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ARCHITECTURE AND APPLIED ARTS IN OLD SPAIN
OLD SPAIN
By AUGUST L, MAyER, PH. D
PROFESSOR AT THE UNIVERSITY OF MUNICH CORRESPONDING MEMBER OF THE REAL ACADEMIA
DE BELLAS ARTES DE S. FERNANDO IN MADRID OF THE REAL ACADEMIA DE BUENAS LETRAS IN SEVILLA AND OF THE HISPANIC SOCIETY OF AMERICA IN NEW YORK
WITH 3Jo ILLUSTRATIONS
J • »
44602
NEW yORK / BRENTANO'S / MCMXXI c c c J c c c
« e •'
PRINTED By E. HABERLAND, LEIPZIG (GERMANY) R E F A C E
The richntss of Spain in significant architectural monuments, in characterful and characteristic old townsites, as well as conspicuous products of the applied arts,
is today still overwhelming in spite of the considerable vandalisms of the Napoleonic
^1 wars and in spite of the modernization craze of the nineteenth century.
To make a choice that will illustrate the various types in every branch of the wide fields of
applied arts and architecture is exceedingly difficult. On the one hand is the simply immea=
surable plethora of materials, on the other the lack of good photographic e.xamples of important
,^ objects scarcely known outside of the narrowest professional circles.
'" It is to be noted that the procuring of materials during these present troubled times was
difficult. The Association of Friends of Art in Madrid as well as the Institut d'Estudis Catalans in Barcelona deserve great thanks for their ener= getic activity in making important materials available, not only by instituting exhibitions, but also by the turning out of numerous photographs and model catalogues. C Of all this the editor has made most bountiful use, and is under the greatest obligations to these associations, as well as to the Director of the Repertorio Iconografico de Espafia, ^ Photographer Roig, formerly of Lacoste, Moreno, and the In= ^ Mas, ). stitution Hauser y Menet, and last but not least, to the collec= tors who have assisted him in a large measure through the loan, and often special reproduction, of photographic copies. MADRID, OCTOBER 27, 1920* AUGUST L. MAyER CONTENTS Preface Page V Moorish Art Page IX Plates 1-14 City Sites and Castles Page X Plates 15-32 Churches Page XI Plates 33-61 Buildings Page XII Plates 62-106 Furniture Page XIV Plates 107- 125 Wrought Iron Work Page XIV Plates 126-141 Precious Metals ! Page XVI Plates 162-164 Leather Page XVI Plates 155-158 Carpets Page XVI Plates 166-168 Stuffs Page XVI Plates 168-174 Ceramic Art Page XVII Plates 141-154 Ivory Page XVIII Plates 159-161 Glass Page XIX Plates 175-176 Bibliography Page XX List of Illustrations «;.: Page XXI Madrid, Don Jose Weissberger. Leather Work. XVII. century The special charm znipecufiarity ofofdSpa= rity to costly silversmith work, with its use of small uisfj art lies in the wedding of the western, decorative forms instead of great monumental ones, European or Christian art with the eastern, is very close. In this period there came also the Spanish Asiatic^^African or Moorish, and this is especially late and high Baroque European style. For instance, in the period of the and in the 18''' century, classicism. early Renaissance the northern countries, as certain elements which ceived a specially striking construction and deco= are today generally indicated as Gothic are met ration. again in Moorish art and belong to the essentials While we find here many inner and outer relations of the Spanish building and decorative arts, i. e., to the northern art, sudi relations are not lacking as freedom and breadth in place of regularity — a play regards the Italian, and especially the Upper Italian with the constructive. We find the demateriali= art. Such buildings as the Certosa of Pavia can also zation of everything useful into the transcendental be designated as Plateresque. The effect which pi.i-'i. u in the Alhambra as well as in the Baroque sacristy Venice produces by its situation on the water (the of Cartuja of Granada. The extraordinarily fan= self evidence of the manner in which oriental tastic conception of quantity meets us in the forest ideas could be taken up there) is shown throughout Pf- i-f of columns in the Mosque of Cordoba, as well as in all Spain because of the peculiar conditions of air Pf- -to the building of the Escorial, in the ornamentation of and light which produce an optical illusion quite the Alhambra halls, in the Plateresque churches impossible in other parts of Europe. This tendency and palace facades and in the buildings of the Chur= toward the flat style went so far that the single rigueresque style. Everywhere there is a rhyth^ ornamental element was finally formed in quite a mical sweep of space to which Charles Scheffler's flat manner and the final result was the fret=saw comment is appropiate when he says of northern laminated style of Alonso Cano and the School of Gothic that it "glitters like a million facettes". Santiago. The only difference is that, in the south, up to the The ^ror (decoration) had characteristically attain^ time of the Churrigueresque style, no unsteady ed its completion after the discovery of America, splendour of light and shade is to be found, but and during the setting in of the strong decline of the everything is rhythmically related. But of prime im= Spanish world=power. Perhaps the most favourable I portance is the fact that the wall, in contrast to walls place for the study of Spanish decoration is Sala= of the northern style, remains always recognizable manca, although Burgos, Toledo, Granada, Sevilla as a closed surface even though its material gra= and, last but not least, Zaragoza, offer plenty of im= vity is not accentuated,- the architect, on the con= portant material. In the decorative motives the trary, always doing his utmost to give it the lights Spanish strong sense of reality is revealed. What ness of a tent wall. The rich decoration has an ex= has not been used here ! The pilgrim's flask, the p/. oi ceedingly delicate appearance and is always set up cord of the monks' capoch, ship=cables, crowns, but on this background, while the plastic form has the above all, the coats-of=arms which have nowhere general effect of being pressed flat. Even the build= enjoyed greater triumph nor been so generally em= ings of the Churrigueresque style, which had been ployed as in Spain. developed to a degree before unknown, have, in spite Two things emphatically give Spanish decoration its of the severity of the facette work, something of the real life; light and colour. The geometrical brick tapestry^carpet effect possessed by the Moorish as ornamentation of the Mudejar, the blind arcades well as the Mudejar and Plateresque wall decorations. and tower decorations, the plateresque stringpieces This complete covering of the surfaces with pure of the stairway, and the repeated clear linear or- ornamental or figured plastic, or else with plastic naments of the flat style receive their real clearness consisting of these two elements, is exceedingly from the light plastic form. The heavy Baroque characteristic of Spanish art. It springs from the forms are relieved of their oppressiveness, not only Moorish art=principle, and was, till late in the Pla= indirectly through their flatness, but directly through teresque period, very popular for facades, chapel themanncrof their expression.And then the colours! walls and the construction of high altars. In the All Moorish constructions and the entire Moorish Churrigueresque period a large carpet was hung scheme of inner decoration are built up on the harmo= up, as it were, only on a certain part of the wall ny of blue, red and gold. (Of these, of course, only or facade. The richness of decoration concen= miserable remains can be recognized today.) To this P^-i9 trated itself upon the portal section,- the whole colourfulness, which was even more heightened by facade up to the gable was included and, in har= the variegated walUtilings, the artists of the Mu^ mony with the Retablo, or carved altar work, re= dcjar style and even those of the Plateresque held 4 IX .