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Article The Survival of Andalusi Artistic Formulas in the Time of Hernan Ruiz I

Ángeles Jordano ID Department of Art History, University of Córdoba, 14071 Córdoba, ; [email protected]

 Received: 15 June 2018; Accepted: 1 August 2018; Published: 9 August 2018 

Abstract: In the transition from the Middle Ages to the Modern Era, Hernan Ruiz I worked as master builder of the of Cordoba. His works exemplify the adoption of an artistic language resulting from the symbiosis of Gothic, Renaissance and Islamic formulas. In this paper, we demonstrate the imprint of the Andalusi aesthetic in this master’s work. Through an analysis of his building works and the evolution of his style, we show that Hernan Ruiz I’s legacy is more important than what historiography has previously suggested, which has only addressed the transition in his architectural style from Gothic to Renaissance and has overlooked the impact of Andalusi formulas in his work. Hernan Ruiz I bore witness to an important change in the mentality and aesthetic tastes of his time, and although his son, Hernan Ruiz II, gained greater recognition for his work, his father was able to adapt a church model imbued with the medieval spirit to the demands of the new patrons, namely the nobility and high clergy. These clients imposed their tastes, which were anchored in the past, but were open to new Renaissance influences due to their humanistic training and, at the same time, attracted by the exoticism and prestige of Andalusi art.

Keywords: Mudejar; architecture; master architect; church; Cordoba; Hernan Ruiz I’s burial

1. Introduction At the turn of the fifteenth to the sixteenth century, marked by the transition from the Middle Ages to the Modern Era, the master architect Hernan Ruiz I, also known as the Elder (1479?–1547), was active in the city of Cordoba, Spain. This article aims to contextualize his building works with a view to understanding the important role he played in the passage from medieval to modern architecture, and how the Andalusian influence (Islamic tradition in the ancient al-Andalus) endured in his work through the use of certain elements that merged with other elements of Christian origin. It supposed the constitution of a great example of architectural hybridization that is still surprising today (Burke 2010; Dodds et al. 2008). The powerful image of the of Cordoba defined the following constructions inside it, such as, for instance, the Royal Chapel (Ruiz Souza 2006), which resulted from the great exchange of cultures. His homonymous son, Hernan Ruiz II the Younger, is much more well known, mainly due to his treatise on architecture, his successful intervention in the of the Cathedral and other outstanding works. Most of these works are documented, as has also occurred with his son, Hernan Ruiz III. Hernan Ruiz I may have been less studied than his descendants because his work is not as widely documented. We do not intend to carry out an in-depth analysis here, but rather to undertake a task we owe to this master, and which historiography has tended to overlook, attracted more by the brilliance of his descendants. In their classic study of Hernan Ruiz II the Younger (Banda y Vargas 1974), A. de la Banda y Vargas provided some biographical data on Hernan Ruiz I and briefly mentioned some historical and artistic aspects of this master’s works. For his part, M. Nieto Cumplido provides additional information on his origins, carries out a historical and artistic study of San Juan Bautista

Arts 2018, 7, 37; doi:10.3390/arts7030037 www.mdpi.com/journal/arts Arts 2018, 7, 37 2 of 18

Church of , Cordoba (Nieto Cumplido 1982), and provides a detailed account of the master’s role in the construction of the chancel, transept and choir of the main church of Cordoba, the Mosque-Cathedral (Nieto Cumplido 1998). Although some more recent works have analyzed Hernan Ruiz I’s career from a technical perspective (Gimena Córdoba 2016, 2015, 2014, 2011; Ampliato Briones and Córdoba 2014), our aim is to offer a concrete vision of the imprint that the Islamic tradition left on his work; an aspect we consider to be of utmost importance in order to fully understand the enduring effect of Al-Andalus culture in the centuries following its disappearance (Urquízar Herrera 2017). To begin, we will give a brief overview of the most important biographical data of this master architect. Son of Gonzalo Rodríguez—a stonemason who died before 1508—and Maria Ruiz, both old Christians, Hernan Ruiz I had among his brothers Juan Ruiz, also a stonemason, which reveals the tradition of the trade in the family. His date of birth is unknown, although A. de la Banda notes that he may have been born in 1479 (Banda y Vargas 1974). In 1508, he married his second wife, Catalina Sanchez (or Ximenez or Fernandez), with whom he had seven children, the firstborn being Hernan Ruiz II. Another of his sons was Juan Ordoñez, prebendary of the Cathedral of Cordoba, to whom we will return later. In 1504, Hernan Ruiz I became a member of the builders guild and just ten years later was already master builder of the Cathedral of Cordoba, as well as of the city’s works. He died in early September 1547 and was buried in the cathedral’s transept (Banda y Vargas 1974), although the exact place had not been determined (Nieto Cumplido 1982, 1998). He worked both in the city and in numerous towns of the province. His intervention in the Mosque-Cathedral of Cordoba reveals his desire to harmonize the Andalusi and Christian artistic language (Figure1a). To do so, he employed what was perhaps the most extended formula at that time in Spain, combining elements of the Islamic tradition with Christian styles and which had begun to be used with great success in the fourteenth century in the former Umayyad capital of Al-Andalus. The mark left by more than five centuries of Muslim rule from 711 to 1236, the year when the city was incorporated into the Crown of Castile by Ferdinand III, was so profound that its aesthetics continued to be intertwined with other Christian artistic styles that drew from the Islamic tradition those elements that best matched the tastes of the time (Feliciano and Ruiz Souza 2017; Feliciano and Rouhi 2006). Thus, while in the fourteenth century latticework took center stage, from the fifteenth century and especially from the sixteenth century onwards it was wooden carpentry, particularly for the construction of spectacular ceilings, which became the fashion and expanded this Islamic influence throughout Spain and Latin America practically until the present day. Although some argue that this trend ended in the sixteenth century, we have strong evidence that it continued until the eighteenth century, and that by the nineteenth century Islamic architectural elements were revived and reinterpreted and survive even today, with workshops recovering drawings, techniques and materials or seeking inspiration in existing ones to give birth to new creations.

2. Hernan Ruiz I’s Intervention in the Mosque-Cathedral of Cordoba Although the work of Hernan Ruiz I has been studied using a variety of approaches, whether formal, historical or architectural, our intention is to show, above all, the apparent ease with which the master architect combined the solutions handed down from centuries of Islamic building experience with the advances of late (especially the stellar vaults) and the Renaissance influences imported from Italy. It is interesting to observe how in the new chancel, built inside the original Aljama Mosque after 1523—“an intervention that Christianizes completely the building“ (Urquízar Herrera 2003)—following a well-known controversy between the cathedral chapter and Bishop Alonso Manrique, the driving force behind the project (Nieto Cumplido 1998), Hernan Ruiz I dedicated his efforts to constructing Gothic vaults in order to create a luxurious ensemble along the perimeter of the Latin cross floor plan that marked the new intervention (the chancel, transept and choir) (Figure1b). Arts 2018, 7, 37 3 of 18 Arts 2018, 7, x FOR PEER REVIEW 3 of 18 Arts 2018, 7, x FOR PEER REVIEW 3 of 18

(a) (b) (a) (b) Figure 1. Hernan Ruiz I. Mosque-Cathedral of Cordoba: (a) Transition from Abd al Rahman I’s naves Figure 1. Hernan Ruiz I. Mosque-Cathedral of Cordoba: (a) Transition from Abd al Rahman I’s naves Figureto the Christian1. Hernan nartex Ruiz I.. © Mosque Cabildo-Cathedral Catedral deof CordobaCórdoba:; ((ab)) Transition stellar vaults from in Abdthe perimeter al Rahman of Ithe’s naves Latin to the Christian nartex. © Cabildo Catedral de Córdoba; (b) stellar vaults in the perimeter of the Latin tocross. the Christian Photo took nartex by author.. © Cabildo Catedral de Córdoba; (b) stellar vaults in the perimeter of the Latin cross.cross. Photo Photo took took by by author. author. In contrast, however, he achieved a perfect symbiosis in the walls between the pre-existing UmayyadInIn contrast, contrast, Caliphate however, however, arches he— he whichachieved achieved he taook a perfect perfect advantage symbiosis symbiosis of to in indesign the the wall wallsthe stracery between between—by the the combining pre pre-existing-existing the UmayyadUmayyadIslamic arrangement Caliphate Caliphate arches of arches—which small—which blind archeshe he t tookook of advantage advantagethe sebka type of of to towith design design the typologicallythe the tracery tracery—by— byChristian combining combining shape the the of IslamicIslamicthe pointed arrangement arrangement or trefoil of ofarches small small (Figureblind blind arches arches 2a). Inof of addition,the the sebkasebka typethetype elevation with with the the typologicallyof typologically the east and Christian Christian west sides shape shape, with of of thethetheir pointed pointed triple arcade or trefoiltrefoils sheltered archesarches (Figure (Figure by a semicircular2a). 2a) In. In addition, addition, relieving the the elevation arch, elevation is ofreminiscent theof the east east and of and westthe basicwest sides, structuresides with, with their of theirtriplethe Ambassadors triple arcades arcade sheltereds hall sheltered in bythe a Alcazarby semicircular a semicircular of Seville. relieving relieving arch, arch, is reminiscent is reminiscent of the of the basic basic structure structure of theof theAmbassadors Ambassadors hall hall inthe in the Alcazar Alcazar ofSeville. of Seville.

