 n.
San Luine. See San Quirse
San Marcos, Leon, i. 163
San Marcos, Salamanca, i. no et

seq., 130 «.
San ^larcos, Toledo, i. 303 >iii.
San Martin, Huesca, ii. 162, 173 u.
San Martin de l-'romista, Palencia,

i. 91 n.
San Martin, Salamanca, i. 112,

130 n.
San Martin, Santiago, i. 198
San Martin de las Monjas, Segorbc,

ii. 19 n.
San Martin, Segovia, i. 271, 27(1 11.
San Martin, Valladolid, i. 81, S3,

92 H.
San Mattro, Salamanca, i. 112,

130 n.
San Miguel, Barcelona, ii. 82, 85,

88 n.
San .Miguel del .Monte, (luadala-

jara, i. 283, 294 n.
San Miguel, Huesca, ii. 173 n.
San Miguel de Escalada, i.eon, i.

168 H.
San Miguel de I.inio, near ()\i(do,

i. 220 n., 221 n.
.San Miguel, .Manrcsa,ii. 127, 13.1 )i.
San Miguel, Palencia, i. 74 <7 siv/.
San .Miguel, Salamanca, i. iio ;i.,

130 n.

342 GOTHIC ARCHITECTURE IN SPAIN

Churches, Convents, etc. — continued
San Miguel, Segovia, i. 273,

277 n.
San Miguel, Tarazona, ii. 178, 186,

196 n.
San Miguel, Tarrasa, i. 355 n.;

ii. 152 n.
San Miguel, Toledo, i. 303 n., 315,

318
San Miguel, Zamora, i. 122, 123 n.,

131 n.
San Millan, Segovia, i. 257, 266

et seq., 276 n.
San Nicolas, Burgos, i. 50, 54, 66 n.
San Nicolas, Gerona,ii. 108, 109W.,

116 n.
San Nicolas, Miranda del Ebro, i.

9, 12 n.
San Nicolas, Pamplona, i. 218,

220 n.
San Nicolas, Salamanca, i. no n.,

130 n.
San Nicolas, Segovia, i. 272
San Nicolas, Valencia, ii. 11, 17 ;;.
San Pablo del Campo, Barcelona,

ii. 52 et seq., 85 «., 226
San Pablo, Burgos, i. 62, 63, 67 «.,

74
San Pablo, Palencia, i. yj, 91 n.
San Pablo, Tarragona, ii. 44 n.
San Pablo, Valladolid, i. 83, 84,

87, 92 n.
San Pablo, Zaragoza, ii. 168, 169,

175 n.
San Pedro, Avila, i. 230, 250, 251;

ii. 228
San Pedro de las Paellas, Barce-
lona, ii. 54, 55, 85 n., 226
San Pedro de Cardeiia, near

Burgos, i. 65, 67 n.
San Pedro de los Galligans,

Gerona, ii. 25, 95, 103, 106, 108,

115, 116 n., 227, 230
San Pedro, Gijon, i. 122 n.
San Pedro el Viejo, Huesca, ii.

159 et seq., 173 n., 227
San Pedro, Olite, ii. 206, 208,

220 nn.
San Pedro, Salamanca, i. no ».,

130 n.
San Pedro Martir, Toledo, i. 315,

318, 354 n.
San Pedro de Villanueva, ii. 228,

259 n., 260 n.
San Pere, Tarrasa, ii. 152
San Quirse, Segovia, i. 272,

276 n.
San Roman, Segovia, i. 272,

276 M.

San Roman, Toledo, i. 303 «., 304,
305, 306-307, 307 n., 315 et seq.,

354 nn.; ii. 114

San Salvador, Sangiiesa, ii. 174 n.
San Saturnino, Artajona, ii. 219 n.
San Saturnino, Pamplona, ii. 215,

218, 220 n.
San Sebastian, i. 8

San Vicente, i. 9, 12 n.
San Sebastian, Toledo, i. 303 ».,
, 355 n.

San Secundo, Avila, i. 254 n.
San Torcuato, Toledo, i. 303 nn.
San Vicente, Avila, i. 230, 240 et

seq., 254 nn.; ii. 228, 229
San Vicente, San Sebastian, i. 9,

12 n.
San Vicente, Siglienza, i. 295 n.
San Vicente, Toledo, i. 315
San Vicente, Zamora, i. 122,

131 n.
Santa Magdalena, Toledo, i. 303 «.,

317-318, 318 n.
Sta. Agata, Barcelona, ii. 56, 77,

80, 81, 88 n.
Sta. Anna, Barcelona, ii. 55, 56,

85 n.
Sta. Catalina, Toledo, i. 303 n.
Sta. Clara la Real, (iuadalajara,

i. 294 n.
Sta. Clara, Palencia, i. 77, 90 n.
Sta. Creus, Church of, ii. 39, 39 n.,

44 n., 45 n.
Sta. Cristina de Lena, i. 221 n.
Sta. Cruz de Cangas, near Oviedo,

ii. 224, 225, 250 n.
Sta. Cruz, Toledo, i. 353
Sta. Cruz, Valladolid, i. 83, 84, 88
Sta. Engracia, Zaragoza, ii. 170,

176 n.
Sta. Eulalia, Salamanca, i. 130 «.
Sta. Eulaha, Toledo, i. 303 ».,

355 n.

Sta. Fe, Toledo, i. 303 n., 315, 320,

355 n.
Sta. Isabel, Toledo, i. 303 n., 315,

319, 355 n.
Sta. Justa, Toledo, i. 303 n.
Sta. Leocadia. See Cristo de la

Vega, Toledo
Sta. Leocadia (parish church),

Toledo, i. 315, 319, 354 nn.
Sta. Maria del Mar, Barcelona, ii.

60, 70-74, 87 n., 88 n., 117 n.,

122, 238
Sta. Maria del Pi, Barcelona, ii.

74, 76, 77
Sta. Maria del Azogue, Benavente,

i. 125 etseq., 134 n., 186; ii. 227

INDEX

343

Churches, Convents, etc. — continued

Sta. Maria la Real de Las Huelgas,
Burgos, i. 17, 21, 27, 32, 38,
63 «., 80, 266; ii. 157 n.

Sta. Maria, Cambrc.i. 186 n., 187 n.

Sta. Maria, Cervera, ii. 128

Sta. Maria de la F'uente, Guadala-
jara, i. 285, 293 n.

