CHAPTER XXI.

THE SPANISH ARCHITECTS OF THE MIDDLE AGES.

The history of the architects of the middle ages has never been written, and so few are the facts which we really know about them, that it may well be doubted whether it ever can be. Yet were it possible to do so, few subjects would be more interesting. To me it always seems that the most precious property of all good art is its human and personal character. I have always had an especial pleasure in tracing out what appear to be such similarities between different buildings as seem to prove, or at least to suggest, that they were designed by the same artist; for, just as in painting, a work becomes far more precious if we know it to be really the handiwork of a Giotto or a Simone Memmi, so in the sister art a building is far more precious when we know it to be the work of an Elias of Dereham, an Alan of Walsingham, or an Eudes de Montreuil; and if we are able, as in their case to start with the knowledge that certain men did certain works, the interest of such investigations is at once manyfold enhanced.

This is precisely the point at which we have now arrived in regard to Spanish buildings; for the notices of their architects which I have given in various parts of this book are so numerous that I think I shall do well to collect them together in their order; and to sum up, as much as one can learn from the documents relating to them, as to the terms on which they carried on their work, and generally, indeed, as to the position which they held.

In the earliest period, and just when any information would have been more than usually interesting to us, I have been able to learn next to nothing of any real value as to the superintendents of Spanish buildings.

One of the first notices of an architect is that contained in an inscription in San Isidoro, Leon, to the memory of Petrus de Deo, of whom it was said, “Erat vir miræ abstinentiæ, et multis florebat miraculis;” and, what is even more to our purpose, he is said to have built a bridge. He “superædificavit” the church of San Isidoro, and, from the reference to his saintly life, one is inclined to suspect that he must have been a priest and probably a monk; if so, it is important to note the fact, inasmuch as almost all the other architects or masters of the works referred to in all books I have examined, seem to have been laymen, and just as much a distinct class as architects at the present day are. The expression “superædificavit” does not tell us much as to the exact office of Petrus de Deo; but the next notice of an architect is not only one of the earliest, but also one of the most curious; this is in the contract entered into by the Chapter of Lugo with their architect Raymundo of Monforte de Lemos, in A.D. 1129; and from the terms of his payment, which was to be either in money or in kind, it is clear that, whatever his position was, he could not leave Lugo, but was retained solely for the work there. The terms of the contract are very worthy of notice, and may be compared with some of the similar agreements with, the superintendents of English works, who frequently stipulated for a cloak of office and other payments in kind, though I doubt whether we know of any English contract of so early a date. It is clear from the payment of an annual salary, and an engagement for the term of his life, that Maestro Raymundo was distinctly an architect, not a mere builder or contractor; it seems that he was a layman, and that his son followed the same profession. The title given him in the contract, “Master of the works,” is, as we shall find, that which in course of time was usually given to the architect; though I am not inclined to think that it makes it impossible that he should also have wrought with his own hands. Indeed, the very next notice of an architect is of one who certainly did act as sculptor on his own works. This was Mattheus, master of the works at Santiago Cathedral. The warrant issued by the king Ferdinand II., in A.D. 1168, granted him a pension of a hundred maravedis annually for the rest of his life,[433] and, though the amount seems to be insignificant, the fact of any royal grant being made proves, I think, not only the king’s sense of the value of a fine church, but also somewhat as to the degree of importance which its designer may have attained to, when he was recognized at all by the king. On the other hand, when twenty years later the same man (no doubt) wrote his name exultingly on the lintels of the church doorway, which was only then at last finished,[434] there can be no doubt that he had been acting there both as sculptor and architect: and if, from a modern point of view, he lost caste as an architect, he no doubt gained it as an artist; and even now, if one had to make the choice, one would far rather have been able honestly to put up one’s name as the author of those doorways, than as the builder of the church to which they are attached. It will be noticed that here, just as at Lugo, the master of the works was appointed at a salary for his lifetime, and held his office precisely in the same way as do the surveyors of our own cathedrals at the present day.

Much about the same time, in A.D. 1175, a most interesting document was drawn out, binding one Raymundo, a “Lambardo,”[435] to execute certain works in the cathedral at Urgel, in Cataluña. It is very difficult to say whether this Raymundo was the architect and builder, or only the builder, of the church, though I incline to believe he was both. He was to complete his work in seven years, employing four “Lambardos,” and, if necessary, “Cementarios,” or wallers, in addition; and in return he was to be paid with a Canon’s portion for the rest of his life. The mode of payment, the engagement for life, and the fact that there is no mention whatever of any materials to be provided by Raymundo, as well as the absence from the contract of any reference to a master of the works, lead, I think, to the conclusion that he was in truth the architect, but that he also superintended the execution of the works, and contracted for the labour.[436]

The next notice I find of an architect is in A.D. 1203, when the architect of Lérida Cathedral, one Pedro de Cumba, is described as “Magister et fabricator,” and there can be no doubt, therefore, that he not only designed but executed the work, which, as we go on, we shall find to have been a not very uncommon custom; but it is rare, nevertheless, to see this title of “Fabricator” given to the architect, who is usually “Magister operis,” and no more;[437] as, indeed, we see in the case of the successor of Pedro de Cumba, one Pedro de Peñafreyta, who is described on his monument by this title only.

In the thirteenth century we have the names of several architects, but nothing more than their names; and the only point which seems worthy of special note is that, so far as I can learn, none of them were ecclesiastics; whilst, from first to last, I have found no reference to anything like freemasonry. Indeed, on both these points, the history of Spanish architects seems to be singularly conclusive; and there can be little doubt that they carried on their work entirely as a business, and always under very distinct and formal engagements as to the way in which it was to be done.

In the fourteenth century the earliest notice is that contained in an order of the king, in 1303, dated at Perpiñan, and directed to his lieutenant in Mallorca, requiring him to go at once “cum Magistro Poncio” to Minorca, to arrange about the building a town wall, which the king wishes to have built with round towers, “sicut in muro Perpiniani;” and two years later the king writes again, “Item audivimus turrim nostram Majoricarum, ubi stat angelus ictu fulgens fuisse percussam et aliquantulum deformatam. Volumus quod celeriter sicut magister Poncius et alii viderint faciendum celeriter restauretur.”[438] Here it is, to say the least, doubtful whether Master Ponce was architect and adviser only, or also the mason who was to do the work. But this could not have been the case with the two architects of Narbonne, employed in the rebuilding of the cathedral at Gerona, one of whom was appointed in A.D. 1320-22 at a salary of two hundred and fifty sueldos a quarter, and under agreement to come from Narbonne six times a year. Here, whilst the old plan of making the architect enter into a kind of contract is adhered to, we seem to have a distinct recognition of a class of men who were not workmen, but really and only superintendents of buildings--in fact, architects in the modern sense of the word. About the same time, Jayme Fabre (or Fabra), a Mallorcan, seems to have been one of the greatest architects of his day, and to have given a very important impulse to the principal provincial development of architecture of which we see any evidence in Spain--that of Cataluña. From a contract entered into in A.D. 1318, between him and the Superior and brethren of the convent of San Domingo at Palma, in Mallorca, it seems that he was bound by an older agreement to execute the works of their church; and that he then promised to come back whenever required to Palma, from Barcelona, whither he was going to undertake another work at the desire of the king and the bishop. This “other work” was the cathedral, and here we know that Fabre was employed till A.D. 1339, when he and the workmen[439] of the church put the covering on the shrine which contained the relics of Sta. Eulalia, in the crypt. It is impossible to read the account of the completion of the shrine of Sta. Eulalia at Barcelona, without feeling that Fabre superintended a number of masons, and acted in fact as their foreman, though this is no reason whatever why he should not also have designed the work they executed. He seems to have carried on the two works at Barcelona and Palma at the same time; for, on the 23rd June, A.D. 1317, a year only after his agreement with the convent of San Domingo at Palma, he was appointed master of the works of Barcelona Cathedral, with a salary of eighteen sueldos each week, and payment of his expenses on his voyages to and from Mallorca. Soon after this time, in A.D. 1368, the fabric rolls of the cathedral at Palma, in Mallorca, record the name of Jayme Mates, who was “Maestro Mayor” of the work at Palma, and had a salary of twenty pounds a year, besides six sueldos a day for the working days, and two for festivals.[440]

In the same year we have the very interesting contract between the Chapter of San Feliu, Gerona, and Pedro Zacoma, the master of the works of the steeple; by this, it seems, he did not contract for the work, but had permission to employ an apprentice on it, and he was not to undertake any other work without the consent of the “Operarius,” or Canon in charge of the works, save a bridge on which he was already engaged. He was to be paid by the day, with a yearly salary in addition. I have given the contract at p. 332 of this volume. Zacoma is called in it the “Master of the work of the belfry.” He must have been employed constantly at the church, or it would not have been necessary to prevent his undertaking other works; and in such a building a man could hardly have been constantly employed, without absolutely working as a mason.

It may be thought that the “Operarius” was the real architect; but I find, at this time, that most collegiate and cathedral churches had a Canon whose special duty it was to make arrangements with the master of the works. Sometimes they are called “Canonigos fabriqueros,” at others “Obreros,” or else, as in this case, “Operarii.” Some examples of the application of these terms may be given to prove what I say:--In A.D. 1312, for instance, the Chapter of Gerona appointed two of their own body--one an archdeacon, the other a Canon--to be the obreros of their works.[441] In A.D. 1340 the “Operarius” was gathering alms in Valencia and the Balearic Isles for the works at Gerona Cathedral.[442] In an inscription of A.D. 1183, at S. Trophime at Arles, Poncius Rebolli is called “Sacerdos et operarius;” at Palencia, in A.D. 1321, there was an “Obrero,” or Canon in charge of the works, as he is described by Dávila.[443] In the inscription on a stone in the choir of Lérida Cathedral,[444] the two offices of the “operarius” and the “magister et fabricator” are contrasted, and the double office of the latter seems to make it impossible that the former can have been the architect. The fabric rolls of Exeter Cathedral contain, in A.D. 1318, a payment to the “Custos operis” for the adornment of the high altar: and, no doubt, he held the same post as the Operarius in Spain.

At the end of this century Juan Garcia de Laguardia was named “Master-mason” of the kingdom of Navarre, by a royal writ, at the wage of three sueldos a day. His title adds another to those already mentioned.

In A.D. 1391 Guillermo Çolivella undertook to make twelve statues of the apostles, at Lérida, at the price of 240 sueldos for each statue; and subsequently, in A.D. 1392, he is styled “Magister operis” of the see of Lérida, and “Lapicida,” and he had the superintendence of the stained glass windows which Juan de San Amat was making for the apses of the church, with the stories of the apostles.[445] He was evidently, I think, a builder, and yet held very much the office of a modern architect as superintendent of the whole work. Jayme Fabre describes himself as “Lapicida,” but was also the “Master of the fabric” at Barcelona; whilst Roque, who succeeded Fabre at Barcelona, was also called master of the works only, and received three sueldos and four dineros a day, besides a hundred sueldos a year for clothing.

Just about this period we have what appears to me to be a rather important reference to the separate offices of the architect and builder in the same work; for it seems that during the construction of the tower of the cathedral at Valencia, one Juan Franck acted as architect, with a succession of men as builders and contractors under him.[446] I confess I do not adduce this example with much confidence, inasmuch as one of them was Balaguer, whose mission to Lérida has already been mentioned, and who is moreover termed, in a contemporary document, an “accomplished architect.”

In the fifteenth century the notices of architects are more numerous, and their position becomes much more clearly defined.

In A.D. 1410 a contract was entered into by one Lucas Bernaldo de Quintana--master mason, as he is called in it--for the rebuilding of the church at Gijon in the Asturias. In this contract[447] there is no reference of any kind to plans, or to a directing architect or superintendent of any kind; but the dimensions and form of the building are all carefully described in such a way as to lead to the conclusion that the notary who drew up the contract had some sort of plan before him. It is said, for instance, “that the church is to be twenty-five yards long by twelve and a half wide, with three columns on each side, three vaults each with three ribs crossing them, and all the arches, pilasters, &c., as well as the door (which is to be twelve and a half feet high by eight wide), to be of wrought stone. There is to be a turret for two bells over the door, &c.” “Item, the ‘master’ is to be allowed to use the materials of the old church.” The contract was entered into on March 10, 1410, and the key of the building was to be delivered up on the 1st of May, 1411, and finally two sureties were bound with the contractor. The whole deed is so very formal and careful in its terms, that there can be no doubt that Quintana acted as architect as well as builder, for otherwise the name of the architect would necessarily have been mentioned.

It was in A.D. 1415 that the Valencian authorities sent their architect on a tour of inspection among church steeples in Cataluña, and as far as Narbonne, on the other side of the Pyrenees, in order that they might be sure of a good design for their own; but this is a very rare, if not an unique, instance of such a proceeding. In the year following the Junta of Architects was assembled at Gerona, and we have in it the first example of that habit so common in this day, of consulting bodies of men, instead of trusting in one skilled man, which from this time forth seems to have been extraordinarily popular in Spain. Incidentally, the records of the proceedings of this Junta are valuable, as giving the names of many architects and the works on which they were then engaged; but they are still more valuable as showing how decided and independent of each other in their opinions these men were. All of them probably were architects; but it is observable that all but two call themselves “Lapicidæ;” that two of them held somewhat inferior offices--one being the “Socius” of the magister operis, and the other, “Regens,” in the place of the master. Another is “Magister sive sculptor imaginum;” and two only--Antonino Antigoni and Guillermo Sagrera--call themselves masters of the works. Their answers seem to prove that they were all men of considerable intelligence, but at the same time generally disposed, just as a similar body would be now, to declare rather for the usual than the novel course. It is to their credit that they all maintained the perfect practicability of the work proposed, and the judgment of the Chapter seems to have been as much influenced by economical considerations as by artistic, seeing that a majority of the architects decided against the proposed plan on artistic grounds, whilst some of them said that it would certainly be the least costly. It was intended at first that two of the architects consulted should be asked to prepare a plan for the work; but this does not seem to have been done after all, the plan of the master of the works at the cathedral having been agreed to and carried into execution.

There cannot be a shadow of doubt that at the beginning of the fifteenth century most of the superintendents of buildings, in Cataluña at any rate, were sculptors or masons also. Their own description of themselves is conclusive on this point; at the same time their answers are all given in the tone and style of architects, and it is quite certain that, had there been a superior class of men--architects only in the modern sense of the word--the Dean and Chapter would have applied first of all to them. The answers which these men gave ought to be carefully read, as they are valuable from several points of view. Several of them seem to speak of some recognized system of proportioning the height of a building to its width; one of them suggests using light stone for the vaulting; and another, Arnaldo de Valleras, was evidently anxious to supplant the existing master of the works, and announced what he would do if the works were intrusted to him. I cannot help thinking that they had before them the plans of Guillermo de Boffiy, and that the similarity of the suggestions made by some of them as to the position of the windows and the proportions of the work are to be taken as an evidence of their desire to affirm what he had proposed.

In the same year in which this Junta of architects assembled at Gerona, one of their number--Guillermo Sagrera--was acting as the architect of the church of S. John, Perpiñan, a building which is still remarkable for the enormous width of its nave. Ten years later he contracted for the execution of the Exchange at Palma, in Mallorca, according to plans which he presented, and upon certain specified conditions, from which it appears very clearly that Sagrera was both builder and architect, being bound to find scaffolding and all materials. The only difference one can see between Sagrera and an ordinary builder or contractor of the present day is, that he presented the plans himself, and that there is no trace whatever of any architect or superintendent over him. It is doubted by some whether this mixture of the two offices of builder and architect was ever allowed in the middle ages; but this agreement (of which I give a translation in the Appendix) is conclusive as regards this particular case, and we may be tolerably sure that such a practice must have been a usual one, or it would hardly have been adopted in the case of so important a building.

Sagrera seems to have remained a long time at Palma, but having quarrelled with his employers there, and his dispute having been carried before the King of Aragon, at Naples, for settlement, the completion of the work was intrusted to one Guillermo Vilasolar, “lapicida et magister fabricæ,” who bound himself on March 19th, A.D. 1451, to complete the works which had been commenced. Two of the clauses in this agreement are worth quoting; they are as follow:--

1st. “That I, the said Guillermo Vilasolar, am bound to execute within the next coming year all the traceries and terminations or cornices which I have to make in the six windows of the said Exchange of Felanix stone, in the following form:--The traceries of two of the said windows according to the design which I have delivered to you, and the traceries and the cornices of the remaining four windows just as they were commenced by Master Guillermo Sagrera, formerly master of the fabric of the said Exchange; which traceries and cornices of all the said six windows I am bound to make entirely at my own cost, with all necessary scaffolding, stone, lime, gravel, and wages for the complete finishing of the said traceries and cornices.

“_Item._--That for making all the said traceries and cornices as described, in the said six windows, you, the said honourable guardians, shall be bound to give and pay of the goods of the college to me, the said Guillermo Vilasolar, two hundred and eighty pounds of Mallorcan money in the following way, viz.: fifty pounds down, and the remainder of the said two hundred and eighty pounds when the said traceries and cornices to the said six windows shall have been executed.”

So that here again, just as in the case of Guillermo Sagrera, we have a mason contracting for his work, and himself making the drawing according to which it is to be done.

After his quarrel with the authorities at Palma, Sagrera seems to have undertaken work for the King in the Castel Nuevo at Naples, for which he used stone from Mallorca, and where he was styled “Proto-Magister Castri Novi.” His work at Palma seems, from the accounts I have been able to obtain, to have much resembled that of the Lonja at Valencia, which I have described and illustrated in this volume.

In A.D. 1485, when Calahorra cathedral was rebuilt, an architect seems to have been so formally appointed, that the words used appear to me to be quite worth transcribing here: “Miércoles á ocho dias del mes de junio, año á nativitate Domini, millessimo quatorcentessimo octuagessimo quinto cœpit ædificari Capella mayor S. Mariæ de Calahorra. Composuerunt primum lapidem Johannes Ximenes de Enciso decanus, et Petrus Ximenes archidiaconus de Verberiego, et ego Rodericus Martini Vaco de Enciso, canonicus ejusdem ecclesiæ, et artium et theologiæ magister, dedi duplam unam auri in auro, dicens hæc verba magistro Johanni ædificatori principali prædictæ capellæ; accipite in signum vestri laboris, et en protestationem, quod Dominus Deus ad cujus gloriam et honorem ecclesia et capella ista fundari incipit, implebit residuum ad preces gloriosæ Virginis Mariæ matris suæ, et Sanctorum martirum Hemeterij et Caledonij, in quorum honore fundata est ecclesia. In quorum testimonium supradicta manu propria subscripsi. Rodericus artium et theologiæ magister.”

It is remarkable that in the case of so important a city as Seville there is no mention of an architect to the cathedral before A.D. 1462, in which year Juan Norman was appointed, with Pedro de Toledo as assistant (“aparejador”) till A.D. 1472, when the Chapter appointed three “Maestros Mayores” or principal masters, to the end that the work might go on faster: but it seems, as might be expected, that these men were none of them architects, for in A.D. 1496 the archbishop, being at Guadalajara, was persuaded that it was not well to trust such ill-informed persons, as their employment would end in loss to the fabric, and so he called in one Maestro Jimon, who went to Seville and was made Maestro Mayor until A.D. 1502.

The works at the Parral, Segovia, A.D. 1472-94, afford another example of an architect acting also as contractor for the work; and about the same time a monk of this convent, Juan de Escobedo, superintended the repair of the aqueduct, and was afterwards sent to the Queen (Isabella) to report to her on the state of various buildings in Segovia.

In 1482 Pedro Compte, of Valencia, said to be “Molt sabut en l’art de la pedra,” was the architect of the Exchange at Valencia--a building evidently copied to some extent from Sagrera’s Exchange at Palma; and at a later date he was employed upon some water-works for the keeping up the waters in the Guadalaviar at Valencia. He held the post of Maestro Mayor of the city, with an annual salary. In him we seem to have not only an architect and engineer, but one of so much character and influence as to hold important posts, being “alcaide perpetuo” as well as Maestro Mayor of the city.

In the beginning of the sixteenth century the new cathedral at Salamanca was commenced, but only after a vast amount of consultation among architects. The king had to order Anton Egas of Toledo, and Alfonso Rodriguez of Seville, to go to Salamanca and decide upon the plan for the church, and these two men drew up a joint plan which they presented to the Chapter; two or three years later, nothing having been done in the mean time, a Junta of nine architects was assembled, who jointly agreed on a very elaborate report, detailing all the parts and proportions of the church; and their report having been presented, the Chapter forthwith proceeded to elect a master of the works.[448] Rodrigo Gil de Hontañon was appointed; and by his will, dated in May, A.D. 1577, it appears that he had a house rent-free, as well as his salary of 30,000 maravedis a year.[449] He had also liberty to undertake other works; for, a few years later, he designed the cathedral at Segovia, and by his will it seems that he had several other churches in hand, in some of which it is evident that he acted as contractor, as he complains bitterly of the difficulties he had been put to by the large sums he had paid for the work at the church of San Julian at Toro, without being repaid by the authorities. It is remarkable that the works at Salamanca were examined from time to time by two architects, who reported whether Hontañon was following the instructions laid down for his guidance by the Junta, and this supervision rather leads to the inference that the design was not made by Hontañon, but prepared for him; and that it was necessary, as it is nowadays, to employ some one to see that he executed his work properly. The curiously exact terms of the report of the Junta, which specifies the height, thickness, and proportions of all the walls in the church, could not have been adopted as they are unless the Junta had some plans before them when they drew up their report, and on the whole I think it probable that the plan which Egas and Rodriguez prepared formed the basis on which they proceeded. This plan is still said to be preserved in the archives, and it would be very interesting to see how far it agrees with the church which has been erected.[450]

But, on the other hand, there is a report upon the state of the works in A.D. 1523, given by Cean Bermudez, which tends to confirm Hontañon’s position as a real architect.[451] It is signed by three architects, Juan de Rasinas, Henrique de Egas, and Vasco de la Zarza. They go into the question of the height to which the vaults ought to be carried, they say the walls are built properly, and, finally, that they were shown a plan of Juan Gil de Hontañon’s for some alteration of the work, and that in their opinion it is good, and they have, therefore, signed it with their names.

There are other instances at this time of the assemblage of Juntas of architects, of which one or two may properly be mentioned here; one of these was in reference to the Cimborio of the cathedral at Zaragoza which fell in A.D. 1520, when a number of architects were at once called together to advise as to its reconstruction; and again, in the same way, when the Cimborio at Seville fell, in A.D. 1511, several architects were consulted, and after they had reported, one of them--Hontañon, the fashionable architect of the day--was selected to manage the execution of the work.[452]

At this late date we have, I believe for the first time, the singular description of a man as “master maker of churches.” This occurs in the contract entered into by Benedicto Oger, of Alió, for the erection of a church at Reus. From the terms of the contract Oger seems to have been a mason: he was to have three others with him, and was bound not to undertake any other work. And if the authorities desired it they were to have his work examined by another “master,” though whether by one of his own grade, or a superior man, does not appear.