(a) (b) (a) (b) Figure 2. Hernan Ruiz I. Transept. Mosque-Cathedral (Cordoba): (a) East side; (b) South side. Photos Figure 2. Hernan Ruiz I. Transept. Mosque-Cathedral (Cordoba): (a) East side; (b) South side. Photos Figuretook by 2. author.Hernan Ruiz I. Transept. Mosque-Cathedral (Cordoba): (a) East side; (b) South side. Photos took by author. took by author. Moreover, on the north and south sides of the transept, he not only overlaps the arches, but also emphasizesMoreover, the on superior the north arches and south by using sides a of drip the cuptransept with, he Christian not only plant overlap motifss the in arches, the spandrels but also Moreover, on the north and south sides of the transept, he not only overlaps the arches, but emphasizes(Figures 2b and the 3) superior. He finalized arches the by caliphal using a inspired drip cup structure with Christian with a frieze plant of motifs blind arches, in the spandrelsa solution also emphasizes the superior arches by using a drip cup with Christian plant motifs in the spandrels (Figurethat hads 2b already and 3) been. He finalizedused in t hethe San caliphal Sebastian inspired gate structure of the mosque with a, andfrieze that of blindmajor arches, achievement a solution was (Figures2b and3). He finalized the caliphal inspired structure with a frieze of blind arches, a solution thatthe façadehad already of the been mihrab. used Consequently, in the San Sebastian the sources gate of of the inspiration mosque, andfor thethat master major achievementseem obvious, was to that had already been used in the San Sebastian gate of the mosque, and that major achievement was thewhich façade he also of the greatly mihrab. contributed. Consequently, the sources of inspiration for the master seem obvious, to which he also greatly contributed.

Arts 2018, 7, 37 4 of 18 the façade of the mihrab. Consequently, the sources of inspiration for the master seem obvious, to whichArts 2018 he, 7, alsox FOR greatly PEER REVIEW contributed. 4 of 18 Arts 2018, 7, x FOR PEER REVIEW 4 of 18

Figure 3 3.. HernanHernan Ruiz I. Transept. Mosque Mosque-Cathedral-Cathedral (Cordoba) (Cordoba).. Photo took by author author.. Figure 3. Hernan Ruiz I. Transept. Mosque-Cathedral (Cordoba). Photo took by author. The way in which Hernan Ruiz I closes the chancel towards the Islamic prayer room with an ornate The way in which Hernan Ruiz I closes the chancel towards the Islamic prayer room with an net ofT subtlehe way arches in which that Hernan seems toRuiz imitate I closes the the forest chancel of columns towards is the similarly Islamic interesting prayer room (Figure with an4). ornate ornatenet of subtle net of arches subtle archesthat seem thats to seems imitate to imitatethe forest the of forest columns of columns is similarly is similarly interesting interesting (Figure (Figure 4). 4).

Figure 4. Hernan Ruiz I. Exterior of the chancel to the South. Mosque-Cathedral (Cordoba). Photo Figuretook by 4. 4author.. HernanHernan RuizRuiz I. I. Exterior Exterior of of the the chancel chancel to theto the South. South. Mosque-Cathedral Mosque-Cathedral (Cordoba). (Cordoba) Photo. Photo took bytook author. by author. In contrast, the tenacity with which Hernan Ruiz I constructed the Gothic vaults surrounding In contrast, the tenacity with which Hernan Ruiz I constructed the Gothic vaults surrounding the centralIn contrast, cross the is tenacityastonishing. with Up whichon closer Hernan examination, Ruiz I constructed however, the Gothicit becomes vaults apparent surrounding that the the central cross is astonishing. Upon closer examination, however, it becomes apparent that the centralcreation cross of a issequence astonishing. of stellar Upon vaults closer built examination, upon the however, Caliphate it becomescolumns apparentand arches that was the the creation most creation of a sequence of stellar vaults built upon the Caliphate columns and arches was the most ofpractical a sequence and obvious of stellar way vaults of builtensuring upon that the the Caliphate new Christian columns construction and arches waswould the stand most practicalout. It was and a practical and obvious way of ensuring that the new Christian construction would stand out. It was a obviouspragmatic way solution, of ensuring since that it would the new surely Christian have construction been a daunting would challengestand out. to It was replace a pragmatic the old pragmatic solution, since it would surely have been a daunting challenge to replace the old solution,supporting since structures it would with surely new have ones. been a daunting challenge to replace the old supporting structures supporting structures with new ones. withThus, new ones. his intervention was aimed at inexorably imprinting the Christian seal on the enclosure, which,Thus, on the his other intervention hand, marked was aimed a clear at difference inexorably between imprinting the new the liturgical Christian space seal and on thethe oldenclosure, Islamic onewhich, in aon more the othervisual hand, way. marked In doing a clearso, the difference processional between walkway the new was liturgical perfectly space distinguishable and the old forIslamic the canonsone in a and more marked visual theway. way In doingto the socross, the ofprocessional redemption walkway that stood was symbolic perfectlyal distinguishablely in the center for of the Muslimcanons and prayer marked hall ( Morenothe way Cuadroto the cross 2007) of (Figure redemption 5). that stood symbolically in the center of the Muslim prayer hall (Moreno Cuadro 2007) (Figure 5).

Arts 2018, 7, 37 5 of 18

Thus, his intervention was aimed at inexorably imprinting the Christian seal on the enclosure, which, on the other hand, marked a clear difference between the new liturgical space and the old Islamic one in a more visual way. In doing so, the processional walkway was perfectly distinguishable for the canons and marked the way to the cross of redemption that stood symbolically in the center of theArts Muslim2018, 7, x FOR prayer PEER hall REVIEW (Moreno Cuadro 2007) (Figure5). 5 of 18

FigureFigure 5. Current 5. Current floor floorplan planof the of Mosque the Mosque-Cathedral.-Cathedral. 1741. 1741. © Cabildo © Cabildo Catedral Catedral de Córdoba. de Córdoba.

