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El Greco Cartógrafo: Vista Y Plano De Toledo (1608-1614)

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El Greco Cartógrafo: Vista Y Plano De Toledo (1608-1614) 60-77 AMPLIATO-CALDUCH Ega 19 3/5/12 16:59 Página 68 68 EL GRECOGRECO CARTÓGRAFO:CARTÓGRAFO: VISTAVISTA YY PLANOPLANO DEDE TOLEDOTOLEDO (1608-1614)(1608-1614) EL GRECOGRECO CARTOGRAPHER:CARTOGRAPHER: VIEWVIEW ANDAND PLANPLAN OFOF TOLEDOTOLEDO (1608-1614) (1608-1614) Juan Calduch Cervera El cuadro del Greco Vista y plano de El Greco’s painting View and Plan Toledo y, especialmente, el plano of Toledo and, especially, the delineado que incluye, uno de los outlined plan included in it is one primeros de ciudades españolas of the first drawn floor plans of dibujados en planta, con una Spanish cities. Its accuracy and precisión y calidad sólo comparable quality is only comparable to the a los planos militares de la época, military plans of the time and it plantea la cuestión de la formación raises the question about El Greco’s del Greco como cartógrafo. El training as a cartographer. The análisis del plano, como parte de la analysis of the plan, both as a part composición pictórica pero también of the pictorial composition and como documento cartográfico also as a cartographic document considerado en sí mismo, abre by itself, opens up new hypothesis nuevas hipótesis sobre sus about his training as a conocimientos como cartógrafo y cartographer and also about the sobre la valoración de esta singular assessment of this remarkable obra del pintor. work of the artist. Palabras clave: El Greco, cartografía, Keywords: El Greco, cartography, plano de Toledo, vistas urbanas plan of Toledo, urban views 60-77 AMPLIATO-CALDUCH Ega 19 3/5/12 16:59 Página 69 expresión gráfica 1. Christoval de Rojas, Fuerte en la marina 1. Christoval de Rojas, Fuerte en la marina (1598, Teorica y práctica de fortificación…, 2ª parte, (1598, Teórica y práctica de fortificación…, 2nd part, arquitectónica fol. 46 reverso). sheet 46 reverse). 2. Antoon van der Wijngaerde, Vista de Toledo 2. Antoon van der Wijngaerde, Vista de Toledo (1563) Detalle. (1563) Detail. Durante el siglo XVI el uso de la perspec- 69 tiva aérea o vista de pájaro era el habi- tual para la representación de ciudades porque aportaba una figura sintética de la morfología y de la apariencia visual. Pero introducía problemas de lectura e interpretación dado que la proyección de los edificios ocultaba el trazado via- rio. Por eso, en los planos militares, las fortificaciones y tejidos urbanos se re- presentaban en planta lo que implica un importante nivel de abstracción formal y exactitud gráfica. Este uso se fue ge- neralizando, al menos desde los trata- dos de Francesco di Giorgio (s. XV) y convivió con los más tradicionales de las figuras simbólicas simplificadas de ciu- dades en los mapas, y con las perspec- tivas aéreas. Los levantamientos de las plantas cartográficas de ciudades, con la precisión de la arquitectura militar, im- plicaban tanto el control de los sistemas y convenciones gráficas como la parti- cipación de especialistas y topógrafos ca- paces de realizar la necesaria toma de da- 1 tos triangulaciones y croquis previos. A lo largo de aquel siglo la evolución lógica en las representaciones militares de ciudades, sustituyendo las vistas aé- reas, condujo a la progresiva diferen- ciación en dos tipos de imágenes: la vis- ta descriptiva en perspectiva, y la planta o el plano donde los abatimien- tos de edificios han desaparecido. En el tratado (1598) del capitán Christo- val de Rojas 1 encontramos imágenes con uno y otro sistema (perspectiva ca- 2 ballera o planta) e, incluso, mezclando ambos en un mismo dibujo (1985, pp. tas de Toledo publicadas por Braun (di- During the 16th Century the use of the aerial 232-233, 124-125 y 170). bujas por Hoefnagel, grabadas por Ho- perspective or bird’s eye view was common to Las vistas de ciudades, liberadas de represent cities because it provided a synthetic genberg, 1566 y 1572) (Díez del Corral, la necesidad de incluir la representación figure of their morphology and visual 1987, pp. 238, 258), y en las imágenes en planta y abandonada la perspecti- appearance. However it brought in some reading de ciudades españolas, incluida Tole- and interpretation problems in view of the fact va aérea, buscaban tomas desde pun- that the building design concealed the road do, de Wijngaerde (1561-1571) (Kagan, tos elevados para dar una imagen del layout. For that reason, the fortifications and the conjunto próxima a la visión real. 1986, pp. 38-39), el cual, como era ha- urban fabric in military plans were depicted as Esta solución la encontramos en las vis- bitual, para realizarlas tomó muchos floor plans, implying an important level of formal 60-77 AMPLIATO-CALDUCH Ega 19 3/5/12 16:59 Página 70 3. El Greco, San José con el niño Jesús (1597-1600) Detalle. 3. El Greco, San José con el niño Jesús (1597-1600) Detail. 