Sta. Maria del Campo, La Coruna,
i. 180, 181, 187 n.; ii.229,26o«.

Sta. Maria de Mulaque, i. 355 n.

Sta. Maria de Naranco, near
Oviedo, i. 219 n., 220 n.; ii. 225

Sta. Maria, Olite, ii. 206 et seq.,
219 «.

Sta. Maria de los Caballeros, Sala-
manca, i. no n., 130 «.

Sta. Maria la Real, Sangiiesa, ii.
174 »., 175 »•

Sta. Maria del Sar, in Santiago, i.
219 n.

Sta. Maria Salome, Santiago, i.
218 n.

Sta. Maria, Tarrasa, ii. 152

Sta. Maria la Blanca, Toledo, i.
303 n., 307

Sta. Maria, Toro, i. 124, 131 n.

Sta. Maria, Val-de-Dios, i. 223 «.,
224 n., 225 «.; ii. 118 «., 228

Sta. Maria la Antigua, Valladolid,
i. 80 et seq., gi n., 266

Sta. Maria de Villamayor, ii. 228,
260 n.

Sta. Maria de la Horta, Zaniora, i.
123, 131 n.

Sta. Susanna, Santiago, i. 218 n.

Sta. Trinidad, Segovia, i. 272

Sta. Ursula, Toledo, i. 303 n., 315,

319- 355 «•
Santiago, Betanzos, i. 185 «.,

186 n.

Santiago, Huesca, ii. 156
Santiago, la Coruna, i. 181, 182,

187 n.; ii. 228
Santiago, Sangiiesa, ii. 174 n.
Santiago, Sigiienza, i. 295 n.
Santiago del Arribal, Toledo, i.

300, 301, 303 n., 315, 319, 354 n.
Santo Augustin, Toledo, i. 303 n.
Santo Domingo de Silfjs, Darocca,

ii. 20 H.
Santo Domingo, Lugo, i. 176, 177,

185 n.
Santo Domingo, .Manresa, ii. 127,

154 «.
Santo Domingo, Santiago, i. 218 n.
Santo .Sepiilcro, Rstrclla, ii. 219 u.
Santo Toinas, Avila, i. 230, 251 et

seq., 254 n. ; ii. 242

Santo Tome, Soria, i. 29S n.
Santo Tome, Toledo, i. 303 «.,

315, 318, 318 n., 319
SS. Just y Pastor, Alcala, i. 282,

283, 293 «.
SS. Just y Pastor, Barcelona, ii.

74, 75
Synagogues, Toledo, i. 303 n., 304,

307, 307 n. et seq.
Templars' Church, Segovia, i. 257,

260, 262, 270, 276 n., 306
Churriguera, i. 79, 351

Cid, The, i. 65, 77, 95; ii. 3

Coffer of, i. 35, 35 n.
Cipres, Pedro, ii. 93 n., 289
Citeaux, Abbey of, i. 342; ii. 230
Claperos, Antonio, ii. 101
Cluny, Museum of the Hotel de, i.

302 n.
Colivella, (iuillermo, ii. 131, 132,

155 n., 267, 268, 289
Cologne, Cathedral of, i. 327 «.; ii.

98 n.
Colonia, I'rancisco de, ii. 289
Colonia, Juan dc, i. 22, 24, 28, 46,

30, 84, 87; ii. 289
Colonia, Simon de, i. 24, 50, 84, 87;

ii. 290
Comas, Pedro, ii. 290
Compte, Pedro, ii. 9, 9 ;i., 14, 166,

272, 290
Corbie, Peter de, ii. 236
Covarrubias, Alonso de, i. 106, 344,

348 n.; ii. 290, 301
Cruz, Diego de la, i. 50, 84 ; ii. 291
Cruz, Santos, i. 239
Crypt of La Campana del Rev

Monje, Palace at Huesca, ii. 156
Of Sta. luilalia, Barcelona Cathe-
dral, ii. 57 «., 58, 60, loi, 124
Cumba, Pedro de, ii. 93 n., 264,

264 n., 265, 276, 291

Dalmau, Luis, ii. 88 n.

Dalmau, Vicente, ii. 154 «., 155 «.

Darocco, i. 293 11.

Church at, ii. 20 n.
Del Infantado, Ducpies, i. 285, 294 n.
Dello Delli. See Nicholas b'lorentino
De<j, Petrus de, i. 134 «., 166 «. ; ii.

261, 262, 291
Desvall, Pedro, ii. 173 n.
Diaz, I'cdro, ii. 219 n.
Diligences, i. 6, 7, 10
DoUin, lA MacUro, ii. 291
Domestic Architecture in Spain, li.

248, 249
In (icrona, ii. 112
In P(ri)iri.ui, ii. 113

344 GOTHIC ARCHITECTURE IN SPAIN

Domestic Architecture in Valencia,

ii. 12
Douro, i. 114, 124
Durham compared with Toledo, i.

300

Early Christian churches in Spain,

ii. 224 et seq.
Early paintings, ii. 255-257
Edward I. of England knighted in

the Convent of Las Huelgas, i.

44
Egas, Anequin de, ii. 291
Egas, Anton, i. 103, 106; ii. 272, 273,

291, 300, 301
Egas, Enrique de, i. 84, 84 n., 211;

ii. 166, 273, 291
Elne, Church at, ii. 115, 118 n.
Ely, Chapter-house, i. 342
Empalme, ii. 113
Escobedo, Juan de, ii. 272, 292
Escuder, Andres, ii. 58, 86 n.
Esla, i. 125, 128, 135
Estacio, ii. 292
Estevan, Bishop of Zamora, i. 112,

130 n.
Estrella, Church at, ii. 219 n.

Fabre (or Fabra), Jayme, ii. 57, 57 «.,

58, 70, 71, 266, 268, 292, 318
Faisans, He de, i. 8
Fancelli, Domenico, i. 293 n.
Farming in Valencia, ii. 2
Favariis, Jacobo de, ii. 93, 292
Ferrandis, Martin, ii. 69, 70
Ferrer, Bonifazio, ii. 18 n.
Ferrer, San Vicente, i. 307, 307 n.,

354 w«-
Figueras, Cathedral of, ii. 113, 114,

117 n.
l'"itero, Cistercian Abbey of, i. 298 n.
Florentesi, Micer Domenico Alex-
andre, i. 253
Florentino, Nicholas, i. 128 n., 129 n. ;

ii. 256, 256 n.
Flowers of Navarre. See Olite and

Tafalla
Fonda de Lino, Toledo, i. 300, 353 n.
del Cid, Valencia, ii. 2
del Europa, Tarragona, ii. 39 «.,

50 n.
de la Estrella, Gerona, ii. 112
de la Rafaela, Burgos, i. 11, 12 n.
de los Cuatro Naciones, Tarra-
gona, ii. 39 «., 50 n.
Fonseca, Archbishop of Toledo, i.