If the impression of a nineteenth-century traveler such as Gautier was that “Cordova has more If the impression of a nineteenth-century traveler such as Gautier was that “Cordova has more of of an African look than any other Andalusian city”, to such a point that he claimed “if the Moors an African look than any other Andalusian city”, to such a point that he claimed “if the Moors were were to return, they would not have to alter much before settling down” (Sumichrast 1912), then it to return, they would not have to alter much before settling down” (Sumichrast 1912), then it would would not be surprising that this perception was much stronger in Hernan Ruiz’s time due to the not be surprising that this perception was much stronger in Hernan Ruiz’s time due to the countless countless buildings from previous eras that must have remained standing. Although Gautier was buildings from previous eras that must have remained standing. Although Gautier was very critical of very critical of the chancel, transept and choir, he acknowledged the fine work of Hernan Ruiz: the chancel, transept and choir, he acknowledged the fine work of Hernan Ruiz: This parasitic church, a monstrous stone mushroom, an architectural wart which has grown This parasitic church, a monstrous stone mushroom, an architectural wart which has grown on the back of the Arab building, was constructed from the designs of Hernan Ruiz, and is on the back of the Arab building, was constructed from the designs of Hernan Ruiz, and is not without merit in itself; anywhere else it would be admired [...]. not without merit in itself; anywhere else it would be admired [...]. Despite his harsh words, Gautier described the cathedral as being “one of the most marvellous Despite his harsh words, Gautier described the cathedral as being “one of the most marvellous buildings in the world” (Pardo Rodríguez 1989). In addition, although he reproached the alterations buildings in the world” (Pardo Rodríguez 1989). In addition, although he reproached the alterations made to the mosque, his recognition of the Christian construction suggests that Hernan Ruiz had put made to the mosque, his recognition of the Christian construction suggests that Hernan Ruiz had put enormous effort into integrating the different styles. This, as we pointed out, can be seen in the way enormous effort into integrating the different styles. This, as we pointed out, can be seen in the way in in which the Caliphate arches in the lower parts were used to provide a Christian ascent that which the Caliphate arches in the lower parts were used to provide a Christian ascent that culminated culminated in the great vaults of Gothic design and Renaissance ornamentation built by his in the great vaults of Gothic design and Renaissance ornamentation built by his successors (Figure6). successors (Figure 6). The gallery of arches of the Orange Tree Courtyard in the Mosque-Cathedral is the other intervention which reveals this syncretism between Islamic and Christian elements. Although the courtyard’s authorship has not been certified, the evidence seems to indicate that it may have been the work of the master’s hand. The round stilted arches resting on columns with Arab capitals framed by a drip-cap offer an evocative image that speaks of this perfect ensemble of elements of diverse cultural origin, which blend together elegantly (Figure7). It is a widely accepted formula employed in various types of works (San Sebastian and Anton Cabrera hospitals, Santa Clara Church, the Santa Marta and Capuchin cloisters, the portico of the Casa de las Campanas, etc.). What is striking about the solution adopted by the master in the courtyard of the Mosque-Cathedral is the way he incorporated Christian elements in the drip-cap, which he emphasized with a series of moldings, among which a thick reed one stands out. This formula was also used in the San Miguel door located on the west wall of the enlargement made by Abd al-Rahman II, in which the coat of arms of Bishop Juan Daza (1504–1510) is displayed. We believe that it is an example that perfectly illustrates how a former door

Figure 6. Hernan Ruiz I. Transept. Mosque-Cathedral of Cordoba. © Cabildo Catedral de Córdoba.

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Figure 5. Current floor plan of the Mosque-Cathedral. 1741. © Cabildo Catedral de Córdoba.

If the impression of a nineteenth-century traveler such as Gautier was that “Cordova has more of an African look than any other Andalusian city”, to such a point that he claimed “if the Moors were to return, they would not have to alter much before settling down” (Sumichrast 1912), then it would not be surprising that this perception was much stronger in Hernan Ruiz’s time due to the countless buildings from previous eras that must have remained standing. Although Gautier was very critical of the chancel, transept and choir, he acknowledged the fine work of Hernan Ruiz: This parasitic church, a monstrous stone mushroom, an architectural wart which has grown on the back of the Arab building, was constructed from the designs of Hernan Ruiz, and is not without merit in itself; anywhere else it would be admired [...]. Arts 2018, 7, 37 6 of 18 Despite his harsh words, Gautier described the cathedral as being “one of the most marvellous buildings in the world” (Pardo Rodríguez 1989). In addition, although he reproached the alterations ofmade the to Mosque the mosque, was Christianized his recognition by means of the ofChristian a drip-cap construction (JordanoBarbudo suggests); that an element Hernan thatRuiz would had put be widelyenormous employed effort in intothis integrat typeing of intervention.the different Indeed,styles. This, in the asarchitecture we pointed ofout, the can Pedroches, be seen in an the area wa iny thein which north of the the C provincealiphate ofarches Cordoba, in the these lower drip-caps parts were would used continue to provide to be a recurring a Christian feature ascent almost that untilculminate the presentd in the day. great It is possible vaults of that Gothic the formula design was and devised Renaissance by Hernan ornamentation Ruiz I for the built Orange by Treehis CourtyardsuccessorsArts 2018, 7, x and,(Figure FOR PEER given 6) REVIEW. its acceptance, was widely used. 6 of 18

The gallery of arches of the Orange Tree Courtyard in the Mosque-Cathedral is the other intervention which reveals this syncretism between Islamic and Christian elements. Although the courtyard’s authorship has not been certified, the evidence seems to indicate that it may have been the work of the master’s hand. The round stilted arches resting on columns with Arab capitals framed by a drip-cap offer an evocative image that speaks of this perfect ensemble of elements of diverse cultural origin, which blend together elegantly (Figure 7). It is a widely accepted formula employed in various types of works (San Sebastian and Anton Cabrera hospitals, Santa Clara Church, the Santa Marta and Capuchin cloisters, the portico of the Casa de las Campanas, etc.). What is striking about the solution adopted by the master in the courtyard of the Mosque-Cathedral is the way he incorporated Christian elements in the drip-cap, which he emphasized with a series of moldings, among which a thick reed one stands out. This formula was also used in the San Miguel door located on the west wall of the enlargement made by Abd al-Rahman II, in which the coat of arms of Bishop Juan Daza (1504–1510) is displayed. We believe that it is an example that perfectly illustrates how a former door of the Mosque was Christianized by means of a drip-cap (Jordano Barbudo, forthcoming); an element that would be widely employed in this type of intervention. Indeed, in the architecture of the Pedroches, an area in the north of the province of Cordoba, these drip-caps would continue to be a recurring feature almost until the present day. It is possible that the formula was Figure 6. Hernan Ruiz I. Transept. Mosque-Cathedral of Cordoba. © Cabildo Catedral de Córdoba. devisedFigure by Hern 6. Hernanan Ruiz Ruiz I for I. Transept. the Orange Mosque-Cathedral Tree Courtyard of Cordoba.and, given © Cabildoits acceptance, Catedral was de C widelyórdoba. used.

Figure 7. Orange Tree Courtyard.Courtyard. Mosque-CathedralMosque-Cathedral of Cordoba (B. Arredondo.Arredondo. E. BuxBuxó,ó, secciones (Amador de los RRíosíos and Amador de los RRíosíos y VillaltaVillalta 18791879).).

3. Hernan Ruiz I and the Consolidation of the Parish Model 3. Hernan Ruiz I and the Consolidation of the Parish Model The parish church model that was imposed at the end of the thirteenth century in Cordoba and The parish church model that was imposed at the end of the thirteenth century in Cordoba and served to erect the first Christian temples in the conquered city had a layout consisting basically of served to erect the first Christian temples in the conquered city had a layout consisting basically of three naves and a triple apse. These churches incorporated few Islamic elements, as it seemed that three naves and a triple apse. These churches incorporated few Islamic elements, as it seemed that the the Christians wanted to visually symbolize the supremacy of the new religion and therefore limited Christians wanted to visually symbolize the supremacy of the new religion and therefore limited the the presence of Andalusi features. Although it is not our intention to address this question here, as it presence of Andalusi features. Although it is not our intention to address this question here, as it has has already been studied on other occasions (Jordano Barbudo 2002), it is revealing that Hernan Ruiz already been studied on other occasions (Jordano Barbudo 2002), it is revealing that Hernan Ruiz I, I, master builder of the Cathedral of Cordoba and visitator of the bishopric—a figure that was master builder of the Cathedral of Cordoba and visitator of the bishopric—a figure that was responsible responsible for overseeing the existing buildings in the province belonging to the Diocese of for overseeing the existing buildings in the province belonging to the Diocese of Cordoba—maintained Cordoba—maintained the model that had been used systematically since the thirteenth century, the model that had been used systematically since the thirteenth century, although he adapted it to although he adapted it to fit in with the new aesthetic trends. The fact is that the churches built in the fit in with the new aesthetic trends. The fact is that the churches built in the time of Hernan Ruiz I time of Hernan Ruiz I maintain the same floor plan mentioned above, but with some changes. The one that most singularly affects the topic of this study is the evolution of the wooden ceilings parallel to the construction of the Gothic vaults covering the apse. Indeed, while the latter displayed an increasingly elaborate ribbed design with a greater number of additional decorative elements and were more complex than the simple ribbed vaults of the thirteenth century, the carved and pictorial decorations of the wooden ceilings also increased in complexity. With regard to the carved wooden ceilings, it is important to mention their geometrical decorative elements, such as carved hexagonal (alfardones) and lobed (chillas) pieces, which are