Another contract of a somewhat similar kind was entered into in A.D. 1518 by Domingo Urteaga for the erection of the church of Sta. Maria de Cocentaina, in Valencia. He bound himself to go with his wife and family to Cocentaina, where the town was to give him a house rent free. He was to do all that a “master” ought in the management of such a work, without attending to other works, and was to receive each day for himself five sueldos, and was to provide two assistants and two apprentices, the former to have three sueldos each, and the latter one and a half. He was to be every day at the work, having half an hour for breakfast, and an hour for dinner in winter, and an hour and a half in summer. Here again, though Urteaga was evidently only a foreman of the works, there is no reference to any superintendent or architect, and nothing is said about any plans which are to be followed. I conclude, therefore, that in this case too the foreman of the masons was really the architect.

In addition to the men I have here rapidly mentioned, there were many others whose work was confined to the design and execution of certain portions of buildings; such a one was Berengario Portell, “lapicida” of Gerona, who in A.D. 1325 entered into a contract for the execution of the columns of the cloister of Vique cathedral, and who is commonly said to have executed the columns and capitals for the cloister at Ripoll also. Such, in later days, was Gil de Siloe, who both designed and executed the monuments at Miraflores; and such, though in a less eminent position, were the various woodcarvers, decorators, painters on glass, makers of metal screens, and the like, the names of a great number of whom are still preserved in the volumes of Cean Bermudez.[453]

There is also another officer who ought not to be forgotten here--the “aparejador” or assistant of the architect--clerk of the works as we should call him. About his office there is no doubt, but it will have been observed that some men who held it--as _e.g._ Juan Campero--have at other times acted as architects or contractors, which is precisely what might be expected.

There are a few but not very important cases of competition among artists recorded in the work of Cean Bermudez; but generally they seem to me to have been rather competitions for the execution of work than for its design. Such, for instance, was the competition for the execution of the monument of D. Alvaro de Luna and his wife in Toledo cathedral, when the design of Pablo Ortiz was selected.[454] Cristóbal Andino is said to have competed unsuccessfully with other men, in A.D. 1540, for the execution of the iron screens of Toledo cathedral. Cean Bermudez speaks also of a competition among architects as to the rebuilding of Segovia cathedral;[455] but I doubt whether his statement can be depended on.

* * * * *

The result at which we arrive after this _résumé_ of the practice of Spanish architects is certainly that it was utterly unlike the practice of our own day. Whether it was either better or worse I can hardly venture to say; it seems to me, indeed, to be of comparatively little importance whether an architect is paid as of old by the year, or as now by a commission on the cost of the works; probably the difference in amount is seldom serious; but on the other hand it is possible that where special contracts are made the sums paid are not always the same, and so the absurd rule by which at present the best and the worst architect both get the same amount of pay for their work is avoided; one result of this rule is, that the architect of the highest reputation, in order to reap the pecuniary reward to which he is entitled, is tempted to undertake so much work that it is impossible for him to attend to half of it, and so in time, unless he have an extraordinary capacity for rapid work, his work deteriorates, and his reputation is likely to suffer.

The other old custom common in Spain--of architects contracting for the execution of their own works--does not seem to deserve much respect; yet one cannot but see that it was a natural result of the universal feeling and taste for art which seems to have obtained in the middle ages; and though it would now certainly be mere madness to ask any chance builder to execute an architectural work, there are undoubtedly many builders who are at least as well fitted to do so as are a large number of those who, without study or proper education, are nevertheless able, unchallenged by any one, to call themselves architects.

On the whole, then, it is vain to regret the passing away of a system which is foreign to the nature and ideas of an artistic profession such as that of the architects of England now; though if these old men, whose art and whose interests pulled opposite ways--seeing they were architects and contractors--did their work so honestly that it still stands unharmed by time, we may well take great shame to ourselves if the rules for our personal respectability, about which we are all so jealous, are yet in practice so often compatible, apparently, with a system of shams and makeshifts, of false construction and bad execution, of which these old architect-builders were almost wholly guiltless.

The questions between ourselves and them, when simply stated, are these--Whose work is best in itself, and whose work will last the longest? If these questions cannot be answered in our favour, then it is absurd to protest vigorously against the practice which we see pursued by such men as Juan Campero, Martin Llobet, Juan de Ruesga, Guillermo Sagrera, or Pedro de Cumba, and we shall do well to admit, whenever necessary, that he is the best architect who designs the best building, whatever his education; though it is undoubtedly true that he is most likely to be the best architect who is the best taught, the most refined, and the most regularly educated in his art.

It is often, and generally thoughtlessly, assumed, that most of the churches of the middle ages were designed by monks or clerical architects. So far as Spain is concerned, the result at which we arrive is quite hostile to this assumption, for in all the names of architects that I have noticed there are but one or two who were clerics. The abbat who in the eighth or ninth century rebuilt Leon cathedral is one; Frater Bernardus of Tarragona, in A.D. 1256, another; and the monk of El Parral, who restored the Roman aqueduct at Segovia, is the third; and the occurrence of these three exceptions to the otherwise general rule, proves clearly, I think, that in Spain the distinct position of the architect was understood and accepted a good deal earlier than it was, perhaps, in England. In our own country it is indeed commonly asserted that the bishops and abbats were themselves the architects of the great churches built under their rule. Gundulph, Flambard, Walsingham, and Wykeham, have all been so described, but I suspect upon insufficient evidence; and those who have devoted the most study and time to the subject seem to be the least disposed to allow the truth of the claim made for them. The contrary evidence which I am able to adduce from Spain certainly serves to confirm these doubts. I was myself strongly disposed once to regard the attempt to deprive us of our great clerical architects as a little sacrilegious; but I am bound to say that I have now changed my mind, and believe that the attempt was only too well warranted by the facts. In short, the common belief in a race of clerical architects and in ubiquitous bodies of freemasons, seems to me to be altogether erroneous. The more careful the inquiry is that we make into the customs of the architects of the middle ages, the more clear does it appear that neither of these classes had any general existence; and in Spain, so far as I have examined, I have met with not a single trace of either. I am glad that it is so; for in these days of doubt and perplexity as to what is true in art, it is at least a comfort to find that one may go on heartily with one’s work, with the honest conviction that the position one occupies may be, if one chooses to make it so, as nearly as possible the same as that occupied by the artists of the middle ages. So that, as it was open to them--often with small means and in spite of many difficulties--to achieve very great works of lasting architectural merit, the time may come when, if we do our work with equal zeal, equal artistic feeling, and equal honesty, our own names will be added to the list, which already includes theirs, of artists who have earned the respect and affection of all those whose everyday life is blessed with the sight of the true and beautiful works which in age after age they have left behind them as enduring monuments of their artistic skill.

APPENDIX.

(A.)

CATALOGUE OF DATED EXAMPLES OF SPANISH BUILDINGS, FROM THE TENTH TO THE SIXTEENTH CENTURY INCLUSIVE.

NOTE.--_The dates of those Examples which are printed in Italics appear to me to be very uncertain, or are those of buildings which I have not visited._

DATE. PLACE. REMARKS.

914 BARCELONA Church of San Pablo del Campo, said to have been built. 983 BARCELONA San Pedro de las Puellas consecrated. 1017 GERONA _Church of Saint Daniel commenced._ 1038 GERONA Consecration of first Cathedral, of which remains exist. 1058 ELNE Consecration of Church. 1063 LEON The Panteon, San Isidoro, appears to have been finished in this year. 1078 SANTIAGO Cathedral commenced. 1078 SANTIAGO South transept doorways erected. 1085 TOLEDO The Church “Cristo de la Luz” existed before this date. 1090 AVILA Town walls commenced. 1091 AVILA Cathedral commenced. 1109 TOLEDO Outer circuit of walls. 1117 GERONA _Church of San Pedro de los Galligans commenced._ 1117 GERONA Cloisters of Cathedral erected. 1108} to } TOLEDO Puerta de Visagra erected. 1126} 1120 SALAMANCA Old Cathedral commenced. 1128 SANTIAGO Fabric of Cathedral so far finished as to be used. 1129 LUGO Cathedral commenced. 1131 TARRAGONA Cathedral commenced. 1136 SALAMANCA _San Tomè de los Caballeros consecrated._ 1146 BARCELONA Collegiata of Sta. Aña founded. 1146 VERUELA Abbey commenced. 1149 LEON Church of San Isidoro consecrated in this year. 1156 SALAMANCA _Church of San Adrian consecrated._ 1171 VERUELA Abbey first occupied, and probably completed in this year. 1173 BARCELONA _Royal Chapel of Sta. Agueda, attached to the palace of the Counts of Barcelona, conpleted._ 1173 SALAMANCA _Church of San Martin consecrated._ 1174 ZAMORA Cathedral completed. 1175 SANTIAGO Chapel beneath west front of Cathedral finished about this year. 1177 LUGO Cathedral finished. 1178 SALAMANCA Cloister of old Cathedral in course of erection; Chapter-house probably erected at same time. 1179 SALAMANCA _Church of S. Thomas of Canterbury consecrated._ 1180 BURGOS Convent of Las Huelgas commenced; inhabited in 1187; formally established as a Cistercian Convent in 1199. 1180 POBLET _Benedictine Monastery founded._ 1188 SANTIAGO Western doors of Cathedral finished. 1188 TUDELA Cathedral consecrated. 1203 LÉRIDA First stone of Cathedral laid. 1208 SEGOVIA Templars’ Church consecrated. 1212 TOLEDO Bridge of San Martin erected. 1219 MONDOÑEDO _Cathedral commenced._ 1221 BURGOS First stone of Cathedral laid. 1221 TOLEDO Church of San Roman consecrated. 1227 TOLEDO First stone of Cathedral laid. 1230 BURGOS Cathedral first used in this year. 1235 TARAZONA Cathedral founded. 1239 BARCELONA Chapel of Sta. Lucia, and doorway from cloister into south transept of Cathedral. 1252-84 AVILA Central Lantern of San Vicente built. 1258 TOLEDO Bridge of Alcantara rebuilt. 1262 VALENCIA First stone of Cathedral laid. South transept and apse of this date. 1273 LEON Cathedral in progress. 1278 LÉRIDA Cathedral consecrated. 1278 TARRAGONA Nine of the statues of the Apostles in west front of Cathedral executed. 1287 BARCELONA Nuestra Señora del Carmen founded. 1292 AVILA Considerable works in the Cathedral under Sancho II., Bishop of Avila, 1292-1353. 1298 BARCELONA New Cathedral commenced. 1303 LEON Cathedral finished (save the towers) before this date. 1310-27 LÉRIDA Western side and entrance to cloister of Cathedral, and tower at S.W. angle of cloister, erected between these years. 1316-46 GERONA Chevet of Cathedral in course of building. 1318 GERONA Choir of San Feliu completed before this date. 1321 PALENCIA First stone of Cathedral laid. 1328 BARCELONA Sta. Maria del Mar commenced, and completed in 1383. 1329 BARCELONA North transept of Cathedral. 1329 BARCELONA Sta. Maria del Pi commenced, and _consecrated in 1353._ 1332 GUADALAJARA Chapel of Holy Trinity in the Church of Santiago. 1339 BARCELONA Crypt and Chapel of Sta. Eulalia in the Cathedral completed. 1345 BARCELONA SS. Just y Pastor commenced. 1346 GERONA Retablo of Altar and Baldachin erected. 1349 VALENCIA Puerta de Serranos erected. 1350 LUGO Church of San Domingo consecrated. 1350 ZARAGOZA _East wall decoration executed._ 1351 GERONA Stalls in Choir of Cathedral executed. 1366 TOLEDO Synagogue (now Church “del Transito”) completed. 1368-92 GERONA Steeple of San Feliu in course of building. 1369 BARCELONA Casa Consistorial commenced; finished in 1378. 1374 LA CORUÑA Chapel of the Visitation in Church of Sta. Maria. 1375 TARRAGONA Completion of Statues in west front of Cathedral. 1380 TOLEDO Bridge of Alcantara repaired. 1381 VALENCIA First stone of the Micalete (tower of the Cathedral) laid. 1383 BARCELONA Sta. Maria del Mar completed. 1383 BARCELONA The Casa Lonja, or Exchange, founded. 1388 BARCELONA West doorway of San Jayme. 1389 ALCALÁ DE HENARES Tower of Archbishop’s Palace. 1389 TOLEDO Cloister and Chapel of San Blas completed. 1389 TOLEDO Bridge of San Martin built. 1391 LÉRIDA West doorway of Cloister completed. 1397 LÉRIDA Steeple of Cathedral in course of erection. 1397 PAMPLONA Cathedral commenced. 1399 BURGOS _Chancel and Aisles of San Gil founded._ 1400 HUESCA Cathedral commenced. 1404 VALENCIA Lantern or Cimborio of Cathedral completed. 1405 TOLEDO Synagogue (now Church of Sta. Maria la Blanca) converted into a Church, and much altered. 1410 PALENCIA Stalls in Choir of Cathedral executed. 1415 BURGOS Church of Convent of San Pablo erected. 1416 BARCELONA San Jayme in progress. 1416 LÉRIDA Steeple of Cathedral completed. 1416 MANRESA The Collegiata in progress at this date. 1416 PERPIÑAN Cathedral in progress. 1416 TARRAGONA Reredos of High Altar. 1417 GERONA Nave of Cathedral commenced. 1418 TOLEDO West front of Cathedral commenced. 1424 VALENCIA Tower of Cathedral completed. 1425 TOLEDO The N.W. Steeple of Cathedral commenced. 1431 Cervera _Steeple of Sta. Maria._ 1435 BURGOS Convent of San Pablo commenced. 1436 BARCELONA Casa de la Disputacion erected. 1438 OLITE Considerable works in progress. 1440 AVILA Tower of San-Vicente completed. 1440 MEDINA DEL CAMPO Castle “de la Mota.” 1412 BURGOS Spires of Cathedral commenced. 1442 TOLEDO Chapel of Santiago (built by D. Alvaro de Luna) erected. 1442 VALLADOLID San Pablo commenced. 1444 BARCELONA The Hala de Paños completed. 1444 VALENCIA Puerta de Cuarte. 1448 BARCELONA Cloister of Cathedral completed. 1453 BARCELONA Sta. Maria del Pi consecrated. 1454 BURGOS Convent of la Cartucca, Miraflores, commenced. 1458 GERONA South door of nave of Cathedral. 1459 TOLEDO Façade “de los Leones” (South transept). 1459} to } VALENCIA West end of nave of the Cathedral erected, 1482} and (probably) the Chapter-house 1461 GUADALAJARA Palace del Infantado. 1463 VALLADOLID San Pablo completed. 1465 AVILA Canopy over the Shrine of San Vicente. 1471 ASTORGA First stone of Cathedral laid. 1472 SEGOVIA Capilla Mayor of El Parral commenced. 1476 TOLEDO San Juan de los Reyes, Toledo, commenced. 1480 BURGOS Stalls in the Coro of Chapel at Miraflores. 1480-92 VALLADOLID College of Sta. Cruz. 1482 VALENCIA The Casa Lonja commenced. 1482-93 AVILA Convent of San Tomás. 1483 TOLEDO Doorway of old Sacristy. 1484 TOLEDO Bridge of Alcantara fortified. 1485 SEGOVIA Vaulting of El Parral finished. 1487 BURGOS Chapel of the Constable. 1488-96 VALLADOLID College of San Gregorio. 1489 TOLEDO Monument of Alvaro de Luna in Chapel of Santiago in Cathedral. 1489-93 BURGOS Monument of Juan and Isabel in the Church at Miraflores. 1490 LÉRIDA South Porch. 1494 SEGOVIA Tribune in Church of El Parral rebuilt. 1495 TOLEDO Lower range of Stalls in Coro of Cathedral. 1497 ALCALÁ DE HENARES Church of SS. Just y Pastor commenced. 1497-1512 BURGOS Stalls in Coro of Cathedral. 1498 ALCALÁ DE HENARES College of San Ildefonso commenced. 1499 VALLADOLID Church of San Benito. 1500 TOLEDO Retablo of High Altar. 1503 MEDINA DEL CAMPO Capilla Mayor of Church of S. Antholin. 1504 SANTIAGO Hospital of Santiago. 1504 TOLEDO Entrance to Winter Chapter-Room. 1504 ZARAGOZA The Torre Nueva in course of construction. 1504-10 PALENCIA Cathedral completed. 1505 ZARAGOZA Cimborio, or Lantern, of the Seu, commenced. 1507 SAN SEBASTIAN Church of San Vicente commenced. 1507 SIGÜENZA Cloister of Cathedral completed. 1508 IRUN Church commenced. 1509 ALCALÁ DE HENARES Church of SS. Just y Pastor completed. 1513 LEON San Isidoro, new Choir erected. 1513 SALAMANCA First stone of new Cathedral laid. 1514 PALENCIA Cathedral Chapter-house and Cloister. 1515 HUESCA Cathedral completed. 1518 AVILA Monument of Don Juan in the Church of San Tomás. 1520 HUESCA The Retablo of the Principal Altar commenced. 1520 TARAZONA _Cathedral Cloister._ 1520 ZARAGOZA Cimborio of the Seu completed. 1525 SEGOVIA Cathedral commenced. 1531 TOLEDO Chapel de los Reyes Nuevos. 1533 SANTIAGO Cloisters. 1536 ZARAGOZA Sta. Engracia, Cloister erected. 1543 TOLEDO Upper range of Stalls in Coro of Cathedral. 1548 TOLEDO Rejas of Capilla Mayor and Coro of Cathedral. 1550 TARAZONA Cimborio of Cathedral. 1553 ALCALÁ DE HENARES Patio of University. 1567 BURGOS Lantern or Cimborio completed. 1572-90 MANRESA Steeple of the Seu or Collegiata completed. 1576 VALLADOLID Church of La Magdalena. 1579 GERONA Vault of Cathedral finished. 1586 BURGOS Capilla Mayor in the Church of San Gil.

(B.)

CATALOGUE OF ARCHITECTS, SCULPTORS, AND BUILDERS OF THE CHURCHES, ETC., MENTIONED IN THIS VOLUME.

ABIELL [GUILLERMO]. One of the Junta of Architects consulted at _Gerona._ in A.D. 1416. At this time he was Master of the Works at _Sta. Maria del Pi_, San Jayme, and the _Hospital of Santa Cruz in Barcelona_.

ALAVA [JUAN DE]. One of the Architects summoned to the Junta at _Salamanca_ in A.D. 1513. He was a native of Vitoria, and master of the works of the Cathedral at _Placencia_.

ALEMÁN [JUAN]. Sculptor. Wrought at the western and southern doorways of Toledo Cathedral, A.D. 1462-66.

ALFONSO [JUAN]. Sculptor. Wrought on the façade of Toledo Cathedral in A.D. 1418.

ALFONSO [RODRIGO]. Maestro Mayor of _Toledo_ Cathedral, probably the Architect of the Cloister and Chapel of _San Blas_, the first stone of which was laid August 14, 1389. He designed the _Carthusian Convent_ of _Paular_, near Segovia, in A.D. 1390.

ANDINO [CRISTÓBAL DE]. Made the iron Screen of the Capilla Mayor in _Palencia_ Cathedral in A.D. 1520; the screen of the Chapel of the Constable at _Burgos_ in 1523; and in 1540 he competed unsuccessfully with other men for the erection of the Screens and Pulpits of _Toledo_ Cathedral.

ANTIGONI [ANTONIO]. Master of the Works in the town of _Castellon de Empurias_, and one of the Junta of Architects consulted at Gerona in A.D. 1416.

ARANDIA [JUAN DE]. Probably a native of Biscay. Architect (?) and Builder of the Church of _San Benito_ at _Valladolid_, which was commenced in A.D. 1499. He contracted for the first part of the work for 1,460,000 maravedis, and for the remainder for 500,000.

ARFE [ANTONIO DE]. Silversmith; a native of Leon. His work is thoroughly Renaissance, and, though much praised, really very uninteresting. Circa 1520-1577.

ARFE [ENRIQUE DE]. A German; father of Antonio, born in 1470-80; dec. circa 1550. A famous Silversmith. Worked at _Leon_, _Toledo_, &c.

ARGENTA [BARTOLOMÉ]. Master of the works, _Gerona_ Cathedral, 1325 to 1346. He seems to have superintended the erection of most of the Choir now standing.

BADAJOZ [JUAN DE]. Sculptor and Master of the Works of _Leon_ Cathedral. Architect of Choir of _San Isidoro, Leon_. In A.D. 1512 he was one of the Junta of Architects consulted as to rebuilding _Salamanca_ Cathedral. In 1513 he went to Seville to examine the fabric of the Cathedral, for which he received a fee of 100 ducats. In 1522 he went to _Salamanca_ to see that the works at the Cathedral were being properly executed. In 1545 he was Architect of the Monastery at _Exlonza_ near _Leon_, and calls himself “Architector” in an inscription on its wall.

BALAGUER [PEDRO]. Architect of the Tower of _Valencia_ Cathedral in A.D. 1414. He is called an “Arquitecto perito” in a contemporary document, and was paid for going to _Lérida_, _Narbonne_, and elsewhere, to examine their steeples with a view to his own work.

BARTOLOMÉ. Sculptor, _Tarragona_. Executed in A.D. 1278 nine of the Statues of the Western Doorway.

BARTOLOMÉ. Silversmith, who executed part of the Retablo of _Gerona_ Cathedral in A.D. 1325.

BENES [PEDRO]. Made the Canopy over the Altar at _Gerona_ Cathedral before A.D. 1340.

BERNARDUS [FRATER]. Magister Operis of _Tarragona_ Cathedral in A.D. 1256.

BERRUGUETE [ALONSO]. Architect, Sculptor, and Painter. Went to Italy in A.D. 1504, and studied at Rome and Florence: afterwards, in A.D. 1520, returned to Spain, and held the appointment of Maestro Mayor to Charles V. Executed the Stalls and Retablos of _Sun Benito_, _Valladolid_, in 1526-32, and the upper range of Stalls on the Epistle side of _Toledo_ Cathedral in 1543. His works are numerous, and he was the great reviver of Pagan architecture in Spain.

BLAY [PEDRO]. Architect of the Casa de la Disputacion, _Barcelona_, in 1436 according to Cean Bermudez. But this seems impossible, unless there were two of the same name, as one was Maestro Mayor of the Cathedral in 1584.