<;^ y; Barcelona, Museo. Embroidery in Gold and Silver. XV. century fast. After the colourlessness of the Herrera style, generally more massive than strong, are of consider^ the greatest luxuriance of gold and colour set able thickness, the fortresses and mosques being very in again. That the colouring and the carpet^Iike often built of quarried stone and brick. Still more p'-ioi character of the decor "vnxz vigorously emphasized popular, however, was loam and unburnt brick, a from the early periods until well into the 18'^ cen= material which has proved unexpectedly durable. tury goes without saying. A thick, clay^like earth, to which lime and small stones were added in greater or smaller quantities, PI. I- oorish i7/v delights in the contrast of sim= according as a greater or smaller strength and con= 7,loo-foJ, pie exterior construction with the greats sistency were desired, was also employed. To make M'est richness in the interior. Without, se^ this mixture still more durable, spongy bullrushes, elusion, great seriousness and the utmost simplicity,- small wood splinters and twigs of trees were mixed within, luxury and a delicate brightness. In the AU in, and it was by these means that such astonish^ pi.i-io hambra of Granada and in the Mosque of Cordoba ing durability was attained H 11.12.14, splendid examples of secular as well as ecclesiastical was an important constituent of the Arabian build= pf.ioo.ioi Moorish art are still conserved. Of the style and ing. The rafters of the interior arches of galleries final architectonic idea of the Alhambra, Charles and chambers, the edges of baths, the panelling and Osthaus has given a classical estimate in his "Outlines vaulted ceilings, groined roofs ornamented with little of the Development of Style". In the Court of carvings, beams and the interior parts were all inlaid /'/./, 2 Myrtles as well as in the whole building of the AU with wood. The third important material was gyp= Pi.3.7.9 hambra water is used for the first time for building sum, which served as a binding material for the purposes. Courtyards and towers, passages and masonry, but was principally used for decorative halls are constructed in striking contrast to each purposes. From this material were formed the horse= other. Elevation as opposed to flatness, great calm= shoe and pointed arches, as well as their archi volts and PI I. '. * ness very individually,- the corridors are flatly roofed, the nails and hooks, or by cane and tufts of a particu= halls vaulted with cupolas, the walls often perforata larly strong grass. The fine ornamental work of the ed, so that they may be compared to hanging lace Alhambra, like that of the Mudcjar buildings in Sevilla veils, and a rhythm of light is provided which was and Toledo, consists of a kind of superfine stucco not outdone later on. In the Alhambra, as in the of unheard of firmness and durability, the composition market halls, the light manner, quite in the spirit of which has remained a secret among the Moors. of the wooden frame building, is to be perceived. Through their predilection for the light and dainty The wails of the Moorish and Mudcjar buildings. style, we find early in Moorish art that small deco» X rative forms are chosen in preference tolarge mon= Hilly land is utilized everywhere in the most skilful Pt.i5,i6 umental ones, as was also done later in the Plate= manner. The logical issue of this is the cave dwellings resque style. The gratings become reed work, the still frequently seen today. large frames and plates are replaced by small ones, The old ramparts and gates have been, for the Pf.2o-j^ " while later on, instead of the column, the balustrade most part, done away with. Nevertheless, numerous Pi.g.io is chosen. Instead of water-spouts we find stalac= sites have been preserved in their completeness, tites. The door panels are cut and divided into especially in Castile. The Moorish double gate, with smaller squares, just as the mosaic predominates in its originally more or less defective passage = way, Pt.4,iox\\z complicated tiling=work which is put together was remodelled in the 16''' century into a splendid out of small pieces. The ridi handwork of the 14''' cen= gate=way always richly adorned and inclosed by Pi.ioo.ioi tury tiling is again seen in the woodwork of the win= two round towers. dow gratings and in the perforated ceilings. But, The main square of the Spanish town is nol pr.os.j,. above all, a flourishing vitality is displayed in the only, as in Italy, " the best room", but served origin= Pf- 4, 6. 7, rich arabesque ornamentation of the stucco wall cov= ally for tournaments, bullfights and a court of in- S,lo,l2 , - , f . < . . ermg. Almost as contusmg as this charmmg ara- tjiiisition. The townhall, which was often contained Pt.3o.o^>' Pf.i3 besque style is the Moorish town, which, with its nu= in this square, has also, therefore, a public hall in its merous ramifications of broad and narrow streets, its upper story. This is the so-called Miradero, or lanes and blind alleys, seems indeed to be but a gi= audience=room, for those who preside at certain gantic arabesque itself. festivities and for their especialguests. Thesurroimd- ing houses in the main square frequently open on the ground floor into arcades, and there is a promen- pr.2s. ,-; medieval divisionofthe towns into cities ade where one can go about conveniently even in The \ and suburbs, and in the interior again a di= bad weather. These arcade walks are also often to vision into Christian, Moorish and Jewish be found in the neighbouring streets of this square, quarters, can be easily recognized even up to the pre= even in their remotest parts. Madrid and Salamanca sent day in Toledo and Segovia, e.xcept that the possess perhaps the finest constructions. A highly enclosure of single quarters by walls can no longer characteristic aspect is given to many a provincial be noticed. The limits fixed in accordance with the town through the individual character of the stately different businesses and trades have been preserved mansions of its citizens. in most Spanish towns up to the present day. The Castile is especially blessed with castles and thus pi.n-^o streets were very narrow, not only in the south, but this part of Spain justly deserves its reputation. But Pi.31 also frequently in the north. As in other countries, in the south as in the west, a great number of castles they were rendered still narrower by the fact that have also been preserved. We also know of large the wooden houses were constructed in stories monasteries and convents after the style of Poblet, pi.20. which extended over the street and had wide gables. which bear on the outside a strong fortress-like char- Today, on the other hand, a general tendency to acter,- for these monasteries also contained a king's enlarge the streets, as in European cities, is to be palace and the tombs of rhe monarchs, as did the Es- observed not only in the north of Spain, but also corial later. In hilly towns like Toledo, Segovia or pt.n in the south, where the narrow streets (over which, as Arcos de la Frontera, the castle is, of course, built a protection from the heat, cloths are stretdied) are on the highest point of the town site. really in the highest degree natural. The main streets The principal church, the cathedra f, rises generally pi.33-i( of Barcelona and some other large towns already on the site where the principal mosque and, some had drainage in the middle ages. Town sites fre^ time earlier, a Roman temple stood. The plan of the quently cover an area out of all proportion to ne= mosque can frequently be recognized through that of cessity. This comes from the fact that, even in small the cathedral,especially inSeville, where, for instance, towns, numerous churches, chapels, cloisters and the great mosque courtyard as well as the "Pardon orphanages, old hospitals, etc., not only take up con= Gate" leading to it have been left almost untouched. siderable space, but also because the one^family The style of the Moorish minarets has also influen- house has always been highly esteemed in Spain. ced the shape of the church towers. TheSevillian 42,43-4 XI Toledo, S. Juan de la Penitentia. Early Plateresque Trellis. Wrought Iron. Beginning of XVi.ceniur). Detail Giralda has been copied by many Andalusian church find a transition of the northern Gothic style into a towers. The tower of St. Catalina in Valencia, width and spaciousness, which are strongly reminis= with all its Baroque forms, intentionally leaves no cent of the Italian Gothic. doubt that it was erected on the site of an old mina= It is very characteristic of the conservative character Pf.33.43 ret. The cimborio, or central tower, is characteristic of the Spaniard that, at a time when the Renaissance of quite a number of Spanish cathedrals. In the was penetratingevery where, cathedrals in the Gothic northern part o^ Spain it has the function of ad= style, like those of Segovia and the new one atSala= mittin^ more light to the interior. manca, were founded and built. However, it could, In Andalusia this object is, of course, in abeyance, of course, not be avoided that the Renaissance ele= Pi.35 for in this sunflooded region the emphasis in cathe= ments joined those of the Gothic. This gave to the dral and church is, as in ancient Greece, rather transition style, whidi may be designated as that of on twilight and gloom with their atmosphere of pro- the early Plateresque, a special charm. This epoch Pf-io.