Arts 2018, 7, 37 7 of 18 maintain the same floor plan mentioned above, but with some changes. The one that most singularly affects the topic of this study is the evolution of the wooden ceilings parallel to the construction of the Gothic vaults covering the apse. Indeed, while the latter displayed an increasingly elaborate ribbed design with a greater number of additional decorative elements and were more complex than the simple ribbed vaults of the thirteenth century, the carved and pictorial decorations of the wooden Artsceilings 2018, 7 also, x FOR increased PEER REVIEW in complexity. 7 of 18 With regard to the carved wooden ceilings, it is important to mention their geometrical decorative decoratedelements, with such paintings. as carved hexagonalHowever, (thealfardones tie-beams) and are lobed also (madechillas )more pieces, complex which through are decorated the use with of starspaintings. that often However, stand out the for tie-beams their beauty are also and made size. The more muqarna complexs ornaments through the resembling use of stars stalactites that often or honeycombstand out for gain their in beauty sumptuousness and size. Theandmuqarnas are usuallyornaments gilded. The resembling girder and stalactites other supporting or honeycomb parts gain of thein sumptuousnessframe are now richly and are painted usually with gilded. plant The motifs girder interwoven and other supportingwith bright partscolor ofs. In the addition, frame are there now arerichly heraldic painted motifs with a plantnd even motifs calligraphic interwoven inscriptions with bright, sometim colors.es In addition,in Latin, but there more are heraldicoften in motifsKufic Arabicand even script calligraphic. inscriptions, sometimes in Latin, but more often in Kufic Arabic script. Thus,Thus, the the model that hadhad beenbeen usedused sincesince the the conquest conquest to to build build the the first first churches churches belonging belonging to theto thereligious religious orders orders of the of Dominicansthe Dominicans (the (the Real Real Convento Convento de San de Pablo,San Pa 1241)blo, 1241) and Franciscans and Franciscans (San Pedro (San Pedroel Real, el ca.Real, 1241) ca. 1241) was consolidated.was consolidated. Hernan Herna Ruizn Ruiz was was receptive receptive of this of this model model and and brought brought it toit to its itsheight height in examplesin examples such such as theas the parish parish church church of Sanof San Juan Juan Bautista Bautista in Hinojosa in Hinojosa del Duque,del Duque, which whic wash wascompleted completed by his by sonhis son Hernan Herna Ruizn Ruiz II and II and Juan Juan de Ochoa de Ochoa (Figure (Figure8). 8). ThisThis example example shows shows the the evolution evolution with with respect respect to to the the original original model model because, because, among among other other reasons,reasons, the the double double arcade arcade of of the the Cistercian Cistercian church church which which had had been been one one of of the the characteristic characteristic elements elements ofof the the Cordoban Cordoban par parishish church church model model,, was was simplified. simplified. Although Although clearly clearly based based on on this this model, model, it it was was stylizedstylized in in line line with with this this new new interpretation. interpretation. The The almost almost generalized generalized pointing pointing of of the the upper upper arches arches (which(which are are not not quite quite round) round) and and the the disappearance disappearance of of the the robust robust cornice cornice on on whi whichch the the framing framing rested rested inin the the city city’s’s churches churches contributed contributed to to this. this. The The ceiling, ceiling, on on the the other other hand, hand, is is more more elaborate. elaborate. As As we we mentioned,mentioned, the the boards boards are are more more richly richly carved carved and areand decorated are decorated with a withgreat varietya great of variety plant, geometric, of plant, geometric,epigraphic epigraphic and sometimes and sometimes heraldic motifs. heraldic motifs.

(a) (b)

Figure 8. Parish church of San Juan Bautista. Hinojosa del Duque (Cordoba): (a) floor plan. © Junta de Figure 8. Parish church of San Juan Bautista. Hinojosa del Duque (Cordoba): (a) floor plan. © Junta de Andalucía; (b) wooden ceiling of the central nave. Photo took by author. Andalucía; (b) wooden ceiling of the central nave. Photo took by author.

What warrants including this example of San Juan Bautista is that it reveals how the master What warrants including this example of San Juan Bautista is that it reveals how the master builder’s style took a turn; a change that would contribute to the survival of an architectural scheme builder’s style took a turn; a change that would contribute to the survival of an architectural scheme more in line with the Islamic tradition. The fact is that at one point, the building plans for the temple more in line with the Islamic tradition. The fact is that at one point, the building plans for the temple were modified. In the beginning, the church was designed to have vaults along its entire length, but there was an easily perceivable modification. The supporting structure and height of the arches vary. Even on the epistle side, the arch springers that were intended to withstand the thrust of the vaults of the central nave were removed because the project was brought to an end. Instead of the Gothic vaults that were originally meant to cover the nave, a wooden collar-beam ceiling was installed. We do not know why this change occurred, but can assume that the building tradition, the fact that the workers were skilled in the construction of these ceilings, the prevailing taste, and perhaps some other reason that escapes us were more important factors than the master’s attempt to build a completely vaulted church, because the fact is that the choir and the area under the choir loft (sotocoro)

Arts 2018, 7, 37 8 of 18 were modified. In the beginning, the church was designed to have vaults along its entire length, but there was an easily perceivable modification. The supporting structure and height of the arches vary. Even on the epistle side, the arch springers that were intended to withstand the thrust of the vaults of the central nave were removed because the project was brought to an end. Instead of the Gothic vaults that were originally meant to cover the nave, a wooden collar-beam ceiling was installed. We do not know why this change occurred, but can assume that the building tradition, the fact that the workers were skilled in the construction of these ceilings, the prevailing taste, and perhaps some other reason that escapes us were more important factors than the master’s attempt to build a completely vaulted church, because the fact is that the choir and the area under the choir loft (sotocoro) are also covered by ribbed vaults with tiercerons. This question is crucial, because it would determine the future development of the Cordoban parish model. Nor can we say that the change occurred here, since the use of stone rather than wood for the temple ceiling seems to be justified in Hinojosa, which is located in the Pedroches, an area traditionally rich in granite; hence, we can assume that the material was, in principle, affordable. It is not difficult to see that this model was quite widespread and reached new heights, as evidenced in the construction of Nuestra Señora de la Asunción of , a town near Hinojosa, although the church dates back to a later period. The coat of arms of Bishop Martín de Córdoba y Mendoza was displayed in the chancel, so it is dated between 1578 and 1581 and can be attributed to Hernan Ruiz III (Nieto Cumplido). The old town of , where the church dedicated to the Transfiguration of the Savior was erected, is not far from here. The church has not been attributed to any master, but it is in the same typological line that we have described above, and it would not be surprising if it were designed by Gonzalo Rodríguez and perhaps concluded by his son, since the coat of arms of the Catholic Monarchs after the incorporation of Aragon (1479) can be found in the choir. This is another example of the consolidation of the parish model, although in this case the Islamic imprint is perceived in a more visible way. The octagonal piers are of a characteristic Mudejar type that was common precisely under the Catholic Monarchs. At least that is what we have identified in the case of Cordoba. Moreover, the pointed arches are framed by drip-caps, which is uncommon in churches of this type, and there are oculi instead of windows above the arches. However, perhaps the most remarkable aspect of these churches is the presence of wooden carpentry, which, apart from the collar-beams, also included a wooden choir decorated with paintings and supported by curvilinear corbels of Andalusian inspiration. The parapet is decorated with eight-pointed star latticework, but the most extraordinary feature is the combination of motifs of Islamic origin—including inscriptions in Neski—with purely Gothic motifs, such as thistle leaves, which also decorate the ceiling. The boards of the ceiling have carved alfardones and chillas embellished with leaf motifs typical of the Islamic and other Gothic styles; a style that is also represented by the flamboyant tracery with Almohad motifs, such as the intertwined octagons. The connection that shows this rich decoration with the singular ceilings of the convent of Santa Clara de la Columna in Belalcazar, another of the nearby towns, indicates that crews of artists must have moved from one place to another in search of patrons and building works. It therefore seems evident that the same workers would have been hired by the Counts of Belalcazar to build the aforementioned convent. In fact, the flat ceiling with latticework (taujel) in the of the parish church of Pedroche is very similar to the ceilings found in Santa Clara since, like the convent, it is decorated with a rope motif alluding to the Franciscan Order (Jordano Barbudo 2002). Unlike the architecture of Pedroches, with its characteristic grey granite, further south in the province in the town of it is the reddish-colored stone which lends a distinctive mark to the architecture. The parish church of San Bartolomé gives us the opportunity to see first-hand the image through the visitator general’s eyes. Let us not forget that Hernan Ruiz himself was a visitator general, and although he may not have intervened directly in this work, he at least left his signature on it. The chancel, with its three vaulted chapels with Gothic tiercerons, originally displayed the coat of arms of Arts 2018, 7, 37 9 of 18 the bishop of Cordoba, Bro Bernardo de Fresneda (1572–1577). However, given the late date of his episcopate (much later than the time of Hernan Ruiz I), his coat of arms may have alluded to some reform of the church, since the vaults would have been very archaic at that time. What is interesting here is the visitator’s description of the church contained in his report: He also visited the material body of said church, which had three naves built of carved millstone from barbers’ shops with good bases without carvings or moldings. The chancel was made of the same carved stone. The stone-vaulted ceiling with moldings and ribbons with their pine cones, gold mouldings and the coat of arms of the good Bishop Bernardo de Fresneda, and on the apse ends of the side-aisles there were two other chapels with stone vaults with moldings and ribbons without mouldings. The roof of the main nave was made of carved pine wood with a latticed pattern decorated with gold pine cones, and the ceilings of the side-naves were of wooden beams and brick [...] (Nieto Cumplido). As this text indicates, another beam and brick system was widely used, which in the case of San Bartolome was reserved for the aisles. It is important to recall that in the cloister of San Sebastian Hospital, located just across from the Mosque-Cathedral of Cordoba, this type of enclosure was also used to cover the galleries of the courtyard; a work that has been attributed to Hernan Ruiz I. Vestiges of this system can also be seen in the Anton Cabrera Hospital and the Capuchin and Santa Cruz cloisters, among others. Clearly, it was a simpler structure, but also with striking results, since the surface of the brick that was left exposed was usually painted with plant, geometric and even epigraphic motifs of either Islamic or Christian influence (flamboyant stencils, for example). Although not documented, it is assumed that Hernan Ruiz I oversaw the building works of Nuestra Señora de Soterraño, the parish church of the town of , which replaced the previous church, which was too small to accommodate the population (Luque et al. 1981) (Figure9). This work marked the beginning of the master’s turn towards the new architectural styles coming from Italy. However, was this of his own making, or was the mind of a humanist behind him? It has been said that Catalina Fernandez de Cordoba, II Marchioness of Priego and wife of Lorenzo Suarez de Figueroa, Count of Feria (Nieto Cumplido 1984), was responsible for commissioning the works. In his extensive study of the counts of Feria, Rubio Masa states that the library of Lorenzo III Suarez de Figueroa (1505–1528) housed 284 volumes, including many by Italian humanists (Rubio Masa 2001). It should be noted that his palace in was connected by a passageway to the convent of Santa Clara; a work in which, as we have said, the master also intervened. At that time, Montilla was the capital of the count’s seigneury and included, among others, the villa of Aguilar. Up to this time, there had been a process of integration that merged elements of Islamic inspiration with the Christian ones of Gothic architecture, but the time had come to usher in the Renaissance, and it is these new airs that can be perceived when entering Soterraño Church. Although the model is the same as that of the first churches built after the Christian conquest, these constructions are more diaphanous, which is achieved by means of slender piers; a perception that the visitator general of the bishopric of Cordoba expressed in his report when he described the church as being “of good foundation and talent, grand and well finished” (Nieto Cumplido). The church of San Mateo in the town of Lucena was built in the same style, and although later than Soterraño, it was also commissioned by another of the most powerful lineages of the Kingdom of Cordoba, which, like the previous ones, belonged to the great House of Cordoba: the lords of Chillon, Espejo and Lucena, who would be granted the distinction of Marquises of Comares. In both cases, the staggered triple-apse arrangement and diverse floor plans (hemicycle, polygonal, straight or alternating) characteristic of the first period were substituted for an apse end consisting of three flat chapels laid out in a line, as in the case of Soterraño, or a somewhat deeper central chapel, such as that of Lucena. In both examples, it is clear that the aim is to make the space as uniform as possible to achieve a visual perception of transparency. In Aguilar, the ribbed vault of the chancel is divided into eight webs, and the keystone bears the coat of arms of the Fernandez de Cordoba family. In contrast to this archaic roofing, it is important Arts 2018, 7, x FOR PEER REVIEW 9 of 18

