Part 4

THE Portal which forms the subject of my twenty-third sketch serves as the entrance to the dilapidated old mansion of the Condes de Polentinos at Avila, a view of the remains of the Patio of which will be found on turning over this page. The architectural characteristics of this striking gateway are certainly very singular. On catching a glimpse of it from a distance, and seizing the aspect only of its ponderous masonry and deep machicolations, I fully believed I was coming upon an old bit of castellated construction of the fourteenth or fifteenth century at latest. On nearer inspection, however, I found out my mistake, and arrived at the conclusion that the Señor Conde, late in the sixteenth century, who had caused the whole structure to be built, had probably charged his architect, either to preserve the general form of some much earlier portal of the old house, which he may have caused to be pulled down, or to imitate the general aspect of some other aristocratic portal of early date, which the Count may have admired elsewhere. Different as the corbelling, &c., looks to the gateway, and the window over it, I found that ornamental detail of a similar nature to, but somewhat coarser style than that of the door and window dressings was worked over most of the corbelling, and part of the upper gallery carried by the corbels, but apparently by a provincial hand. The stone work of the door and window had probably been left in the rough for awhile, possibly for some fifty years, and then its carving entrusted to some superior artist, working according to the latest lights of the fashion of the close of the sixteenth century. Although the style of all this carving is plateresque, there are many indications about it of an inclination to Greco-Roman work. For instance, the griffins, the lions' heads of antique type, and the arms and armour arranged as trophies, all indicate acquaintance with the prevalent materials of Italian arabesque design of late cinque-cento style. Indeed, the very form and fluting of the corselets, brasses, vambrasses, and cuisses, would indicate that armour of a date posterior to the middle of the sixteenth century had been adopted as types for the making up of the trophies.

PLATE XXIV.

_AVILA_.

THE PATIO OF THE CASA POLENTINA.

NEXT to the general feeling of interest excited by the picturesque aspect of decayed architectural grandeur, which is presented by the remains of this dilapidated Patio, rises a feeling of curiosity as to the mode and manner of life of those whose wants such costly building subserved. Privacy and coolness appear to have been the chief desiderata, and those architectural ornaments seem to have been preferred, which recall, at almost every step, the hereditary dignities of the family tree. Madame d'Aulnois, whose Letters from Spain, written in 1679,[13] give the liveliest possible picture of life in those days in the Peninsula, gratifies our curiosity in the most agreeable manner, and with that quickness of perception, as to domestic habits, by means of which, none but a woman can seize at a glance, the telling details essential to give completeness and reality to a sketch. Speaking of the Spaniards of the upper and middle classes of the seventeenth century she says:--"All their houses have a great many rooms on a floor; you go through a dozen or fifteen parlours, or chambers, one after another. Those which are the worst lodged have six or seven. The rooms are generally longer than they are broad. The floors and ceilings are neither painted nor gilt; they are made of plaister quite plain, but so white that they dazzle one's eyes; for every year they are scraped, and whited as the walls, which look like marble, they are so well polished. The Court to their summer apartments is made of certain matter, which, after it has ten pails of water thrown upon it, yet is dry in half-an-hour, and leaves a pleasant coolness; so that in the morning they water all, and a little while after they spread mats or carpets made of fine rushes, which cover all the pavement. The whole apartments are hung with the same small mat about the depth of an ell, to hinder the coolness of the walls from hurting those which lean against them. On the top of these mats there are hung pictures and looking-glasses. The cushions, which are of gold and silver brocade, are placed upon the carpet; and the tables and cabinets are very fine; and at little distances there are set silver cases or boxes, filled with orange and jessamine trees. In their windows they set things made of straw, to keep the sun out; and in the evenings they work in their gardens. There are several houses which have very fine ones, where you see grottoes and fountains in abundance."

PLATE XXV.

_AVILA_.

IRON PULPIT IN THE CATHEDRAL.

MR. STREET'S illustrations and description of all that is left of the old glories of Avila, previous to the epoch of the Renaissance, are so complete, that I can feel no compunction in having gleaned only from this delightful old city two specimens of the ability of the Spanish smiths of the period he repudiates, and two others showing remains of the domestic architecture of the same style.