210, 295 n.
I'^ont, Carlos, ii. 166, 292
Font, Juan, ii. 124, 292

Fontefroid, Cistercian Abbey of, ii.

118 n.
Forment, Damian, ii. 158, 158 «.,

172 n., 173 n., 175 n., 292
Fornelles, Church at, ii. 113, 116 ».,

117 n.
Fort, Guillem, ii. 256
Frances, Pedro, ii. 292
Franch, Francesch, ii. 86 n.
Franck, Juan, ii. 8, 268, 293
French plans used in Spanish

churches, ii. 227-234
Fuente, Gonzago Lopez de la, i.

355 n.
Fuenterrabia, i. 8

Gallego, Juan, i. 262; ii. 293

Gallego, Pedro, ii. 293

Gallegos, Fernando, i. 129 n., 130 «.,

133 n.
Garces, Sancho, ii. 174 n.
Garcia, Alvar, i. 231; ii. 293
Gasco, Joan, ii. 148 n.
Gaucer, Garcia, ii. 154 n.
Gaufredo, Guillermo, ii. 92
Gelmirez, Diego, Archbishop of

Santiago, i. 191, 192
Gerona, ii. 92

Cathedral, ii. 92 et seq., 116 n.,

233, 238, 240, 241
Domestic architecture, ii. 112
Fonda de la Estrella, ii. 112
Moors in, ii. 92
San Daniel, ii. 109 «., 116 n., 226,

226 n.
San Feliu, ii. 92, 93 n., 109 et seq.,

116 n.

San Nicolas, ii. 108, log n., 116 n.

San Pedro de los Galligans, ii. 25,

95, 103, 106, 108, 115, 116 «.,

227, 230

German arrangement in Spanish

churches, ii. 226, 227
Geronimo, Bishop of Salamanca, i.

114, 114 n.
Golden Fleece, Installation cele-
brated in Barcelona Cathedral,
ii. 68 n.
Gomar, Francisco, ii. 37 n., 131, 293
Gomez, Alvar, i. 344; ii. 293
Gonzalez, Bishop, i. 138
Goya, ii. 17 n., 18 n.
Granada, Capture of, recorded at

Toledo, i. 310 n.
Granollers, Church at, ii. 113, 117 n.
Grao, ii. 15

Greco, i. 354 n., 356 nn.
Guadalajara, i. 284

La Antigua, i. 285, 294 n.

INDEX

345

(juadalajara — continued

Palace del Infantado, i. 285, 286,

294 n.
San Miguel del Monte, i. 285,

294 «.
Santa Clara la Real, i. 294 n.
Santa Maria de la Fuente, i. 285,

293 «•
Guadalupe, Pedro de, i. 70, 71, 90 h.;

ii. 293
Guadarrama, i. 278

Sierra de, i. 256, 278, 299
(iual, Bartolome, ii. 58, 293, 324
(iuardia, Gabriel, ii. 148 n.
Guarrazar, Votive crowns discovered

at, i. 154 »!., 302 n.; ii. 223
Guas, Juan, i. 356 n. ; ii. 293
Gudiol, Mossen, ii. 148 n., 151 n.
Guinguamps, Joannes de, ii. 293,

329
Gumiel, Pedro, i. 282, 283, 284; ii.

291
Gutierrez, Antonio, ii. 294

Hand-painted crockery of Tarazona,

ii. 194
Henricus, ii. 294
Herrera, i. 79, 89, 253, 351
Holanda, Alberto de, ii. 294
Holanda, Juan de, i. 90 n.
Honecort, Wilars de, i. 336 n. ; ii.

236
Hontaiion, Juan Gil de (I.), i. 103,
106, 108, 258; ii. 243, 273, 274,
294, 301, 308, 309
Hontafion, Juan Gil de (II.), ii. 294
Hontanon, Rodrigo Gil de, i. 84, 108,
258, 258 n., 259, 284; ii. 273,
274, 294
Hospital del Rev, Burgos, i. 64, 67 n.
de Santa Cruz, Toledo, i. 304, 305
Hostalrich, ii. 113
Huerta, Cistercian Abbey of, i. 297 n.,

298 n.
Huesca, ii. 156

Cathedral, ii. 156 et seq., lyz nn.,

240
Palace of Kings of Aragon, ii. 156
Posada, ii. 164

Provincial Museum, ii. 171 n.
San Juan, ii. 162, 173 n.
San .Martin, ii. 162, 173 n.
San .Mixuf'l, ii. 173 n.
San Pe(iro el V'icjo, ii. 159 et seq.,

173 n., 227
Santiago, ii. 156
University, ii. 156
Huguet, Jaime, ii. 89 n., 148 «.,
152 n., 153 n.

lUescas, Church at, i. 299, 353 «.
Influence on Art of division of
country, ii. 222, 223
Of history, ii. 221 et seq.
Ingles, Jorge, ii. 256
Inns, i. 2, II n.
Irun, Church at, i. 8
Izquierdo, Pedro, i. 293

Jaca, ii. 164, 164 «., 173 «.

Cathedral of, i. 164, 174 n.
Jews' Quarter, Toledo, i. 312
Jimon, Maestro, ii. 272
Joli, Jaime, ii. 154 n.
Jordi, Juan, ii. 91 n.
Juan, Pedro, ii. 295
Juanes, Juan de, i. 280; ii. 17 nn.,

19 n., 20 n.
Juni, Juan de, i. 81 n.

La Coruna, i. 180 et seq., 186 n.,
187 n.
Santa Maria del Campo, i. 180,

181, 187 n. ; ii. 229, 260 n.
Santiago, i. 181, 182, 187 n. ; ii.
228
La Granja, i. 256, 277 n.

Palace of, i. 256
La Junquera, ii. 114, 117 n.