of carved pine wood with a latticed pattern decorated with gold pine cones, and the ceilings of the side-naves were of wooden beams and brick [...] (Nieto Cumplido, forthcoming a). As this text indicates, another beam and brick system was widely used, which in the case of San Bartolome was reserved for the aisles. It is important to recall that in the cloister of San Sebastian Hospital, located just across from the Mosque-Cathedral of Cordoba, this type of enclosure was also used to cover the galleries of the courtyard; a work that has been attributed to Hernan Ruiz I. Vestiges of this system can also be seen in the Anton Cabrera Hospital and the Capuchin and Santa Cruz cloisters, among others. Clearly, it was a simpler structure, but also with striking results, since the surface of the brick that was left exposed was usually painted with plant, geometric and even Arts 2018, 7, 37 10 of 18 epigraphic motifs of either Islamic or Christian influence ( stencils, for example). Although not documented, it is assumed that Hernan Ruiz I oversaw the building works of Nuestra to highlightSeñora de Soterraño, the segmental the parish triumphal church of arch, the town which of Aguilar was a newde la Frontera, development. which replaced In the samethe previous way, the moldingchurch, of which thevault, was too the small piers to onaccommodate which it rests, the population and the smaller (Luque et capitals al. 1981 mark) (Figure this 9) trend. This towardswork simplificationmarked the tobeginning achieve of a sensationthe master of’s turn openness. towards A the similar new assessmentarchitectural could styles be coming made from of the Italy. naves, whoseHowever, piers suggestwas this a of change his own in making plans. However,, or was the without mind of a a doubt, humanist what behind is most him? worthy It has of been mention said in that Catalina Fernandez de Cordoba, II Marchioness of Priego and wife of Lorenzo Suarez de the assimilation of Andalusi formulas is the collar-beam wooden ceiling of the main nave, where the Figueroa, Count of Feria (Nieto Cumplido 1984), was responsible for commissioning the works. In corbels supporting the tie-beams display the classicist acanthus leaves, thus indicating the contribution his extensive study of the counts of Feria, Rubio Masa states that the library of Lorenzo III Suarez de of the new Renaissance styles. Far from lessening the splendor of these wooden ceilings, they are Figueroa (1505–1528) housed 284 volumes, including many by Italian humanists (Rubio Masa 2001). betterIt should resolved, be noted technically, that his throughpalace in the Montilla use of was more connected complex by solutions a passageway (Figure to 10the). convent The tie-beams, of Santa for example,Clara; a are work decorated in which, with as doublewe have latticework said, the master patterns also thatintervened. create stars At that of considerable time, Montilla size, was such the as thosecapital to be of found the count in the’s seigneury Animas Chapeland included, of the Asuncionamong other Churchs, the villa in . of Aguilar.

Arts 2018, 7, x FOR PEER REVIEW 10 of 18

as being “of good foundation and talent, grand and well finished” (Nieto Cumplido, forthcoming b). The church of San Mateo in the town of Lucena was built in the same style, and although later than Soterraño, it was also commissioned by another of the most powerful lineages of the Kingdom of Cordoba, which, like the previous ones, belonged to the great House of Cordoba: the lords of Chillon, Espejo and Lucena, who would be granted the distinction of Marquises of Comares. In both cases, the staggered triple-apse arrangement and diverse floor plans (hemicycle, polygonal, straight or alternating) characteristic of the first period were substituted for an apse end consisting of three flat chapels laid out in a line, as in the case of Soterraño, or a somewhat deeper central chapel, such as that of Lucena. In both examples, it is clear that the aim is to make the space as uniform as possible to achieve a visual perception of transparency. In Aguilar, the ribbed vault of the chancel is divided into eight webs, and the keystone bears the coat of arms of the Fernandez de Cordoba family. In contrast to this archaic roofing, it is important to highlight the segmental triumphal arch, which was a new development. In the same way, the molding of the vault, the piers on which it rests, and the smaller capitals mark this trend towards simplification to achieve a sensation of openness. A similar assessment could be made of the naves, whose piers suggest a change in plans. However, without a doubt, what is most worthy of mention in the assimilation of Andalusi formulas is the collar-beam wooden ceiling of the main nave, where the corbels supporting the tie-beams display the classicist acanthus leaves, thus indicating the contribution of the new Renaissance styles. Far from lessening the splendo r of these wooden ceilings, they are betterFigure resolved 9. Parish, technicallychurch of Santa, through Maria the del use Soterraño. of more complexAguilar desolutions la Frontera (Figure (Cordoba). 10). The Photo tie-beams took, for Figure 9. Parish church of Santa Maria del Soterraño. Aguilar de la Frontera (Cordoba). Photo took example,by author. are deco rated with double latticework patterns that create stars of considerable size, such as thoseby author. to be found in the Animas Chapel of the Asuncion Church in Santaella. Up to this time, there had been a process of integration that merged elements of Islamic inspiration with the Christian ones of Gothic architecture, but the time had come to usher in the Renaissance, and it is these new airs that can be perceived when entering Soterraño Church. Although the model is the same as that of the first churches built after the Christian conquest, these constructions are more diaphanous, which is achieved by means of slender piers; a perception that the visitator general of the bishopric of Cordoba expressed in his report when he described the church