BOFFIY [GUILLERMO]. Architect of Nave of _Gerona_ Cathedral in A.D. 1416. It was to discuss and advise upon his plan that a Junta of twelve Architects was summoned; their opinions are given in the Appendix [H], and in the end his plan was carried into execution.

BONCKS [ARNAU]. A native of Ax (in the county of Foix). Directed the works at the Mole of _Tarragona_, for which he was also the contractor, in A.D. 1507.

BONIFACIO [MARTIN SANCHEZ]. Maestro Mayor of _Toledo_ Cathedral from 1481 to 1494. He executed the doorway of the old Sacristy, circa 1484.

BONIFACIO [PEDRO]. Painter on Glass. Executed some of the windows in the nave of _Toledo_ Cathedral in A.D. 1439.

BONIFE [MATIAS]. Made the lower range of Stalls in the Coro of _Barcelona_ Cathedral in A.D. 1457.

BORGOÑA [FELIPE DE]. Sculptor of the upper range of Stalls on the Gospel side of _Toledo_ Cathedral. He was consulted as to the design for the Cimborio or lantern of _Burgos_ Cathedral, and executed the Sculptures under the arches of the apse in the same church. He is said to have been Maestro Mayor of _Seville_ Cathedral (?), and was one of the Architects consulted as to _Salamanca_ new Cathedral in A.D. 1512. He died in 1543.

BORGOÑA [JUAN DE]. Painted in A.D. 1495 the Cloister of _Toledo_ Cathedral. In 1508 painted five subjects for _Avila_ Cathedral. He dec. circa 1533.

BRUXELAS [JUAN DE]. Executed the Retablo of the Chapel of _San Ildefonso, Toledo_, in A.D. 1500.

CAMPERO [JUAN]. One of the Junta of Architects consulted at _Salamanca_ in A.D. 1512, and afterwards appointed assistant to the Architect there. In 1529 he was engaged as builder at _El Parral, Segovia_. In 1530 he contracted with the Chapter of _Segovia_ for the removal and re-erection of the old _Cloisters_. He had been employed by Cardinal Ximenes as Architect and Builder at _Torrelunga_.

CANET [ANTONIUS]. Sculptor of _Barcelona_. One of the Junta at _Gerona_ in 1416, and Master of the Fabric of the Cathedral at _Urgel_.

CANTARELL [GIBALT]. Architect engaged on Steeple at _Manresa_ from A.D. 1572 to 1590.

CARPINTERO [MACÍAS]. A native of Medina del Campo, and Architect and Sculptor of the College of _San Gregorio, Valladolid_, in A.D. 1488. He is said to have committed suicide in A.D. 1490.

CARREÑO [FERNANDO DE]. Master of the Works at the _Castle, Medina del Campo_, 1440.

CASTAÑEDA [JUAN DE]. Architect at _Burgos_ A.D. 1539. He was one of the Cathedral architects, and wrought under Felipe de Borgoña in the rebuilding of the Cimborio, which he completed in A.D. 1567. He is said to have designed the _Gateway of Sta. Maria at Burgos_.

CASTAYLS [MAESTRO JAYME]. Sculptor, _Tarragona_, in 1375. Executed by contract some of the Statues in the Western Doorway of the Cathedral, under the direction of Bernardo de Vallfogona, the Master of the Works. He executed three of the Apostles and all the Prophets, and bound himself to make them all life-size.

CEBRIAN [PEDRO]. Master of the Works, _Leon_ Cathedral, A.D. 1175.

CENTELLAS [EL MAESTRO]. Made the Stalls for the Choir of _Palencia_ Cathedral in A.D. 1410. A native of Valencia.

CERVIA [BERENGUER]. Made the terra-cotta Statues in the South Door of GERONA Cathedral in A.D. 1458. He also made a Statue of Sta. Eulalia and a Cross of terra-cotta for a doorway in _Barcelona_ Cathedral.

CESPIDES [DOMINGO]. Maker of the iron Reja, east of the Coro, _Toledo_ Cathedral, in A.D. 1548.

CIPRES [PEDRO]. Maestro Mayor of _Gerona_ Cathedral in A.D. 1430.

ÇOLIVELLA [GUILLERMO]. Master of the Works at _Lérida_ Cathedral, A.D. 1397. He had contracted in A.D. 1391 for the execution of some Statues for a doorway, and was evidently therefore a working Sculptor.

COLONIA [FRANCISCO DE]. Said to have been related to Juan and Simon de Colonia. He was an Architect of Burgos, and was employed in A.D. 1515, and again in 1522, by the Chapter of _Salamanca_ Cathedral, to go there and examine the works to see that J. G. de Hontañon was executing them according to the plan.

COLONIA [JUAN DE]. Designed the upper part of the Western Steeples of _Burgos_ Cathedral. They were commenced in A.D. 1442, and in 1456 one Spire was completed, and the other nearly so. _San Pablo, Valladolid_, is also said by some to be his work in 1463. He was Architect of the Chapel of the Constable at _Burgos_ in 1487, and made the design for the Church at _Miraflores_, for which he was paid 3350 maravedis. He is said to have been a German by birth, and to have been brought to Spain by Bishop Alonso de Cartagena when he returned from the Council of Basel.

COLONIA [SIMON DE]. Completed the Church at _Miraflores_ from A.D. 1488 to 1500. He was son of Juan de Colonia, and died before A.D. 1512.

COMAS [PEDRO]. Maestro Mayor, _San Feliu, Gerona_, in A.D. 1385. He seems to have been Maestro Mayor of _Gerona_ Cathedral from A.D. 1368 to 1397.

COMPTE [PEDRO]. Architect at _Valencia_, employed on the Cathedral, and one of the Architects consulted as to the rebuilding of the Cimborio of _Zaragoza_, and the Architect of the Lonja at _Valencia_. In 1486 he superintended the laying of a marble pavement in the Cathedral there. He is described in a contemporary MS. as being “Molt sabut en l’art de la pedra.” He was made perpetual “Alcaide” of the Lonja, or Exchange, in 1498, with a salary of 30 sueldos a year. He was “Maestro Mayor” of the city, and was employed on some engineering works for it: one of them was the bringing the waters of the river Cabriel to augment those of the Guadalaviar, and in A.D. 1500 he was engaged on another similar work.

COVARRUBIAS [ALONSO DE]. A native of Burgos. He was one of the Architects consulted as to the erection of _Salamanca_ Cathedral in 1513. He competed with Diego de Siloe for the erection of the _Chapel “de los Reyes Nuevos,” Toledo_ Cathedral, and succeeded, 1531-4. Was Maestro Mayor of _Toledo_ from 1534 to 1566. Employed on the Archbishop’s Palace at _Alcalá_. Employed by the King on the Alcazars at _Madrid_ and _Toledo_ in 1537. He was paid 25,000 maravedis a year, and compelled to attend his work six months in the year, during which time he received four reals a day for maintenance. He married Maria de Egas, a daughter, it is thought, of Anequin de Egas; and his son was afterwards Bishop of Segovia. Various Royal writs in reference to his work and payment are given by Cean Bermudez, Arq. de Esp., i. 304-7.

CRUZ [DIEGO DE LA]. Assisted Gil de Siloe in his works in the church at _Miraflores, Burgos_, A.D. 1496 to 1499.

CUMBA [PEDRO DE]. “Magister et fabricator” of the Cathedral at _Lérida_ in A.D. 1203.

DEO [PETRUS DE]. Master of the Works at _San Isidoro, Leon_, in A.D. 1065. He also built a bridge called “de Deo tamben,” and seems to have had a great repute for sanctity.

DOLFIN [EL MAESTRO]. Painter on Glass. Commenced painting the windows of _Toledo_ Cathedral in A.D. 1418.

EGAS [ANEQUIN DE]. Of Brussels. Maestro Mayor of _Toledo_ Cathedral in 1459, and erected the façade “de los Leones” about that year. He had an “aparejador” (or clerk of the works), Juan (or Alfonso?) Fernandez de Llena.

EGAS [ANTON]. In 1509 was engaged at _Toledo_ Cathedral, and received two writs from the King ordering him to go to _Salamanca_ to assist other Architects in deciding on the plan of the new Cathedral. In A.D. 1510, conjointly with Alonso Rodriguez, he drew a plan for the Cathedral.

EGAS [ENRIQUE DE]. Succeeded his father as Maestro Mayor of _Toledo_ in A.D. 1494, and held the office until his death in A.D. 1534. He was summoned with other Architects to decide what should be done after the fall of the Cimborio at _Seville_. He built the Hospital “de los Espiritos,” at _Toledo_, in 1504-1514, and the Royal Hospital at _Santiago_ in 1519. Altered the Mozarabic Chapel at _Toledo_, and built the Hospital of _Sta. Cruz_, _Valladolid_; went in 1515 with two other Architects to examine J. G. de Hontañon’s work at _Seville_, for which he was paid 120 ducats of gold. He and Juan de Alava then made plans together for the _Capilla Mayor_ at _Seville_. He was ordered by the King to go to _Zaragoza_ to examine the Cathedral, but endeavoured to excuse himself on the ground that he had the Royal Hospital at _Santiago_ in hand. In 1529 he appears to have gone again to _Salamanca_ to see whether the work at the Cathedral was being done perfectly by J. G. de Hontañon. He went to _Malaga_ on another occasion with the same object. In a Royal writ issued in his favour, in A.D. 1552, he is called “Maestro de Canteria”--Master of Masonry.

ESCOBEDO [FR. JUAN DE]. A monk of the Convent of El Parral, Segovia. He repaired the Roman Aqueduct at _Segovia_ in A.D. 1481.

ESTACIO. Native of Alexandria, Engineer, constructed the Mole at _Barcelona_, 1477.

FABRE, OR FABRA [JAYME]. Was Architect of the Dominican Convent at _Palma, Mallorca_, in A.D. 1317. This seems to have had a single nave of enormous width. He was ordered in 1307 to go to _Barcelona_ to act as Architect at the Cathedral. In 1339 he assisted at the translation of the remains of Sta. Eulalia to the crypt under the high altar. He is said to have died circa 1388. He seems to have been the architect from whose work most of the later Catalan buildings were derived.

FAVARIIS [JACOBO DE]. A native of Narbonne, and Architect of the Chevet of _Gerona_ Cathedral in A.D. 1320.

FONT [CARLOS]. Of Montearagon. Was consulted with others as to the rebuilding of the Cimborio of _Zaragoza_ Cathedral in A.D. 1500.

FONT [JUAN]. Architect engaged on Steeple at _Manresa_ in A.D. 1572-90.

FORMENT [DAMIAN]. Executed the alabaster Reredos of _Huesca_ Cathedral in 1520-1533.

FRANCES [PEDRO]. Painter on Glass. Executed some of the windows of _Toledo_ Cathedral, circa 1459, in company with two Germans, Pablo and Cristóbal.

FRANCK [JUAN]. One of the Architects employed on the Tower of _Valencia_ Cathedral, between A.D. 1381 and 1418. He was employed in 1389 at the Monastery of _Guadalupe_.

GALLEGO [JUAN]. Master of the Works at _El Parral, Segovia_, in A.D. 1459-1472.

GALLEGO [PEDRO]. “Gobernador de los Torres” at _Leon_ Cathedral in A.D. 1175.

GARCIA [ALVAR]. Architect of _Avila_ Cathedral in A.D. 1091, a native of Navarre.

GOMAR [FRANCISCO]. Executed the Porch in front of the South doorway of _Lérida_ Cathedral, in A.D. 1490.

GOMEZ [ALVAR]. Maestro Mayor of _Toledo_ Cathedral; in A.D. 1418 he designed the West Front and Tower of the Cathedral. The papers in the archives of the Cathedral speak of him as “aparejador de las canteras,” which seems to imply that he was a superintendent of masons. He was appointed to this office in A.D. 1425, and is the first recorded to have held it; from his time the names of the architects of Toledo Cathedral are all known.

GUADALUPE [PEDRO DE]. Made additional Stalls for _Palencia_ Cathedral, and moved the old stalls from the choir into the nave, in A.D. 1518.

GUAL [BARTOLOMÉ]. One of the Architects summoned to the Junta at _Gerona_ in A.D. 1416. At this date he was Maestro Mayor of _Barcelona_ Cathedral, and calls himself “lapicida et magister operis.”

GUAS [JUAN]. Architect of the Convent of San Juan de los Reyes, _Toledo_, commenced in A.D. 1476. His portrait (together with those of his wife and children) is preserved in a mural painting in the Convent.

GUINGUAMPS [JOANNES DE]. “Lapicida” of the town of _Narbonne_, and one of the Junta of Architects at _Gerona_ in A.D. 1416.

GUMIEL [PEDRO]. Architect of SS. Just y Pastor, at _Alcalá de Henares_, in A.D. 1497-1509. He was “Regidor” of the city in 1492, and Architect to Cardinal Ximenes, and both their names were inscribed on the first stone of the College of _San Ildefonso_ at _Alcalá_, which was laid in 1497. He died circa 1516.

GUTIERREZ [ANTONIO]. Executed the Entrance to the Summer Chapter-house, _Toledo_ Cathedral, in A.D. 1504.

HENRICUS. “Magister operis” of _Leon_ Cathedral; he deceased in A.D. 1277.

HOLANDA [ALBERTO DE]. Painter on Glass, of Burgos. Executed several windows in A.D. 1520 for _Avila_ Cathedral at a charge of 82 maravedis the foot.

HONTAÑON [JUAN GIL DE]. Was Maestro Mayor of _Salamanca_ Cathedral when it was resolved to rebuild it. He made plans, which are still (it is said) preserved, with the signatures of four Architects who were called in to advise upon them. He seems, however, to have followed some plans prepared in A.D. 1510 by Alonso Rodriguez and Anton Egas, and to have been appointed Architect in 1513, after having given a joint report with nine other Architects on the mode of construction of the Cathedral. Subsequently other Architects, Martin de Palencia, Francisco de Colonia, Juan de Badajoz, and others, were summoned to _Salamanca_ by the Chapter to certify that he was adhering to the plan originally agreed to. In one of their reports they speak of a plan made by Juan Gil, of which they approve. In 1513, after the fall of the Cimborio at _Seville_, he was summoned (after a Junta of four Architects had reported) to superintend the work, and before 1522 he made plans for the new Cathedral at _Segovia_, which was commenced in that year. He deceased in 1531.

HONTAÑON [JUAN GIL DE]. Son of Juan Gil. Assisted his father in his work at _Salamanca_.

HONTAÑON [RODRIGO GIL DE]. Second son of Juan Gil. Continued his father’s works at _Salamanca_ (with a salary of 30,000 maravedis and a house) and _Segovia_; he erected the Pagan façade of the College at _Alcalá de Henares_, and churches in various towns. In the paper appointing him “Maestro Mayor” of _Salamanca_ Cathedral, he is called “Master of Masonry.” His will proves that he contracted for as well as designed some buildings, as he complains bitterly of the losses he has sustained in this way, especially in the Church of _San Julian_ at _Toro_, for which he could not get paid. This will is dated May 27, 1577.

JUAN [PEDRO]. Sculptor. Executed the Reredos of _Tarragona_ Cathedral in 1426-36.

LAPI [GERI]. Embroiderer, of Florence. He made an Altar-cloth for the Collegiate Church at _Manresa_, which still exists, and is inscribed with his name.

LLENA [JUAN FERNANDEZ DE]. “Aparejador” or assistant to Anequin de Egas, Architect of _Toledo_ Cathedral in A.D. 1459.

LLOBET [MARTIN]. Completed the Micalete at _Valencia_ in A.D. 1424. He seems to have been a mason, and contracted for the execution of the work.

LOQUER [MIGUEL]. Made the Canopies of the Upper Stalls in the Coro of _Barcelona_ Cathedral in A.D. 1483.

LUNA [HURTADO DE]. Maestro Mayor of the Church at _Irun_ in A.D. 1508.

MAEDA [JUAN DE]. Assistant to Diego de Siloe, who by his will, in A.D. 1563, left him all his plans and designs.

MANSO [PEDRO]. Enlarged the Reredos in _Palencia_ in A.D. 1518.

MATHEUS. Master of the Works of _Santiago_ Cathedral, from A.D. 1168 to 1188.

MATIENZO [G. FERNANDEZ DE]. Architect of Church at _Miraflores_, from A.D. 1466 to 1488, after the death of Juan de Colonia.

MOTA [GUILLERMUS DE LA]. “Socius magistri” of _Tarragona_ Cathedral, and one of the Junta of Architects at _Gerona_ in A.D. 1416. He completed the Retablo of _Tarragona_ Cathedral (commenced by Pedro Juan in 1426).

NARBONNE [ENRIQUE OF]. Architect of Chevet of _Gerona_ Cathedral in A.D. 1316.

NAVARRO [MIGUEL]. Contracted for the erection of the Cloisters of _San Francesco el Grande, Valencia_, in A.D. 1421.

NIETO [ALONSO]. Appointed “Obrero Mayor” of the Works at the Castle “de la Mota,” _Medina del Campo_, in A.D. 1479.

OLOTZAGA [JUAN DE]. Designed and commenced the Cathedral at _Huesca_ in A.D. 1400. He is said to have carved the statues for the façade.

OROZCO [JUAN DE]. One of the Junta of Architects assembled at _Salamanca_ in A.D. 1512.

ORTIZ [PABLO]. Executed the Monuments of the Constable Alvaro de Luna and his wife, in the _Chapel of Santiago_ in _Toledo_ Cathedral. He obtained this work in a competition, and contracted for its execution in A.D. 1489.

PARADISO [MATEO]. Architect of the Tower on the Bridge of Alcantara, _Toledo_, in A.D. 1217.

PEÑAFREYTA [PEDRO DE]. Master of the Works of _Lérida_ Cathedral, deceased in A.D. 1286.

PEREZ [PEDRO] or “PETRUS PETRI.” Master of the Works of _Toledo_ Cathedral. He deceased in A.D. 1290.

PITUENGA [FLORIN DE]. Superintendent of Works in building the Walls of _Avila_ in A.D. 1090. He is said to have been a Frenchman.

PLANA [FRANCISCO DE]. A Catalan, Maestro Mayor of _Gerona_ Cathedral circa A.D. 1346-1368.

RAYMUNDO. Master of the Works of _Lugo_ Cathedral, which was commenced in A.D. 1129. The agreement for his payment is given at p. 131. He was evidently the Architect, and not the builder, of the Cathedral.

RIO [FRANCISCO DEL]. Built the Steeple of La Magdalena, _Valladolid_, under contract, and according to the plans of Rodrigo Gil de Hontañon, in 1570.

ROAN [GUILLEN DE]. Maestro Mayor of _Leon_ Cathedral; he deceased in A.D. 1431, and on his monument he is called “Maestro” of Leon and “aparejador” of a chapel at _Tordesillas_, in which he was buried.

RODRIGO. Sculptor of the lower range of Stalls in the Coro of _Toledo_ Cathedral in A.D. 1495.

RODRIGUEZ [ALONSO]. Maestro Mayor of _Seville_ Cathedral in A.D. 1503. In 1510, at the command of the King, he went to _Salamanca_ with Anton Egas, and prepared a plan for rebuilding the Cathedral, and afterwards went to the island of _San Domingo_ to build a Church at _Sanlucar_.

RODRIGUEZ [GASPAR.] Made the Iron Screen across the Coro of _Palencia_ Cathedral in A.D. 1555.

RODRIGUEZ [JUAN]. Built the Church of _San Pablo, Burgos_, between A.D. 1415 and 1435.

ROMANO [CASANDRO]. Superintendent of Works in building the Walls of _Avila_ in A.D. 1090.

ROQUE [EL MAESTRO]. Built the Cloister of _Barcelona_ Cathedral, which was completed in A.D. 1448. He was appointed Master of the Works in A.D. 1388.

RUAN [CARLOS GALTES DE]. Master of the Works at _Lérida_ Cathedral A.D. 1397 to 1416. He was employed on the Campanile.

RUESGA [JUAN DE]. An inhabitant of _Segovia_. Was employed by the monks of _El Parral_ to reconstruct the Gallery for the Coro in their Church in A.D. 1494; he also completed _Palencia_ Cathedral A.D. 1506-1510, and seems to have been a builder rather than an architect.

SAGRERA [GUILLERMO]. Master of the Works of _S. John, Perpiñan_, in A.D. 1416. In the same year he served on the Junta of Architects at _Gerona_. In 1426 commenced the Lonja or Exchange at _Palma_ in _Mallorca_, for which he was both Architect and Contractor, and carried it on until A.D. 1448 or 1450, when he quarrelled and went to law with his employers. He then went to _Naples_, and commenced the _Castel Nuovo_ there in 1450, of which he is described as “Protomagister” in a Royal writ of that year.

SALÓRZANO [MARTIN DE]. Contracted to complete _Palencia_ Cathedral in A.D. 1504, and deceased in 1506.

SANCHEZ [BONIFACIO]. Was Maestro Mayor of _Toledo_ Cathedral in A.D. 1481-94, and designed the Entrance to the old Sacristy.

SANCHEZ [MARTIN]. Executed the Stalls in the Coro of the Church at _Miraflores_, near _Burgos_, in A.D. 1480.

SANCHEZ [PEDRO]. “Mayordomo” of the Castle at _Burgos_ during its construction in A.D. 1295.

SAN JUAN [PEDRO DE]. A native of Picardy, and Maestro Mayor of _Gerona_ Cathedral in A.D. 1397.

SANTA CELAY [MIGUEL DE]. Architect of the Church of _San Vicente, San Sebastian_, in A.D. 1507.

SANTILLANA [JUAN DE]. Executed the painted glass at _Miraflores, Burgos_, circa 1480.

SARAVIA [RODRIGO DE]. One of the Junta of Architects assembled at _Salamanca_ in A.D. 1512.

SILOE [DIEGO DE]. Son of Gil de Siloe the Sculptor. One of the revivers of Pagan art in Spain. He executed various works in _Granada_, _Seville_, and _Malaga_, and deceased in A.D. 1563.

SILOE [GIL DE]. Sculptor of the Monuments of Juan and Isabel, and of Alfonso their son, in the Church at _Miraflores, Burgos_, and of the Retablo in the same Church, between A.D. 1486 and 1499.

TORNERO [JUAN]. One of the Junta of Architects at _Salamanca_ in A.D. 1512.

TUDELILLA. Of _Tarazona_. Architect of the Cloister of _Sta. Engracia, Zaragoza_, in A.D. 1536.

URRUTIA [JUAN DE]. Architect of the Church of _San Vicente, San Sebastian_, A.D. 1507.

VALDEVIESO [JUAN DE]. Executed Stained-glass in the Church at _Miraflores_ in A.D. 1480.