Parroquia of, ii. 114
Laguardia, Juan Garcia de, ii. 267
Lapi, Geri, ii. 126, 127, 154 n., 295
Las Campanas, Church near, ii. 210
Lavinia, Seiior, i. 136
Le Mans, Cathedral of, i. 331, 335;

ii. 236
Lencata, Peter de, i. 294 n.
Leon, i. 135, 163

Cathedral, i. 135 et seq., 164 nn.;

ii. 234-238
San Isidoro, i. 136, 140, 154 et
Si'^., 166 ««., 174, 354 «.; ii. 228
San NIarcos, i. 163
San Miguel dc Escalada, i. 168 n.
Leon, Nicholas of, i. 166 n.
Le Puy en Velay, Cathedral of, ii. 227
Lerida, ii. 128
Alameda, ii. 128

Cathedral (New), i. 128, 129;
(Old), i. 336; ii. 4 "•, 8 n., 9,
22, 23, 28, 30, 128 et seq., 155
nn., 197, 198, 228, 232, 233
Ei)iscopal Museum, ii. 155 n.
Parador de San Luis, ii. 147 n.
Provincial Museum, ii. 155 n.
Romanesque house in, ii. 146
San Juan, ii. 128, 145, 146, 155 n.
San l.orenzo, ii. 128, 145, 155 «.,
220 n.

346 GOTHIC ARCHITECTURE IN SPAIN

Levi, Samuel, i. 310, 310 »., 312
Lincoln Cathedral, i. 327 n.
Llena, Juan Fernandez de, ii. 295
Llobet, Martin, ii. 8, 276, 295
Lome, Janin, ii. 219 n., 220 n.
Lonja, Barcelona, ii. 85, 88 n., 91 n.
Loquer, Miguel, ii. 68 n., 246, 295
Lugo, i. 171, 184 nn.

Cathedral, i. 171 et seq., 185 nn.

Inns, i. 171, 184 n.

Plaza of San Domingo, i. 171, 176

San Francisco, i. 176, 177, 185 n.

Santo Domingo, i. 176, 177, 185 n.
Luna, Hurtado de, ii. 295

Madrid, i. 278

Armeria, i. 279

Bull-fight in, i. 281-282

Calle de Alcala, i. 281

Museum, i. 279, 295 n.

Puerta del Sol, i. 278
Maeda, Juan de, ii. 295
Manresa, ii. 119, 120

CoUegiata of, ii. 39, 71, 120 et seq.,
153 n., 154 nn., 240, 241

Del Carmen, ii. 127, 154 n.

N. S. de la Aurora, i. 120, 153 n.

San Miguel, i. 127, 154 n.

Santo Domingo, ii. 127, 154 n.

Scenery around, i. 119, 120
Manrique, Andres, i. 301 n.
Manrique, Bishop of Leon, i. 137,

140
Manso, Pedro, i. 71, 90 n. ; ii. 295
Margal, Andres, ii. 19 n.
Mar^al, Nicholas, ii. 19 n.
Martorell, Benito, ii. 87 n., 154 n.
Masons' marks, ii. 250, 251

At Betanzos, i. 186 n.

At Fountains Abbey, ii. 26 n.
Mateo, Jacobo, ii. 20 n.
Materials used by Spanish archi-
tects, ii. 250-252
Mates, Jayme, ii. 266
Matheus, i. 192, 192 n., 196, 206,
207, 215 n., 216 n.\ ii. 262, 263,
293, 306
Matienzo, Garci Fernandez de, i. 50;

ii. 295
Medina, Andres de, ii. 10
Medina, Pedro de, ii. 10
Medina del Campo, i. 226

Castle of, i. 226, 228

Church of San Antholin, i. 228,

230, 254 n.

Medina del Rio Seco, Town of, i. 212

Micalete, El, Steeple of Valencia

Cathedral, ii. 2, 7 et seq., 30, 135

Milan, Cathedral of, i. 143, 327 n.

Mirafiores, Carthusian Convent of,

i. II, 22, 32, 46; ii. 245
Miranda del Ebro, Church at, i. 9,

12 n.
Moncayo, Sierra de, ii. 177, 186,

192, 198
Monistrol, Church at, ii. 227, 229,

229 n.
Monistrol, Church near, ii. 120, 153 n.
Monjuic, Fortress of, ii. 51
Montagud, Berenguer de, ii. 153 n.
Monteacadeo, Tower at, ii. 177
Montpensier, Duke and Duchess of,

in Palencia, i. 77, 78
Montserrat, Convent of, ii. 119

Mountain-range of, ii. 119
Monuments in Spanish churches, ii.

246
Of Bishop Carillena, SS. Just y

Pastor, Alcala, i. 293 n.
Of Cardinal Ximenes, SS. Just y

Pastor, Alcala, i. 293 n.
Of Don Juan, Santo Tomas, Avila,

i. 252-253, 293 n.
Of Sta. Eulalia, Barcelona Cathe-
dral, ii. 57 «., 58, 60, 250 n.
Of F. Perez de Andrada, San

Francisco, Betanzos, i. 186 n.
Of Bishop Maurice, Burgos Cathe-
dral, i. 19
Of Constable Velasco, Burgos

Cathedral, i. 23
Of Dofla Maria Coronal, Sta.

Clara, Guadalajara, i. 294 n.
Of Ordono IL, Leon Cathedral, i.

150, 151
Of Royal Family, San Isidoro,

Leon, i. 159
Of Infante Alfonso, Mirafiores, i.

49
Of Juan IL and Isabel, Mirafiores,

i. 48, 49
Of Charles the Noble and Eleanor,

Pamplona Cathedral, ii. 220 n.
Of Infants of Luna, Pamplona

Cathedral, ii. 220 n.
Of Lionel of Navarre, Pamplona

Cathedral, ii. 220 n.
Of Dofia Elisenda de Moncada,

Pedralbes, ii. 90 n.
Of St. James the Apostle, San-
tiago Cathedral, i. 210
Of Bishop Simon de Cisneros,

Sigiienza Cathedral, i. 292
Of Infante Don Juan of Aragon,

Tarragona Cathedral, ii. 43 n.
Of Cardinal Tavera, Hospital of

San Juan, Toledo, i. 293 n.,

356 n.