Figure 10. Detail of the wooden ceiling. Parish church of Santa Maria del Soterraño. Aguilar de la Figure 10. Detail of the wooden ceiling. Parish church of Santa Maria del Soterraño. Aguilar de la Frontera (Cordoba). Photo took by author. Frontera (Cordoba). Photo took by author. The San Mateo Church of Lucena may be considered the final link in the evolution of the parish model during Hernan Ruiz I’s time (Figure 11). That this church was built at a later date (the end of the fifteenth or beginning of the sixteenth century) could be due to the fact that elements recovered from the Lucena’s aljama or Great Mosque were used in its construction, as had occurred in Cabra, for example, and perhaps also due to its proximity to the border with the Nasrid Kingdom of . The Christian victory at the battle of Lucena in 1483, with Boabdil imprisoned, must have been another important reason. The new work, which was undertaken following the demolition of the previous construction in 1498, was made possible thanks to the patronage of Diego Fernandez de Cordoba, I Marquis of Comares, and whose son Luis continued later.

Arts 2018, 7, 37 11 of 18

The San Mateo Church of Lucena may be considered the final link in the evolution of the parish model during Hernan Ruiz I’s time (Figure 11). That this church was built at a later date (the end of the fifteenth or beginning of the sixteenth century) could be due to the fact that elements recovered from the Lucena’s aljama or Great Mosque were used in its construction, as had occurred in Cabra, for example, and perhaps also due to its proximity to the border with the Nasrid Kingdom of Granada. The Christian victory at the battle of Lucena in 1483, with Boabdil imprisoned, must have been another important reason. The new work, which was undertaken following the demolition of the previous construction in 1498, was made possible thanks to the patronage of Diego Fernandez de Cordoba, IArts Marquis 2018, 7, ofx FOR Comares, PEER REVIEW and whose son Luis continued later. 11 of 18

FigureFigure 11.11. FloorFloor plan.plan. ParishParish churchchurch ofof SanSan Mateo.Mateo. LucenaLucena (Cordoba).(Cordoba). ©© JuntaJunta dede AndalucAndalucía.ía.

TheThe modelmodel of of the the first first parish parish churches churches of Cordobaof Cordoba underwent underwent a substantial a substantial change, change as can, as be can seen be inseen the in notable the notable increase increase in their in their diaphanous diaphanous space space as described as described above. above. This This was was achieved achieved through through the usethe ofuse simple, of simple, slender slender piers, piers now, now with with small, small, unadorned unadorned capitals, capitals, butalso but byalso elevating by elevating the arches the arch andes buildingand build navesing naves of equal of equal height, height which, which lent theselent these churches churches a very a very similar similar appearance appearance to that to that of the of hallthe hall churches churches inspired inspired in the in Germanthe Germanhallenkirche hallenkirche(Figure (Figure 12). We12). must We must also addalso anotheradd another factor factor that differsthat differs from from the other the other examples examples analyzed analyz here:ed here: the use the of use a drip-capof a drip on-cap the on wall-ribs; the wall- aribs feature; a feature that maythat bemay attributable be attributable to the to closer the closer proximity proximity to Islamic to Islamic territory. territory. Following Following the pattern the pattern of previous of previous cases, thecases, naves the werenaves covered were covered with wooden with wooden ceilings, ceilings the central, the onecentral being one of being the collar-beam of the collar type,-beam and type the, apseand the end apse was end designed was designed with three with straight three chapels,straight thechapels, central the one central of which one projectsof which out projects a bitfrom out a the bit rest.from The the vaultsrest. The are allvaults stellar, are althoughall stellar they, although became they increasingly became increasingly complex in theircomplex design in andtheir number design ofand ribs. number This mayof ribs be. dueThis to may the be fact due that to in the the fact last that decade in the of last the sixteenthdecade of centurythe sixteenth the chapels century were the sinking,chapels were which sinking, forced which the Count forced of Pradasthe Count to authorizeof Pradas to a paymentauthorize of a 74,592payment maravedis of 74,592 in maravedis order to “buildin order the to three “build chapels the three of the chapels church, of the church, chancel the and chancel the side and chapels” the side (Nieto chapels” Cumplido (Nieto). Cumplido, forthcomingThe lateral a).portals of the Virgin and San Miguel have been attributed to Hernan Ruiz I. They were also builtThe usinglateral theportals same of scheme the Virgin and withand San a similar Miguel drip-cap. have been It is attributed a pity that to the Hernan inner doorway Ruiz I. They that leadswere toalso the built sacristy using has the beensame torn scheme down. and It with seems a similar that the drip round-cap. archIt is a may pity also that have the inner had adoorway similar drip-cap,that leads as to the the first sacristy springers has been would torn seem down. to indicate.It seems that If this the were round the arch case, may the entirealso have ensemble had a similar would havedrip- perfectlycap, as the combined first springers these would influences, seem as to the indicate. decorative If this program were the could case,not the beentire more ensemble Christian would with have perfectly combined these influences, as the decorative program could not be more Christian with the coat of arms of the Marquises of Comares bearing the fesses of the Cordoba lineage—the chained head of Boabdil and the flags that were won from him flanked by two lions—while the molding that forms the drip-cap is decorated with thistle and animal motifs, thus displaying an image of power and propaganda.

Arts 2018, 7, 37 12 of 18 the coat of arms of the Marquises of Comares bearing the fesses of the Cordoba lineage—the chained head of Boabdil and the flags that were won from him flanked by two lions—while the molding that forms the drip-cap is decorated with thistle and animal motifs, thus displaying an image of power andArts 2018 propaganda., 7, x FOR PEER REVIEW 12 of 18

(a) (b)

Figure 12.12. Parish church of San Mateo. Lucena (Cordoba):(Cordoba): ( a) central nave;nave; (b) wall-ribs.wall-ribs. PhotosPhotos took by author.

This portal of the sacristy is a perfect example of what we are attempting to transmit, here, This portal of the sacristy is a perfect example of what we are attempting to transmit, here, because, because, in our opinion, it reveals the aesthetic trends of a society transitioning from Medieval to in our opinion, it reveals the aesthetic trends of a society transitioning from Medieval to Modern times Modern times in the passage from the Gothic to the Renaissance, with a still-notable Islamic presence in the passage from the Gothic to the Renaissance, with a still-notable Islamic presence of the former of the former Al-Andalus, which was now Christian. Logically, the mentality of the master, in this Al-Andalus, which was now Christian. Logically, the mentality of the master, in this case Hernan Ruiz case Hernan Ruiz I, was also changing, and in attending to the demands of a humanistic-minded I, was also changing, and in attending to the demands of a humanistic-minded clientele, he laid the clientele, he laid the foundations for the subsequent arrival of Renaissance styles. For this reason, foundations for the subsequent arrival of Renaissance styles. For this reason, even though he may even though he may not have achieved the fame of his son Hernan Ruiz II, he was able to adapt to not have achieved the fame of his son Hernan Ruiz II, he was able to adapt to the changing tastes the changing tastes of his clientele. After the initial phase of the Reconquest, when the first parish of his clientele. After the initial phase of the Reconquest, when the first parish churches had been churches had been built thanks to the administrative organization of the dioceses (only the built thanks to the administrative organization of the dioceses (only the conventual temples of San conventual temples of San Pablo and San Pedro el Real were commissioned by the king), Hernan Pablo and San Pedro el Real were commissioned by the king), Hernan Ruiz I was prepared for what Ruiz I was prepared for what would come later: the almost complete control over building would come later: the almost complete control over building undertakings by the nobility and even the undertakings by the nobility and even the ecclesiastical dignitaries. This enabled them to convey the ecclesiastical dignitaries. This enabled them to convey the propaganda of their lineage using heraldry propaganda of their lineage using heraldry to gain notoriety, while patronage was a form of to gain notoriety, while patronage was a form of atonement and a way to ensure a privileged place of atonement and a way to ensure a privileged place of burial in the churches they themselves had burial in the churches they themselves had commissioned to be built. commissioned to be built. 4. The Box Floor Plan of Female Conventual Churches 4. The Box Floor Plan of Female Conventual Churches The other model that was characteristic of Hernan Ruiz I’s work was the box floor plan typical of The other model that was characteristic of Hernan Ruiz I’s work was the box floor plan typical convents; that is, a rectangular layout which was adapted perfectly to the needs of the nuns and their of convents; that is, a rectangular layout which was adapted perfectly to the needs of the nuns and promoters since it allowed the nuns to attend liturgy, either from the choir and sotocoro, or through the their promoters since it allowed the nuns to attend liturgy, either from the choir and sotocoro, or rood screen of the main altar, while it also provided a place for the founders to be buried, usually in through the rood screen of the main altar, while it also provided a place for the founders to be buried, the chancel. This model was first used in the Monastery of San Juan de los Reyes of Toledo, which usually in the chancel. This model was first used in the Monastery of San Juan de los Reyes of Toledo, which was commissioned by the Catholic Monarchs. Perhaps the earliest example in Cordoba is that of Santa Marta, a Hieronymus monastery where Hernan Ruiz I’s sister took the name of Sister Maria de San Miguel upon professing her vows, and whose church appears to have been founded circa 1479 by their father, Gonzalo Rodriguez (Banda y Vargas 1974). The formula is very simple: the chancel is covered with Gothic stellar vaults and the nave with ridge-ribbed vaults, although the choir originally had a wooden ceiling painted with shields, of which two boards are preserved in the