VALDOMAR. Architect of West end of Nave of _Valencia_ Cathedral in A.D. 1459.

VALLEJO [JUAN DE]. One of the Architects of _Burgos_ Cathedral. He was consulted as to the rebuilding of _Salamanca_ Cathedral in 1512, and wrought under Felipe de Borgoña in rebuilding the Cimborio of _Burgos_ Cathedral, between A.D. 1539 and 1567. He built the Renaissance Gateway on the East side of the South Transept between 1514 and 1524.

VALL-LLEBRERA [PEDRO DE]. Architect of the Steeple of _Sta. Maria Cervera_, A.D. 1431.

VALLERAS [ARNALDUS DE]. “Lapicida” and “Magister operis” of the Collegiata at _Manresa_. One of the Junta of Architects consulted at _Gerona_ in A.D. 1416.

VALLFOGONA [BERNARDO DE]. Maestro Mayor of _Tarragona_ Cathedral in A.D. 1375.

VALLFOGONA [PEDRO DE]. Executed Reredos of High Altar, _Tarragona_, and was one of the Junta of Architects at _Gerona_ in A.D. 1416.

VALMESEDA [JUAN DE]. Executed the Statues in the Reredos, _Palencia_ Cathedral, in A.D. 1518.

VANTIER [ROLLINUS]. Maestro Mayor of _Gerona_ Cathedral in A.D. 1427.

XULBE [JOHANNES DE]. One of the Junta of Architects assembled at _Gerona_ in A.D. 1416. He describes himself as son of Paschasius de Xulbe and “Lapicida.”

XULBE [PASCHASIUS DE]. Master of the Works of Church at _Tortosa_, and one of the Junta of Architects at _Gerona_ in A.D. 1416.

ZACOMA [PEDRO]. Architect of the Tower of _San Feliu, Gerona_, in A.D. 1368.

(C.)

DOCUMENTS RELATING TO THE CONSTRUCTION OF THE NEW CATHEDRAL AT SALAMANCA.

_Royal Order of Ferdinand the Catholic, requiring Alfonso Rodriguez to go to Salamanca to choose the site and to make a design for the Construction of the Cathedral._

The KING to the MASTER MAJOR of the Works of the Church of Seville.

Since it has now to be decided how the Church of Salamanca may be made, in order that the building and its design may be made as it ought, I agree that you may be present there. I charge and command you that, instantly leaving all other things, you may come to the said city of Salamanca, and, jointly with the other persons who are there, you may see the site where the said church has to be built, and may make a drawing for it, and in all things may give your judgment how it may be the most suited to the Divine worship and to the ornature of the said church; which, having come to pass, then your salary shall be paid; which I shall receive return for in this service.

Done in Valladolid, the 23rd day of the month of November, 1509, &c.[456]

_Order of the Queen Doña Juana to the same._

Recites that the King, her Lord and Father, had given an order, which she repeats, quoting the document above given, and then proceeds:--“And now, on the part of the Church of the said city of Salamanca, relation has been made me, that, although the said order was notified to you, until now you have not come to do anything in the business of which mention is made therein, making various excuses and delays; and it has been demanded of me, as for this cause of your not having come there is much delay in the work of the said church, to order you at once to come to the said city of Salamanca to make yourself acquainted with the affairs contained in the said order, as was by it commanded, or as my will might be; which, being seen by those of my council, it was agreed that I should order this my letter to be given for the said reason; and I find it good, as I command you, that immediately that this my letter shall be made known to you, without making any excuse or delay, you shall go to the said city of Salamanca, according and as by the said order was commanded, in order that, conjointly with the other persons who have to make themselves acquainted with the before-said matter, thou mayest give a plan how the said church may be made, which done, the salary will be paid you for the said church, which you are entitled to have for the coming, and staying, and returning to your house; and thou mayest not fail in this, under pain of my displeasure, and of 50,000 maravedis for my treasury.

“Given in the most noble city of Valladolid, 26th day of the month of January, from the birth of our Saviour Jesus Christ 1510 years.”[457]

_Writ of Ferdinand the Catholic to Anton Egas, ordering him to go to Salamanca to choose the site and make the plan for the Cathedral, November 23rd, 1509._

Anton Egas is ordered to go at once, and, jointly with the other architects there assembled, make a plan, &c.; which done, his salary, which he receives on service, shall be paid him there. This writ is endorsed as having been served on his two maids, Maria and Catalina, he and his wife being both away.

_Declaration or Information which Alonso Rodriguez and Anton Egas made before the Chapter of Salamanca on the mode of constructing the Cathedral._

In Salamanca, the second day of the month of May, 1510, Señor Gonzalo de San Vicente, representative of S. A., being with the Chapter, present the Reverend Señors D. Alfonso Pereira, Dean of Salamanca, and other persons, dignitaries and beneficiaries, who were in Chapter, in order to acquaint themselves touching the order and plan of their church, oath being taken in the due form by the Señors Alonso Rodriguez, Maestro of Seville, and Anton Egas, Maestro of Toledo, persons deputed by his Highness for the ordering and planning of the said church, that all affection and passion, partiality and interest, or any other cause, being well and faithfully postponed, they determine and declare, according to God and their conscience, the most commodious plan and site that may be fitting for the adornment of the said church, and for the utility of it and of this city, without prejudice and wrong to the Schools of this University of Salamanca; both of whom made the said oath, and replied to its confession, and said, “So I swear, and Amen.”

And under the said oath they presented a plan and outline of the said church, drawn on parchment to the heights and widths of the naves, and thicknesses of the walls, and projections of the buttresses, the whole taken in writing by me the said notary; the which they affirmed by their names in my presence, and said that the site marked out by them for where the said church--our Lord permitting--ought to be, would not do any wrong or prejudice to the said Schools, rather they would be benefited and adorned, because the site of the said church commences ten feet further from the gate “del Apeadero” of the Schools, being set back from the street by the said Schools fifty feet, in front of the said church, from the line of the church as it now is. And because there was a diversity in the opinion of these Masters as to the proportion of length to breadth in the Capilla mayor, they agreed to meet in Toledo in ten days, and to select an umpire between them if it were necessary, so that the decision should be arrived at with more circumspection, and sent within fifteen days to the said Señor San Vicente, or to this Chapter.[458]

_Declaration or Judgment which was pronounced in Salamanca in a Junta which was held Sept. 3rd, 1512, by the Masters of Architecture Anton Egas, Juan Gil de Hontañon, Juan de Badajos, Juan de Alava, Juan de Orozco, Alonzo de Covarrubias, Juan Tornero, Rodrigo de Saravia, and Juan Campero, as to the mode of constructing the Cathedral._

That which appears to the Masters who were called and assembled by the most reverend and most magnificent in Christ, Father and Lord Don Francisco de Bobadilla, by the grace of God, and of the Holy Church of Rome, Bishop of Salamanca, and of the Council of the Queen our Lady, and by the Reverend the Dean and Chapter of the Church of Salamanca, to give the plan of the site and building of this holy church and temple, which it has been unanimously decided by the said Lord Bishop and Chapter--our Lord helping--to make and begin, is as follows:--

Firstly, the said Masters decided that the site of the church should be in length as far as the church of San Cebrian, and in width as far as the Schools.

_Item._--That the three clear naves should begin from the line of the tower unto the place of the Schools, so that all the three doors of the front may show themselves and be clear of the tower.

_Item._--They determine that the church should be directed and turned as much as possible to the east; and it appears to them that it can turn directly to the said east.

_Item._--They determine that the principal nave may have fifty feet in width in the clear, and a hundred and ten in height.

_Item._--That the side naves shall have thirty-seven feet in clear width, and seventy feet in height, or seventy-five, not being of the height of the other.

_Item._--They determine that the chapels opened in the side walls may have twenty-seven feet in clear width, and forty-three or forty-five in height.

_Item._--That the three gable walls of the west front may have all three seven feet of thickness, and the side walls throughout the church six feet; but to some of the said Masters it appeared that the end walls should be eight feet in thickness.

_Item._--That the buttresses of the end walls may project beyond the wall twelve feet, and in thickness may have seven feet in front.

_Item._--That the buttresses of all the side walls of the church may be five feet thick in front, and project six feet beyond the wall outside.

_Item._--That the divisions of the chapels in the walls may be seven feet thick.

_Item._--That the four principal columns of the Cimborio may be eleven-and-a-half feet thick.

_Item._--They determine that the head of the Trascoro may be octagonal.[459]

_Item._--They determine that the Capilla mayor may have in length and breadth two chapels of the sides.

_Item._--That the chapels in the walls of the Trascoro may be twenty-seven feet in depth from wall to wall, and that in the spaces of the walls and buttresses in the angles of the octagons, which are formed between the chapels on the outside, sacristies for each chapel may be made.

_Item._--They declare that the feet of which in this their declaration and determination mention is made, are to be taken as the third of a yard; and (marking out the form of the said church) the said Masters declare that from the mark towards the door of the Schools to the first step there may be seven yards and a third, which is twenty-two feet.

_Item._--They declare that the wall of the west front within the tower has to be begun forty-nine feet from the corner of the said tower on the inside, and should be in thickness from there forward so much as to leave forty-nine feet of the tower visible.

_Item._--They declare that the wall of the side nave, from towards the old church, has to come with the side of the tower, and has to contract itself the thickness of the said wall in the said tower.

And inasmuch as some persons, as well members of the Chapter as out of it, have held certain opinions in regard to the site of the said building, and where it ought to stand, the said Lord Bishop and Chapter, desiring to avoid and escape such opinions as at present and in future may impede the order and form of the said building, command the said Masters to give the reasons and motives that may have moved them to direct and propose the site and position determined on by them, and not the other places, lines, or sites suggested; and that they should say specifically for their satisfaction why, with all quietness and willingness, the order, form, and site laid down by them may be followed. The which said Masters, in order to satisfy the persons who either held or might hold opinions contrary to their own, gave the following reasons:--

Firstly. That making or putting the church in another part or site than that determined on by them, it and its cloister would be separated from the view of the city, and would be concealed; that it could not be seen round about, only the end wall by itself, and the Chevet by itself, and there would be no entire view.

The second reason is, that the said church would be put behind the schools from the Crossing almost to the end, where the best view and the most frequented part of the church ought to be, because there the doors have to be placed.

The third reason is, that of the cloister--which already exists--the two parts are so placed that it would leave a narrow passage between the church and the Archbishop’s chapel, and the library and Chapter-house, and the said chapels would remain separated, and one would enter them from the narrow passage, and in a roundabout way; for though it might be desired to make a door from the Chevet, it could not be done, because the sacristy would prevent it.

The fourth reason which they give is, that if the said church has to be moved to another site opposed to that declared and determined on by them, the tower would have to be destroyed, which is a good and singular work, and could not be rebuilt without a great sum of maravedis, and the church could not be without a tower.

The fifth reason is, that if the said church has to be moved to another site, it will be necessary to take down the house of the said Lord Bishop, and to restore it opposite the front of the church; and in order to restore it, besides the great sum of maravedis it would cost, it would be necessary to destroy fourteen houses, the rent of which is of much value, and this would be costly to the church, and involve loss to the treasury of the Chapter.

The sixth reason is, that in order to make the cloister on another site contrary to their determination, many houses must be taken; and in order to make it on the south, it would be necessary to go into it by what is called the River-door, and afterwards to be more away from the city, and out of view; and it would be very costly to make the foundations of such great depth, and to raise the walls to the level of the church.

The seventh reason which they give is, that the Chevet of the church would cover the door of the chapel of the Archbishop and the library in order to join them.

The eighth reason which they give is, that the Crossing would not come in the line of any street, and there would be no way out by way of the cloister, because the new and old cloister would stop it; and supposing a remedy to be sought, by separating the new cloister, it would be so high when they had to go out, that it would have at least more than fifteen steps, and the entrance would be by a narrow passage; because on one part would be the new cloister, and on the other part of the old cloister the chapel of the Archbishop.

The ninth reason which they give is, that the church would encroach upon the principal street of the schools, which comes before the house of his Lordship, and the other street, “_del Desafiadero_;” so that if there was none at the apse of the church there would be no way out; and the height of the church, putting it so much between the sun and the schools on the south, would take away much of their light, and darken them much.

The which reasons they give against the opinions of them who say or desire to say that the site of the said church should be towards the house of the Lord Bishop, and towards the street “_del Desafiadero_;” and in order to answer the other opinion of some who argue that the site of the said church could go through the cloister, which is already built to the River bridge, because this would not be a convenient site for the church; and in order to oppose the opinion for it, they give the following reasons:--

Firstly. That it would be more separated from the city, and would not go well with the schools, and would lack the appearance which it would have going, as is agreed, towards the schools.

The second reason which they give is, that it would stand at an angle with the schools, and would be an ugly thing, and the façades of the church and the schools would not be harmonized together by the said arrangement of the plan.

The third reason which they give is, that the Plaza of the Lord Bishop’s house would be narrowed in great part, so that the Plaza would be a street; and the height of the church would shut out the sun from the said house of his Lordship, and would stifle it very much; and the doors of the church would be behind the tower in the view as one comes from the city through the Street of the Schools.

The fourth reason which they give is, that the west front of the church would have to join the wall of the Archbishop’s chapel, and through its inequality and depth it would be necessary to have many steps through that part, and towards the town not any, and this would be a defective and ugly thing.

The fifth reason which they give is, that, making the cloister towards the Schools, all the view of the church would be shut out, and the cloister would be gloomy, and it would be without the harmony and order of good churches, and without grace.

The sixth reason which they give is, that the church standing close to the chapel of the Archbishop and the library, its height would shut out the light from the small chapels in the walls, and there would be no exit for the water from the roof of the middle of the church at that part.

The seventh reason which they give is, that in order to make the new church it would be necessary to clear out immediately all the church and the cloister, and the chapel of the Doctor of Talavera, and of Sta. Barbara, and the Chapter-house; and in their opinion it would be a grand inconvenience to be so many years without having where to celebrate the Divine offices.

The eighth reason which they give is, that if the church is separated from above, and put as in a corner, part in the shade through the one part of the tower and the cloister, and through the other of the library and the chapel of the Archbishop, it could not have as much of its walls in light as is convenient.

The ninth reason which they give is, that the door of the transept would come out so high from the street, in their opinion, as more than ten or twelve steps, and would cut across the street “_del Chantre_” and would be bad in its arrangement, and a place where nuisance would be caused.

This opinion having been given, it is then pronounced by the deputies appointed by the Chapter to confer with the architects, that as they were all agreed both as to the site and as to the general form of the church, and as they are such learned and skilful men, and experienced in their art, their opinion ought certainly to be acted on. But for the more certainty it was thought well to make every one of the architects take an oath, “by God and St. Mary, under whose invocation the church is, and upon the sign of the cross, upon which they and each of them put their right hands bodily,” that they had spoken the entire truth, which each of them did, saying “So I swear, and amen.”[460]

The report of the architects having been received, the Chapter then say that the many singular and great Masters of the Art of Masonry (canteria) who had been consulted had agreed on a plan, but that it will be necessary to choose and elect a Master (Maestro) and an overseer (aparejador).[461] On the same day, Sept. 3rd, 1512, Juan Gil de Hontañon, “Master of Masonry,” was appointed principal master of the works (Maestro principal), and Juan Campero, mason, overseer, with a salary to the former of 40,000 maravedis a year, and 100 maravedis more for each day that he assisted at the works; and to the latter of 20,000 maravedis a year, and 2½ reals per day.[462] And on the 10th May, 1538, Roderigo Gil de Hontañon was appointed principal master of the works, with the salary of 30,000 maravedis a year. Alonso de Covarrubias seems to have been joined with Rodrigo Gil de Hontañon as master.[463] By R. G. de Hontañon’s will it seems that he also had a house rent free from the Chapter.[464]

(D.)

SANTIAGO CATHEDRAL.

_Warrant of King Ferdinand II., issued in 1168, in favour of Mattheus, Master of the Works of Santiago Cathedral, copied from the Archives._

In nomine Domini nostri Jesu Christi. Amen. Majestati regiæ convenit eis melius providere, qui sibi noscuntur fidele obsequium exhibere, et illis præcipue, qui Dei sanctuariis et locis indesinenter obsequium probantur impendere. Ea propter ego Fernandas Dei gratia Hispaniarum Rex ex amore Omnipotentis Dei, per quem regnant reges, et ob reverentiam sanctissimi Jacobi patroni nostri piissimi, pro munere dono, et concedo tibi magistro Matheo, qui operis præfati Apostoli primatum obtines et magisterium, in unoquoque anno in medietate mea de moneta Sancti Jacobi refectionem duarum marcharum singulis hebdomadibus, et quod defuerit in una hebdomada suppleatur in alia, ita quod hæc refectio valeat tibi centum maravotinos per unumquemque annum. Hoc munus, hoc donum do tibi omni tempore vitæ tuæ semper habendum quatenus et operi Sancti Jacobi, et tuæ inde personae melius sit, et qui viderint præfato operi studiosius invigilent et insistant.

Si quis vero contra hoc meum spontaneum donativum venerit, aut illud quoque modo tentaverit infringere, iram incurrat decunti pertinentis, et iram regiam, et mille aureos parti tuæ tamquam excomunicatus cogatur exolvere. Facta carta apud Sanctum Jacobum, viii. kalendas Marti, Era M. CC. VI. Regnante rege Dño Fernando Legione, Extremadura, Gallecia in Asturiis.

Ego Dñs F. Dei gratia Hispaniarum Rex hoc scriptum quod fieri jussi proprio robore confirmo.

[Signed also by various Bishops and Grandees.]

(E.)

SEGOVIA CATHEDRAL.

_Memoir of the Canon of Segovia Juan Rodriguez, in which is related all that happened as to the Construction of the Cathedral from the year 1522, in which he began to exercise the government and administration of the fabric, until the year 1562, in which, through infirmity, he gave it up._--From the Archives of the Cathedral.

After reciting his pious reasons for his undertaking, he continues his Memoir as follows; entering first of all into various particulars in reference to the subscriptions for the work and so forth, he then goes on:--

“We commence, in the name of God, to give an account of the form and order which prevailed in the work of the said church and cloister, Chapter-house, libraries, tower, sacristy, and place for relics,[465] and all the other necessary offices, which until this time have been paid for, and now belong to the said holy church, free from all interest or tax.

“Commencing at the beginning, which was in the said year of 1520, when the Chapter was driven out of the other church by reason of the alterations already mentioned, they had the divine offices in the Church of Sta. Clara, which the monks of the order of Sta. Clara had left, who at present reside in the monastery of San Antonio el Real; and beginning by having the divine office on the floor of the church on some benches or logs of wood, which were placed for it from the door of the church as far as the rooms of the keepers of the wardrobe of the convent which were there, afterwards they made a tribune on some pieces of timber or posts for the Coro, in order to have the holy office; and afterwards they put the altars right with Retablos and images, which they brought from the old church; and they put right the old cloister, which had some high battlements; and they overcame difficulties and put everything in order to be able to make use of it, and set right the chapel where the Crucifix and Sacrament were, and where the chaplains said their office. Then, likewise, was made a hall of the old corridors, in which the Chapter was held, where it was for some years, until that one was made below close to the chapel of the Crucifix. And then the tower was raised, and there they placed some of the bells of the other old church, and others they made new in the town of Olmedo; and they got a new clock from Medina del Campo, and put the whole in the old tower.

“Then, in consequence of the narrowness of the church, they took some houses in which lived the wardrobe-keepers, and pulled them down, and made a wall of lime and stone in front, and placed there the Coro of the old church, and repaired it in the said place where the divine office was said, and placed the iron screens of the two Coros; the whole of which was done between the said year of 1520 and June 8th, 1522, when, by the consent and resolution of the Lord Bishop D. Diego de Rivera, and of the Dean and Chapter of the said church, it was agreed to commence the new work of the said church, to the glory of God, and in honour of the Virgin Mary and the glorious San Frutos and All Saints, taking for master of the said work Juan Gil de Hontañon, and for his clerk of the works (aparejador) Garcia de Cubillas.

“Thursday, the 8th of June, 1522, the Bishop ordered a general procession with the Dean and Chapter, and clergy, and all the religious orders. Solemn mass was said in the Plaza of San Miguel, before the doors of the said Church of Sta. Clara, and there was a sermon, and absolution, and general pardon to all who had erred; and they demolished the other church, and gave absolution for all the faults and sacrileges which might be committed in it, as is the case in all general pardon of sins. From there the Bishop, Dean and Chapter, clergy and religious, went in procession to the part where was the foundation of the principal wall of the foot of the holy church, and in that place where the principal door was to be, which is now called ‘del Pardon;’ and the Master of the works and the officials being there with stone and mortar, the Lord Bishop placed the foundation in the middle where the said door had to come, which is called ‘del Pardon.’ Giving first his benediction on the commencement of the work, he put a piece of silver with his face on it, and others of metal with certain letters, and upon them placed the stone and mortar. The workmen then raised the building.

“All this solemnity, as I have told, began to the glory of God our Lord, the Virgin Mary, and All Saints, for the promotion of the said work. This was settled and arranged between the Lord Bishop, the Dean and Chapter, to be executed in masonry of a rough description, by reason of the great poverty of the said church. And I then, feeling this, conferred on this matter with the said Juan Gil de Hontañon and Garcia de Cubillas, and it seemed to them to be a great pity to execute the work in such a way in so celebrated a city. And the Lord Bishop, the Dean and Chapter, having considered this, thought it well to give leave, confiding in the providence of our Lord, that it should be done as I had petitioned, for which many thanks be given to our Lord.”

“The building being commenced, as I have said, on Thursday, July 8th, 1522, was carried on according to the plan first of all given, beginning from the principal door at the foot of the church, which is called ‘del Pardon,’ corresponding to the principal nave, and going on in order, taking the chapel and the chapels in the walls, of which there are five on either side, ten in all, where at present the private masses and endowments which the said church has are said.

“After the same manner the principal pillars in the said church were built, which divide, and on which is raised the principal nave, and on either side one, in all five collateral naves; the principal, of 115 to 120 feet in height, and 54 in width, from line to line; the collaterals, 80 feet in height each one of them, and 38 in width, and the chapels between the buttresses, of which there are ten, 50 feet of height, and 26 in width, as, thanks to God, they have all been made and finished to perfection, as may be seen.

“The building, so far erected, reached only to the two principal pillars of the Crossing, which are twelve feet in width, because they are the two upon which the Cimborio will have to be built, and the other two pillars will embellish the work which has to be done presently, when the Capilla mayor and the Crossing are erected. The other round pillars of the body of the said church are ten feet in thickness, and are ten in all, and upon them were built the main nave and its collaterals.