-i? tection and mysticism. is called after its originator. Cardinal Cisneros, the /"/.voThe design of many Gothic cathedrals betrays a Cisneros style, and it was Hnrique Hgas, the dis= strong French influence, above all in Castile and ciple of a Brussels artist, who carried this style to Leon (old and new Castile). In these mountainous triumph. He tried, at first with small success, to con= countries, cathedrals and churches were built which, struct Renaissance buildings, which were reminiscent without the influence of the great masters of the "He of the Gothic. Later, however, he constructed Go= de France", would have been impossible. We have thic buildings which were suited to his style issuing only to turn our attention to the elegant Cathedral from the Mudcjara decorative ait. But it was his r'f.26 of Leon, resembles the cathedrals of Rheims and Amiens), to ed in obtaining full recognition for the Italian Re^ r>i.4'i,49 the mighty cathedral of Toledo, and to the Gothic naissance. He became the greatest rei)resentative of parts of that of Avila. In the east, we not seldom the full Plateres(|ue style (also called the style o^ 43.50 ' XII Carlos V. His ediy conservative character of the Spaniard, aU later works pos= ready mentioned, shows itself pronouncedly in the scss, onthewho= declining middle ages through the arrangement le, the genuine of tombs. That the artists had a special preference P'-So.si. highRenaissance for wall tombs is not astonishing, after all that character, free has been mentioned about the flattened character from all the petty of objects projecting from the wall. How long the features of the Gothic forms were conserved is especially re= Plateresque style. vealed to us by the tomb of Archdeacon Villegas Pf. 47, =i3, Churrigucra in the Cathedral of Burgos. 54 had, later on, as= Tfie Spanisfi fioiise, and above all, the nobleman's pr. 66-71. 86-89 sociated himself mansion, originally generally showed not only a re= with the art me= served, but a dark and defiant method of construc= thods of Egas, tion. In Avila, the towered houses of the nobility and with a suc= form, as it were, an interior fortification girdle cess which de= against not only attacks from without, but, still serves tobecalU more, against rebellions from within the town. Very ed unexampled. often the towered house stands free and clear ^'""^ i" and, built on a quadrangular ground plan, shows Madrid, Don Jose Lazaro ^^ '^ ^^^'' a flat and battlements. the Late Gothic Castillian Door Knoder the latter part of roof crowned Like Wrought Iron. Beginning of XVI. century the IS'** century, towngate, the facades of these houses were later Ventura Rodri= built in a finer and more stately style. The boarded Pf-37 guzz, contrary to Churriguera's will, converted passages of defence in exchanges and colleges were many churches into classical temples and erected replaced for decorative purposes by open halls sup^ a number of classicistic altars. But this was of ported by columns. The battlements were decora= little importance in comparison to the mad en= tively shaped/ those of the Valencian Exchange />/: 62 thusiasm felt for Churriguera and his pupils, and were formed like crowns, and from them developed to which innumerable Gothic altar works were the still pop* sacrificed. ular hU A special Spanish peculiarity in the forming of agree like the interior details is the choir built in the centre, — a roof crown, church within a church, so to speak, — and, although the so-calU it is true that sometimes the whole impression of ed "Cres- Pf.69 the interior seems complicated thereby and the teria". The worshipper pushed back from the high altar, still on traditional the other hand, a special atmosphere is gained and corner tow* new fields of activity are given to the architect as ers are well as to the sculptor. still to be Manifold in the highest degree is the construe^ found in the pi.6s.78. tion of the large hospitals and colleges, with their IS't- cen= 64,34.85.92 splendid facades and courts, the Gothic Ex= tury, for in= PI. 61-63 change in Valencia, Palma and Zaragoza, the Law stance, on PI.63-90 Courts like those of Barcelona, and the Palaces the gay and P(. 71 of Administration, Diet and the Provincial Parlia= delightful ments. Rococo PI. 70 Pf.74 The great Spanish cemeteries are gruesome and Palaceofthe gloomy spots. That of Barcelona, illustrated here, Marquis de ^, barcelona,n r Museo\t shows that they are real burial places, where ° Late Gothic Door Knocker no living creature has anything to seek. The mark= in Valencia. XV. century XIII Madrid, Don Jose Lazaro. Late Roman Bronze Censor The dwelling house still preserves to the present found the closed walls, while in Andalusia and time a very closed, reserved and repellant exterior/ Toledo was to be noted the sort of peristyle^Iike not revealing its real character. The houses very building of the open courts, surrounded by ar= often have two floors for the reason that the cades, and frequently having a linlc fountain in the ground floor is occupied in summer, because of middle. its greater coolness, while in winter the family The ceilings of churches, like those of palaces, pi.ioi-io6 moves to the ujjper floor, the lower one being too have always been constructed in a specially magni= 66, 67. damp and cold. On the upper floors, narrow baU ficent manner. The Moorish model can be recogni=^ ?,i6,S7 conies are never lacking, nor, on the ground floor, zed up to the 16''' century, when the Mudejar the grated windows through which at night lovers panelled ceiling, with its cell-like wainscoting, was and betrothed converse. The peasant's house on succeeded by the Renaissance coffered ceiling. The the east coast is very lightly built, because of the geometrical pattern of the ceiling was preserved in PI. 72 mild, equable climate,- tliose in harsh Castile and the most various ways, whether they were built Aragon are massive and firm while in the pro- of wood or stone. At the time of the late vince of Galicia, which has been justly called for Gothic, the star design was frequently so enriched ages Spanish Switzerland, they naturally show a that there arose (juite a striking resemblance to lace great similarity to the Swiss peasant houses. patterns. The Mudejar wood ceilings show mani^ 90-9J Splendid staircases are not often seem in Spain,- fold inlaid ornamentations of ivory and other ma- however, those in the stately mansions of the no= terials. The Renaissance ceilings are frequently bility always display a sombre reserve and never richly gilded. The dividing of the doors and door= P1.107.109. 120—12/t exceed a somewhat subdued brightness. wings into small panels remained in use in Spain 94-99 In the court buildings two different types are to until late into the 16"'' centurv. The development be remarked at an early period. In the north were and variation of the geometrical motives used are XIV easily to be traced by the examples here shown. rich iron garnishments mounted on velvet and, above />/. 75- 92 (Observe in this connection the door in the back= all, adorned with a gigantic lock. The inside facade ground of the Cathedral of the Way of the Cross of these writing-tables was very often covered with in Burgos, and on the staircase of the University wrought silver work, and to sudi an extent, that the of Salamanca.) manufacture of sudi silver secretaries was repeat= * edly forbidden because of their exaggerated luxury. However, ebony work with wrought^silver remained The inner rooms of the mansions of the nobiI= especially popular until into the late periods. It is ity and of the citizens have no tendency not astonishing that the inlaid work of costly ma= to any great lu.xury, not even to real com^ terial, with the application of tortoise shell, ivory fort or convenience. The masculine and, at times, and mother-of-pearl, was especially esteemed at slightly ascetic manner of the Spaniard is expressed the time of the Churrigueresque style. The Spanish in such a renunciation. The furniture corresponds tables are very often easily recognizable by their PI 124 to the character of the rooms. Great attention is paid wrought=iron supports. Naturally, in connection to behaviour and dignity, as well as to an aristocratic with all this furniture, the satisfaction in detailed bearing and, in addition to this, there comes at times forms, already expressed in the main architecture, a certain childlike trait, which reveals itself in a naive is particuarly noticable. This can be observed also joy in playful things, such as complicated furniture. in the form of the beds. PI 125 The wealth of Spain is considerable in old ecclesiastic In no other country has the art oj ivroiight'iron PI.108. cdXftirniture, such as the numerous choirstalls, often been so ardently fostered as in Spain. Only Ger= richly carved by artists of Germany, the Nether= many and England can compete with her, and this PI. 122 lands or France, and the sacristy wardrobes, which is also true in connection with works in bronze. were magnificently wrought in the 17''' and IS'"" The Moors added no new motives to this art, neither Pi.imto centuries. As regards secular furniture, chests, did they excel in it. Wrought = iron work pro= 120. 