INDEX

347

Monuments — coniinttfd

Of Constable Don Alvaro de Luna,

Toledo Cathedral, i. 344, 345;

ii. 275
t)l Chancellor Mosen l-'rances de

X'illa Espesa, Tudela Cathedral,

ii. 203, 210 »/.
Of Abbat Lope Marco, Veruela

Abbey, ii. ig6 n.
.Monzon, ii. 156
Moorish art contrasted witli Ciiris-

tian art, ii. 221-224, 251-255
Mof)rish liouses in Toledo, i. 312 et

seq.
Morales, Juan de, li. 175 u.
Moreruela, Cistercian Church of, i.

133 "•, 134 «•
Morey, Peter, ii. qi u.
Morlanes, Diego de, ii. 176 n.
Morlanes. juan de, ii. 176 n.
Mota, Guillcrnuis de la, ii. 42 n., 295,

323
Mugaguren, Juanes de, i. 258
Museum of the Hotel de Cluny, i.
302 n.

Provincial, Huesca, ii. 171 n.

Episcopal, Lerida, ii. 155 n.

Provincial, Lerida, ii. 155 h.

At Madrid, i. 279, 295 n.

At Tarragona, ii. 22, 42 n.

Cireco, Toledo, i. 356 n.

\i Valencia, ii. 17 n., 18 n.

.\t Valladolid, ii. 88, 92 n.

Episcopal, Vique, ii. 149 n., 151 n.

N'arbonne Cathedral, ii. 98 n.
Xarbonne, Enrique of, ii. 93, 295
Navarro, Miguel, ii. 295
Nicolau, Pedro, ii. 18 n.
Nieto, Alonso, ii. 295
Norman, Juan, ii. 272
Notre Dame, Paris, i. ^?.y n., 332,
335, 33^'; ii- 236

(Jbject of journey, i. 4
Oger, Benedicto, ii. 274
Olite, ii. 206, 2og

Castle of, ii. 206, 207

San Pedro, ii. 206, 208, 220 nn.

Santa .Maria, ii. 206 el seq., 219 n.
Oiler, Pedro, ii. 148 n.
(Jlotzaga, Juan de, ii. 157, 158,

172 n., 296
On a, ii. 92, 106 n.
(.)rdone/, Bartolome, i. 293
Orozco, Juan de, i. 106; ii. 29'), 301
Orligia, I5f)iiauat de, ii. 175 n.
Ortiz, Pablo, i. 344 n.; ii. 275, 296
Ostales, Beringucr, ii. 91 n.

Osuna, Rodrigo of, ii. 19 n.
Oviedo, i. 219 n.

Palace del Infantado, (iuadalajara,
i. 285, 286, 294 n.

Of Kings of Aragon, Huesca, ii. 156

Of La Granja, i. 256

Of Kings of Navarre, Olite, ii.
206, 207

Of Don Diego, Toledo, i. 303 n.

Of Claliena, Toledo, i. 303 n.

Of Villena, Toledo, i. 303 n.
Palencia, i. 68 et seq.

Cathedral, i. 68 e< seq., 81, 89 nn.,
348

San I'rancisco, i. 74, 76, 90 n.

San Lazarus, i. 77, 91 n.

San Martin de Fromista, i. 91 n.

San Miguel, i. 74 et seq.

San Pablo, i. 77, 91 n.

Santa Clara, i. 77, 90 n.

Walls and battlements of, i. 77,
91 n.
Palnia, in Mallorca, ii. 70

Cathedral, ii. 70, 71, 91 n., 122, 242

Dominican Church, i. 70, 71
Pamplona, ii. 210, 218

Cathedral, u. 210 et seq., 220 nn., 2.^0

San Nicolas, ii. 218, 220 n.

San Saturnino, ii. 215, 218, 220 u.
Paradiso, Mateo, i. 3oi«.; ii. 296
ParadordeSan Luis, Lerida, ii. 14711.
Parroquia of La Junquera, ii. 114

Of San Pedro, Sigiienza Cathe-
dral, i. 291
Pasage, i. 8
Pastor, J ay me, ii. 8
Pedrall)es, Convent of, near Sarria,

ii. 90 n., 91 n.
Pelayo, Bishop of (Aiedo, i. 221 n.,

231
Penafreyta, Pi^dro de, ii. 131, 265,

296
I'erez, Pedro, i. 325, 355 )/. ; ii. 296
Perpinan, ii. 114, 114 h.

Cathedral of, ii. 96, 98 n., 99, 106,

114, 115, 117 n.
Domestic architecture of, i. 115
Peter Pan story, at Granollers, ii.
117 n.
.\t Tarragona, ii. 43 n.
I'iedra, Cistercian Abl)ey of, i. 295 n.
Pipes, Arrangement of, in Spanish

(jrgans, i. 43, 43 n.
Pituenga, ITorin de, i. 231 ; ii. 29!)
I'lana, 1-rancisco de, ii. 93 n., 296
Plaster- work, ii. 254
In Segovia, i. 273
Platens<pie work descrilx'd, i. 59 n.

348 GOTHIC ARCHITECTURE IN SPAIN

Plaza de la Constitucioa, Astorga, i.
169
de la Constitucion, Segovia, i. 257
de los Momos, Zamora, i. 124,

131 n.
de los Plateros, Santiago, i. 202
de San Domingo, Lugo, i. 171, 176
de San Martin, Santiago, i. 198,

199
de Toros, Valencia, ii. 2
Mayor, Salamanca, i. no
Mayor, Santiago, i. 198
Poblet, Monastery of, ii. 39, 39 n.,

44 M.-50 n., 118 n.
Poitiers, Cerebruno of, i. 294 n.
Ponce, Abbot Martin de, i. 297 n.
Ponce, Master, ii. 265
Ponferrada, i. 170
Pontevedra, Abbey of San Lorenzo

de Carboira, i. 212 n.
Portell, Berengario, ii. 275
Portico de la Gloria, Santiago Cathe-
dral, i. 206, 207
Posada, Huesca, ii. 164
Puerta de los Aposteles, Valencia
Cathedral, ii. 6
de los Escribanos, Toledo Cathe-
dral, i. 310 n.
de San Ibo, Barcelona Cathedral,

i. 86 n.
de San Severo, Barcelona Cathe-
dral, i. 64, 86 n.
de Santa Catalina, Toledo Cathe-
dral, i. 341; ii. 238
de Santa Maria, Burgos, i. 64
de Serranos, Valencia, ii. 11, 12,

17 n.
de Visagra, Toledo, i. 303 n.,

305, 319. 322
del Cuarte, Valencia, ii. 11, 12,

17 n.
del Mirador, Palma Cathedral, ii.