“Likewise I may mention that these principal pillars, for fear there should be any misfortune or bursting in the work, were all compacted throughout their body, with shaped stones, in pieces of the same thickness as those which are in the face of the work; so that there is not the least thing omitted which could give strength.

“Likewise the walls were made, three extending past the said three principal pillars, which were made for the Cimborio and Crossing, where the high altar was placed, and the Blessed Sacrament kept, and the conventual masses said; and on one side, towards the Alumzára, a little sacristy was made, or a vestry for the ministers of the high altar, where they kept their boxes for the things necessary for the altar and choir.

“Likewise the walls were built, where the stalls of the Coro are placed for the divine offices, ornamented and made up with such additional seats as were required, in order that they might occupy the width of the principal nave; and at the sides they made offices with their furniture for holding the singing and reading books for the divine offices of the said church, with doors at the sides for going out by at the sermon-time.

“Likewise they made high galleries on either side of the Coro, in which they placed the organs, finished and adorned, as, at present appears, for the service of our Lord.

“Likewise the cloister was founded, which was that which stood in the old church, which Juan Campero, master of masonry, undertook by contract for the sum of 4000 ducats, according to the contract with which he took it; and in the said buildings it was impossible to foresee, at the first, every necessary thing, because time and the work itself showed many things which at first were not known; and so, beginning to feel the said cloister would be low, by agreement with the said John Campero, they gave him 400 ducats, in order that he should raise it a yard, which gave him grace enough; and 70,000 maravedis, in order that he should do the door of the said cloister, which was not in his contract; and likewise he made a condition that he should not be obliged to go more than five feet below the ground.

“In the same manner they made many other adornments in the said cloister beyond what was in the contract with the said Juan Campero, such as making many things of granite, and others of carpentry, which were to have been of common masonry; which was all of much cost, so that the expenses mounted beyond the contract of the said Juan Campero another 4000 ducats, which was in all 8000, a little more or less, as appears by the account-book which the said Juan Campero kept.

“_Item._--To the glory of God and the honour of His Blessed Mother the building of the tower was commenced, which is at the lower end of the said church, and which is a very solemn edifice. Its bulk without the walls is thirty-three feet, and it is square. The walls are four from base to summit, and each one ten feet thick; and one of them which goes from the church is fifteen feet at the bottom.

“_Item._--This tower is more lofty than that of the cathedral at Seville, measured by a line, more than once brought from thence. It is wider than that of Toledo by one third part, as will be seen by those who like to measure it. This measures, as I say, 33 feet inside, and that of Toledo 22 feet. I say this in order that the goodness of this tower may be known. Outside the chapel and above it is another very good chapel for the service of the church, in which necessary things can be kept; and over this chapel, and in the said tower, is another chamber, where is placed the man who attends to the bells, with all his family, and with all the offices necessary for his living; and above this, in the said tower, is another chamber, which is where the bells are hung in their frames in their order. And above this chamber, at the four sides or corners of the said tower, there are four pillars, from which rise four flying buttresses, which support another building, after the fashion of a censer with its windows. The clock is here, &c.” “I hold this building of the tower to be noble and important, just as I hold it to be certain that it would be difficult to build it now for 50,000 ducats.”

“Likewise there are three principal chambers which abut against one wall of the tower, and go as far as the Calle Mayor of Barrionuevo, which measure 80 feet or more. One of them below is all made with a vault of good mason’s work for the workmen’s tools, timber, scaffolding, ropes, and other instruments required for the prosecution of the works; and when the said church is finished it will be kept for precious things of various kinds of which the church has need, for _autos_, &c., which take place in such churches, so as not to have to make them anew each time. This chamber has a very good door for entrance, and sufficient lights to enable them to keep everything that is required to be put there.

“Over this room, on the level of the cloister, is the cloister Chapter-room, which is 53 feet long, a little more or less, and 33 wide, with very good windows, and glazing, and wooden ceiling made with fretwork, admirably executed by the hands of good workmen; quite an important room. It is of the height proper for a good room. There is no other painting in it than an inscription all round. The pavement is of white and black stone, the black from Aillon, and the white Otero de Herreros. The seats are temporary; but a large quantity of walnut has been bought for them. The doors of the Chapter-room are all of walnut, made by very good workmen, and with frames of black elm.

“Before entering into the Chapter-house there is a staircase which has three landings for going to the library, with its steps of hard stone, and its breast-wall with the four Evangelists placed against the columns; and in the four windows which light the staircase are the four principal doctors of the Church; and below the said staircase is a room in a vacant space, whose windows look into the Calle de Barrionuevo, which is for the Secretary of the church to keep all the writings, and books, and bills of the said church, and is placed close to the Chapter-house, of which the said Secretary keeps the keys. This room is of the width of the staircase, and its size from the wall of the Chapter-house is 27 feet, which are what remain of the 80 over and above the 53 which the Chapter-house measures. The third part, and last in order of the abovementioned rooms, which is called the library, is the same width and length. It has four windows, two towards the street, and two towards the cloister, and in them medallions of SS. Peter and Paul, John Baptist, and John the Evangelist.

“And in order to answer satisfactorily any complaints of the Señores of the city, we may make a comparison with the Church of Salamanca, which is the same kind as this church, and commenced by the same Master, though this church is 100 feet broader than Salamanca, which was begun by the same Master a long time before that of Segovia was commenced anew. The said work at Salamanca had all the ground on which it was built, so that the site cost nothing, whereas at Segovia the whole site required was bought, and redeemed of rents which were heavy,” &c. &c.

(F.)

LIST OF SUBJECTS CARVED ON THE SCREENS ROUND THE CORO OF TOLEDO CATHEDRAL.

These screens extend across the west end of the Coro and along its northern and southern sides. The central subject over the western doorway, and two subjects on either side of it, have been destroyed in order to make space for a more modern sculpture. The side screens appear to have been cut off abruptly at the eastern end, so that possibly some subjects may have been removed from this part. The subjects are arranged as follows: Nos. 1 to 9, counting from the north-west angle of the screen to the western doorway; Nos. 12 to 19, from the central doorway to the south-west angle of the screen; Nos. 20 to 40 along the southern screen, going from west to east; and Nos. 41 to 61 along the northern screen, going from east to west. Some of the subjects are doubtful, and some unintelligible to me; and I have marked all such in this list with a note of interrogation. The whole of the subjects illustrate the earlier passages in the Old Testament in chronological order.

1. Chaos.

GOD looking at a broken ark, and fragments of rock on the ground.

2. Creation of the firmament.

GOD standing with sea behind, and supporting an arc over His head.

3. Creation of fowls and fishes.

Central figure of GOD, birds flying above, fishes and birds swimming below.

4. The creation of sun, moon, and stars.

GOD with His hands extended. In the two upper corners (dexter side) the sun and four stars; (sinister side) the moon and four other stars. There are clouds round the feet of GOD.

5. GOD reverenced by angels.

A standing figure of much majesty, with four angels on either side, some kneeling, some standing.[466]

6. Fall of Lucifer.[467]

In the centre GOD, and on either side, above, angels; and below, figures falling headlong.

7. The Creation of Adam.

GOD moulding a figure into the shape of a man.

Nos. 8 and 9, the central subject over the doorway into the Coro, and 10 and 11 are destroyed.

Nos. 12 and 13 are transposed.

13. GOD meeting Adam and Eve, and showing them the tree in the garden.

12. GOD meeting Adam and Eve in the garden after the Fall.

They hold leaves in their hands.

14. The expulsion of Adam and Eve.

On the left a tree, in front of it a battlemented tower or gate, before which is an angel. Adam and Eve going away.

15. Adam tilling the ground, Eve with a child in her arms looking at him.

16. Cain killing Abel (?), or Adam finding the dead body of Abel. (?)

A man half supporting a dead body of a younger man.

17. Adam digging a grave for Abel.

A man digging in the ground.

18. GOD meeting Cain.

19. Two figures in a niche at the angle of the western and southern screens, both looking up as if in prayer.

“Then began men to call upon the name of the Lord.”

_South side._

20. (?)

A figure speaking to a boy; behind, and half-concealed among trees, another figure of a man naked.

21. (?)

A man with an axe which he has let fall. He has been cutting branches from a tree, and lifts up his hands in prayer: behind him stands a woman.

22. (?)

A man with a long axe resting from his labour; a woman stands behind him, and they both look towards a young man who speaks to them.

23. (?)

The end of a building. On the left of it an angel and a young man who looks out from it to the right, where are trees, and below them the mouth of a whale swallowing a man.

24. The burial of Methuselah. (?)

Five figures surrounding a tomb in which they bury a sixth.

25. Noah finds grace in the sight of the Lord. (?)

Two figures in supplication, apparently, before the third.

26. Noah and one of his sons before the ark.

Noah turns his head towards GOD, who speaks from a cloud and desires him to go into the ark.

27. The ark on the waters.

On one side of the roof a dove, and on the other one with a twig of a tree. The ark has three tiers of openings: beasts look out of the lowest, men and women from the next, and birds from the highest.

28. The ark resting on the land, and the drunkenness of Noah.

Above, Noah prays by a tree. Below, Ham lifts up the garment of Noah, who is lying on the ground, and Shem and Japheth, kneeling, cover their faces with their hands.

29. Probably the promise to Abraham that he should be the father of many nations. (?)

On the left, two figures conversing; on the right, three tiers of figures. Dead bodies below, two seated figures above them, and one seated figure above again.

30. Lot and the Angels.

Lot kneels before two angels.

31. Abraham’s sacrifice.

Isaac bound and lying on the ground. Abraham behind him looks back to an angel, who speaks and points to the ram in a thicket.

32. Abraham and Isaac.

Abraham binding the ram, Isaac standing looking on, with his hands in prayer.

33. Rebekah and Jacob.

Rebekah speaking to Jacob, who shows her that his arms have no hair on them.

34. Isaac blessing Jacob.

Isaac sits up in bed, turns his face away from Jacob, and feels his arms. The expression of blindness is extremely well conveyed.

35. Esau’s distress.

Isaac supports himself on one arm on his couch; with the other he gesticulates to Esau, who stands before him with his hand before his face, and evidently in grief.

36. Jacob’s dream. (?)

A man seated before a tree with his hand up to his face.

37. Jacob wrestling with the Angel.

38. Joseph sold to the Ishmaelites.

39. Joseph’s brethren return to Jacob with his coat.

40. Joseph’s brethren bowing down before him.

This is the last subject on the south side of the Coro. It is possible that it may have been returned on the eastern side of the columns at this point, so as to allow of two more subjects being introduced on either side; but if so, these subjects have been destroyed. The first six subjects on the screen on the north side, Nos. 41 to 46, are all very similar--a king seated, with generally many persons in various attitudes around him; possibly these subjects, with the four which may have been destroyed, represented the ten plagues of Egypt. I cannot discover any other explanation for them.

47. The institution of the Passover.

Figures marking the lintels and side posts of a house.

48. The institution of the Passover.

The sacrifice of the lamb, several figures standing round an altar.

49. The smiting of the first-born of the Egyptians. (?)

Two subjects, one above the other; in each a dead body laid out, and people looking on.

50. The passage of the Red Sea.

The people are walking on the water.

51. The drowning of the Egyptians.

52. Moses stretching his hand out over the water.

Moses stoops down and touches the water with his hand.

53. Exodus xvi. 10-12. “The glory of the Lord in the cloud.”

GOD speaking to a crowd of kneeling figures.

54. Exodus xvii. 45-6. Moses at the rock in Horeb. (?)

GOD (with a cruciform nimbus) speaking out of the clouds to Moses, who speaks to a group seated before him (probably the elders of Israel, v. 6).

55. Jethro, Zipporah, Gershom, and Eliezer coming to Moses. (?) Exodus xviii.

Moses kneeling on the right, three figures seated on the left, and another speaking from out of foliage above. I can think of no other subject which this sculpture can represent.

56. (?) The people giving their ear-rings to Aaron to make the molten calf. Exodus xxxii. 24.

Three figures on either side of one who stands in the centre. They seem to be throwing things into the flames, in the midst of which is a serpent.

57. Moses’ hands stayed up. Exodus xvii. 12. (?)

Three figures, two holding a book (apparently) under the hands of the fourth, who appears to be much fatigued. There are flames in the foreground, in the midst of which is a small head.

58. Exodus xix. 10. (?) The people washing their clothes at Moses’ order.

A central figure pointing to a sort of well in the centre.

59. Massacre of the worshippers of the molten calf.

60. Exodus xxiv. 29.

Moses holds the two tables of the Law, and is surrounded by other figures all touching the tables.

61. Exodus xxiv. 32, 33.

The two tables held by two figures above a draped altar; four figures kneeling before them.

With this subject the series concludes.

I have thought it quite worth while to give this short account of the work because it is rather rare to find so large a number of Old Testament subjects treated in this way. On the whole, too, I think that this is the most important work of the age in Spain. The sculptured works of this period (the fourteenth century) are comparatively rare. The most important of those which I have mentioned in this book are the north doorway of Toledo, which has a series of subjects in all of which the Blessed Virgin appears; at Burgos the three western doors, which have--(1) the birth of the Blessed Virgin, (2) the Assumption, and (3) the Coronation; in the south door, our Lord with the evangelists, saints, and prophets; and in the north door, the Last Judgment. At Leon, the three western doors, which have--(1) subjects from our Lord’s life, introducing the Blessed Virgin, (2) the Last Judgment, and (3) the Coronation of the Blessed Virgin Mary; the south transept, on one door our Lord, the evangelists and apostles, and on another the death of the Blessed Virgin Mary; the north transept, our Lord surrounded by saints. Avila cathedral has, over its north door, our Lord in the centre, the Betrayal, Last Supper, and Coronation of the Blessed Virgin Mary; and the Resurrection of the Dead in the archivolt; and there are various other smaller works, which will be found by reference to the Catalogue of Sculptures in the index to this volume. I know no other example of the introduction of Old Testament subjects.

In all these examples the character of the sculpture is very similar; the architectural framing of niches and canopies is of the best kind of Middle Pointed; and the draperies, faces, and pose of the figures are very much the same as one sees in work of the first half of the fourteenth century at Bourges and elsewhere in France. The subjects round the Coro at Toledo are superior to the others in the facility which the regularity of the openings gave for the free treatment of the sculptures, and in the variety of treatment which the subjects naturally involve. But on the other hand, the artistic skill of the sculptors who were employed at Leon cathedral seems to me to have been greater than that of the sculptors of any other Spanish work of the same age. And though the character, mode of design, and manner of execution are all extremely French, I do not know why we should have any doubt about the ability of Spaniards to execute such work, when we consider how exceedingly skilful they were in the succeeding age, when they perhaps excelled any other sculptors of the same period.

The French work to which this Spanish sculpture has most similarity, appears to me to be that of the three western doors of Bourges cathedral. In some respects, indeed, there is so much likeness between the two that one can hardly avoid supposing that the sculptor at Leon had himself been at Bourges. And it is interesting therefore to observe that one of the most remarkable series of sculptures illustrating the early portion of the Old Testament is that which is carved in the spandrels of the arcade which is carried all round the lower part of the jambs of the Bourges doorways. I have, in the earlier part of this work, observed that there is evidence of the same men having wrought at Burgos, Leon, Avila, and Toledo.

(G.)

AGREEMENT BETWEEN JAYME FABRE AND THE SUB-PRIOR AND BRETHREN OF THE CONVENT OF SAN DOMINGO, AT PALMA IN MALLORCA.

Sit omnibus notum, quod ego magister Jacobus Fabre lapicida, civis Majoricarum, præsenti stipulatione convenio vobis fratri Petro Alegre, gerenti Vices-Prioris conventus fratrum Prædicatorum Majoricarum antedicti et Notarij infra scripti stipulantis, vice et nomine dicti conventus; quod quando Prior dictæ domus fratrum Prædicatorum Majoricarum, vel ejus locum tenens, voluerit, et requisiverit me, quod redeam ad hanc civitatem Majoricarum ex Barchinona, quo iturus sum in præsenti, causa faciendi illuc aliqua opera, vel ea dirigendi cum licencia vestra, et fratrum dictæ domus, ad præces Illustrissimi Domini Regis Aragonum, et venerabilis Domini Barchinonensis Episcopi: ego illico recepta monitione vel requisitione vestra vel Prioris dictæ domus, seu ejus locum tenentis, omnibus operibus et negotiis postpositis, redeam ad hanc civitatem Majoricarum, salvo justo impedimento et quod vobis et fratribus vestri conventus faciam, et consumabo opera vestri monasterij, et alia opera faciam prout pactus sum, et facere teneor, ut continetur in quodam publico instrumento, facto inter me et venerabilem Fr. Arnaldum Burgeti, dudum Priorem dictæ domus; quod instrumentum sit validum, et nihil pro prædictis ille videatur innovatum, aut mutatum. Quod si per me steterit quod non redeam, cum citatus fuero, et non compleverim prædicta cum ea complere possim, tenear dare, et per validam, et solemnem stipulationem dare promitto operi vestri dicti monasterij in manu et posse Notarij infrascripti, vice et nomine dicti operis stipulantis, pro pena, et nomine penæ, quinquaginta libras regalium Majoricensium monetæ perpetæ minutorum, quæ pro damnis, et interesse computtantur, qua pena soluta, vel non, nihilominus rata maneant hæc prædicta, et cetera contenta in instrumento inter me et dictum fratrem Arnaldum Burgeti facto, et pro prædictis attendendis, et non contraveniendis, obligo vobis, et vestro conventui supradicto, et nomine infrascripti stipulantis, vice et nomine ejusdem monasterij me, et omnia bona mea, ubique habita, et habenda. Ad hæc ego Maymonus Peris civis Majoricarum,” &c. &c. “Actum est hoc Majoricis octavo idus Junii, anno Domini millessimo trecentessimo septimo decimo sig✠num Magistri Jacobi Fabre,” &c. &c.

(H.)

REPORTS OF ARCHITECTS ON THE PLAN FOR THE COMPLETION OF THE CATHEDRAL AT GERONA--A.D. 1417.

_Junta of Twelve Architects, upon the mode which ought to be followed in the construction of the Cathedral of Gerona, with the Reports of each of them, as they appear in the archives of the said Church._

I.

In nomine Sanctæ ac individuæ Trinitatis, Patris, et Filii, et Spiritus Sancti. Amen.

Etsi mansiunculas et domos profanas mundanorum usibus dicatas fideles Domini erigunt et fabricant opere polimento, quanto magis ipsi fideles verique zelatores fidei orthodoxæ circa templi Domini fabricam construendam devotius accelerare deberent? Numquid prisci patres pro archa Domini tabernaculum opere deaurato mirifice fabricaverunt? Hodie namque archa illa verissima, et sanctissimum illud Mamuá in templo Domini a catholicis præseservantur. Dignum quin imo et congruum potest et debet a quolibet reputari ut domus illa quam orationis veritas nominavit, in qua etiam illud sacrum Christi fidelibus pignus datum reconditur et tenetur, artificioso ex politis lapidibus opere construatur. Hæc enim domus rite noscitur pastori verissime dedicata, in illa nempe populus Domini et oves ejus Paschuæ cibum dulzoris assumunt. Sane in domo ista latices sacrosancti noxas perimunt, culpas diluunt et veternas cuilibet occurrenti. Heu igitur, quam dolendum sacrum Domini templum ecclesiam Sedis clarissimæ Gerundensis imperfectum opere minorari! Idcirco cunctis pateat, quod reverendus in Christo Pater et dominus dominus Dalmacius, Dei gratia episcopus Gerundensis, ipsius ecclesiæ tunc electus, et honorabile capitulum ecclesiæ Gerundensis prædictæ præmissa omnia pio sidere aspectantes, considerantesque a quantis citra temporibus fabrica dictæ Sedis cessavit ex diversorum controversia juxta opiniones varias artificum subsequentes, nonnulli enim asserebant opus dictæ fabricæ sub navi una debere congruentius consummari, affirmantes illud fore nobilius, quam si sub tribus navibus opus hujusmodi subsequatur. Alii autem a contrario asserebant dictum opus sub prosecutione trium navium continuari debere, dicentesque, quod firmius et proportionabilius esset capiti jamque cœpto, quam si cum navi una ipsa fabrica prosequatur, quoniam opus navis unius multum reddunt debile distantia parietum, ac etiam testudinis altitudo; et quod terræmotus, tonitrua, ventosque vagantes timebit apetentes etiam circa directionem operis dictæ fabricæ consummandæ solertius vacare, ac de opinione prædictorum veridica informari: et adeo ut controversia et opiniones hujusmodi clarius tollerentur, convocaverunt artifices peritissimos, lapiscidas de diversis partibus regni hujus, et etiam aliunde ad hanc civitatem Gerundæ, quorum nomina inferius annotantur, indeque habitis collationibus plurimis, tam coram dictis reverendo domino Episcopo, tunc electo, et honorabili capitulo dictæ ecclesiæ Gerundensis, quam alias inter ipsos artifices opere præmisso subjecto primitus oculis cujuslibet eorundem cernentium opus, quod cœptum fuerat, et qualiter hucusque fuerat; prosecutum in illo, et formatis super hujusmodi opere prosequendo articulis infrascriptis.

II.

_Inquiry._[468]

In the name of God Our Lord, and the Virgin our Lady Saint Mary, the “Maestros” Superintendents and masons summoned for the direction of the works of the cathedral of Gerona, must be asked the following questions:--

1. If the work of one nave of the said cathedral church, commenced of old, could be continued, with the certainty of remaining secure and without risk.

2. Supposing that it is not possible to continue the said work of one nave with safety, or that it will not be lasting, whether the work of three naves, continued on, would be congruous, sufficient, and such as would deserve to be prosecuted; or, on the contrary, if it ought to be given up or changed; and in that case unto what height it would be right to continue what is begun, and to specify the whole, in such sort as to prevent mistake?

3. What form or continuation of the said works will be the most compatible and the best proportioned to the Chevet of the said church which is already begun, made, and finished?

The “maestros” and masons, before being asked these questions, must take their oath; and after having given their declarations, the Lord Bishop of Gerona and the honourable Chapter shall elect two of the said masters, in order that they may form a plan or design, by which the work will have to be continued. All which the secretary of the Chapter will put in due form in a public writing.

III.

Successive dicti artifices, lapiscidæ sigillatim, ad partem medio a se corporaliter præstito juramento deposuerunt, et suam intentionem dixerunt in et super opere prelibato diebus, mensibus et annis inferius designatis et sub forma sequenti. Die jovis vicessima tertia mensis Januarii anno nativitatis Domini millesimo CCCC. sexto decimo magistri et lapiscidæ sequentes juraverunt et deposuerunt apud civitatem Gerundæ infrascripti, præsentibus et interrogantibus venerabilibus viris dominis Arnaldo de Gurbo, et Joanne de Pontonibus canonicis, et Petro de Boscho præsbitero de capitulo dictæ ecclesiæ Gerundensis ad hoc per dictos reverendum dominum electum in Episcopum et capitulum Gerundense deputatis super articulis præinsertis et contentis in eisdem ut sequitur.