122-124 . . . 1 I L TL chairs and secretaries play the principal part. Ihe duced skilful masters throughout all Spain. In 1250 Pi.ii3,ii4 chair, the so=called "Sillones fraileros", greatly the Catalanians Blay and Sunol were summoned resembles the Italian chair in its main form, except to Paris to construct the gratework for Notre Dame. that the pattern of the carved or inlaid ornamenta^ The principal features of the Spanish wrought^iron tion, especially of the nail work, betrays the national work are the numerous chapel gratings PI. 115- IIS as well as on those covered with leather or velvet, enclose the altar house and choir. Besides these the ornamental iron garnishments and locks play the Spanish wrought = iron art achieved great an important part. Of the greatest interest is a triumphs with candelabra, braziers piim IS'*" century buffet in three parts, which is painted door garnishments, as well as locks and chest=bind= inside and which shows the Mudejar style through^ ings. The conservative character of the Spaniard out. The panels were divided in a manner similar reveals itself here again in the fact that the Roman to the large Moorish and Mudejar doors. The sec = element was preserved until late into the Gothic /'/://5,//9, retaries and cabinets (contador or bufete) were period. The same fact is to be noted in connection frequently introduced from Germany in the IS'*' cen= with the ornamentation of mortars and weights in PIIS7 tury and it would appear that in the 16''' century the 17''' and 18''' centuries. Just as the artistic, such furniture was made there in large quantities perforated garnishments are the chief decoration with special consideration for the Spanish taste. of many a simple or velvet=covered wooden chest These importations were forbidden in 1603 and the and of the outside of many a secretary, thus the foreign models were then copied and varied by the large nails with which the leather or stuff covering PI 11 5- 1 1< Spanish. The secretaries made in Vargas, in the of chairs is fastened are of considerable decorative PI 129 province of Toledo, were especially popular and importance. Of the greatest importance is the fact Pi.120 were known under the name of Varguenos. These that large nails, manifoldly varied in their form, are were case^Iike writing tables upon a carved stand, the used as the sole decorative motive on the heavy PI 126, n comparet folding board on the outside being ornamented with wooden house doors in Castile and Arragon and, PIK4 XV Phct Ar\/nM,u Barcelona, Catedral. Gothic decorative Finish for vaulted Ceiling. XIV'. ceiiturv naturally, also on the wooden doors of cliurciies of their beautiful proportions and the fineness of and great public buildings. The mussel motive, like their execution. Finally, our attention must be that of tiie insignia of different, knights' orders, is fre= turned to t lie nutnerous pul[)its made of base metal. /y./jo quently employed in the decoration of wood and As in other branches, so also in works \n />/vcioiis stone. That the locksmith's profession produced mctafs the church vessels cover a broad field. Be- 39.I40 eminently fine work in locks, bolts and keys, goes sides chalices, crosses, reliquaries and 'Pax'^tablets, without saying. Among the large seven^branched the tabernacle or Custodia developed a s\>\cx\= ri.i62 Pf.n.i church candelabra, those in the cathedrals of Burgos did and remarkably individual manner of constriic= and Sevilla are justly the most celebrated because tion. The most beautiful specimens of these always XVI individual, architectonically articulated and costly ing feature is that the border decoration frequently little structures which, considering their materials, covers two thirds of the whole carpet, the middle rise to an uncommon height, were produced in the part being thus very narrow. Besides geometrical 16''^ century by members of the Arphe family, orig= patterns we find, especially on the borders of the inally from Germany. We refrain from giving a narrow sides, conventionalized figures of men and ani= description of the celebrated and often described mals, the grotesque forms of which were perhaps not West Gothic consecrated crowns. On the other the intention of the designer of the carpet, but which hand, it is entirely owing to the unfavourableness nevertheless strongly remind us of Coptic patterns. of the present time if no example is given of the A further peculiarity of the Spanish carpet is the V^eneras, which, often formed in a triangular shape coat = of=arms motive. A great predilection was and bearing the name of the Virgin Mary or Christ, shown for this from the second half of the IS'*^ cen= were worn as medals or, as it were, as Agnus Dei. tury, and it was manifoldly varied until into the Secular ornament is not distinguished by any 18''' century. In the rich collection of the South especial peculiarity. At the period of the transition Kensington Museum, one is struck by the numerous to the Churrigueresque style, however, the change carpets which show as main motive sudi patterns in taste and in decor must be very distinctly noted. as are usually found in wall coverings. Besides floor In harmony x^'ith the new Gothicism, the stones are, carpets, the so-called "Reposteros" is known in for the most part, set "a jour" PI. 163.164 and silver table furnishings, although at the present In the development of the actual textile art, i. e., o^ pi.io.-.-.;-, time there are not very many examples to be seen. the stuffs, three periods can be distinguished. First, The finest are naturally in the houses of the Spanish the Arabian, with Almeria as the principal manu= upper nobility, facturing place. Besides the Sassanian influence, with pt.113. Leather was used in Spain in the applied arts with its conventionalized patterns of animals, that of the 155—158 PagcVii a special partiality. Besides holders for all possible Coptic is strongly to be perceived and, through these, sorts of utensils, covers for caskets and upholstery the whole Moorish style can be understood. Later, materials for settles, there \^'ere also produced, richly from the time of the late Gothic epoch, the Italian, decorated wall hangings, the variegated decor of or rather the Venetian influence, is to be remarked, which often lies on a gold ground. This is seen in of \ii'hich the factories of Sevilla, Toledo, Granada the so-called Guadameciles, which derive their name and Valencia give evidence. The interesting differ= from the Guadames in Africa, where they were first ences in the fabrication of Spanish and Italian produced extensively. They were made with great velvet, have been explained by Pedro de Arntiano elegance in Cordoba and later often imitated in in his excellent introduction to the catalogue "Ex= France. hibition of Spanish Materials in Madrid" <1917>. Pi.166-168 Carpets were produced at a very early period, At the time of the Baroque, but chiefly in the 18''' especially in Chinchilla (province Alicante), and in century, the French influence, issuing principally Cuenca. The oldest examples known to us extend from Lyons, was very strong in the cfecor. Since back to the beginning of the 12''' century. Excellent the days of the Celtiberians, the activities of the work was also done in Alcaraz, near Murcia, chiefly Spanish were uncommonly extensive in the ceramic pt.i4i-i' in the 16''' century. The Spanish carpets or rugs of branch of art. Two large groups are to be disting* the Middle Ages frecpjently show an especial knotting uished. The one comprises principally vessels, i. e., tedinic which allo\"('s sharp contours and small geo= dishes, plates of different sizes^ vases, jugs, etc., metrical patterns. Through this tedinic a decorative and represents a "brush" decor, mostly in gold or principle can be carried out like that of the Azulcjos. gold colour and in blue or green (Teruel). The sec= The middle ground is not infrequently divided into ond group comprises the tiles, the so=called "Azu= small mosaic^like parts, and sometimes the pattern lejeria". In the Hispano=Moresque Ceramic of about stands out from a sort of plaited back ground. Natur= the middle of the 12''' century, Calatayud played a ally, Cufic inscriptions were ornamentally used leading part, and in the 16''' century it gained renewed here in the borders, as in stucco decoration. A strike importance as a placeof manufacture. In the XVll H'*" century Malaga was a principal manufacturing uished from the wall tiles, particularly as they were centre, and the ceramic art attained there, at the used in the provinces of Valencia up to a late period. end of the