91 n.
del Pardon, Burgos Cathedral, i. 26
del Sarmental, Burgos Cathedral,

i. 29
del Sol, Madrid, i. 278
del Sol, Toledo, i. 301, 303 n.,

321, 322
dels Fillols, Lerida Cathedral, ii.

140, 142
Santa, Santiago, i. 199
Pyrenees, i. 7; ii. 114, 119, 120, 197

Quintana, Lucas Bernaldo de, ii.
268, 269

Rada, Juan de Ribera, i. 108; ii.
302 n.

Railway, The Madrid, i. 6, 10, 11 n
Ramirez, Sancho, ii. 174 n.
Rasinas, Juan de, ii. 273
Raymundo, ii. 263, 263 nn.
Raymundo, i. 171, 172, 185 n.; ii.

262, 296
Rebolli, Poncius, ii. 267
Recaredo, ii. 154 n.
Renaissance School in Spain, ii. 244
Reus, Church at, ii. 39
Rheims, Cathedral of, i. 140, 327 ».;

ii. 201 n.
Rincon, Antonio, ii. 256
Rio, I-'rancisco del, i. 84; ii. 296
RipoU, Benedictine Abbey of, ii.

149 n.-i5i n.
Riquer, Master, ii. 86 n., 88 n.
Roan, Guillen de, ii. 296
Rocabert, ii. 42 n.
Rocas, Gulielmus de, ii. 131
Rodrigo, Archbishop of Toledo, i.

307 n., 324, 324 M., 337
Rodrigo, Maestro, i. 345; ii. 296
Rodriguez, Alonso, i. 103, 106; ii.

272, 273, 296, 299, 300
Rodriguez, Gaspar, i. 72 n.; ii. 296
Rodriguez, Juan, i. 63, 258; ii. 297,

307
Rodriguez, Ventura, i. 67, 294 «.;

ii. 210, 213
Rogel, ii. 256
Roman antiquities in Tarragona, ii.

22
Roofing of Spanish churches, ii. 246,

247
Roque, El Maestro, ii. 58, 58 n., 297
Ruan, Carlos Galtes de, ii. 132, 297
Rubens, Paintings by, in College of

Santa Cruz, i. 88
Rubeus, Bartolomeus, ii. 87 n.
Rueda, Cistercian Abbey of, i. 295 «.,

298 n.
Ruesga, Juan de, i. 262; ii. 276, 297
Ruiz, Martin, i. 108

Sabatani, General, ii. 129
Sacristan of Valencia Cathedral, ii.

10, 17
Sagahun, Hernando de, i. 293
Sagrera, Guillermo, ii. 91 n., 99, 114,

269, 270, 271, 276, 297, 328, 333
Sagunto, ii. 20 n.
St. Cuthbert's vestments at Durham,

ii. 127 n.
St. Sernin, Toulouse, i. 158, 194, 195,

202, 202 n., 214 n., 215 n. ; ii.

227, 228, 229 n.
Sala Preciosa, Pamplona Cathedral

ii. 214, 220 n.

INDEX

349

Salamanca, i. 94

Cathedral (.\ew), i. 94, 95, 103 ei
seq., 129 n., 130 n.; (Old), i. 94,
95 et seq., 115, 128 nn., 129 nn.\
ii. 30, 228, 231-233
Plaza Mayor, i. no
San Cristobal, i. 130 n.
San Emilian, i. no n., 130 n.
San Julian, i. 130 n.
San Slarcos, i. no et seq., 130 n.
San Martin, i. 112, 130 n.
San Matteo, i. 112, 130 n.
San Miguel, i. no n., 130 n.
San Nicolas, i. no n., 130 n.
San Pedro, i. no n., 130 n.
Santa Eulalia, i. 130 n.
Santa Maria de los Caballeros, i.

no «., 130 n.
Walls of, i. 94, no, 128 n.
Salas, Church at, ii. 162, 164
Salorzano, Martin de, ii. 297
San Amat, Juan de, ii. 267
San Isidoro, Legend of, i. 156

Body of, brought from Seville to
Leon, i. 158, 159
San Juan, Pedro de, ii. 93 n., 297
San Martin, Bridge of, Toledo, i.

301, 320, 322 et seq., 344 n.
Sanchez, Bonifacio, ii. 297
Sanchez, Martin, i. 46, 47; ii. 297
Sanchez, Pedro, ii. 297
Sancii, ii. no
Sandoval, Cistercian Church of, ii.

228, 260 n.
SangiJesa, ii. 174 n.
San Salvador, ii. 174 n.
Santa Maria la Real, ii. 174 n.,

175 n.
Santiago, ii. 174 n.
Santa Celay, Miguel de, ii. 297
Santa Eulalia enshrined in Barce-
lona Cathedral, ii. 57 «., 58, 60
Santa l-"e, Sperandeo de, ii. 194 n.
Santa Maria, Bishop Pablo tic,

Story of, i. 63
Santiafies de Pravia, Church at, ii.

225, 250 n.
Santiago, i. 158, 177, 182, 1H8 et seq.,
212 nn.
Cathedral, i. i8y et seq., 212 n>i.;

ii. 108, 228
Plaza de los Plateros, i. 202
I'laza de San Martin, i. 198, 199
Plaza Mayor, i. 198
Pticrta Santa, i. 199
San Beni^dict, i. 218 n.
San I'eli.x, i. 218 n.
Sail Jcroiiinio, i. ifiS, 2 i M >i.
San Martin, i. 198

Santa Maria de Sar, i. 219 n.

Santa Maria Salom6, i. 218 n.

Santa Susanna, i. 218 n.

Santo Domingo, i. 218 n.

Scenery around, i. 188, 189
Santiago, Comendidoras de, i. 355 n.
SantiUana, Juan de, i. 48; ii. 297
Saravia, Rodrigo de, i. 106; ii. 298,

301
Sculpture in Spain, ii. 248
Segarra, Raymundo de, ii. 131
Segorbe, Church at, ii. 19 n.
Segovia, i. 256

Alcazar, i. 257, 263, 266, 273, 274,
276 n.

Cathedral, i. 228, 257 et seq.; ii.
240-243

El Parral, i. 257, 262, 263, 276 n.;
ii. 242

Plasterwork in, i. 273

Plaza de la Constitucion, i. 237

San Andres, i. 272, 276 n.