Let it not be supposed, however, that it was only the school of the Renaissance which produced masterly iron-work, and even masterly iron pulpits, in Spain. Mr. Street has himself given us a beautiful woodcut of the pulpit in the church of St. Gil, at Burgos. This exhibits no other than Gothic details, while in the pulpit which forms the subject of my twenty-fifth sketch, as will no doubt be observed, Renaissance details are freely intermixed with Gothic ones. The whole, however different in style in different parts, appeared to me to be contemporaneous; and I, therefore, regard this pulpit as an interesting example of a transitional style, later of course, than that followed in the pulpit of Saint Gil, which Mr. Street describes as the earliest he saw. In both, the primitive mode of working through thin plates superposed to form tracery has been adhered to, and the whole of the ironwork has been applied to a wooden framework. I regard the pulpit at Burgos as likely to have been executed early in the fifteenth century, and the one now under consideration as of the close of the same century; and both may, I think, have been produced under the influence of the masters from Cologne, who did such wonders, and set so many fashions, in Burgos and its vicinity, especially at Miraflores.

PLATE XXVI.

_AVILA_.

IRON PULPIT IN THE CATHEDRAL.

IN method of manufacture no less than in style of design this pulpit, which forms a pendant to the one last given just outside the choir of Avila Cathedral, offers a contrast to its predecessor. We no longer meet with a superposition of perforated plates, but the operations of beating and chasing, and, indeed, cutting the metal with chisels, files and hammers; working in fact as the Italians term it "a massiccio." The basis of the design is no longer Gothic, but strictly of the regular Spanish Plateresque Renaissance with balustrade columns, figures in niches, and Arabesques imitated from the Italians. From all these details, we may fairly be justified in ascribing this work to about the middle of the sixteenth century.

The method of working this pulpit is no longer that of the simple smith, but really corresponds much more closely with that of the armourer which reached its zenith about this period. There can be no doubt that the Spaniards gained much of their well-known skill in the manipulation of iron and steel from the Moors, who had themselves obtained knowledge from Damascus, and perhaps even improved upon the knowledge they had derived from that source. From the times of the Carthaginians and Romans, the Celt-Iberian mines had been known as amongst the richest existing sources, from which iron could be procured. Many fragments of finely wrought iron work, of the middle ages, still exist in Spain; but for the most part in very fragmentary condition.[14] From the end of the fifteenth century, however, in the Rejas, great seals and minor screens, (such as that seen at the back of the pulpit in my sketch) of the churches and cathedrals, and especially in the arms and armour of Moorish and Christian Caballeros, (as attested by many splendid specimens in the Real Armeria of Madrid), perfect examples are to be met with of the skill of Spanish artificers in dealing with all the metallurgical processes by which iron and steel can be made to assume forms of grace and beauty. Charles V., Philip II., and Don Juan of Austria, were boundless in their extravagance in the encouragement of the best armourers, not of Toledo and Valladolid only, but of Milan and Augsburg as well. There can be no doubt that the models of beauty bought by these Sovereigns from artists in iron and steel, such as the Negroli and Piccinini, tended to develope that perfection of workmanship, which was attained in Spain in the reign of Philip III. The pains-taking editors of the Catalogue of the Madrid Armoury cite Pamplona as at the head of the trade at the close of the sixteenth and beginning of the seventeenth centuries, and name as the chief rivals to Pamplona of the cities of Spain, in the manufacture of splendid arms and armour, Tolosa, Barcelona, and Calatayud.[15]

PLATE XXVII.

_ESCORIAL_.

GENERAL VIEW OF THE ESCORIAL.

IN all Spain I saw nothing which so ill-agreed with my preconceptions as the Escorial. As for beauty, I could find none whatever in it. The building appeared to me thoroughly unsatisfactory alike as church, palace, or monastery. Still, to omit it altogether from any series of Spanish sketches with pen or pencil, would be to leave out the Monument which reflects, probably, more perfectly than any other in the Peninsula, the mixture of arrogant extravagance, and arid ascetism, which characterized its most potent rulers in the plenitude of their historical importance. In it, in my opinion, Herrera proved himself an architect thoroughly worthy of the masters who employed him, formal, pedantic, cold, extravagant to a degree, and yet mean. That the building contains many most interesting works of art, is as true, as that a visit to it should on no account be omitted by any one who would at all attempt to realize what the Spanish Court may have been in the days of Philip II.; but, after all, I am bound to confess that what most pleased me in the vast edifice, with the exception of some few pictures and illuminated books, was the work of Italians and not of Spaniards, viz., the marble crucifix of Benvenuto Cellini, the magnificent gilt bronze statues of the Kings and Queens of Spain in the Church, by Pompeio Leoni, and the decorations of the Library, principally by Pelegrino Tibaldi. To such a judgment may be objected that the structure now is not what it was, let us see what an acute observer says of it, writing late in the seventeenth century:--