H'*" century and tlie beginning of the These wall tiles serve as a covering for socles in 15''' century, its highest point, as also at Granada. courts and rooms, as a covering for the altar In the 15''^ century the factory at Manises lencia) was on the same level The particular gloss, century, also as floor surface in Catalonia and the "Reflexo metalico", which was already to be Aragon. Not so much attention is paid to the single found on the floor tiles of the castle of Medina^ pattern in the tiling work, to the single tiles, but 10''' Azzahra at the end of the century, and also more to the whole effect , to the harmony of the later on the tiles of the 15''' and 16''^ centuries, was socle tiling with the other decoration and with the obtained by mixing red ochre, sulphur, very old whole architecture. As far back as the 10''' century copper and silver. This Ceramic is known to have there is to be recognized the inclination to enliven been very often adulterated, but the adulteration is with colour the floor and walls, or at least the wall easily detected by the colour. These articles socle, and to produce colour contrasts in geomet- were fired three times,- first after the fabrication rical patterns. In the 14''' century in Aragon and of the raw shape, the second time after the pro= Andalusia there were used for the decoration of duction of the white or blue glaze, and then after towers and facades as well as for floor tiling, glazed the layer of the gloss decoration had been put on. coloured tiles (especially green, white and blue), Large terra cotta )ugs, called Tinajas, which served with metal reflex. Of this work, different towers in as cruets for wine or oil, were often covered with Teruel and the Alcazar facade in Sevilla offer good pt.s3jefi a green and white glaze, principally made in Talavera examples. where, since the beginning of the 13''' century, a In the development of the wall tiling three dif- certainly still older ceramic industry can be traced. ferent divisions are to be distinguished. In the earliest (White, unglazed earthern vessels are still made times, tiling work was treated like mosaic. to the present day in Andujar). In the decor of Artistic star patterns and other geometrical orna= pottery at the end of the 14''' century and at the ments were made out of small parts and of splin- beginning of the 15''' century, large ornament ters (Aliceres). The pattern became ever richer constrasts with a small one principally consisting with time, more complicated, but in a certain degree of spiral ground ornamentation. At the beginning more orderly. The band work, above all, developed Pf.153 of the 15''' century the backs of the plates began to itself, and there followed theLaceria, a i/tro/" which be ornamented. Text, which was used everywhere grew from tendrils and flat geometrical ornamen- by the Moors as an ornamental motive, finds here, tation. The play of the white bands darting here and too, an important place. Above all, the word there, and of the coloured parts of the pattern, is "Alafia" on ribbons, is then replaced by a Latin one in Gothic out of one formed according to tone values and col- letters and becomes an important element of the ours often doubly rhythmized, there developed in border ornamentation. Besides the Spiral motive, the 14''' century a coherent network, and finally a the rowel motive gains extraordinary importance, variation of plaited ribbons upon a white ground. although chiefly on armorial plates. But the favor- This is, asOsthaus has shown, the strange change of ite motive is the vine leaf. In the course of the the Moorish decor in the Alhambra from that of the J5ih century the vine leaf is made smaller and Court of Myrtles to that of the Court of Lions. The smaller, the garlands of vine leaves placed oppo= mosaic^like combination is followed by the Azulejo, site each other become more and more numerous containing only a i)art of the |)attern and forming and everything becomes more delicate and dainty. with three other parts the whole design, or in small Finally the plates are divided into single compart- patterns which give the model a constant correspon- ments by plastic radii, which are connected on the dence to a piece of stuff. The character of the sur- '. /5:i-/5-/ border by bows. In connection with tile work, face of the late Gothic and Renaissance Azulejo, as the coloured roof tiles, especially the blue glazed well as the formation of the pattern, is chiefly deter- ones (hence the name Azulejos) are to be disting= mined by the technical process. First the colours XVIII of the pattern are separated from each other by plas= on the rims of the 16'*" century plates, was given up tic stripes which are, before being fired, cove= later. The 16''' century productions, by the way, red with a layer of grease. This technic is called were not made in Palavera de la Reyna itself, but "Cuerda seca". Later in the Cuerda technic the in the neighbouring Puente del Arzobispo. In the Pf.i54 parts of the pattern are deepened and a separating 18''' century the finer Alcora porcelain competed stripe is no longer necessary. Besides the strictly strongly with the ceramic of Palavera, but the imi= geometrical motive, that of the coat=of=arms appears tation of the Alcora decor could not prevent its on the Sevillian and Zaragozan IS'*^ century tiles, decline. P(.t54 and in the 15''' century the animal motive is much Less interesting than the jugs and plates, shaving employed. Plates were also made in this Cuerda seca basins and holy water basins, inkstands etc., is the technic, many with male and female heads showing tile ceramic of Talavera, notwithstanding the no trace of the Italian influence. greater popularity it enjoyed in Spain and in the Tiie blending of the tile decoration with the mate= colonies. Here were principally produced whole rials is to be recognized in the pattern more than pictures in the tiling, and these soon found applica= once, as well as in the whole effect,- thus the cele= tion in the form of altar pictures, friezes, ornamen= brated Fortuny Azulejo in the Osma Collection tations of sacristies and other walls. The decor is reveals the closest relation, not only to the Persian generally painted in blue on a milk=white ground, or work, but, above all, to the Spanish armorial carpets. else has a stronger polychromic harmony of the co= The Spanish tiling enjoyed in the \5^^ century an lours blue and yellow. The colour became very de= international popularity. At the end of that cen= licate and harmonious with time and thus offset the tury, Niculoso Pisano of Sevilla=Triana, an import^ frequently rude shapes and too free drawings. ant manufacturing centre, where fonts were also The porcefaht factories where crude and finished constructed in rich glazed ceramic, brought about porcelain were made arose in Spain, as in other a significant change in the method of decoration by countries, in the 18''' century. The factory of Al= pt. Mi-t}^ page XX introducing Renaissance motives and Italian tedinic. cora, founded in 1727 by Count Bonaventura de Whole altars were then built in the Azulejo style, Aranda, first produced a kind of fayence. The but the national character of the art suffered so much founder had in mind the production of superior by it that a decline soon took place in the manu= goods, and therefore, based the whole manufacture facture, and Palavera replaced Sevilla to a certain upon as large an export of serviceable articles as /5o, /?/ extent. 1 he lalavera ceramic is, chierly as regards possible. The chief workman of the first period was pottery, that style which may rightly be designated the Frenchman Ollery, from Moustiers, who as the national Spanish style. It is characteristic and brought the taste of the French factories into Spain. individual, always masculine, and sometimes a little Pyramids with children's figures, vases after Chin= rough, but always of a strongly decorative effect. ese and Delft designs as well as tea things were In connection with the dishes of the 16''' century the principal productions. At the height of its it is true that one can distinguish at times resem= prosperity, three thousand workmen were employed blance to the Mudejar style and distant reminis= in this factory. Porcelain in the Saxon style had cences of Persian models, and there are undoubtedly been manufactured since the 60's of the 18''' century, vases of this and the following centuries which be= when the German Johann Knipfer worked as the tray the acquaintance of the decorator with the Italian first decorator in Alcora. After 1780 there were, models. These things are only interesting from the besides the factory of Aranda, four rival institutions art=history point of view and arc, on the whole, un= in the neighbourhood. After Knipfer, the rnanu^ important. In this