IV.

PASCHASIUS DE XULBE _lapiscida et magister operis sive fabricæ ecclesiæ sedis Dertusensis super primo dictorum articulorum sibi lecto medio juramento interrogatus, dixit_:--

1. That according to his knowledge and belief it is certain that the work of one nave of the cathedral of Gerona already commenced is secure, good, and firm; and that the foundations or bases of the old work already made are also so, and that the rest will be so if they are constructed in the same manner, and that they will be sufficient to sustain the vault of the said work of one nave.

2. Supposing that the work of one nave is not carried out, it is certain that the one of three naves, already commenced in the said church, is good and firm. But in the event of the plan of three naves being adopted, he says, that it would be necessary that the vault which is over the Coro, towards the altar of the same church, should be pulled down, and that it should be unroofed, in order that it may be raised eight palms--a little more or less--above what it is now, so that it may correspond to its third in its measurements.

3. That the plan of three naves is more compatible and better proportioned to the Chevet of the church than that of one nave.

_Interrogatus._--Whether, in joining the lower voussoirs on the capital of the pillar over the pulpit, which corresponds to the other of the Coro, in case the work of three naves is carried out, there will be any risk of causing a settlement in the said pillar?--I answer, that there will be none, and that it can be done with safety.

V.

JOANNES DE XULBE, _lapiscida, filius dicti Paschasij de Xulbe, regens pro dicto patre suo fabricam prædictam, sive opus dictæ Ecclesiæ Dertusensis, simili juramento à se corporaliter præscripto, interrogatus super prædictis articulis deposuit ut infra. Et primo super primo articulo interrogatus, dixit_:--

1. That the work of the nave already commenced can be continued, and that it will be good, firm, and without danger; but that the arches must be made to the tierce point, and that the principal arch must be shored up. That the first abutments of the old work, situated on the south, are good and firm, and that, making the others like them, they will be so also, and sufficient to sustain the vault which has to be executed in the said church.

2. That if the plan of one nave is not to be followed, it is possible to continue that of three; and that it will be more beautiful, stronger, and better than the other. But that the three naves ought to be carried on according to those in the choir of the church; and then it will be more beautiful and admirable. And that the new vault which is contiguous to the Chevet ought to be taken down, because it is bastard, and because it does not correspond with the said Chevet.

3. That the work of three naves in the form which has just been explained is the most compatible and the best proportioned to the Chevet of the church.

_Interrogatus._--Whether in joining the lower voussoirs of the arch above the capital of the pillar which is above the pulpit, corresponding to the other of the choir, in case the work of three naves is carried out, there will be any risk of causing a settlement in the said pillar?--I say no, provided that the arches are well shored, so that they can have no thrust.

VI.

PETRUS DE VALLFOGONA, l_apiscida et magister fabricaæ Ecclesiæ Terraconensis juramento prædicto medio super dictis articulis interrogatus deposuit. Et primo super primo articulo interrogatus dixit_:--

1. That the work of the said church, already commenced, of one nave can be continued, and that it will be good, safe, firm, and without risk. That the abutments and foundations of the old work are so, and that those which have to be made will be so if constructed in the same way, and that they are sufficient to support the vault which such a work ought to have. But that the abutments made towards the campanile require to be strengthened more than those constructed on the south side.

2. That if the plan of one nave is not carried out, that of three is congruous and worthy to be continued, provided that the second bay of vaulting, as far as the capitals and lowest voussoirs inclusive, is taken down; yet if above the principal arch a discharging arch is erected, it will not be necessary to move the lower voussoirs or the capitals, and it would be possible to raise the Crossing of that vault all its width as much as is required; and it could have a light in the gable, which could have a clear opening of fifteen or sixteen palms, which would be a notable work. He says further: that the lower voussoirs which are in the northern and southern angles ought to be altered, and that they ought to be reconstructed in accordance with the plan of three naves.

3. That without comparison the plan of three naves, in the form which has just been explained, is more compatible and more proportioned to the Chevet of the church than the plan of one nave.

_Interrogatus._--Whether, in case the plan of three naves is carried out, there will be any danger in opening a hole in the pillar over the pulpit corresponding to the other of the Coro at the time of joining the voussoirs above the capital?--He said, that there would not; and that it could be done with safety.

VII.

Postmodum die veneris vicessima quarta dictorum mensis et anni in manu et posse mei ejusdem Bernardi de Solerio, notarii subscripti, præsentibus et interrogantibus dictis dominis Arnaldo de Gurbo, Joanne de Pontonibus, et Petro de Boscho, magistri et lapiscidæ sequentes super prædictis, medio simili juramento, deposuerunt ut sequitur.

VIII.

GUILLERMUS DE LA MOTA, _lapiscida, socius magistri in opere fabricæ Ecclesiæ Terraconæ super prædictis articulis, medio juramento, ut supra interrogatus deposuit. Et primo super primo articulo interrogatus, dixit_:--

1. That he considers that the plan of the church commenced with one nave could be well executed, and that the Crossing will be firm; but that it is observed in old works, that bulky buildings, as that of one nave would be, sink with earthquakes or with great hurricanes, and for these causes he fears that the work of one nave might not be permanent.

2. That the plan of three naves is good, congruous, and one that deserves to be followed, provided that the second Crossing may be new to the lowest voussoirs; and that its principals be demolished as far as the capitals, and that horizontal courses of stones be carried up to the height of fourteen or fifteen palms. That the springers which are towards the north and the south ought also to be taken down, and that they ought to be reconstructed in proper proportion to the plan of three naves.

3. That without comparison the plan of three naves is more compatible and more proportioned to the Chevet of the church than that of one nave.

_Interrogatus._--If there will be danger in opening a hole in the pillar near the pulpit, to place the springers?--He said that there would not be any risk.

IX.

BARTOLOMEUS GUAL, _lapiscida et magister operis sedis Barchinonensis super prædictis articulis, ut supra dicitur, interrogatus, medio juramento prædicto deposuit. Et primo super primo articulo interrogatus dixit_:--

1. That the bases and abutments of the old work of one nave are sufficiently strong, making a wall over the capitals between the abutments, which may rise a “cana”[469] from the windows, and that from that wall a vault may spring, which will abut against each of the abutments, and in this way they would remain safe. No doubt the vault may remain firm over one nave, so that it may resist earthquakes, violent winds, and other mishaps which may occur.

2. That the plan of three naves is good, congruous, and such as deserves to be carried out; but that the new vault of the second arch, the last done, ought to be taken down to the springing, and ought to be raised until there is room in that place for a circle (“una O”) of fourteen palms of opening; and in that way there will be beautiful and notable work, and it will not be necessary to undo the whole to the springing line.

3. That the plan of three naves is beyond comparison much better proportioned and more compatible to the Chevet of the church than that of one nave.

_Interrogatus._--Whether there will be any risk in making an opening in the pillars in order to join the springers of the arches?--He said that there would not be; but he counsels that, when the said arch is taken out, the foot of the arch voussoir in the pillar which has to be altered should be larger than the other, because that has not so much weight on it.

X.

ANTONIUS CANET, _lapiscida, magister sive sculptor imaginum civitatis Barchinonæ, magisterque fabricæ sedis Urgellensis super prædictis articulis ut prædicitur, interrogatus medio dicto juramento deposuit. Et primo super primo articulo interrogatus, dixit_:--

1. That according to his knowledge and conscience the plan of one nave, already commenced, can be continued with the certainty that it will be good, firm, and secure: and that the abutments which the said work has are good and firm for the support of the vault, and all that is necessary in order to carry on the said work.

2. That the work already begun of three naves is good and well-proportioned, but that it is not so noble as that of one nave; and that if the work of three naves is continued it would be necessary that the vault of the second bay of the middle nave should be taken down to the capitals; and that the capitals as well should be taken down eight or ten courses of stone, and so that the first pillar may be joined, which was constructed in the head of the grand nave, contiguous to the Chevet of the church, and that the opening shall not be made so low in the pillar, and the springing of the arch stones may be introduced in it better. And though it is true that in this way the (triforium) gallery may be lost, it is worth more to lose it than the bright effect of light in the temple, which could be secured by a round window in the said grand nave. But that, if the second nave is followed out as it was commenced, it will be most gloomy. For which reason he is sure that if the plan of three naves is to be good, it is necessary for it to be carried out working in the way he has described.

3. That the plan of one nave would be much more compatible and better proportioned to the Chevet of the church as it is already commenced and completed, than that of three naves, because the said Chevet was commenced low; and that the plan of one nave will be executed with a third at least of the cost of three naves. That if the plan of one nave is followed, the galleries, which are beautiful, will not be lost, and the church will be beyond comparison much more light.

XI.

GUILLERMUS ABIELL, _lapiscida et magister operum seu fabricarum ecclesiarum Beatæ Mariæ de Pinu et Beatæ Mariæ de Monte Carmelo, et de Monte Sion, et Sancti Jacobi Barchinonæ, et hospitalis Sanctæ Crucis, civitatis ejusdem, sic etiam super prædictis, dicto juramento medio, interrogatus, dixit_:--

1. That according to his understanding and good conscience the work already commenced of one nave can be continued, and will be good, firm, and secure; and that the foundations which it has, the rest being made in the same way, are good and firm to support the work of one nave without danger.

2. That, the plan of three naves is good, beautiful, and more secure than the other, wherefore it deserves to be continued. But that the vault of the second bay of the middle nave ought to be taken down to the springers, and be raised afterwards by its third, so that a fine round window may be had there, and to make an upper vault above the principal: and in this way the plan of three naves will be very beautiful.

3. That without any doubt the plan of three naves is more compatible and adequate to the choir of the church as it is now, than that of one nave, because that of one nave would be so wide that it would have great deformity when compared with the Chevet of the church.

XII.

ARNALDUS DE VALLERAS, _lapiscida et magister operis sedis Minorisæ super dictis articulis, prout alii, interrogatus deposuit medio dicto juramento ut sequitur. Et primo super primo articulo interrogatus dixit_:---

1. That the work of one nave, already commenced, can very well be continued, and will be good, firm, secure, and without risk; and that the foundations which the said work has, and the rest which may be made like them, are good, and sufficient to sustain the work of a single nave; and that, though they might not be so strong, they would be firm and secure. He says further, that the work of the Church of Manresa is now being constructed, which is higher than this, which has not such great or strong foundations, and is not of so strong a stone. It is true, he says, that the Manresa stone is lighter, and combines better with the mortar than that of Gerona; and that, if he could have to construct the latter church, he would make the vault of other stone which was lighter, and which combined better with the mortar, but that the vaulting ribs, the lower part of the walls, the abutments, and the rest of such work could be executed in Gerona stone.

2. That the plan of three naves is good, congruous, and deserves to be carried out, provided that the vault of the second arch of the middle nave is taken down to the springers, and that they also are taken down, so that the work may be raised by its dimensions; so that it will be possible to have over the principal of the first arch a round window of twenty palms opening, with which it will look very well and not be disfigured.

3. That the plan of three naves in the manner which has been described is, without comparison, more fitting and better proportioned to the existing Chevet of this church than that of one nave; because that of one nave would make the choir appear to be so small and mis-shapen, that it would always demand that it should be raised or made larger.

_Interrogatus._--Whether there would be any danger in opening a hole in the pillars in order to insert the abutments?--He said that there would not; and that if he, the deponent, should do the work, he would commence first by opening a hole in the pillars in order to join the abutments, since in that way they could not settle or give way, as certainly and without doubt might happen. That he was ready to come and continue this work in the manner which he had described; obtaining the licence of the city of Manresa, with which he had contracted to construct the church there.

XIII.

ANTONIUS ANTIGONI, _magister major operis ecclesiæ villæ Castilionis Impuriarum super prædictis interrogatus, dicto juramento medio deposuit. Et primo super primo articulo interrogatus dixit_:--

1. That the plan of one nave, formerly commenced, could be continued well and firmly without any risk; and the foundations that it has, and the rest which have to be made like them, are sufficient to sustain with all firmness the said work of one nave.

_Interrogatus._--Whether the work of one nave, in case it were made, would run any risk of falling with hurricanes and earthquakes?--He said that there was no cause for fear.

2. That the work of three naves continued of late is not congruous, nor of such sort as that its plan could be followed, because in no way could it be constructed with the same dimensions. But it is true that if the vault of the bay last done is taken down to the springers, and raised afterwards fourteen or fifteen palms in its measurements, the plan of three naves would be more tolerable, though it could never be called beautiful or very complete.

3. That he has no doubt that the work of one nave would be for all time without comparison the most beautiful, more compatible and better proportioned to the Chevet of the church than that of three naves, since it will be always clear that the latter was not done carefully and with good taste.

_Interrogatus._--Whether in case the work of three naves is carried out, there will be any risk in opening a hole in the pillars in order to join the abutments?--He said that it could be done, but not without danger.

XIV.

GUILLERMUS SAGRERA, _magister operis sive fabric ecclesiæ Sancti Joannis Perpigniani ut supra interrogatus dicto juramento medio deposuit. Et primo super primo articulo interrogatus dixit_:--

1. That the plan of one nave, formerly commenced, can be continued, and that it will be good, firm, and secure; and that the foundations which it has, with the rest which must be made in the same way, are sufficient to sustain it.

_Interrogatus._--Whether if the one nave is adopted there will be risk by reason of earthquakes and violent winds?--He said that with the earthquakes which he has seen, and the winds which naturally prevail, there would be no danger that the said work should fall or become decayed.

2. That the work of three naves lately commenced is not congruous, and does not deserve to be carried on; and in case it is continued, in the first place the vault of the second bay ought to be taken down from the springers to the capitals; in the second, also, the other pillars which were made afterwards ought to be taken down, in order that they may be raised fifteen palms or thereabouts; and that with all this the work will not be completed well, but on the contrary will be _mesquin_ and miserable. That the gallery, which would be lost, could not remain there; that it would not be possible to place the series of windows due to the work between the chapels higher than they would be in a single nave, owing to the thrust or pressure of the arches, which would be towards the gallery, corresponding to the new pillars of the enclosure of the choir, and would come against the void of the gallery, wherefore the work would not have the firmness it ought to have. The deponent concludes, saying, that for these and other reasons the said work of three naves would not be good or advantageous.

3. That the plan of one nave would be beyond comparison more compatible and more proportioned to the Chevet of the church already built, commenced, and completed, than would one of three naves; and he says it is the fact that the said choir of the church was made and completed with the intention that the remainder of the work should be made and carried out with a single nave.

XV.

JOANNES DE GUINGUAMPS, _lapiscida, habitator civitatis Narbonæ super prædictis articulis, sicut alii prædicti interrogatus medio dicto juramento deposuit ut sequitur. Et primo super primo articulo interrogatus dixit_:--

1. That the work already commenced of one nave could very well be made and continued; and that when it is done it will be very good, firm, and secure, without any dispute; and that the foundations which are already made in the old work, and the others which will be made in the same way, are good, and have sufficient strength to maintain the work of a single nave.

2. That the plan of three naves latterly continued is not congruous or sufficient, and should not in any way be made or followed, because it never will have reasonable conformity with the Chevet.

3. That the plan of a single nave is beyond comparison more fit and proportioned to the choir of the said church, than would be that of three naves, for several reasons. 1st. That the deponent knows that the plan of a single nave with the said choir would be more reasonable, more brilliant, better proportioned, and less costly. 2nd. Because, if the work is carried on with one nave, there would not be the deformity or difference that disgusts. And though some may say that the plan of a single nave would make the choir look low and small, the more on that account would no deformity be produced, rather it would be more beautiful; and the reason is, that in the space which would be left between the top of the choir and the centre of the great vault, there would be so large a space that it would be possible to have there three rose windows: the first and principal in the middle, and another small one on each side: and these three roses would do away with all deformity, would give a grand light to the church, and would endow the work with great perfection.

_Interrogatus._--Whether, if the plan of three naves is adopted, it would be dangerous to open the pillars in order to join in them the springers corresponding to it?--He said that he would not do it or consent to it on any account, because great danger, great wrong, and great damage would result, since in no part could the work be brought to perfection, and such a fissure could not be made without great risk.

XVI.

Postmodum die Lunæ, quæ fuit vicesima octava mensis Septembris, anno jam dicto a Nativitate Domini millessimo CCCC. sexto decimo, ad instantiam dicti domini Petri de Boscho operarii hoc anno dictas ecclesiæ Gerundensis, super ipsius regimine operis una et in solidum cum honorabili viro domino Francisco Sacalani canonico dictæ ecclesiæ electi et deputati apud domos Thesaurariæ dictæ ecclesiæ Gerundensis coram dictis reverendo in Christo patre et domino domino Dalmacio Dei gratia episcopo et honorabili capitulo ejusdem ecclesiæ Gerundensis ad tactum cimbali, ut moris est, ibidem convocatis et congregatis; ubi fuerunt præsentes dictus reverendus dominus dominus Dalmacius, episcopus, et honorabiles viri Dalmacius de Roseto, decretorum doctor, archidiaconus de Silva in dicta ecclesia Gerundensi, Arnaldus de Gurbo, Joannes de Pontonibus, Guillermus de Brongarolis, sacrista secundus, Joannes de Boscho Thesaurarius, Joannes Gabriel Pavia, Petrus de Boscho prædictus, Guillermus Marinerii, Petrus Sala, Franciscus Mathei, et Bartholomeus Vives, presbiteri capitulares et de capitulo ante dicto, capitulum ejusdem ecclesiæ Gerundensis facientes, representantes et more solito celebrantes: dicti articuli et dictas depositiones, et dicta a dictis artificibus super eisdem in scriptis redacta et continuata in dicto capitulo publice, alta et intelligibilli voce de verbo ad verbum lecta fuerunt, et publicata per me eundem Bernardum de Solerio, notarium, supra et infra scriptum. Et eis sic lectis et publicatis, illico dicti reverendus dominus episcopus et honorabile capitulum super concludendo et determinando per quem modum juxta opiniones, depositiones et dicta dictorum artificum melius pulchrius et efficacius dictum opus præfatæ ecclesiæ Gerundensis sub prosecutione videlicet unius aut trium navium prosequatur et consumetur, retinuerunt sibi deliberationem et ad hujusmodi fuerunt pro testibus presentes et evocati discreti viri Franciscus Tabernerii et Petrus Puig presbiteri benefficiati in dicta ecclesia Gerundensi.

XVII.

Deinde vero die Lunæ octava mensis Martii anno a Nativitate Domini millessimo CCCC. decimo septimo alius artifex lapiscida infrascriptus juravit et deposuit in dicta civitate Gerundæ in posse mei Bernardi de Solerio notarii supra et infra scripti, præsentibus et interrogantibus venerabilibus viris dominis Arnoldo de Gurbo, canonico, et Guillermo Marinierii presbitero de capitulo dictæ ecclesias Gerundensis, ad hoc per dictos reverendum dominum Dalmacium episcopum et honorabile capitulum Gerundense, specialiter deputatis super articulis præinsertis, et contentis in eisdem ut sequitur.

XVIII.

GUILLERMUS BOFFIY, _magister operis sedis dictæ ecclesiæ Gerundensis simili juramento a se corporaliter præstito super primo articulo dictorum articulorum interrogatus, dixit et deposuit_:--

1. That the work of the nave of the church of Gerona, already begun, could be made and continued very well; and that if it is continued, it will be firm and secure without any doubt, and that the foundations, and others which may be made like them, are and will be good and firm enough to sustain the said work of one nave. And that it is true that the said foundations or abutments, even if they were not so strong, would be sufficient to maintain the said work of one nave, since they have a third more of breadth than is required: wherefore they are very strong, and offer no kind of risk.

2. That the work of three naves for the said church does not merit to be continued when compared with that of one nave, because great deformity and great cost will follow from it, and it would never be so good as that of one nave.

3. That the work of one nave is, without comparison, the most conformable to the choir of the church already commenced and made, and that the plan of three naves would not be so. And that, if the plan of one nave is carried out, it would have such grand advantages, and such grand lights, that it would be a most beautiful and notable work.

XIX.

Post prædicta autem omnia sic habita et secuta, videlicet die Lunæ, intitulata quinta decima dicti mensis Martii, anno jam dicto a Nativitate Domini millesimo CCCC. decimo septimo, mane videlicet, post missam sub honore beatæ Mariæ Virginis gloriosæ in dicta Gerundensi ecclesia solemniter celebratam, dictis reverendo in Christo patre et domino domino Dalmacio episcopo, et honorabilibus viris capitulo dictæ ecclesiæ Gerundensis, hac de causa ad trinum tactum cimbali, ut moris est, de mandato dicti domini episcopi apud domos prædictas Thesaurariæ dictæ ecclesiæ Gerundensis simul convocatis et congregatis: ubi convenerunt, et fuerunt præsentes dictus reverendos dominus Dalmacius episcopus, et honorabiles viri Dalmacius de Raseto, decretorum doctor, archidiaconus de Silva, Arnaldus de Gurbo, Joannes de Pontonibus, canonici, Guillermus de Burgarolis, sacrista secundas, Joannes de Boscho, Thesaurarius, Joannes Gabriel Pavia, Petrus de Boscho, Guillermus Marinerii, Petrus Sala, Bacallarii in decretis, Franciscus Mathei et Bartholomeus Vives licentiatus in decretis, presbiteri capitulares et de capitulo ante dicto, ipsi reverendus dominus episcopus et honorabiles viri et capitulum prænotati, sicut præmititur capitulariter convocati et congregati, et capitulum dictæ ecclesiæ Gerundensis facientes, representantes, et more solito celebrantes, visis et recognitis per eosdem, ut dixerunt, prædictorum artificum et lapiscidarum depositionibus ante dictis in unum concordes deliberaverunt, _sub Navi una prossequi magnum opus antiquum Gerundensis ecclesiæ_, prælibatis rationibus quæ sequuntur: tum quia ex dictis præmissorum artificum clare constat, quod si opus trium navium supradictum opere continuetur jam cœpto, expedit omnino quod opus expeditum supra chorum usque ad capitellos ex ejus deformitate penitus diruatur et de novo juxta mensuras cœpti capitis reformetur: tum quia constat ex dictis ipsorum clare, eorum uno dempto, nemine discrepante, quod hujusmodi opus magnum sub navi una jam cœptum est firmum, stabile et securum si prosequatur tali modo et ordine, ut est cœptum, et quod terræmotus, tonitrua nec turbinem ventorum timebit: tum quia ex opinione multorum artificum prædictorum constat, dictum opus navis unius fore solemnius, notabilius et proportionabilius capiti dictæ ecclesiæ jam incepto, quam sit opus trium navium supradictum: tum quia etiam multo majori claritate fulgebit quod est lætius et jucundum: tum quia vitabuntur expensæ, nam ad prosequendum alterum operum prædictorum modo quo stare videntur opus navis unius multo minori prætio, quam opus trium navium, et in breviori tempore poterit consumari.