San Clementc, i. 277 >i.

San Esteban, i. 243, 266, 268,
276 n.

San Facundo, i. 272, 276 n.

San Juan, i. 273, 276 n.

San Lorenzo, i. 273,. 277 n.

San Martin, i. 271, 276 n.

San Miguel, i. 273, 277 n.

San Millan, i. 237, 266 et seq.,
276 n.

San Nicolas, i. 272

San Quirse, i. 272, 276 n.

San Roman, i. 272, 276 n.

Santa Trinidad, i. 272

Templars' Church, i. 237, 260,
262, 270, 276 n., 306
Segre, ii. 128, 130
Seminario Conciliar of Salamanca,

i. 109, 130 n.
Serra, Pere, ii. 153 n.
Sigiienza, i. 286

Cathedral of, i. 2«6 et seq., 294 n.;
ii- 233, 234

N. S. de las Huertas, i. 295 «.

X. S. del Campo Santo \'ejo, i

295 "•

San \'icente, i. 295 n.

Santiago, i. 295 n.
Siloe, Diego de, i. 30; ii. 298
Siloc, (iil de, i. 23, 46, 49, 84; ii.

275, 298
.Siniancas, Don Manuel, i. 335 n.
Solado, Alfonso I'ernaiitiez, i. 355 n.
Solivcz, I'raiicesch, ii. 148 n.
Soria, i. 295 n.

San Juan de Duero, i. 24K n.

Santo Tome, i. 298.x.

350 GOTHIC ARCHITECTURE IN SPAIN

Soria, Don Diego de, i. 60
Southwell, Chapter-house, i. 338
Starna, Gherardo d'Jacobo, ii. 256

Tafalla, ii. 206, 209

Churches of, ii. 209
Tagus, i. 299-302
Taller del Moro, Toledo, i. 303 n.,

314, 315
Tarazona, ii. 177

Cathedral, ii. 178 et seq., 194 n.,

233 n., 260 n.
La Concepcion, ii. 184, 186
La Magdalena, ii. 177, 182, 184,

194 n.
San Miguel, ii. 178, 186, 196 n.
Tardienta, ii. 156, 164, 175 n.

Church at, ii. 175 n.
Tarragona, ii. 21

Cathedral, ii. 22 et seq., 42 tin.,

146, 197, 198, 231-233, 238
Fonda del Europa, ii. 39 n.,

50 n.
Fonda de los Cuatro Naciones, ii.

39 w.
Museum, ii. 22, 43 n.
Roman antiquities in, ii. 22
San Pablo, ii. 44 n.
Scenery around, ii. 21
Walls of, ii. 21, 22
Tarrasa, ii. 151 n.

Parish chiurch of, ii. 151 n.
San Miguel, i. 355 n.; ii. 152 n.
San Pere, ii. 152 n.
Santa Maria, ii. 152 n.
Taverant, Jayme de, ii. 93 n.
Temple Church, London, ii. 236 m.
Tenorio, Pedro, Archbishop of

Toledo, i. 301 n., 323, 323 n.,

343. 343 n., 344
Teruel, Cathedral of, ii. 20 «., 260 n.
Toledo —

Alcantara, Bridge of, i. 300, 301 n.,

320 et seq.
Alcazar, i. 300, 301, 303 m., 353
Casa de Mesa, i. 303 «., 313,-314
Castle of San Cervantes, i. 301,

301 «., 303 n., 344 n.
Cathedral, i. 300, 323 et seq.,

355 n.; ii. 30, 234-238, 245
Convent of Mercenarios, i. 344 n.
Cristo de la Luz, i. 303 n., 304 et

seq., 353 «•> 354 "•; ii- 224
Cristo de la Vega, i. 302, 303 n.,

320, 342
Del Transito, i. 303 n., 310 et seq.,

354 «w.
Fonda de Lino, i. 300, 353 «.
Jews' Quarter, i. 312

La Concepcion, i. 303 n., 315, 318,

320, 354 »., 355 M.
Moorish houses in, i. 312
Nuestra Seiiora del Arribal, i.

303 n-
Palace of Don Diego, i. 303 n.
Palace of Galiena, i. 303 n.
Palace of Villena, i. 303 n.
Puerta del Sol, i. 301, 303 «., 321,

322
Puerta de Visagra, i. 303 n., 305,

319, 322
San Bartolome, i. 303 n., 315, 319
San Eugenio, i. 315, 319, 354 n.
San Gines, i. 303 n.
San Juan de la Penitencia, i. 303 11
San Juan de los Reyes, i. 351,

351 n., 356 n.
San Justo, i. 303 n.
San Lucas, i. 303 n.
San Marcos, i. 303 n.
San Martin, Bridge of, i. 301, 320,

322, 344 n.
San Miguel, i. 303 n., 315, 318
San Pedro Martir, i. 315, 318,

354 n.

San Roman, i. 303 n., 304, 305,
306-307, 307 n., 315 et seq., 354
nn.; ii. 114

San Sebastian, i. 303 n., 353 n.

San Torcuato, i. 303 nn.

San Vicente, i. 315

Santa Catalina, i. 303 n.

Santa Cruz, i. 353

Santa Eulalia, i. 303 n., 355 n.

Santa Fe, i. 303 n., 315, 320, 355 n.

Santa Isabel, i. 303 n., 315, 319,

355 n.

Santa Justa, i. 303 n.

Santa Leocadia, i. 315, 319, 354 nn.

Santa Magdalena, i. 303 «., 317,

318, 318 n.
Santa Maria la Blanca, i. 303 «.,

307 ■
Santa Ursula, i. 303 n., 315, 319,

355 w-
Santiago del Arribal, i. 300, 301,

303 n., 315, 319, 354 n.
Santo Augustin, i. 303 n.
Santo Tome, i. 303 n., 315, 318,

318 n., 319
Scenery around, i. 299
Synagogues, i. 303 n., 304, 307,

307 n. et seq.
Taller del Moro, i. 303 «., 314, 315
Temple, i. 303 n.
Walls of, i. 301, 320 et seq.
Toledo, Pedro de, ii. 272
Toralba, i. 298 n.

INDEX

351

Tomero, Juan, i. 106; ii. 298, 301
Toro, i. 298 n.