connection, however, it is to be facture, under Cloostermans from Paris, experienced noted that the Spanish ceramic differs from the Ita^ a revival, <1787 to 1798), but in the 19''' century lian in the same manner that the two languages differ. the decline took place. In 1858 the factory The animals, which form the chief motive of the went into other hands and the new owners carried 16''' century plates, are drawn, if not always cor= the business on in a throughly factory=like manner, rectly, with uncommon sureness and effectiveness by with English methods and English workmen. In the designer. The butterfly motive, which is found 1759 the Buenretiro Manufactury in Madrid was XIX founded as a branch business of Capo di Monte, ture were Castril de la Pena, where work similar \%'itli Italian workmen, and for the first thirty years to that in Murano was carried on and, in tlie made only decorative pieces for the royal family IS'"^ century. La Granja, where the French taste after Cliinese patterns. The most brilliant produc= predominated. Pilgrim's flasks, oil and vinegar cruets, lions of this factory are two rooms wainscoted, so and jugs often show bold and fantastic shapes. The to speak, with porcelain. One of these is in the desire for ornamentation made itself felt everywhere, castle of Madrid and the other in that of the Aran= as did the other favorite decorative forms. The juez< 1763 -1765). whole character of the Spanish glass^art is thor= "(.175.176 Gfass was made in large quantities in Spain during oughly masculine, like the character of the whole the Roman periods. The chief places of manufac= Spanish applied art. After I'litg tinJ Caiiijaich Ripoll, Sa, Maria. Roman Mosaic for Apsis. End of Xi. century LIT ERATURE C. Justi: Introduction to Baedeker's "Spanien " (Leipzig 1912) M. Dieulafoy: Gesdiidite der Kunst in Spanien und Portugal I. Caved a: Gesdiidite der Baukunst in Spanien, published by F. Kugler (German by Paul Heyse. Stuttgart 1858) 0. Schubert: Gesdiidite des Barod< in Spanien 1. Braun: Spaniens alte Jesuitenkirdien (Freiburg 1913) K. E. Osthaus: Grundziige der Stilentwicklung I. Quadrado, M. Murguia, R. Amador de los Rios, et al. EspaiTa, sus monumentos y artes (Barcelona 1884-1903) Beriihmte Kunststatten (Verlag E. A. Seemann, Leipzig): Sevilla. Granada und Cordoba. Toledo. Avila, Segovia und der Escorial El arte en Espana (edit. Thomas, Barcelona): La Catedral de Burgos. Guadalajara = Alca!a de Henares. Real Paiacio de Madrid. La Casa del Greco. Sevilla. El Escorial. Monasterio de Guadalupe. Poblet. Aranjuez. Ciudad Rodrigo Monumentos arquitectonicos de Espana (Madrid 1859 — 76) (New Edition 1908 fF.) Juan F. Riafio: The Industrial Arts in Spain (London 1890) A. van de Put: Hispano=Moresque ware of the XV. century (London 1890) F. Sarre *© F. R. Martin : Die Ausstellung von Meisterwerken Muhammedanisdier Kunst in Miindien 1910 (Munidi 1912). Containing a list of further special literature E. Bertaux: L'exposition retrospective d'Art de Saragosse 1908 (Saragosse-Paris 1910) Pedro M. de Artinaiio: Catalogo de la exposicion de tejidos esparioles anteriores a la introduccion del Jacquard (Madrid 1917) Pedro M. de Ar tin a rio: Catalogo de le exposicion de Hierros antiguos espafioles (Madrid 1919) Catalogo de Mobiliario Espanol de los siglos XV.=primera mitad del XVII. (Madrid, 2. edicion, 1918) J. Font y Gum a: Rajolas valencianes y catalanas (Villanueva y Geltru 1905) D, Platon Paramo: La ceramica antigua de Talavera (Madrid 1919) El conde de Casal: . ...La ceramica de Alcora (Madrid 1919) Numerous articles and illustrations in periodicals: Arte Espaiiol (Madrid) Museum (Barcelona) La Esfera (Madrid) Historia y Arte (Madrid,- will not appear further) Boletin de la Sociedad Espanola de Excurciones (Madrid) Boletin de la Sociedad Castellana de Excurciones (Valladolid) XXI Barcelona, Don Carlos Vallin. Alcora Porcelain, Coffee Pot and Cup, End of XVIII. century LIST OF ILLUSTRATIONS Afcafd de Guadaira, Castillo 18 Barcefotia, La Aiidiencia 63 Afcafd de Hen a res. Cloister of S. Magdalen, Audience Court, Staircase 9o Door Lock 139 Casa Dalmases Calle de Moncada, Staircase 91 Courtyard 97 Casanovas, Dona de Torrus, Lace 165 Magistral, Chapel Grating 131 Catedral, Decorative Finish for vauitedCeiling_\'^' Magistral, Grating 133 Catedrai, Grating 131 Oratorio de S. I-'elipe, Door Lod< 139 Catedral, Grating 132 Palacio Arzobispal, Staircase 9/ Cementerio viejo 7-1 Universidad 64 Coleccion Giiell, Dish 142 Universidad, Portal 85 Maria, Sa. del Mar, Portal 8o Avifa, Convento de S. Tomas, Choir Museo, Chest 155 Pews lo8 Museo, Churdi Vestments 17o Garnishment for Door 127 Museo, Door Knodter Xll Grating 133 Museo, Embroidery JX Patio del Convento de S. Tomas 9^ Museo, Silk Material /// Town Fortification 2o Museo, Stuff 168 XXII Museo, Woolen Material 172 Alhambra, Sisters' Chamber 9 Pasco, Don Patricio, Lace 165 Alhambra, The Red Towers // Plaza del Rey, Palace of Charles V 27 Alhambra, The Two Sisters' Chamber lo Tadiard, M. Paul, Chemist's Pots 144 Alhambra, Vaulted Ceiling lol Vallin, Don Carlos, Candlestid< and Candaia^ Alhambra, Windows loo brum 138 Alhambra, Wooden Ceiling lol Vallin, Don Carlos, Coffee Pot and Cup XXI Cartuja 54 Valiin, Don Carlos, Eagle 137 Court of an Arabian House 96 Vallin, Don Carlos, Jug 163 Moorish Market Hal! 13 Vallin, Don Carlos, Mortar 137 Gratis, Plaza Mayor 73 Vallin,DonCarlos,Porcelain Dishes and Plates/-/^ (j//<7(^/i:7/^/V7/'<7, Infantado palace, Court ofLions99 Burgos, Casa del Cordon, Portal 86 Palaciode los Duqiies del Infantado 66 Catedral, Candelabrum 138 Hagen, Folkwang Museum, Azulejo and Floor Catedral, Central Tower 43 Tiling 154 Catedral, Chapel JO Folkwang Museum, Floor Tiling 153 Catedral, Entrance to Chapel 51 Huesca, Capilla de Sa. Ana, Chapel Grating 132 Catedral, Furrier's Gate 35 Catedral, Chest 122 Catedral, Portal 75 Leon, Catedral 26 Catedral, Tomb 6o Catedral, Antehall 77 Catedral, Towers 34 Catedral, Choir Stalls lo7 Hospital de S. Juan, Portal 81 Convento de S. Marcos, Ceiling lo4 Museo, Altar Front 161 Convento de S. Marcos, Choir Stalls /// Plaza Mayor 28 L ogrono, Palacio de Duque de laVictoria, Portal 87 Town Gate 23 London, formerly Art Shop, Crevecoeur Plate /-^5 Cadiz, Plaza de Isabel with Townhall 3o formerly Art Shop, Crevecoeur Plate, Reverse /-i^6 Cafatayiid, Sa. Maria, Portal 79 South Kensington Museum, Dishes 146 Can Terrat, Brazier 138 South Kensington Museum, Glass Jug 175 CordoBa, Catedral, Gate 126 South Kensington Museum, Glass Lamp 176 Mezquita, Ceiling lo3 South Kensington Museum, Pilgrim's Flask I76 Mezquita, Court of Oranges 97 South Kensington Museum, Vinegar and Oil Mezquita, Mihrab Cupola lo2 Cruets 175 Mezquita, Mosque 14 Spanish Art Galleries, Woolen Carpet 166 Mezquita, Sanctuary // Spanish Art Galleries, Woolen Carpet 167 Mezquita, Stucco Decoration 12 Madrid, Almenas, Condede las, Alcora Ceramic Torre de St. Nicolas 44 Chemist's Pot 142 Ciienca, Town Buildings and Grounds 16 Almenas, Conde de las, Alcora Dishes 143 Escoriaf 4o Almenas, Conde de las. Chair 113 Granada, Alhambra, Ambassadors' Chamber Almenas, Conde de las. Chest 118 (Detail) 6 Almenas, Conde de las. Secretary 119 Alhambra, Court of Justice 6 Almenas, Conde de las. Silk Material 174 Alhambra, Court of Lions 3 Asilo, Portal 89 Alhambra, Court of Lions, Capitals 7 Barcenas, Don Domingo de las, Vargueno 12o Alhambra, Court of Lions, Hall 5 Barcent, Duquesa de. Damask 174 Alhambra, Court of Myrtles / Belda, S., Secretary 115 Alhambra,Courtof Myrtles and ComaresTower2 Borondo, Sr., Buffet 118 Alhambra, Court of Myrtles, Stucco Deco= Bois, Don Feli.v, Alcora Busts, Vases, etc. 143 ration 8 Bois, Don Felix, Alcora Plaques and Saucers 141 Alhambra, Courtyard with Facade 4 Bois, Don Felix, Alcora Porcelain 142 Alhambra, Mosaic Tiling 153 Capilla del Obispo, Door lo9 XXIII Convento de las Descalzas Reaies, Staircase 93 Paris, Louvre, Dish 145 Hospital de la Latina, Portal 8/ Past rait a. Ducal Castle, Coffered Ceiling I05 Lafora, Beatriz Srta., Chest 116 Paufar, ef. Altars JJ Lafora, Don Juan, Chest /// Cartuja, Iron Gate 13o Lafora, Don Juan, Choir Stall 112 Portal 80 Lazaro, Don Jose, Box and Chest 129 P/asencia, Catedral, Facade 38 Lazaro, Don Jose, Brazier 138 PoBfet, Monasterio 2o Lazaro, Don Jose, Bronze Censer and Bronze Ripoff, Sa. Maria, Roman Mosaic Candiestid\ XIII Safamattca, Casa de las Condias 67 Lazaro, Don Jose, Custodia Tarragona, Catedral 36 Pa fen cia, Audiencia, Salon de Cortes, Ceiling/06 Catedral, Door 12/ Catedral, Central Tower 33 Catedral, High Altar Wall 57 Lonja de Seda 61 Teriief, Catedral, Basin 164 Lonja de Seda 62 Tofedo, Alcazar del Rey, Gate Ardi 25 Miguelete 44 Castillo de S. Servando I8 Palacio del Marques de dos Aguas, Facade To Catedral, Choir Round 49 Peasants' Houses 72 Catedral, Coro 56 Torres de Cuarte 22 Catedral, Pulpit 136 Torres de Cuarte 24 Catedral, West Facade 45 Zaiitora, Casa de los Momos 68 Chapel Apse 27 Catedral, South Portal 76 Convento de Sa. Isabel, Brid\ Sham Arcades 24 Zaragoza, Casa de Zaporta, Portal 87 Cupola lo2 Engracia, Sa. 37 Hospital de S. Cruz 88 Iglesia de la Magdalena 45 Juan, S. de la Penitentia, Grating XI Lonja 63 Maria, Sa., la Blanca 59 Pablo, S., Tankard 163 Puerta Nueva de Bisagra 22 Seo, Ivory Box 159 Puerta del Sol 21 Seo, Cupola lo3 Street 31 Seo, Tower 33 Town View 15 Torre nueva 46 Segovia, AquaductO. Late Roman Building Granada, Alhambra Myrtle Courtyard (South View), Renaissance Palace of Charles V. in Background o o 3 N < o u o Granada, Alhambra Courtyard with Mosque Facade. Second half of XIV. century. Coloured Stucco, Glazed Tile Socle, and Stone Floor /iv P-'niiiishii of f.Jiior TclHwanff, Hagcn Granada, Alhambia I lall near Lions' Court. Last quarter of XIV. century Granada, Alhambra Court of Justice, and Lions' Court. Second half of XIV. centur\' ^- MM ** • n ^^ ' ^%t TO' i«lf' i% - .