70 abstraction and graphic accuracy. This use desde allí le remitió unos planos (Ma- became widespread, at least with the treatises rías, 1997, p. 42). Además, durante sus th by Francesco di Giorgio (15 C.), coexisting with años de juventud Candía, capital de the most traditional ones about the simplified symbolic figures of cities on maps and with Creta y patria del pintor, era una co- aerial perspectives. The surveys of the lonia veneciana que los ingenieros mi- cartographic city plans, with the accuracy of the litares vénetos estaban fortificando military architecture, entailed the system control ante el peligro turco 3. Así pues, Dome- and graphic conventions as well as the nikos pudo aprender tanto la técnica participation of specialists and topographers, cartográfica, como los conocimientos capable of gathering the necessary data, triangulations and previous sketches. necesarios para realizar los levanta- Throughout that century the logical evolution on mientos topográficos previos al dibu- the military city representations substituted the jo de mapas. En sus posteriores estan- aerial views and led to a gradual differentiation cias en Venecia y Roma, pudo también between two types of images: the descriptive familiarizarse con los avances en las re- view with some perspective and the floor plan or presentaciones cartográficas actualizan- plan, where the abatements of buildings have 3 disappeared. On the treatise (1598) by the do su bagaje formativo 4. captain Christoval de Rojas 1 we may find Un tema recurrente en la obra del images with one system or another (oblique pintor como fondo de sus cuadros es axonometric projection or floor plan) and even apuntes, croquis y dibujos parciales, al- la visión parcial de Toledo. En San José combining both in a same drawing (1985, pp. gunos conservados. Estas vistas tenían con el niño Jesús (1597-1600) (Saave- 232-233, 124-125 and 170). una finalidad descriptiva y cartográfi- dra, 1982, p. 197) se aprecian clara- The city views, released from the need of including the floor plan representation and once ca, y eran complementarias de las mente el alcázar y la torre de la cate- abandoned the aerial perspective, looked for plantas. Son documentos técnicos y no dral, situados de manera distinta a su shots from high vantage points to offer a whole artísticos, con voluntad de fidelidad ob- posición real. Así aparecen también en image near to the real vision. This solution may jetiva y, probablemente, militar. el lienzo Vista de Toledo (c. 1600) (Saa- be found in the views of Toledo published by El Greco, siguiendo la tradición rena- vedra, 1982, p. 34). Este cambio del Braun (drawn by Hoefnagel, engraved by centista, se interesó también por la ar- emplazamiento de los principales mo- Hogenberg, 1566 and 1572) (Díez del Corral, 1987, pp. 238,258), and in the images of Spanish quitectura (Marías, 1997, pp. 187 y sig.) numentos representados genera una cities, including Toledo, by Wijngaerde (1561- comentando el Vitruvio (1556) de Bar- imagen imposible desde cualquier po- 1571) (Kagan, 1986, pp. 38-39), who took, as baro, e incluso preparó un tratado de ar- sición, lo que nos advierte sobre la in- usual, many notes, sketches and partial quitectura ahora perdido 2. Conviene re- tención del pintor que no era tanto drawings, some of which are preserved. These cordar dos cosas: durante el Renacimien- aportar una visión realista sino conse- views had a descriptive and cartographic aim to dentro del corpus general de la arqui- and they were complementary of the floor plans. guir una imagen sintética ideal de To- They are technical but non-artistic documents, tectura se incluía la militar; y además, el ledo que, por eso mismo, es la más re- willful of an objective and probably military dibujo era el lenguaje científico univer- presentativa. Lo que Rossi, califica accuracy. sal sólo sustituido por las matemáticas como ciudad análoga 5. Algo muy di- El Greco, following the Renaissance tradition, en etapas posteriores. Por lo tanto, el do- ferente de las vistas con fines cartográ- was also interested in architecture (Marías, minio del dibujo era el medio de apro- ficos y descriptivos. 1997, pp. 187 ff.). He commented on Vitruvio (1556) by Barbaro and even prepared an ximación al conocimiento en general y Pero cabe también la posibilidad de architectural treatise now lost 2. Two things no algo exclusivamente artístico. que esas imágenes de Toledo fueran es- should be remembered: the military architecture Seguramente el dibujo cartográfico tudios parciales previos o preparatorios was included within the general architectural estaría dentro de los intereses forma- tendentes a configurar una vista gene- corpus during the Renaissance and besides, tivos de Domenikos Theotocópoulos ral del conjunto urbano que es, preci- drawing was the universal scientific language (El Greco). De hecho está documenta- samente, la que encontramos en dos only replaced with Maths in subsequent periods. Therefore, the mastery in drawing was the da su relación con Síderis, un cartógra- cuadros excepcionales que quedaron in- means of approach to the general knowledge fo cretense con el que pudo contactar acabados a su muerte 6 donde la ciudad and not something exclusively artistic.
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