Et sic rationum intuitu præmisarum dictus reverendus dominus episcopus et honorabile capitulum supradictæ ecclesiæ Gerundensis voluerunt, cupierunt, et intenderunt, ut dictum est, opus magnum unius navis prædictum, quantum cum Deo poterunt prosequi et deduci totaliter ac effectum. Et talis fuerunt intentionis domini episcopus et capitulum ante dicti præsente me eodem Bernardo de Solerio, notario supra et infra scripto et præsentibus venerabilibus viris, &c. &c. &c.

(I.)

CONTRACT OF GUILLERMO SAGRERA FOR THE EXCHANGE AT PALMA.

_Contract entered into at Palma in Mallorca, March 11, 1426, by which the Architect Guillermo Sagrera bound himself to construct or to continue the Construction of the Exchange of that City, according to Plans which he presented, and to the Conditions expressed._

Recites the names of the contracting parties for the erection of the fabric of the Exchange which is being built in the Place called “del Boters,” outside the walls of the city.

(The following conditions were written in the “Lemosin” or Mallorcan idiom.)

_Firstly._--That the said Guillermo Sagrera promises and agrees in good faith with the said honourable members of the Building Council (Fabriqueros), that, God helping, he will complete the building of the said Exchange, to the covering of its vaults, in the first twelve years from the date of the contract: the said Exchange to be eight “canas[470] of Monpeller” in height, reckoning from the pavement, to the keystone.

_Item._--That the said twelve years being passed, the said Guillermo Sagrera will be obliged in the three succeeding years to make and finish all the towers, turrets, and other works which pertain to the said Exchange above the roof.

_Item._--That the said Guillermo must and is bound to do all the said work at his own cost and charge, as well what may be necessary by reason of his art, as for wooden scaffolding and centering; and also for paying for all the stone, lime, gravel, and all the instruments and tools necessary for the work; and in the same manner for all the workmen, officials, and others working in the said Exchange and outside it; and lastly all the other things necessary for its completion.

_Item._--That the said Guillermo is obliged to continue and complete the said work of the Exchange in the form which was begun, and according to the designs given and put into the hands of the honourable Council of the Fabric by the said Guillermo.

_Item._--That the said Guillermo binds himself to build from the base and to complete all the pillars and keystones of the said Exchange in Santañi stone, fluted and according to the said design, and to floor it with the same stone, and to lay the terrace with the mixture of burnt clay and fresh lime which they call “Trespoll.”

_Item._--That the said Guillermo binds himself to make the pendents of the said Exchange of Solleric stone.

_Item._--That the said Guillermo binds himself to make on the outside part of the said Exchange, and above the gable of the doorway which looks towards the Royal castle of the said city of Mallorca, a solemn tabernacle with the figure of the modest Virgin our Lady Saint Mary.

_Item._--That the said Guillermo binds himself to make on the other three fronts of the same Exchange, that is on the outside of each one of them, a figure of an angel, each one with his tabernacle over him; and that each of the said angels have on one side the Royal scutcheon, and on the other that of the said city of Mallorca, in the form and manner which may be pleasing to the said honourable Council of the Fabric.

_Item._--That the said Guillermo binds himself to make in each one of the four corners of the said Exchange on the outside a grand statue, each one in his tabernacle, similar to the angels: that is, in the corner which looks towards the Pi Gate, that of San Nicolas; in that which looks towards the church of San Juan, that of St. John the Baptist; in that which looks towards the Arsenal, that of Sta. Catalina; and in that which looks towards the said Royal castle, that of Sta. Clara; in the form and manner which may please the said honourable Council of the Fabric.

_Item._--That the said Guillermo binds himself to make in one of the four turrets of the corners of the said Exchange a room where a clock can be placed.

_Item._--That the said Guillermo binds himself to cover the abutments or buttresses with sharp-pointed stone weatherings, and in the top of each of the said weatherings there must be a great knop on which a flower-pot can stand; and that the balustrade which surrounds all the top of the Exchange shall be pierced with openings. And all the things which are at present within the said Exchange shall belong to the said Guillermo; and it is further declared that the aforenamed will not have to make gates nor iron screens in the said Exchange.

_Item._--That the said honourable Council of the Fabric are to give and pay to the said Guillermo, on account of all the things before said and specified, 22,000 pounds of Mallorcan money, in instalments, in the form and manner following: To wit, That the said honourable Guardians and those who succeed them in the office of Guardians of the Merchants’ Affairs shall be obliged to pay each year to the said Guillermo the sum for which they may have alienated the right of dues on the merchandize imposed by the said Mercantile College upon all the stuffs and merchandize entering and sailing from the island of Mallorca, reserving to the said honourable Guardians in each year 150_l._ of the said money of Mallorca for the expenses and business of the College; and the said price of the said dues, the 150_l._ already referred to being deducted, is to be reserved for the said Guillermo every year in payment and satisfaction of the said 22,000_l._; and this for such time and until the abovementioned is wholly and completely paid and satisfied to the whole extent already mentioned. Declaring however and agreeing in which, the said Guillermo shall be bound to spend each year out of his own stock on the said work of the Exchange 500_l._ of the said money beyond that which he shall receive of the said price of the dues of merchandize.

&c. &c.

Signed March 11th, 1426, by Guillermo Sagrera, Francesco Anglada, and Juan Terriola, and by others.[471]

INDEX.

A.

Abbey of Veruela, 384.

Abiell, Guillermo, 311; his report on plan for completion of Gerona cathedral, 507.

Acuña, Bishop Luis de, 25 and note, 26.

Adam, Juan, bell-founder, 350.

Agata, Sta., church of, at Barcelona, 312.

Ajimez windows, meaning of term, 269; examples of, at Segovia, 193; at Valencia, 269, 270; at Tarragona, 289; at Barcelona, 316; at Gerona, 334, 335; near Manresa, 340; at Lérida, 361.

Alagon, town of, 391.

Alava, Juan de, architect, 86.

Alcalá de Henares: church of SS. Just y Pastor, 199; university, 201; church of San Ildefonso, 201; bishop’s palace, 201.

Alcantara, bridge of, 210, 211 note, 230.

Alcazar, the, at Segovia, 187; at Toledo, 211.

Alfonso, son of Juan II., his monument in the chapel of Miraflores, 42.

----, Rodrigo, architect, 251.

Almansa, 259.

Almudévar, castle of, 362 and note.

Altar-frontals at Valencia, brought from St. Paul’s, London, 267; in the collegiata at Manresa, 344.

Altars, old, 89, 240, 387.

Amiens, cathedral at, date of, 109.

Ana, Sta., collegiate church of, at Barcelona, 295.

Andino, Cristóbal, worker in iron, 60, note.

Antholin, San, cathedral of, at Palencia. 57; church of, at Medina del Campo, 161; at Segovia, 192.

Antigoni, Antonio, his report on plan for completion of Gerona cathedral, 509.

Antigua, la, church of, at Valladolid, 69; at Guadalajara, 202.

Anton, San, church of, at Barcelona, 314.

Aqueduct, Roman, at Segovia, 181; at Tarragona, 274; modern, near Tafalla, 402.

Aquitaine and Auvergue, type of church common in, in the twelfth century 415.

Aragon, kingdom of, provinces composing it, 411.

Arandia, Juan de, architect, 71.

Aranjuez, 209, 259.

Architects, Juntas of, at Salamanca, 85, 459; at Zaragoza, 266 note, 370; at Gerona, 320, 456; others, 460.

----, the old Spanish, their main object, 420.

----, Viilanueva’s list of, employed on the cathedral at Gerona, 319, note.

----, Spanish, of the middle ages, 448-464; Petrus de Deo, his work at San Isidoro, Leon, 448; Raymundo of Monforte de Lemos, his contract with the Chapter of Lugo, 449; Mattheus, master of the works at Santiago cathedral, 449; Raymundo, a “Lambardo,” employed on Urgel cathedral, 450; Pedro de Cumba, architect of Lérida cathedral, 451; Pedro de Peñafreyta, his successor, 452; Maestro Ponce, 452; Jayme Fabre, his works at Barcelona and Palma, 453; Pedro Zacoma, employed on San Feliu, Gerona, 453; Juan Garcia de Laguardia, master-mason of Navarre, 454; Guillermo Çolivella, 454; Juan Franck, 455; Lucas Bernaldo de Quintana, his contract for rebuilding the church at Gijon, 455; Junta of, at Gerona, 456; Guillermo Sagrera, his works at Perpiñan and Palma, 457; Guillermo Vilasolar, his agreement to complete work commenced by Sagrera, 457; appointment of architect to Calaborra cathedral, 458: Juan Norman appointed to Seville cathedral, 458; succeeded by Maestro Jimon, 459; Juan de Escobedo at Segovia, 459; Pedro Compte, his works at Valencia, 459; Anton Egas and Alfonso Rodriguez, their plan for a new cathedral at Salamanca, 459; Junta of at Salamanca, 459; Rodrigo Gil de Hontañon appointed, 460; report on the state of the works by three architects, 460; other Juntas of, 460; Benedicto Oger and Domingo Urteaga, their contracts for erecting churches, 461; Felipe de Borgoña, superintends works at Burgos, 461, note; Jayme Castayls, statues by, 461, note; Berengario Portell and Gil de Siloe, works of, 462; few cases of competition among, 462; usual practice of, 462; question between ourselves and them, 463; clerical architects, 464.

Architects, sculptors, and builders of churches, catalogue of, 471.

Architectural terms supplied by Arabs, 209.

Argenta, Bart., architect, 319.

Arnoldo, Cardinal, 57.

Artesinado work, meaning of, 220, note.

Assas, Manuel de, quoted, 213, notes.

Astorga, walls of, 129; cathedral, 129.

Avila: situation, 162; walls and towers, 162; cathedral, 163; church of San Vicente, 170; San Pedro, 176; church and convent of San Tomás, 178.

Aya, Martin de la, sculptor, 20, note.

----, Rodrigo, 20, note.

B.

Badajoz, Juan de, architect, 85, 126, 128.

Balaguer, Pedro, architect, 265, 350.

Baldachin, at Gerona, 327.

Barbastro, cathedral of, 362.

Barcelona, 291; convent and church of San Pablo del Campo, 292; church of San Pedro de las Puellas, 294; collegiata of Sta. Ana, 295; cathedral, 296-307; chapel of Sta. Lucia, 304; Bishop’s palace, 307; church of Sta. Maria del Mar, 307; Sta. Maria del Pino, 309; SS. Just y Pastor, 309; San Jayme, 311; Sta. Agata, 312; N. S. del Carmen, 313; San Miguel, 314; San Anton, 314; San Gerónimo, 314; Casa Consistorial, 314; Casa de la Disputacion, 316; Lonja, 316; building intended for a cloth-hall, 317; the Mole, 317.

Barcelonette, 292.

Bartolomé, Maestro, sculptor, 275, 285 note.

----, San, church of, at Toledo, 229.

Bayonne, cathedral, 7.

Bells, 251, 346, 350.

----, wheel of, at Toledo, 255; at Barcelona, 306; at Gerona, 328; at Manresa, 345.

Benavente: appearance of the town, 102; church of Sta. Maria del Azogue, 102; San Juan del Mercador, 103; ruins of castle, 104.

Benito, San. monastery and church of, at Valladolid, 71, 72.

Bernardo, Archbishop of Toledo, 79.

----, Bishop of Toledo, 233, note.

----, Bishop of Sigüenza, 204.

----, Brother, architect, 275.

----, de Vallfogona, architect, 285, note.

Berruguete, name given to his work, 49, note; his so-called chef-d’œuvre, 74; his work at Toledo, 253.

Betanzos, town of, 136.

Biarritz, 7.

Bidart, church at, 8, note.

Bishops, French, in Spain, 79, 92, 204, 235.

----, Junta of, at Leon, 108.

Blas, San, chapel of, in Toledo cathedral, 251.

Blay, Pedro, architect, 316.

Boffiy, Guillermo, architect, 320, 322; his report on plan for completion of Gerona cathedral, 512.

Boix, Bernardo, mason, 265.

Bonife, Matias, sculptor, 305, note.

Borgoña, Felipe de, architect, 24, 252, 461 note.

----, Juan de, painter, 20, 169 note.

Bricks, employment of, in Spanish buildings, 76, 216, 220, 227, 337, 371, 379, 385, 439; mostly used by the Moors, 440.

Bridges: at Zamora, 92; at Toledo, 210, 211 note, 230, 232 and note; at Tudela, 398 note.

Building materials used in Spain, 438.

Bull-fight at Madrid, 198; at Nîmes, 199.

Burgos, drive to, 7; approach to, 10; cathedral described, 12-34; churches of San Nicolas, 44; San Esteban, 46; San Gil, 50; San Lesmes, 52; San Juan, 52; San Lucas, 52; San Pablo, 53; La Merced, 53; convents of San Juan, 52; San Pablo, 52; La Merced, 53; domestic architecture, 54; gateway of Sta. Maria, 54; general character of the cathedral, 426.

Butterfield, Mr., his church of St. Alban, London, 447, note.

C.

Campanas, las, old church near, 402.

Campero, Juan, architect, 86, 184, 186.

Canet, Antonio, his report on plan for completion of Gerona cathedral, 506.

Cantarell, Giralt, architect, 343.

Capilla mayor, meaning of, 17.

Capuchins, church of the, at Lugo, 134.

Carlos, architect, 370.

Carmen, N. S. del, church of, at Barcelona, 313; at Manresa, 345.

Carpentry, Moorish, 443.

Carpintero, Macías, architect, 71.

Carreño, architect, 160.

Cartagena, Bishop Alfonso de, 26.

Casandro, architect, 163.

Cascante, pilgrimage church at, 376.

Cashel, St. Cormack’s chapel at, an example of an edifice built for permanence, 421.

Castañeda, Juan de, 24.

Castayls, Maestro Jayme, sculptor, 275, 285 note, 461 note.

Castile, kingdom of, provinces composing it, 411.

Castles, Spanish, 437.

Catalina, Sta., chapel of, in San Isidoro, Leon, 125; remarkable paintings in, 127.

Catalogue of dated examples of Spanish buildings, 467; of architects, sculptors, and builders of churches, 471.

Cataluña, its architecture and architects, 291; large churches of, 429.

Cathedrals: Burgos, 12; Palencia, 57; Valladolid, 66; Salamanca, old, 78; new, 85; Zamora, 92; Leon, 105; Astorga, 129; Lugo, 131; Santiago de Compostella, 141; Avila, 163; Segovia, 181; Sigüenza, 204; Toledo, 233; Valencia, 261; Tarragona, 274; Barcelona, 296; Gerona, 318; Lérida, 347; Barbastro, 362; Huesca, 363; Jaca, 367; Zaragoza, 369; Tarazona, 377; Tudela, 391; Pamplona, 402.

Cementarius, meaning of the term, 450, note.

Centellas, Maestro, carver, 58.

Cervera, churches at, 346.

Cervia, Berenguer, artist, 326.

Chapter-houses, 84, 266, 294, 296, 388, 406.

Christians in Spain, their connexion with the Moors, 409; inferior in regard to civilization, 410; their warlike character, 410; dates of recovery of certain towns by, 410; early buildings of, 412.

Churches, dimensions of some of the largest, 323, note.

----, Spanish, furniture of, 433; monuments in, 434; dependent buildings, 434; roofing of, 435.

Church plate, 23, 343.

Churriguera, architect, 66.

Cid, coffer of the, 32 and note.

Cimborio, meaning of the word, 18; examples of, 24, 35, 80, 93, 174, 183, 188, 256, 263, 280, 295, 301, 331, 340, 357, 367, 370, 379.

Cistercians, their first house in Spain, 384.

Clairvaux, convent of, compared with the abbey of Veruela, 385.

Clerical architects, belief in a race of, erroneous, 464.

Clermont-Ferrand, church of Notre Dame at, 81, 416.

Climate, adaptation of churches to, 87, 112, 187, 299, 369, 380, 389, 403.

Cloisters, 30, 38, 40, 47, 67, 97, 117, 157, 169, 171, 187, 188, 190, 191, 202, 207, 251, 257, 296, 303, 322, 330, 338, 351, 367, 368, 381, 387, 397, 405, 408.

Çolivella, Guillermo, architect and sculptor, 349, 454.

Colonia, Juan de, architect, 21, 23, 26, 43, 71.

----, Simon de, architect, 23, 43.

Colours used in various seasons at Toledo, 255, note.

Compte, Pedro, architect, 266, 270, 370, 459.

Concepcion, la, church of, at Toledo, 227, 229; at Tarazona, 383.

Constable, chapel of the, in Burgos cathedral, 21.

Constantinople, Crimean memorial church at, 322, note.

Corbie, Peter de, architect, 424.

Coro, meaning of term, 16.

----, position of, 14, 41, 96, 300, 343, 382, 392.

Coruña, la, situation of, 136; collegiata of Sta. Maria del Campo, 136; church of Santiago, 138.

Council at Leon, 108.

Covarrubias, Alonso de, architect, 86, 254 note.

Creus, Sta., church of, near Poblet, 289 and note.

Cristo de la Luz, church of, at Toledo, 215.

Crockery-ware, good character of, at Tarazona, 389.

Crockets, 28, 69, 81, 94.

Crowns, votive, collection of, found near Toledo, 212, note.

Crucero, meaning of, 16.

Cruz, Diego de la, sculptor, 43.

----, Santos, painter, 169.

----, Sta., college of, at Valladolid, 71; de los Seros, church at, 368; de Cangas, church of, 412.

Cucufate, San, convent of, near Barcelona, 292 and note.

Cumba, Pedro de, architect, 451.

D.

Deo, Petrus de, architect, 121 note, 448.

Diligences, Spanish, 10.

Domestic architecture, specimens of: at Burgos, 54; Zamora, 101; Santiago, 158; Segovia, 193; Alcalá, 201; Guadalajara, 203; Toledo, 221; Valencia, 269; Barcelona, 315; Gerona, 334; Perpiñan, 337; Lérida, 361; Zaragoza, 374; general, of Spain, 436.

Domical vaults, domes, and semi-domes, 81, 88, 93, 174, 229, 276, 294, 362, 365.

Domingo, San, church of, at Lugo, 135.

E.

Ebro, church on the, opposite to Miranda, 9; valley of the, 391.

Ecclesiologist, the, quoted, 95.

Egas, Anton, architect, 85, 459.

----, Enrique de, architect, 72, 370, 460.

Elne, church at, 337.

Embroidery, carved imitations of, 89, 240.

----, remarkable specimens of, at La Coruña, 138; Valencia, 267; Mondoñedo, 267; Manresa, 344; Durham, 345, note.

England, commerce of, with the south of Spain, 427, note; perfection of her village churches, 427, note; scarcity of large town churches in, 429.

Engracia, Sta., church of, at Zaragoza, 374.

Enrique of Narbonne, architect, 319.

“Era,” the, of Augustus Cæsar, 19, note.

Escobedo, Juan de, architect, 459.

Escorial, the, 179.

Escuder, Andres, architect, 298.

Esia, valley of the, 105.

Esteban, San, churches of, at Burgos, 46; at Segovia, 187.

Eugenio, San, church of, at Toledo, 229.

Eulalia, Sta., chapel of, in Barcelona cathedral, 299.

Exchange at Palma, contract for, 514.

F.

Fabre, Jayme, architect, 297, 453; his agreement with the sub-Prior and brethren of San Domingo, at Palma, 500.

Faisans, Ile de, 8.

Farm-labourers, Valencian, their costume, 260.

Favariis, Jacobo de, architect, 319.

Fé, Sta., church of, at Toledo, 229.

Feliu, San, church of, at Gerona, 331.

Ferrandis, Martin, organ-builder, 307.

Figueras, cathedral at, 336.

Florentesi, Micer Domenico Alexandro, sculptor, 179.

Fonda, the, 4.

Font, Juan, architect, 343, 370.

Ford, Mr., on the cathedral of Lérida, 347.

Forment, Damian, sculptor, 364 and note, 373.

Fornelles, 335.

Fountains Abbey, Chapter-house at, 278, note.

Francesco, San, church of, at Palencia, 63.

Franck, Juan, architect, 265, 455.

Freemasons, belief in peripatetic bodies of, probably erroneous, 464.

French churches, list of the more remarkable, having the same general characteristics as the cathedral at Santiago, 146, note; copies of, in Spain, 417.

Fuenterrabia, distant view of, 8.

Furniture of Spanish churches, 433.

G.

Gallegan peasantry, wretched state of, 140; at Santiago, on Sunday, 148.

Gallego, Juan, architect, 185.

Galleries in Spanish churches, 45, 49, 53, 68, 73, 178, 186, 256, 383, 406.

Galtes, Cárlos, de Ruan, architect, 350.

Garcia, Alvar, architect, 163.

Gateways and walls of old towns: Burgos, 54; las Huelgas, 38; Zamora, 101; Leon, 109, 127; Astorga, 129; Lugo, 135; Avila, 163; Segovia, 192; Alcalá, 201; Sigüenza, 208; Toledo, 211, 230; Valencia, 268; Tarragona, 274; Gerona, 329; Hostalrieb, 335; Veruela, 384; Olite, 400; Pamplona, 402.

Gelmirez, Diego, Archbishop of Santiago, 143.

Gerona: cathedral, 318-329; town walls, 329; church of San Pedro de los Galligans, 329; another church, 331; San Daniel, 331, note; San Feliu, 331; domestic remains, 334.

---- cathedral, reports on plan for completion of, 501.

Gerónimo, San, church of, at Barcelona, 314.

Gil, San, church of, at Burgos, 50.

Gomar, Francisco, sculptor, 288.

Gomez, Alvar, architect, 251.

Gonzalez, Bishop, 108.

Granja, la, palace at, 180.

Granollers, church at, 335.

Grao, port of Valencia, 271.

Gregorio, San, college of, at Valladolid, 71, 75.

Guadalajara: church of Sta. Maria, 202; San Miguel, 202; la Antigua, 202; palace del Infantado, 203.

Guadalupe, Pedro de, architect, 58.

Guadarrama, Sierra de, 5, 180, 195.

----, village, 195.

Gual, Bartolomé, architect, 298; his report on plan for completion of Gerona cathedral, 506.

Guas, Bonifacio de, builder, 185.

----, Juan de, builder, 185.

Guinguamps, Joannes de, his report on plan for completion of Gerona cathedral, 510.