-*— '-'4' >r / J\/ *5 A ^ t» 5J Aik t-vTH /Vv-/. M;.7J.v > .l.V Granada, Alhambra Stucco Ornamentation of Ambassador's Chamber. Last quarter of XIV. century Phol. Hiiii.wi y Mciwt Granada, Alhambra Capitals and Stucco Decoration in 1, ions' Court. Last nuancr ol \l\'. ici\tury Granada, Alhambra Stucco Decoration of the I'ortai of the Myrtle Court. XIV, century I'I'Ct. Htiiis.TX Mcih-l Granada, Alhambra Sisters' Chamber. Stalactites and Gypsum Decoration. XIV. century 10 ir > _ r-^-rTV Granada, Alhambra The Two Sisters' Cliamber. Second half of XIV. century. Walls of coloured Stucco, Stalactite Ceiling Glazed Tile Socle. Marble Floor 11 7 ^ L Cordoba, La Mezqiiira Sanctuary <961 —76) 12 Cordoba, La Mezquita Capilla Vidaviciosa. Mudejare Stucco Decoration. Glazed Tile Socle. XIV. century 13 Granada Remains of the Moorish Market Hall. Burnt down in 1843 14 3 X 15 Ho o 2 o H o > 3 o t/3 16 ' a. 3 o. jO 5 >^ S 2 u o u 'S. 17 3 I o S o o o 2 o 1- 18 r/\-t. H.nivr y.\hnet Alcala de Gnadaira Toledo, Castillo de S. Servando Citadel on the left Bank of the Tajo. Built for Defence of the Town lying on the right Bank, about 1 100 Restored in Xlll. century 19 Hausery Menet Manzanares el Real, Castillo iuilt by Juan Guas. Second half of XV. century I 'hot. IWr, KLiijinj'uit Segovia, Alcazar XI. century. Almost entirely restored In 1352 — 58 20 Pfiot. Beer, Ktagenfiirl Avila Town Fortification. Granite. End of XVI. century ^^:^?(m WW:' ^% Poblet (Province Tarragona), EI Monasterio Gothic Fortification Gate <1 367 — 82). The Cloister was fortified for the Defence of the Kings' Tombs 21 \rr.-i ur.u- Toledo, La Puerta del Sol Decoration About 1100 (?>. Mudejarc Style. BriA 22 Valencia, Torre de Cuarte Town Gate (1444-90) Toledo, Puerta Nueva de Bisagra 1575 Double Town Gate. Exterior Side, built 1550, restored 23 .'i^u fKl n Burgos Town Gate (1536-52) 24 c/3 f c/5 5-1 CJ =° ^ ^^ o 2 ra 25 26 a B o c£ c .2 O « u o o c & o 1- > U 27 > X ro — > 2Q ?; o O CQ O o •— , U o u 28 o % re ,'5 re o t/2 O U 29 t/l 30 /Vvv. H.:ns,r y .l/.v;,/ Cadiz, Plaza de Isabel U Classicistic Townhall ft ^4 s-^^^^'- />/•>/. H.iiLwi y \hn,-r Sevilla, La Plaza Nueva I'hci. Liiccsi,' Toledo Alley. Tower of Calheclr.il in Bad Segovia Lower Part of the Town near St, Millan, Walls of Fortification on Iberian Fundament (XL — XII. centuiy) Pfiot. B,\T, Klaneiifuri Segovia St. Clement's Suburb, Typical Castilian Houses 33 I re -5 u C03 3-< «; c > *c o U .y § O re -J re o So ^c3 O . Nre 6§ 1- 34 Burgos, Catedral 1221 - 1567. Towers by Hans of Cologne <1442 and following years) 35 Burgos, Catedral Part of the Furrier's Gate 4—1 ^ I CO "i ao 37 o w UJ 3_xn O (/I tJ c N _: > oa 41G0;i 38 /'/vv, L^ucste Plasencia, Catedral Plateresque North Facade. First half of XVI. century 39 /Vvv. / .uwitf Santiago de Compostela, S. Martin Pinario Outside Staircase «ith ChurA Alteration completed 1740) Late Plateresque Church Facade (completed 1652. 40 •6 8 " r-; OS ttJ 3 41 u O o ^ ^ o c TO ra = u > 06 ra 42 Sevilla, Catedral On the Site of the Main Mo5que 1402 - 1506. Additional Building 1530 — 75. Belfr> Zaragozd, Igltsia de la Virgfn del Pilar Begun by Francis Herrera, Jr., in 1681,- altered and continued 1753. Coloured Burgos, Catedral Late Gothic Central Tower vt itli Plateresque Ornamentation <1540— 67> 44 U. Pq :i>^ U o 1/3 n ^ro .= o o ^ u oa o o 45 -a 46 tT3 47 u O -Ss H 09 ra > ^i^^__ / ' i 48 Phot. Lacosts Salamanca, Catedral V ieja Late Roman Column Basilica. Xll. century 49 I'lol. Moreno Toledo, Catedral Choir Round with double Passage. The Cathedral of five Naves in the early Gothic Isle de France Style < 1227 -1493) 50 Burgos, Catedral, Capilla del Condestable Late Gothic Chapel erected 1482 (Plateresque High Ahar) 51 , .-. .l/.';.v„^ Burgos, Catedrai Entrance to the late Gothic Chapel of St. Ann (1477 — 88). Tomb of Archdeacon Diaz Salamanca, S. Esteban Baroque Sacristy of the Dominican Churdi. XVII. century 53 n- \ -• \\^ PhCI Paular Cloister CluirA Cliurrlsucrcsque Altars Phot. Garzon Granada, Cartuja Sacristy in Churrigueresque Style (Marble and Stucco, 1727-64). The Cases are of Cedar Wood inlaid with Ivory, Mother-of-pearl and Silver (1730 — 64) 55 . l^icostc Santiago de Compostela, S. Martin Piiiario Gothic Madonna in late Baroque polyclironiic Altar Worl ra ct >.i 58 G ro 59 r3 5 HO 1 !- 60 Burgos, Catedral Late Gothic Tomb of Archdeacon Villegas (died 1536) 61 Valencia, La Lonja de Seda Gothic Bourse with Passage for Defence 62 o U i«i o. HG ."3 '5 > D O CQ o Q 63 64 65 > X u CO o (- g- o 66 67 uo u^1 r3 o s5 -6 ,o - •£ (J -J o ;t"^W|5^ 3 i 5 's^ -11 1- 68 Santiago de Compostela, Hospital Real Early Renaissance Building with Churrigueresque Additions .A//,'/- Ufiife Sevilla, Casci '¥^ JJIJl»*initlTifl :^-- f^jl Hi^^nr'''^*'*^ Plioi. Lacostf ^amoia. La Casa de los Memos Nobleman's House,- late Gothic 69 Salamanca Corner Tower of tlie Plateresque Monterey Ralace 70 Pfot. Hauwr y Moh'T Valencia, Palacio del Marqiies de dos Aguas Begun 1740. Originally painted a! fresco, after>sards ornamented in coloured Marble Stucco. Portal of Alabaster 71 Madrid, Palacio Real Classicistic Baroque Building <1738-64> Granite and Limestone Madrid, Ministerio de la Guerra Classicistic Palace Building <1782> 72 C > > 3 O X 73 I re -= :s SI x = i> > •r I Q. X t/j o o Io c o 74 - 1. ji;-^;-_.'i"2a'X2!iL .- --'^iW;^; Barcelona, Cementerio viejo Cemetery. Classicistic Style 75 i .ji^ Burgos, Catedral of carved Wood Gothic I'ortal to the Way of the Cross. Doors — 76 o Or-. TJ U g ^ o > V ^ S N ^yj V c 4— u s O 5 E c^ N I o 77 o o O o > s Z] S O o J^^ o a. < o o 78 Pf70t. Lacoste Santiago de Compostela, Hospital Real Plateresque Facade by Enrique de Egas <1 501 — 10) 79 Pfiot, Lacoste Cakitayud, Sa. Maria Plateresque Portal <1528), Pillar to tlie Left with late Mudejarc BriA Decoration 80 81 c/2 g 82 'J\ 83 ro -B —- o ^'' _o CO 2 o Oo 2 w « .E a < rf. CO r2 O 1 11. 84 I C^2S65£i^>..i2^J?fe.aSaF- Salamanca, Universidad Plateresque Style. West Facade Originally simple Gothic Building (1415-33). Alteration in 85 Alcala de Henares, LInivcrsidad Plateresque Main Portal <1538) 86 c o -o O w I. u o ™S CQ te- O > 87 O u > at o i" I d u o h4 11 Toledo, Hospital de S. Cruz Early Plateresque Portal (Hospital erected 14Q4— 1514) 89 § 90 ro t: < I (^ < ' fj ^ £ -a _ o 1- 4; ,2 91 -a 92 Salamanca, Universidad of a Bull Fight) Plateresque Staircase. 'S-^ Pi'vi. Mcn'/io "Madrid, Convento de las Descalzas Reales Baroque Staircase with Painting I '5c UO o U o 5^ ^ 5 00 95 96 > £ ^ o s- o S ^1 > '^ C o u 3 O X n3 re o o u 97 « "6 S — "5, O J- l> < u 98 o in O 3<" U ^04 TO r- o > O C/2 3 2 n -^ 99 Guadalajara, Intantado Palace Late Gothic Lions' Court w ith Mudejare and Renaissance Elements Ajttr Uhde Santiago de Compostela, Hospital Real Late Baroque Court. „Plate Style " with classicistic Addition. Begun before 1769. Completed 1798 100 #^^'3k -^XsV.o v^:»x < o # o o o o 2 •." iKW^.t: H : it .i . : **- ,:--»i~ *:i. > ^5^ 3 Qo 101 > X tu _5 ^ -o — TO 'J o o o 2 ^ E < u -SI c § On .0 102 o I— ~ ^ N -^ ' ^ o u o 2 a 103 oa - I CO TO 3 O o S >. u- •= c N o O > si o c Co^ u 104 PBot. Moreno Leon, Convento de S. Marcos, Sala Capitular Coffered Renaissance wooden Ceiling with Mudejare Reminiscences. First half of XVI. century 105 "iv«K,«i P/Jot. Hauser y Mcm'l Pastrana, Castle of the Dukes Coffered Renaissance Ceiling. XVI. century Phct. Hauscr y Menu Pastrana, Castle of the Dukes Coffered Ceiling. XVI. century 106 E o O o ° U o c ^ CO -75 . O < it: ^ O U D > O 107 B n c ra O Q 5: ra '5 P a. "u Oh w Q CO w mm^ -^S ^ i ro U U M c o O O 108 0\f Avila, Convento de S. Tomas Late Gothic Choir Pews. End of XV. century 109 Madrid, Capilla del Obispo Renaissance Door, probably after a Design of Giralte "3 ss H Ill t/3 3 O = u ^ ro -6 a. c & O £^ >—> .t: I o U 112 Marqiies de Santillana Madrid, Don Juan Lafora "Madrid, Early Plateresque