"A while after we went to the Escurial, which to give it no less than its due, may in Spain pass for an admirable structure, but where building is understood, would not be looked on as very extraordinary. In a general consideration, it seems a mass of stone of great perfection; but going to particulars, scarce any of them but falls very short of the magnificence imagined, and that so much, that if Philip the Second, who built it, and was called the Solomon of his age, did no more resemble that wise king then this edifice does his Temple, to which it is often compared, the copy comes very short of the original; in the meantime to stretch the comparison they please themselves in saying, that Charles the Fifth, like another David, only designed his holy work, which (being a man of war and blood) God reserved for his son. Ignorant strangers are entertained with this tale, but such as are versed in history tell us, that after the battle of St. Quentin, Philip the Second made two vows, one never to go in person to the wars, the other to build this cloyster for the Order of St. Jerome instead of that which had been burnt, it cost him near six millions of gold, though out of consideration of parsimony and convenience of bringing stone, he made choice of the worst situation in nature, for it is at the foot of a barren mountain, and hard by a wretched village called Escurial, that can hardly lodge a man of any fashion; this may seem very strange to those that know the Court is there twice in a year: the place it stands on is, by transcendence, called the Seat, because it was levelled in order to build on.

"The fabrick is very fair, with four towers at the four corners, but coming to it, one knows not which way to enter, for as soon as out of the great walk, in a kind of Piazza, you see only little doors, which, when you are over it, lead into two pavilions, that contain offices and lodgings for some of the Court; when you have well viewed this side of the square, you come to that which is towards the mountain, where there is a very large magnificent portal, on each side beautify'd with pillars; by this stately gate you enter a quadrangle, where right over against it stands the Church, ascended to it by a stair of five or six steps, as long as the Court is large, extending from one side of it to the other, very fair columnes support the porch, and on the top of the wall stand six statues, the middlemost of which are David and Solomon, by whom they would represent Charles the Fifth, and Philip the Second. About the church are many pavillions, all comprehended in the exact square which environs that building. Report mentions many Bascourts, but we could not reckon above seven or eight. That this is a very fair cloyster for Friers cannot be denied, neither can it be allowed to be a pallace magnificent enough for such a monarch as Philip the Second, who having built it in one-and-twenty years, and enjoyed it twelve or thirteen, boasted, that from the foot of a mountain and his closet, with two inches of paper, he made himself obeyed in the Old and New World.

"The King and Queen's apartments have nothing in them that appears roial, they are altogether unfurnished, and they say, when the King goes to any of his houses of pleasure, they remove all to the very bedsteads; the rooms are little and low; the roofs not beautiful enough to invite the eyes to look up to them; its many pictures of excellent masters, and especially of Titian, that wrought a great while there, are very much vaunted, yet there are not so many as report gives out. The Spaniards have so little understanding of pictures, they are alike taken with all, and the Marquis Serragenovese, that accompanied us, sufficiently laughed at the foolishness of a Castillian, who, willing to have us admire the slightest and wretchedest landskipes of a gallery where we were, told us nothing could equalize them, because in a place where their King sometimes walked. There are yet in the vestry some good pieces, especially a Christ, and Mary Magdalen; and in the Church others very estimable. For paintings in fresco, the quire, done by Titian, is doubtlessly an excellent work, and so is the library, I think by the same hand, where amongst the rest is represented the ancient Roman manner of defending criminals, who stand by bound hand and foot; Cicero is also there pleading for Milo, or some other, I not being sufficiently acquainted with his meen, to be positive, and without apprehension of mistaking; this library is truly very considerable, as well for its length, breadth, height, and light; the pictures and marble tables that stand in the midst of it, as for its quantity of choice and rare books, if we may believe the monks; they are certainly very well bound and guilded, and if I mistake not, but seldom read. In the vestry, they show priests' copes, where embroidery and pearl with emulation contend whether art or matter renders them more rich and sumptuous; they showed us a cross of very fair pearl, diamonds, and emeralds; it is a very pretty knack, and would not become less such if it changed countreys, I would willingly have undertaken for it if they would have suffered it to pass the Pyreneans, had it been only to show my friends a hundred thousand crowns in a nut-shell. The library I have spoken of, the high altar and monument of their kings, which they call Pantheon (though I know not why, unless because a single round arch like the Pantheon at Rome), are certainly the best pieces of this magnificent fabrick. The high altar is approached by steps of red marble, and invironed by sixteen pillars of jasper, which reach the top of the quire, and cost only a matter of fifty or sixty thousand crowns cutting, between these are niches with statues of guilded brass, and so there are on the side of the tables and praying places. The Pantheon is under the altar, and descended by stairs, though narrow, very light; at the entrance of this rich chappel, a marble shines, whose lustre is heightened by reflexion of the gold, with which all the iron-work and part of that fair stone are overlaid. In the middle of it, and right against the altar, is a fair candlestick of brass, gilded, and in six several niches, twenty-four sepulchres of black marble to receive as many bodies; above the gate are two more. This stately monument is small, but sumptuous, it was finished by the present King, who, about six months since placed there the bodies of Charles the Fifth, Philip the Second, and Philip the Third. The first was most intire; in the niches, on the left, lie the Queens, and the last of them Queen Elizabeth of Burbon. He that preached the day that these seven tombs or sepulchres had bodies laid in them, began by his apprehension to speak in presence of so many kings who had conquered the world, and expressed himself so well, and so highly pleased the King that he got a yearly pension of a thousand crowns. Nothing attaining such perfection as to secure it from the teeth of criticks, the three pieces I have now mentioned, have been attacqued by them. It is objected against the Library, that its entrance suits not with its magnificence and grandeur, and that it stands as if stoln in, and not of the same piece with the rest.