Arts 2018, 7, 37 13 of 18 was commissioned by the Catholic Monarchs. Perhaps the earliest example in Cordoba is that of Santa Marta, a Hieronymus monastery where Hernan Ruiz I’s sister took the name of Sister Maria de San Miguel upon professing her vows, and whose church appears to have been founded circa 1479 by their father, Gonzalo Rodriguez (Banda y Vargas 1974). The formula is very simple: the chancel is covered with Gothic stellar vaults and the nave with ridge-ribbed vaults, although the choir originally had a wooden ceiling painted with shields, of which two boards are preserved in the cloister’s vestibule. Arts 2018, 7, x FOR PEER REVIEW 13 of 18 These are the only remains that survived after this part of the high choir was restored in the twentieth centurycloister and’s vestibule a false ribbed. These vault are the was only installed. remains that survived after this part of the high choir was restoredIn 1480, in thethe chanceltwentieth was century not yetand finished, a false ribbed but sevenvault was years installed later the. first Counts of Cabra were buried there.In 1480 However,, the chancel it was is likely not yet that finished, the work but wasseven not years completed later the untilfirst Counts the first of decadeCabra were of the fifteenthburied century. there. However, The portal it is is dated likely 1511 that the and work is the was work not of completed Hernan Ruiz until I ( theBanda first y decade Vargas of1974 the). It shouldfifteenth be noted century. that The the portal late Gothic-style is dated 1511 portals and is in the the work city—the of Herna firstn Ruiz of which I (Banda was y this Vargas example 1974). of It the Hieronymusshould be monastery—underwentnoted that the late Gothic a-style clear portals evolution in the (Santa city— Marta,the first San of Andres, which was San this Jeronimo example and of San Sebastianthe Hieronymus churches), monastery especially— thisunderwent one of Santa a clear Marta evolution (Figure (Santa 13a) Marta, and that San of Andres, San Sebastian San Jeronimo Hospital, whereand the San master Sebastia erectedn churches an ogee), especially arch decorated this one with of Santa foliage, Marta clusters (Figure flanked 13a) and by that savages—one of San Seba playingstian a hornHospital and the, where other the holding master aerected rope (Figure an ogee 13 arb)—andch decorated tracery with spandrels foliage, clusters embellished flanked with by savages small arches— one playing a horn and the other holding a rope (Figure 13b)—and tracery spandrels embellished and a type of drip-cap reminiscent of a brief roof (tejaroz). The characteristic feature is that the surface with small arches and a type of drip-cap reminiscent of a brief roof (tejaroz). The characteristic feature of this drip-cap, which is constructed from two piers that flank the portal, is adorned with tracery is that the surface of this drip-cap, which is constructed from two piers that flank the portal, is in the form of intertwined arches resembling the Almohad sebka. These elements led A. de la Banda adorned with tracery in the form of intertwined arches resembling the Almohad sebka. These elements to describeled A. de themla Banda as “faintto describe but certainthem as Mudejar“faint but influences” certain Mudejar (Banda influences” y Vargas (Banda 1974 ).y Vargas The formula 1974). is repeatedThe formula again is in repeated San Sebastian again in Church, San Sebastian although Church with, although later solutions with later and solutions an obvious and taste an obvious for what is traditionallytaste for what known is traditionally as the known as the style. Plateresque This system style of. This Christianized system of Christianized drip-cap and drip elaborate-cap spandrelsand elaborate with a spandrels network with of arches a network is the of same arches one is thatthe same Hernan one Ruizthat Herna I wouldn Ruiz use I in would the Cathedral use in transeptthe Cathedral some years transept later. some Thus, years it later. could Thus, be inferred it could be that inferred Santa t Martahat Santa and Marta San and Sebastian San Sebastia weren his ‘testingwere grounds’ his ‘testing with grounds regard’ with to this regard particular to this feature, particular although feature the, although master the may master have may built have other built works withother this works same formulawith this thatsame have formula not survived.that have not survived.

(a) (b)

Figure 13. Santa Marta Monastery (Cordoba): (a) church portal; (b) feature of the high point of the Figure 13. Santa Marta Monastery (Cordoba): (a) church portal; (b) feature of the high point of the ogee arch. Photos took by author. ogee arch. Photos took by author. The persistence of Islamic elements is most noticeable in the Santa Clara Convent of Montilla, whoseThe persistencefaçade has been of Islamic attributed elements to the master is most and noticeable is dated after in the 1525. Santa The Clara piers flank Conventing the of church Montilla, whoseportal façade are again has been topped attributed by a drip to- thecap, master this time and without is dated tracery. after1525. The wooden The piers doors, flanking on the the other church portalhand, are are again decorated topped with by lattice a drip-cap,work. The this chancel time without is covered tracery. with an The octagonal wooden wooden doors, ceiling on the with other hand,an assembled are decorated, geometric with latticed latticework. pattern The, while chancel the ceiling is covered of the nave with is anconstructed octagonal of paired wooden beams ceiling. The eight-strand latticework extends over certain elements, such as the tie-beams, in which large stars stand out. It is a model that would become very popular throughout the province, and of which notable examples still survive, such as the parish church of Nuestra Señora de Guadalupe in , whose founder was Pedro Fernandez de Cordoba, son of the Third Count of Cabra, or Santa Clara Church of Palma del Rio, in whose chancel the First Counts of Palma were laid to rest (Gamero Ruiz et al. 1994). Another example is Madre de Dios in Baena, a Dominican convent that must have been

Arts 2018, 7, 37 14 of 18 with an assembled, geometric latticed pattern, while the ceiling of the nave is constructed of paired beams. The eight-strand latticework extends over certain elements, such as the tie-beams, in which large stars stand out. It is a model that would become very popular throughout the province, and of which notable examples still survive, such as the parish church of Nuestra Señora de Guadalupe in Baena, whose founder was Pedro Fernandez de Cordoba, son of the Third Count of Cabra, or Santa Clara Church of Palma del Rio, in whose chancel the First Counts of Palma were laid to rest (Gamero Ruiz et al. 1994). Another example is Madre de Dios in Baena, a Dominican convent that must have been built around that same time (Figure 14). Although the conventual church underwent major alterations that transformed its original image, its heraldic tiles (housed today in the Instituto Valencia de Don Juan) continue to bear witness to the ever-present Islamic imprint, as well as the Mudejar flooring of the temple, made with scraps of tiles (Figure 15), or the taujel of the porch that precedes the portal, where the coat of arms of its founder, Diego Fernandez de Cordoba, III Count of Cabra and Lord of Baena, is displayed. The count founded the convent so that his daughter, Juana de la Cerda, born to his wife Francisca de Zuñiga y la Cerda, could act as prioress (Jordano Barbudo 2002). However, the Santa Clara Convent of Montilla is paradigmatic in this sense. Not only is there a tribune above the chancel where the Marquises of Priego could attend the services, but also an elevated passage over the street connected to their palace which provided direct access to the church (Casado Alcaide and Jordano Barbudo 2010). ArtsIt 2018 is very, 7, x FOR revealing PEER REVIEW that the simple nave and chancel model in which the spaces14 are of 18 not architecturally distinct (Gimena Córdoba 2015), the first example of which is probably Santa Marta, is morebuilt similararound tothat Christian same time formulas (Figure due 14) to. the Although ribbed-vault the conventual ceilings. However,church underwent from that major time on, therealterations was a tendency that transformed to use the its Islamic-style original image, wooden its heraldicceilings, tileswhich (housed were of today a quality in the and Instituto opulence Valencia de Don Juan) continue to bear witness to the ever-present Islamic imprint, as well as the comparable to that of the Christian vaults. Moreover, the individual covering of the chancel, which was Mudejar flooring of the temple, made with scraps of tiles (Figure 15), or the taujel of the porch that also separated by means of a triumphal arch, lent this part of the church greater autonomy. This scheme precedes the portal, where the coat of arms of its founder, Diego Fernandez de Cordoba, III Count of was a reinterpretation of the Islamic qubba system; that is, a construction with a square floor plan that Cabra and Lord of Baena, is displayed. The count founded the convent so that his daughter, Juana de symbolized the earthly versus the celestial, represented in this case by a domed wooden structure la Cerda, born to his wife Francisca de Zuñiga y la Cerda, could act as prioress (Jordano Barbudo sprinkled2002). with stars (e.g., Guadalupe Church in Baena, Crucificado Hospital in Cordoba).