Choir Pew Renaissance Choir Pew Beginning of XVI. century XVI. century 113 Madrid, Conde de las Almenas Madrid, Private Collection Cliair. XVI. century Renaissance Secretary. About 1600 Madrid, B. Pcryoiiton Madrid, Conde de Sclafani Chair. XVI. century. Madrid, Conde de las Alineuds Madrid, Marqiies de Santiliana Chair. VelvetCovering.RenaissanceEnibroidery Chair. XVI. century Madrid, Conde de las Almenas Madrid, B. Per)'onton Chair. Beginning of XVI. century Chair, inlaid \sith Mudeiarc Decoration. XVI. century 115 Pfiot. Haliscr y Sknct Madrid, Marques de Santillana engraved and gilded Bronze Field Table. XVII. century. Inlaid Work with Belda Madrid, B, Pcryontoii Madrid, S. Secretary. XVi. century Renaissance Double Chest,- upon it, Gothic Case Silver Reliefs. Covered with Velvet covered with Leather and wrought Iron Garnishments 16 Madrid, Don Pedro Ruiz Gothic Chest covered Nsith Leather, ornamented >xith wrought Iron. XV. century phot. Hatist'r y Mcrtcr Madrid, formerly Srta. Beatriz Lafora Gothic carved Chest, partly gilded. XV. century 117 Madrid, Don Bernardo Peryonton Gothic carved Clicst. XV. century I'fiot. HausiT y Mcnci Madrid, Don Juan Lafora of XV. i:ntur\' w'rought Iron Garnishments. Cn.l Gothic Chest covered >x ith Velvet and 118 -Ti 119 120 g i 5j "5b t/5 •;- i- P >, n "3 m-' '^ ° X -O CQ CO c (J5 03 > c o ra O E o .E •!> o c C - Oi P - ^ o -5 £ 121 ra 2 "o -6 u S n -a Q § -a U 122 *^K3 /* -: !MJ| :9 . X Madrid, Don Jose Lazaro Plateresque wooden Secretary, made for Charles V. XVI. century P/vr. Olrra Huesca, Catedral Plateresque Chest for Sacristy Madrid, Don Jose Lazaro Renaissance Secretary. XVI. century Madrid, Don Jose Lazaro Small Baroque Secretary. XVII. century 124 Madrid, Don Jose Lazaro Early Plateresque Secretary with late Gothic, Mudejare and Renaissance Elements. Beginning of XVI. century • ' ' ' . ^ V r i :: .: ,! ;; ,; ; . m HI 41 ffi *i W tf m t\*m* « mi^-*^ .1 # «i st «!«*i w^ /'/?(?/. Mot^no Madrid, Don Jose Weissberger Carved Wood Renaissance Table with armorial Motive. XVI. century 125 Phot. Roig Formerly Madrid, Marques de Salamanca Front Part of a Bed. Wood and Bronic. XVII. century 126 TJ O ^10;; = o '• U _: -6 o c O o ^ c re -T3 ura t. Q O ,- 03 O O -a "O Ji U 2 I o Do 2 127 < a o ^^ aj !* 03 o U Qo «5 -^ o 5 J O O O 128 Phot. Moreno Toledo, Catedral Renaissance Door with Knockers (Bronze) 129 Heads ot Nails (wrought Iron; tor Door Garnishments,' late XV. and XVI. century ^^Y*T^^*^r- ^1 '-^" ^ i^r- (Left) Late Gotliic enamelled copper^gilded Bo.x. Alioiit 1500 — (Right) Roman enamelled Chest. XIII. eentury Madrid, Don ]osi Lazaro 130 u o 03 —I o (C J: — M [1} g o o 131 to 132 ra 133 o o 13 < a t. bo J n c a; 134 Phot. Lacostc Sevilla, Catedral Plateresque wrought Iron Altar Grating 135 I'tot. .\tcr,-iio Sevilla, Casa de Pilatos First half of XVI. century Plateresque wrought Iron Window Grating. 136 PHoi, Moii'no Toledo, Catedral Renaissance Pulpit. Iron and Bronre <1543 —52) 137 Barcelona, Don Carlos Vallin Barcelona, Don Carlos Vallin Gothic Eagle, wrought Iron. XV. century Bronze Mortar (1790) Phol. H Madrid, Don R. Sinobas Madrid, Don R. Sinobas Late Gothic Bronze Weight <1492> Bronze Weight <1609>, after Gothic Model 138 N 139 r3 00 o ^ u < 1/ 140 /^l^# •^•^'^' ^>- -* >vA ffj A' ••** -!f*W .. ^• L £^ Pfior. Hatiscr j' Mend Madrid, Collection of Don R. Sinobas Snuffers <1800— 30) 141 Phot. Roig I'hci. Poig Alcora Porcelain. PolyAromic Plaquettc and Saucer Alcora Porcelain. Polydiromic Washing Set XVIII. century XVIII. century Madrid, Don Felix Bois 142 /i?*- -^- ir^^^^,..!rTsjc->.^ Pfvi. Koi] Pt:ot. Roig Alcora Porcelain. Pyramid as Table Decoration Alcora Flower Vase with Silver Reflex Madrid, Don Felix Bois Phot. Roin Pf Madrid, Conde de las Almenas Barcelona, Coleccion Gi^iell Alcora Ceramic. Chemist's Pot. Blue Decoration Alcora Dish with coloured Decoration 143 Pi'ot. koii] Madrid, Conde de las Almenas Alcora Porcelain. Group in White,- polydiromic Dishes PI'ot. Koig Madrid, Don Felix Bois Alcora Porcelain. Busts and polydiromic Vases I'I'OI. Rciji Madrid, Don Feli.x Bois Alcora Porcelain. Basins and Flovccr Pots 144 > X a. «u. 4: 145 O . 4J < 2 § o o w > Q 'd. O a- £ "H .- .c o W TO w o 15 o > 03 •- « J c ft- .2 tr o 146 AJr.-r ran Jt' I'm After van dc Put Formerly London, Art Trade London, South Kensington Museum Back of the Creveca'ur Plate (see Page 145) Hispano^Moresqiie Plate. Beginning of XVI. century ^^^^^iBUgs, After van dc Put After van de Put Sevres, Musee Ceramique London, South Kensington Museum Hispano-Moresque Plate. Decorations of Spirals and Lines of Writing Hispano^Moresque Plate. Small Leaf Decoration. XV. century 147 Talavera Ceramic. XVIII. century. Polydiromic Shaving Basins 1 aLiver.i Ceramic. XVIII. century. Holy Water I'ots witii Arms ol diltcrcnt ecclesiastical Orders Madrid, Don Pbroii PcUcimo 148 >03 O Qo « c u 03 OB [/ H — 149 c o U ~ 3 E « -2 ^ aa o-Sf > u & »< X o Ul. o --' § CO = js « n 4J W > (rt 5 3 « jQ-H ^ O ra u 3 U (u 1,03 3 ^ ^ O - o 150 Talavera Ceramic. Small Dish. End of XV'II. century Talavera Ceramic. Plate. W'U. ceiitur) Collection Madrid, J. Weissberger 151 Talavera Ceramic. Bowl. About 1700 Talavera Ceramic. Plate. XV'll. century Madrid, Collection J. Weissberger 152 P/'Ci/. Lacosft.' Sevilla, Alcazar, Patio de las Doncellas Wall Tiling. Moorish Star Pattern 153 /•/iof. llauicr \ MciKl Phot. G. OstHaus Granada, Alhambra Hagen, Folkwang Museum Moorish Floor Tiling Work with white Band ^X^ork Seviliian Floor Tiling. Pomegranate Pattern XIV. centur\- XVI. century ' .^•' ^T'-^iLiaa^ ^L-^l Granada, Alhambra centur>- Moorish I 'loor Tiling. Star Pattern. XIV. 154 ?fti»-^ Gothic Azulejo with Animal Motive Floor Tiling with the Family Coat of Arms of Fernandez de Cordoba and Ziiiiiga Third cpiarter of XV. century Last quarter of XV. century ^^?l Mm ^.WM P/Jor, G. Ost/iaiis Pfmt. G. Osthaus Madrid, Coleccion Osma Hagen, Folkwang Museum Hagen, Folkwang Museum Star Pattern, Azulejo in Sevillian Renaissance Armorial Stone Azulejo with Cock's Foot Pattern Cuerdaseca Tedinic. XV. centurv XV. century Sevilla, Museo Provincial Sevillian Renaissance Floor Tiling Altar F*ront, XVI, century 155 Phcu Ai \nt Mils Barcelona, Museo Gothic Chest covered with Leather. XV. century 156 O oa c (55 .22 to O c Qo > w IS o J 157 > D o vftj tn « c ^^ o :2-= I— OQS o "6 158 Chair. Leather Covering Baroque Chair covered with Leather XVI. century XVIL century Chair covered with Leather. XVI. century Chair covered with Leather. XVI. century Madrid, Don Jose Weissberger 159 Aflfr Bcrtiiii v Aficr H.-riiiii V Zaragoza, La Seo Moorish Ivory Box \x ith gilded Silver Mountings ornamented with Filigree. XiV. century .\Jt,-t Iklt.lUX Pamplona, Catedral Moorish Ivory Chest with the Name of Abdelmelics, Son of Almansor (1005), with secular Scenes Cordovan Work under Sassanian iiitluence 160 lb o .t: o i* o 'X tJttJ u o o o a, o u .52 "S- o o o -6 > o U 'SjX o o 161 B ao 9. ^ ^ = o = "Si!" o £ >^ 5 J-- "c CQ 1W 162 bO 163 .tz I 164 AJtir Bcrtjiix Teruel, Catedral Basin, wrought in Silver. Plateresque Style with Mudejare Reminiscences. First half of XVI. century 165 Barcelona, Collection Don Patricio Pasco Guipure Lace Barcelona, Collection Don Patricio Pasco Catalan Lace after Russian Style Barcelona, Dona M. Casanovas de Torrus Catalan Altar Cover with Guipure Lace 166 » *«i***(S3EJtln«« a* «.*«. London, Spanish Art Galleries Formerly Munich, Dr. v. Buerkel Woolen Carpet, With geometrical Pattern and white Woolen Carpet, Knotting similar to Linen Lattice Work ornamental Letters. XV, — XVI. century Geometrical Pattern on interlaced Ground, XV, century 167 London, Spanish Art Galleries London, Spanish Art Galleries Woolen Carpet with Armorial SliicMs Woolen Carpet. Last quarter of XV. century. With arniori.il Middle of XV. century Bearings and figural Scenes along the Edges 168 Madrid, Don Jose Weissberger Carpet viith Coat of Arms. XVII. century Phot. Maliu Barcelona, Museo Hispano-Arabic Stuff. Sassanian Influence. X.- XI. century. Green on Red 169 Vlwi. M,i/,ii Madrid, Don Jose Weissberger Silk Stuff. (Reil Ground. Animals ycilovs . Ornamentation blaA.) Granada. XVI. century 170 1 1- o U re f^ ro y O -2 CO o O O g on o. -5 S m 1 O r 2.6 3 it ^ 3 c •- > u < (13 o oo < oII c « o. I 172 Pliot. Matiti Mju-ii Pl-ot. Maicii i ror Mau-it Barcelona, Museo Catalan-Aragonian woolen Stuffs. XV'I. — XVII. century 173 Madrid, Don Eduardo do Laiglcsia Coloured printed Velvet witli the Virgin 2 o O t/5 c TO b 1 = O U CO 175 3 > o 2 -a H E i s c o do _C c y, 3 O C/0 c o -o o > o 176 > Q. E o c o .c '55 c 3 O C/3 c O C o > o o J2 UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles University of California SOUTHERN REGIONAL LIBRARY FACII,ITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which It was borrowed. . 3 1158 00618 3445 *'< D 000 754 61 1 2 iiii 11 Pliili ill