"Over against the great altar, where all is so well proportioned, they wish away a silver lamp, whose size corresponds not with that of the place it burns in, which is vast and large. In the Pantheon they find great fault, that all the steps by which it is descended are not marble, and that the sides of the walls are not incrusted with it, the chappel being all so, and a like magnificence requisite everywhere. In the brazen candlestick, the inner part which is not guilded is discerned amongst the black and foul branches that extend from it. It cost ten thousand crowns, which is ten times more than it is worth; but it is common in this country to boast things of excessive price, which they would have admired on that account, as if because they are foolish merchants, the ware they buy too dear, were therefore the more valuable. These are my observations of the so famous Escurial, adorned only by some small parterras and fountains; one side of it affords a handsome prospect, but the ground near it is the greatest part rock or heath, some walks and groves are planted about it, but being cold and windy, trees thrive not. There are some deer in a kind of park, ill-designed, and with very low walls, the way to it is nothing pleasant, and the King who goes thither thrice every year, one of which times is in the winter, cannot certainly find any great diversion in those journeys, for during three months all is covered with snow."

Nothing need be added, I think, to so graphic a "boutade" as this, which, though somewhat satirical, would not appear to have been much too highly coloured for the occasion.

PLATE XXVIII.

_SEGOVIA_.

GATEWAY IN THE CITY WALLS.

THERE is probably no city in all Spain, and few perhaps in any part of the world, in which within a similar compass, so many good, although fragmentary, materials could be found for illustrating styles and inflections of style in building, from the days of the Romans through those of the Moors and Christians, up to the period of the Renaissance, than Segovia. Of this last named period, two of the greatest masters, Gil de Ontañon and his son Rodrigo, have nobly left their mark in the splendid Cathedral, a worthy rival to that of Salamanca, also executed from the designs, and under the personal superintendence of the elder of the two Ontañones. The city, probably, owes these varied monuments to its merits, as a strong, as well as a beautiful position. Under these circumstances, it is not to be wondered at that its old walls should offer many features of interest as well as picturesqueness. In fact, to the educated eye, the former is almost a necessary ingredient to making up the latter. As I wended my way upwards, therefore, from the railway station to the town, through this gateway, about which I caught indications here of one style, and there of another, Roman, Moor, and Christian doing here a jot and there a little, that I should linger on my way for awhile; partly, perhaps, to cool myself, and partly to make the little sketch I present herewith to my readers.

I need, perhaps, only add that the rough but effective cornice of the gateway is made up from its top to its bottom by different combinations of common tiles, and that its little enriched frieze is a specimen of the clever stucco-work, probably executed by workmen of Moorish descent in Renaissance times. The whole, even to the painting of the Virgin, is roughly executed, but is not the less graceful, perhaps, from the apparent absence of all effort. An aspect of spontaneity in works of art has its own particular charm, as has the semblance of the most careful solicitude under appropriate circumstances. The true artist, heedful of his "when" and "how," is master of both moods.

PLATE XXIX.

_SEGOVIA._

ARCHWAY IN THE HALL OF THE KINGS.

DON Juan Alvarez de Colmenar,[16] writing at the commencement of the eighteenth century, gives the following description of the Royal Palace at Segovia--