Figure 14. Portal. Madre de Dios Convent. Baena (Cordoba). Photo took by author. Figure 14. Portal. Madre de Dios Convent. Baena (Cordoba). Photo took by author.

Figure 15. Brick and tile flooring. Madre de Dios Convent. Baena (Cordoba). Photo took by author.

However, the Santa Clara Convent of Montilla is paradigmatic in this sense. Not only is there a tribune above the chancel where the Marquises of Priego could attend the services, but also an

Arts 2018, 7, x FOR PEER REVIEW 14 of 18 built around that same time (Figure 14). Although the conventual church underwent major alterations that transformed its original image, its heraldic tiles (housed today in the Instituto Valencia de Don Juan) continue to bear witness to the ever-present Islamic imprint, as well as the Mudejar flooring of the temple, made with scraps of tiles (Figure 15), or the taujel of the porch that precedes the portal, where the coat of arms of its founder, Diego Fernandez de Cordoba, III Count of Cabra and Lord of Baena, is displayed. The count founded the convent so that his daughter, Juana de la Cerda, born to his wife Francisca de Zuñiga y la Cerda, could act as prioress (Jordano Barbudo 2002).

Arts 2018, 7, 37 15 of 18 Figure 14. Portal. Madre de Dios Convent. Baena (Cordoba). Photo took by author.

Figure 15. Brick and tile flooring. Madre de Dios Convent. Baena (Cordoba). Photo took by author. Figure 15. Brick and tile flooring. Madre de Dios Convent. Baena (Cordoba). Photo took by author.

However, the Santa Clara Convent of Montilla is paradigmatic in this sense. Not only is there a It is also important to point out that this style, in our opinion, was probably not cultivated only tribune above the chancel where the Marquises of Priego could attend the services, but also an by the master builders. The patrons of these works, especially in the conventual foundations, were noblemen who demanded this type of miscellaneous art simply because it was the fashion of the time, and not only because it lent them prestige, but because of the exoticism this aesthetic could have had for a Christian. One only has to see how, in 1487, the Second Count of Cabra ordered in his will that he be buried alongside his parents in the chancel of Santa Marta Convent, that the nuns be given the tunic of Boabdil—whom the Count had taken prisoner in the battle of Lucena (1483)—to make a chasuble, and that the flags he won be placed on his father’s tomb (Abad de Rute 1958, 1961; Nieto Cumplido).

5. Epilogue. The Death of Hernan Ruiz I and His Burial in the Mosque-Cathedral of Cordoba In his work La catedral de Córdoba, M. Nieto Cumplido states that Hernan Ruiz must have died in early September 1547, because on the 6th of that same month his widow engaged in litigation over the will. According to one witness, she attended the death of the master builder and his burial in the city’s main church. Nieto posits that he might have been buried with his son Juan Ordóñez, the prebendary of the cathedral, under one of the two arches on the south side of the transept. Indeed, it is here where a tombstone bearing his shield can be found. It reads: AQVI ESTA SE/PULTADO/IOAN ORDO/ÑEZ RECIO/NERO DE ESTA/SANTA IGLE/SIA FALLECIO/A 26 DE DICI/EMBRE AÑO/DE 16061 (Nieto Cumplido 1998). The chronicle of M. Medina González, published in the Diario Córdoba newspaper of 9 March 1943, in which he refers to the discovery by Enrique Romero de Torres of Hernan Ruiz I’s remains in this burial place, confirms that this is the where master lies (Figure 16a). Romero de Torres, driven by his innate curiosity, located the will of Juan Ordoñez dated 6 November 1604. As prebendary of the Cathedral Church of Cordoba, he said: When God our Lord is served by my paying this natural debt and I am deceased, my will is that my body be buried in the Cathedral Church of Cordoba, in the tomb I have in said church, where Hernan Ruiz, my father, master builder of said holy church, is buried, which is under an arch of one of the side chapels of the new transept where there is a marker that tells when the new work was begun.

1 Here lies Ioan Ordoñez prebendary of this holy church deceased the 26th of December in the year 1606. Arts 2018, 7, 37 16 of 18

After receiving the pertinent authorization Enrique Romero de Torres had requested from the Cathedral Chapter, and under the direction of the architect Felix Hernandez, the tomb was opened and a burial vault was found which had been carved into the stone of the foundation of an arch. The burial vault contained the remains of two bodies facing east mixed with earth, wood debris, leather, fabric and lace. In the center, on the body of the son, appeared the skull of Hernan Ruiz I surrounded by bones. The remains were placed in a new brick and cement burial vault, along with a copper plate indicating the date they were found. Afterwards, the ledger stone of the prebendary was put back Arts 2018, 7, x FOR PEER REVIEW 16 of 18 in its original place, as we can see it today (Figure 16b). In the arch beneath which this ledger stone islocated located,, there there is an is aninscription inscription dedicated dedicated to the to thework work of his of father his father Herna Hernann Ruiz Ruiz I: “He I: “Hebegan began this new this newwork work of this of this Holy Holy Cathedral Cathedral Church Church on on 7 September 7 September 1523, 1523, the the bishop bishop being being Alfonso Alfonso Manrique Manrique”” (Figure2 2b)b)..

(a) (b)

Figure 16. JuanJuan Ordoñez Ordoñez and Hernan Ruiz I I’s’s burial. Mezquita Mezquita-Catedral-Catedral (Cordoba): ( (aa)) piece piece of of news; news; (b) tomb. Photo took by author.

The desire of the prebendary, son of Hernan Ruiz I, to be laid to rest with his father was thus The desire of the prebendary, son of Hernan Ruiz I, to be laid to rest with his father was thus fulfilled. Today, therefore, it is possible to corroborate Nieto Cumplido’s hypothesis about the burial fulfilled. Today, therefore, it is possible to corroborate Nieto Cumplido’s hypothesis about the burial place of the master builder. The investigation carried out by Enrique Romero de Torres, the interest place of the master builder. The investigation carried out by Enrique Romero de Torres, the interest of of the cathedral chapter in granting his request to open the tomb and the intervention by the architect the cathedral chapter in granting his request to open the tomb and the intervention by the architect of of the Mosque-Cathedral, Felix Hernandez, led us to the exact place. the Mosque-Cathedral, Felix Hernandez, led us to the exact place. The year 2047 will mark the 500th anniversary of the death of Hernan Ruiz I. It is important that The year 2047 will mark the 500th anniversary of the death of Hernan Ruiz I. It is important tribute be paid to this great master who proved capable of adapting his architectural style to the that tribute be paid to this great master who proved capable of adapting his architectural style to the changes that took place during the transition from the fifteenth to the sixteenth century, and ensure changes that took place during the transition from the fifteenth to the sixteenth century, and ensure that the spirit and culture that made Cordoba stand out as the Umayyad capital of Al-Andalus live that the spirit and culture that made Cordoba stand out as the Umayyad capital of Al-Andalus live on. on. Today we can say that Hernan Ruiz I rests next to his life’s work in the transept of the main church Today we can say that Hernan Ruiz I rests next to his life’s work in the transept of the main church of Cordoba. of Cordoba. Funding: This research received no external funding. Funding: This research received no external funding. ConflictsConflicts ofof Interest:Interest: The authors declare nono conflictconflict ofof interest.interest.

Reference

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