Battle of, i. 351, 351 n.
Santa Maria, i. 124, 131 «.
Torre, i. 170
Torre Nueva, Zaragoza, ii. 169, 170,

176 n.
Torrente, Ramon, ii. 256
Tort, San Bernard, ii. 42 n.
Toulouse, Cathedral, ii. 98 n.

Saint Sernin, i. 158, 194, 195, 202,
202 n., 214 n., 215 n. ; ii. 227,
228, 229 n.
Travelling in Spain, i. G, 7
Treasures from St. Paul's Cathedral

found in Spain, ii. 10
Trois Couronnes, i. 7
Troyes, Cathedral of, i. 327 n.
Tudela, ii. 197

Cathedral of, i. 291 ; ii. 22, 28, 146,
157 n., 197 et seq., 219 ««., 231,
232, 233
La Magdalena, ii. 204, 206, 219 n.
Tudelilla, ii. 170, 298

Ulmo, Mateus de, ii. 128
University at Alcala, i. 283

At Huesca, ii. 156

At V'alladolid, i. 89, 93
Urrutia, Juan de, ii. 298
I'rteaga, Domingo, ii. 274

Vahia, Alejo de, i. 90 n. '
\'al-de-Dios, Church at, i. 223 «.,

224«.,225n.; ii. ii8«., 228
Valdevieso, Juan de, i. 48; ii. 298
Valdomar, ii. 9, 9 n., 298
Valencia, ii. i, 15

Casa Lonja de Sedia, ii. 9, 14

Cathedral of, i. 319; ii. 3 et seq.,
16 nn., 232, 233, 238

Corpus Christi, ii. 16, 17 n.

Domestic architecture of, ii. 12

londa del Cid, ii. 2

Museum, ii. 17 «., iH n.

I'laza de Toros, ii. 2

I'uerta del Cuarte, ii. 11, 12, 17 n.

I'uerta de Serraiios, ii. 11, 12, 17 n.

San Domingo, ii. 9, 9 11.

San Nicolas, ii. 11, 17 it.
V'alladolid, i. 78

Catix'dral, i. 79, Ho

I.a .Magdalena, i. 83, 84, 8,S

San Benito, i. 83, 84, H5 et seq.,
92 n.

San (/rcgorio, i, 83, 84, K7, 92 nn.

San .Martin, i. hi, 83, ()2 ti.

San I'al.lo, i. 83, Kj', K7, 92 »i.

Santa Cm/, i. H3, «.,, HH

Santa Maria la Antigua, i. 80

et seq., 91 n., 266
University of, i. 89, 93
Vallbona, Monastery of, ii. 39,

39 n., 44 n.
Vallejo, Juan de, i. 25; ii. 298
Valleras, Arnaldus de, ii. 120, 270,

298, 326
Vallfogona, Bernardo de, ii. 33 it.,

274 n., 298
Vallfogona, Pedro Juan de, ii. 35 »i.,

42 n., 176 n., 298, 322
Vall-llebrera, Pedro de, ii. 128, 298
Valmeseda, Juan de, i. 71; ii. 2<)8
Vantier, Rollinus, ii. 93 «., 298
Vergara, i. 9

Verg6s, family of painters, ii. 88 mi.,
89 «., 117 n.
Jaime, ii. 117 n.
Pablo, ii. 117 n.
Raphael, ii. 117 n.
Verucla, ii. 186, 196 nn.

Abbey of, i. 234; ii. 32, 186 et seq.,
196 nn., 230, 231, 238, 239
Viader, Pedro, ii. 58
Vidal, Pedro, ii. 154 n.
Vierzo, Convents of the, i. 170, 171,

184 n.
Vilasolar, Guillermo, ii. 270, 271
Mllafranca del Vierzo, i. 170, 171,
184 n., 344 n.
Alameda, i. 171
Bridge del Arzobispo, i. 344 w.
Villafranca de Panades, Churches at,

ii. 21, 42 n.
Villamayor, Church at, ii. 228,

260 n.
Villanueva, Church at, ii. 228, 259 n.,

260 n.
Villavicioso, i. 222 n.
\'ique, ii. iig

Cathedral, i. 119, 147 n., 148 n.
Museum, i. 149 n., 151 n.
Visquio, Cierdnimo, Bishop of Sala-
manca, i. 95, 95 «., 112 n.
Vitoria, i. 9

Walls, ii. 249, 250

Of Astorga, i. i6<), 184 it.

01 Avila, i. 230, 231

Of I'alcncia, i. 77, 91 n.

Of Salamanca, i. 94, no, 128 n.

Of Tarragona, ii. 21, 22

01 'IDlcdo, i. 301, 320 ('/ seq.

01 /aniora, i. 123, 131 n.
W<stiniiister Abbey, i. 327 11. ; ii.

98 n., 230, 230 n.
Wren, Sir Christ(>|)ht'r, i. 7<t

.Ancedotc aliout, ii. i(>lt n., lUy n.

352 GOTHIC ARCHITECTURE IN SPAIN

Xim6nes, Cardinal, i. 284, 285,

295 n., 345
Xulbe, Johannes de, ii. 299, 322
Xulbe, Paschasius de, ii. 99, 299,

321

York Minster, i. 327 n.; ii. 98 n.

Zacoma, Pedro, ii. no, 266, 267, 299
Zamora, i. 112, 114

Bridge of, i. 124

Cathedral of, i. 114 et seq., 130 «.;
ii. 245

Gothic house in, i. 124

La Magdalena, i. 120 et seq.,
131 «.; ii. 146

Plaza de los Momos, i. 124, 131 n.

San Claudio, i. 123, 131 n.

San Isidoro, i. 120

San Leonardo, i. 122 etseq., 131 n.

San Miguel, i. 122, 123 n., 131 n.

San Vicente, i. 122, 131 n.

Santa Maria de la Horta, i. 123,
131 n.

Walls of, i. 123, 131 n.
Zamora, Andres de, i. 293
Zaragoza, ii. 164

Cathedral {Seu), ii. 165 et seq.

Cathedral {Virgin del Pilar), ii.
165, 175 n.

San Gil, ii. 170, 176 n.

San Pablo, ii. 168,169, 175 n.

Santa Engracia, ii. 170, 176 n.

Torre Nueva, ii. 169, 170, 176 n.
Zaragoza, Lorenzo, ii. 18 «.
Zarza, Vasco de la, ii. 273

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