Guiniel, Pedro, architect, 199.

H.

Hatton Garden, Italian church in, 45, note.

Heraldry, love of, in Spain, 22, 75, 203, 256, 379.

Herrera, architect, 66, 76, 179.

Honecort, Wilars de, architect, 424.

Houtañon, Juan Gil de, architect, 86, 182, 460.

----, Rodrigo Gil de, architect, 182, 201, 460.

Host, perpetual exposition of the, at Leon, 126; at Lugo, 133.

Hostalrich, 335.

Huelgas, las: convent of, 34; village, 35; church, 35; solemnities at, 39; corpse of Juan II. at, 40.

Huesca: college and palace, 362; cathedral, 363; church of San Pedro, 365; San Martin, 367; San Juan, 367.

I.

Ildefonso, San, church of, at Alcalá, 201; chapel of, in Toledo cathedral, 250.

Infantado, palace del, at Guadalajara, 203.

Inns, Spanish, 3.

Inquisition established at Toledo, 217 note, 219 note.

Iron lectern, 50.

---- pulpit, 51, 96.

---- screens, 60, 73, 241, 253, 305, 404.

Irun, church at, 8.

Isabel, Sta., church of, at Toledo, 229.

Isidoro, San, church of, at Leon, 121; miracles of, legend concerning, 122.

J.

Jaca, cathedral at, 368.

James, St., cathedral of, at Compostella, 141.

----, festival and tomb of the apostle, 157.

Jayme, San, church of, at Barcelona, 311.

Jews, spoliation of, at Avila, 178, note; conversions and persecution of, at Toledo, 217 note, 219 note; numerous bodies of them, 221.

Jimon, Maestro, architect, 459.

Joánes, Juan, painter, 197, 443.

Joseph, S., chapel of, in the cathedral of Santiago, 147.

Juan, Don, son of Ferdinand and Isabella, his tomb, 179.

---- II., funeral of, 40.

---- II. and Isabel, their monument in the chapel of Miraflores, 42.

----, San, church and convent of, at Burgos, 52; church at Zamora, 100, note; at Benavente, 103; at Segovia, 192; at Toledo, 256; at Perpiñan, 337; at Lérida, 347, 360; at Huesca, 367; monastery and church near Huesca, 368.

Juni, Juan de, sculptor, 68.

Junquera, la, Parroquia at, 336.

Juntas of architects. _See_ Architects.

Just y Pastor, SS., churches of, at Alcalá, 199; at Barcelona, 309.

L.

Laguardia, Juan Garcia de, “Master-Mason,” 454.

Lambardo, meaning of the term, 450, note.

Lasteyrie, Ferdinand, on votive crowns at Toledo, 212 note.

Lavinia, Señor, architect, 106.

Lectern, iron, in San Esteban, Burgos, 50; brass, in Toledo cathedral, 253.

Leocadia, Sta., church of, at Toledo, 227, 228.

Leon, road to, from Benavente, 105; cathedral described, 105-121; church of San Isidoro, 121-128; chapel of Sta. Catalina, 124; character of the city, 128; convent of San Marcos, 128.

Leonardo, San, church of, at Zamora, 100.

Lérida: the town, 346; cathedral, 347-359; fragment of defensive building, 359; church of San Lorenzo, 359; San Juan, 360; Romanesque house, 361; inn, 361, note; date of recovery of, from the Moors, 410.

Lesmes, San, church of, at Burgos, 52.

Levi, Samuel, 219 and note, 221.

Light, admission of, in Spanish churches, 34, 49, 81, 82, 87, 111, 129, 134, 152, 179, 183, 186, 300, 369, 403.

Llobet, Martin, stone-cutter, 265.

Lonja (Exchange), the, at Valencia, 270; at Barcelona, 316.

Loquer, Miguel, sculptor, 305, note.

Lorenzo, San, church of, at Segovia, 192, note; at Lérida, 347, 359.

Lucas, San, church of, at Burgos, 52.

Lucia, Sta., chapel of, in Toledo cathedral, 246; in Barcelona cathedral, 304.

Lugo: wall, 131; cathedral, 131; church of the Capuchins, 134; San Domingo, 135; walls and fountains, 135.

Luine, San, church of, at Segovia, 191.

Luna, Don Alvaro de, tomb of, and his wife, in Toledo cathedral, 252.

M.

Madrid: entrance to, 195; palace, 195; Armeria, 196; Museo, pictures, 196; bull-fight, 198.

Magdalena, la, churches of: at Valladolid, 71, 72; at Zamora, 97; at Toledo, 226; at Tarazona, 382; at Tudela, 397.

Mahomedan buildings in Toledo, list of, 213, note.

Mallorca, influence of an artist of, on mediæval architecture, 429.

Manresa, situation of, 340; the Collegiata, 340; altar-frontal in, 344; church del Carmen, 345.

Manrique, Bishop of Leon, 107.

Manta, the, described, 271.

Mantilla, instance of the national love for the, 272.

Maravedi, value of, in middle ages, 449, note.

Marcos, San, church of, at Salamanca, 90; convent at Leon, 128.

Maria, Sta., churches of: at Burgos, 13; de las Huelgas, 34; at Valladolid, 67; at Zamora, 100; at Benavente, 102; at la Coruña, 136; at Guadalajara, 202; at Toledo, 217; at Barcelona, 307, 310; at Cervera, 346; at Tudela, 391; at Olite, 398; de Naranco, near Oviedo, 413.

Martin, San, bridge of, at Toledo, 232; story concerning, 232, note.

----, churches of: at Valladolid, 70; at Salamanca, 91; at Segovia, 190; at Huesca, 367.

Martinez, Gregorio, painter, 20, note.

Masons, Spanish, 438.

Matienzo, Garci Fernandez de, architect 43.

Matteo, San, church of, at Salamanca, 91.

Mattheus, architect, 144, 153, 449; warrant of Ferdinand II. in his favour, 488.

Maurice, Bishop, account of, 18.

Medina del Campo: castle, 160; church of San Antholin, 161.

---- del Rio Seco, 159.

Merced, la, convent of, at Burgos, 53.

Micalete, the, at Valencia, 264; documents relating to, 265.

Miguel, Don, priest of Medina del Campo, donation of, 79, 84 note.

----, San, churches of: at Palencia, 61; at Zamora, 99; at Segovia, 192; at Guadalajara, 202; at Toledo, 227; at Barcelona, 314; at Tarazona, 383.

Millan, San, church of, at Segovia, 187.

Miranda del Ebro, 9.

Miraflores, funeral of Juan II. at, 40; convent and church of, 40; chapel of, 41.

Moncada, Guillen Ramon de, architect, 380.

Moncayo, Sierra de, 376.

Monistrol in Cataluña, church near, 340.

---- in France, 417, note.

Monjuic, rock and fortress of, 292.

Monserrat, mountain-range, 339.

Monte Aragon, monastery of, 362.

Monteacadeo, tower at, 376.

Montmajeur, cemetery at, 50, note.

Monuments in Spanish churches, 31, 48, 83, 98, 119, 179, 207, 250, 251, 252, 306, 397, 434.

Monzon, town of, 362.

Moors, their influence in Spain, 194; their toleration, 213; their architectural skill, 216; numerous in Toledo, 221; duration of their rule, 409; examples of their architecture in the period comprised in this work, 409; their superiority to the Christians in regard to civilization, 410; some of their public works, 412; their use of bricks in architecture, 440; their influence on Christian art, 441.

Moorish battlement, 38, 167, 232.

---- houses in Toledo, 221.

---- vaulting, 84, 215.

---- and Moresque work, at Valladolid, 76; at Segovia, 193; at Guadalajara, 202; at Toledo, 213-232, 246; at Tarragona, 283, 285; at Lérida, 359; at Huesca, 365.

Moresque, a variety of Moorish architecture, 440; examples of, 441.

Mosques in Toledo, 215, 216.

Mota, castle de la, at Medina del Campo, 160.

----, Guillermo de la, his report on plan for completion of Gerona cathedral, 505.

Mozarabic chapel at Salamanca, 84; at Toledo, 237, note.

Mugaguren, Juanes de, architect, 182.

Museum, at Valladolid, 76; at Madrid, 196.

N.

Neale, Dr., quoted, 95, 100, 101, notes.

Nicolas, San, churches of: at Burgos, 44; at Segovia, 191; at Gerona, 331, note; at Pamplona, 407.

Norman, Juan, architect, 459.

O.

Oger, Benedicto, architect, 461.

Olite: remains of castle, 398, 399; church of Sta. Maria, 398; San Pedro, 400.

Olotzaga, Juan de, architect, 363.

Oña, river, 318.

Operarius, office of, 454.

Organs, old, 37, 49, 73, 161, 200, 288, 306, 337, 345.

Orientation of churches, 234.

Orozco, Juan, architect, 86.

Ortiz, Pablo, architect, 252, note.

P.

Pablo, San, church and convent of, at Burgos, 52; church at Valladolid, 71, 74; convent and church at Barcelona, 292; at Zaragoza, 373.

Painters and their works in Spain, 443.

Paintings in churches, 83, 117, 127, 128, 162, 169, 192, 220, 226, 254, 304, 306, 343, 382, 396.

Palencia, journey to, and arrival at, 56; cathedral, 57; church of San Miguel, 61; San Francesco, 63; other churches, 64; walls, 64; plain surrounding the city, 64.

Palma, contract for Exchange at, 514.

Pamplona: cathedral, 402; church of San Saturnino, 406; San Nicolas, 407; views from walls, 408.

Pancorbo, 10.

Parador, the, 4.

Parcerisa, Don F. J., quoted, 303.

Pasage, harbour of, 8.

Pavements, ancient, 218, 226, 285, 288.

Pedro, San, chapel of, in Toledo cathedral, 241.

----, churches of: at Zamora, 100, note; at Avila, 176; at Toledo, 227; at Barcelona, 294; at Gerona, 329; at Huesca, 365; at Olite, 400.

Pelayo, D., Bishop of Oviedo, 163.

Peñafreyta, Pedro de, architect, 349, 452.

Permanence the main object of old Spanish architects, 420; neglected in England now, 421.

Perpiñan, capture of, 336, note; church of San Juan, 337; old house, 337.

Picture-gallery at Madrid, 196.

Pisa, Francisco de, quoted, 256 note.

Pituenga, Florin de, architect, 163.

Plans of early churches, whence derived, 414.

Plans, original, of Mediæval architects, 85, 303, 460.

Plastering, at Segovia, 192, 194; Toledo, 217.

Plateresque work, explanation of, 49, note.

Poblet, monastery and church of, 289 and note.

Polido, Pedro, architect, 185.

Ponce, Maestro, 452.

Ponferrada, 130.

Portell, Berengario, architect, 462.

Posada, the, described, 3.

Prescott, historian, quoted, 213, note.

Prie-dieu, 59.

Puerta del Cuarte, Valencia, 269.

---- del Sol, Toledo, 231.

---- de Serranos, Valencia, 269.

---- de Visagra, Toledo, 231.

Pulgar, Hernando del, quoted, 256 note.

Pulpits, iron: in San Gil, Burgos, 51; at Durham, 51, note; in Zamora cathedral, 96.

Q.

Quintana, Lucas Bernaldo de, architect, 455.

R.

Railways, Spanish, 56.

Raymundo, a “Lambardo,” 450.

----, Maestro, of Monforte de Lemos, architect, 131, 449.

Reims, cathedral at, date of, 109.

Reja, meaning of, 17.

Renaissance school in Spain, works of the, little to be admired, 432.

---- work, specimens of: in San Esteban, Burgos, 49; cloister at Santiago, 151; tomb in San Tomás, Avila, 179; in Sigüenza cathedral, 205, 207; in Barcelona cathedral, 305; in Figueras cathedral, 336; in collegiata at Manresa, 344; at Lérida, 361; at Zaragoza, 374; at Veruela, 388; at Pamplona, 403.

“Restoration,” 27, note; little practised in Spain, 432.

Reus, 273, 289, 461.

Ribero-Rada, Juan de, architect, 88.

Rodrigo, Archbishop, quoted, 233, notes.

----, Maestro, wood-carver, 252.

Rodriguez, Alfonso, architect, 85, 147, 459.

----, D. Ventura, architect, 404.

----, Gaspar, architect, 60, note.

----, Juan, Canon of Segovia, his account of the cathedral, 182, 489.

----, Jusepe, illuminator, 18, note.

Romanesque work, specimens of: near Miranda, 9; at Santiago, 153; at Tarragona, 278; at Barcelona, 307; at Elne, 337; near Tarrasa, 340; at Manresa, 341; at Lérida, 361; at Jaca, 368; at Sta. Cruz de los Seros, 368; at Veruela, 387; at Pamplona, 407.

Roman, San, church of, at Segovia, 191; at Toledo, 216, 224.

Roofing of Spanish churches, 168, 239 and note, 302, 342, 354, 435.

Roque, Maestro, architect, 298.

Round churches, Salamanca, 90; Segovia, 184.

Ruesga, Juan de, builder, 57 note, 186.

Ruiz, Martin, architect, 88.

S.

Sagrera, Guillermo, architect, 324, 337, 457; his report on plan for completion of Gerona cathedral, 509; his contract for the Exchange at Palma, 514.

Salamanca: arrival at, 78; the old cathedral, 79; new cathedral, 85; walls and dilapidated buildings, 90; church of San Marcos, 90; San Martin, San Matteo, 91; documents relating to the construction of the new cathedral at, 482.

Salas, church at, 367.

Salórzano, Martin de, 57, note.

Salvador, San, cathedral of, at Avila, 163.

Sanchez, Martin, wood-carver, 40, 41, note.

----, Pedro, 46, note.

Sancii, architect, 332.

Santa Maria, Bishop Pablo de, account of, 52.

Santiago, church of, at la Coruña, 138; at Toledo, 228; chapel of, in Toledo cathedral, 252; chapel of, in Tarazona cathedral, 382.

---- de Compostella, journey to, 140; situation of the city, 141; cathedral described, 141-158; compared with S. Sernin, Toulouse, 145; festival of S. James, 157; Mass in the cathedral, 158; other churches, streets, hospital, 158.

----, warrant of Ferdinand II. concerning cathedral of, 489.

Santiañes de, Pravia, church at, 413.

Santillana, Juan de, painter on glass, 42.

Saravia, Rodrigo de, architect, 86.

Saturnino, San, church of, at Pamplona, 406.

Screens in Toledo cathedral, subjects carved on, 495.

Sculpture in Spain, 436; in modern buildings, 446.

---- of subjects and figures in churches: Burgos, 18, 20, 28, 30, 31, 33, 42, 47, 52; Palencia, 63; Valladolid, 75; Zamora, 95; Benavente, 103; Leon, 115, 116, 119, 120, 125; Lugo, 134; la Coruña, 137; Santiago, 151, 154; Avila, 167, 172, 175; Segovia, 186, 189; Toledo, 248-252, 257; Valencia, 262, 263; Tarragona, 282, 286; Barcelona, 294, 306, 310, 315, 316; Lérida, 355; Huesca, 364, 365, 367; Tarazona, 383; Tudela, 395, 396, 397, 398; Olite, 399, 401; Pamplona, 404, 405, 407.

Sebastian, San, 8; church of San Vicente at, 9.

Segre, river, 346.

Segovia: Roman aqueduct, 181; cathedral, 181; church of the Templars (Vera Cruz), 184; convent of El Parral, 185; the Alcazar, 187; walls and gates, 187; church of San Esteban, 187; San Millan, 187; San Martin, 190; San Roman, 191; San Facundo, 191; Sta. Trinidad, 191; San Nicolas, 191; San Luine, 191; San Antholin, 192; San Juan, 192; San Miguel, 192; San Lorenzo, 192, note; specimens of plaster-work, 192, 193; Moresque tower, 193.

----, memoir of the Canon Juan Rodriguez on the cathedral of, 490.

Sernin, S., church of, at Toulouse, compared with cathedral of Santiago, 145.

Seu, the, at Zaragoza, 369.

Seville, date of its recovery from the Moors, 410.

Siloe, Diego de, 28.

----, Gil de, architect, 22, 42, 43, 462.

Sigüenza: cathedral, 204; gardens, 208.

Smith’s work in Spanish churches, 305.

Spain: the north of, little explored, 1; drawbacks to travelling in, exaggerated, 1; fitting season for travelling in, 2; inns and food, 2; scenery, 5; places visited by author, 5; increased facilities for travelling in, 6; characteristic of landscapes in, 92; duration of Visigothic rule in, 409; duration of Moorish rule in, 409; Moors and Christians in, 409, 410; subdivision of the country, 410; portions of, not conquered by Moors, 410; states in, in the fifteenth century, 411; early Moorish and Christian buildings in, 412; commerce of, with England, 427, note; sculpture of, 436; domestic architecture of the middle ages in, 436; castles of, 437.

Spanish architects of the middle ages, 448.

---- buildings, catalogue of dated examples of, 467.

Stained glass in church at Miraflores, 42; in Leon cathedral, 120; in Avila cathedral, 170; in Segovia cathedral, 183; in Toledo cathedral, 248, 254; in Gerona cathedral, 328; in Pamplona cathedral, 404.

Steeples, examples of: Burgos, 26; las Huelgas, 38; San Esteban, Burgos, 47; Palencia, 62, 64; Valladolid, 68, 70; Salamanca, 88; Zamora, 93, 99, 100; Benavente, 103; Leon, 114, 127; Lugo, 134; la Coruña, 137; Santiago, 146; Avila, 167, 172, 174; Segovia, 183, 187, 191, 192; Sigüenza, 206; Toledo, 225, 226, 251; Valencia, 264; Tarragona, 281; Barcelona, 302, 310, 312, 314; Gerona, 321, 325, 333, 339; Fornelles, 335; Granollers, 335; Figueras, 336; la Junquera, 336; Elne, 337; Tarrasa, 340; Manresa, 342; Cervera, 346; Lérida, 265, 352; Huesca, 367; Sta. Cruz de los Seros, 368; Zaragoza, 373, 374; Monteacadeo, 376; Tarazona, 380, 382, 383; Alagon, 391; Tudela, 393, 397; Olite, 400.

Steeples of mixed architectural character in Toledo, 224.

Summary of remarks on Gothic buildings in Spain, necessity for, 409; Visigothic period, 409; duration of Moorish rule, 409; effects of the antipathy of Moors and Christians, 409; superior civilization of the former, 410; subdivision of the country, portions never conquered by Moors, 410; dates of Christian successes, 410; provinces included in the two kingdoms of Aragon and Castile, 411; relics of the Goths, 411; of the Moors, 412; early Christian buildings extant, 412; plans of churches of the tenth century, 414; of the eleventh and twelfth centuries, 415; influence of French types, 415; copies of French churches, 417; Spanish system of internal arrangement--adopted in Westminster Abbey, 418; plan of abbey church at Veruela, 419; group of churches illustrating the slow development of art in Spanish buildings, 419; permanence the great object of the builders, 420; cathedrals of Sigüenza and Avila, 421; of Toledo, Burgos, and Leon, 422-426; design by Wilars de Honecort, 424; fourteenth-century art, 426; fifteenth-century art, 427; Catalan churches, 429; Segovia and Salamanca cathedrals, 431; the later styles, 431; the Renaissance school, 432; church furniture, 433; monuments, 434; dependent buildings, 434; church-roofing, 435; sculpture, 436; domestic architecture of the middle ages, 436; ajimez windows, 437; castles, 437; building materials, 438; masons, bodies of, 438; brickwork, 439; Moresque art, 440; influence on each other of Moorish and Christian art, 441; instances of Moorish influence, 441-443; Spanish painters and paintings, 443; sculpture in modern buildings, 446; object of the study of ancient art, 447.

Synagogues converted into churches, 217, 219.

T.

Tafalla, churches at, 402.

Tagus, inundation of the, 211, note.

Taller del Moro, at Toledo, 223.

Tarazona: situation and appearance, 376; cathedral, 377; chapel of Santiago, 382; church of la Magdalena, 382; la Concepcion, 383; San Miguel, 383; crockery-ware at, 389.

Tarragona, the old and new cities, 273; views, 273; Roman remains, 274; cathedral, 274-289; other churches, 289; date of recovery of, from the Moors, 410.

Tarrasa, churches at, 340; Romanesque church near, 340.

Tartana, the Valencian, 260.

Templars’ church (la Magdalena) at Zamora, 99; (Vera Cruz) at Segovia, 184.

Temple church, London, 424, note.

Tenorio, Pedro, Archbishop of Toledo, 251 and note.

Tiles, encaustic, 43, 218, 372, 379, 383, 386.

Toledo: approach to, 209; view of the city, 210; bridge of Alcantara, 211, note; interest of the buildings, 212; group of votive crowns, 212, note; Moorish toleration, 213 and notes; buildings which illustrate the Mahomedan architecture, 213, note; fragments possibly Visigothic, 214; church of Cristo de la Luz, 215; mosque called De las Tornerias, 216; church of San Roman, 216, 224; Sta. Maria la Blanca, 217; del Transito, 219; the Juderia, 221; Moorish houses, 221; the Taller del Moro, 223; church of Sta. Magdalena, 226; steeples of several churches, 227; Santiago, 228; Sta. Leocadia, and other churches, 229; walls, 229; bridges and gateways, 230; Puerta de Visagra, 231; bridge of San Martin, 232 and note; cathedral, 233-256; chapel of San Ildefonso, 250; of San Blas, 251; of Santiago, 252; church of San Juan de los Reyes, 256; great artistic interest of the city, 257; date of its recovery from the Moors, 410.

----, further notice of the cathedral, 423; list of subjects carved on screens in, 495.

Tomás, San, church and convent of, at Avila, 178.

Tomé, San, church of, at Toledo, 227.

Tornerias, de las, Moorish mosque, 216.

Tornero, Juan, architect, 86.

Toro, collegiate church at, 101.

Torre, village of, 130.

Torre Nueva, at Zaragoza, 373.

Toulouse, church of S. Sernin at, 416.

Transito, church del, at Toledo, 219.

Trascoro, meaning of, 16.

Travelling in Spain, its drawbacks exaggerated, 1; season for, 2; improved facilities for, 6.

Trinidad, Sta., church of, at Segovia, 191.

Tudela: cathedral, 391; church of la Magdalena, 397.

Tufa, use of, for vaulting, 111.

Tuy, Don Lucas de, quoted, 107.

U.

University, at Valladolid, 76; of Ximenes at Alcalá de Henares, 201.

Urbina, Juan de, painter, 20 note.

Ursula, Sta., church of, at Toledo, 229.

Urteaga, Domingo, architect, 461.

V.

Valdivieso, Juan de, painter on glass, 42.

Valdomar, architect, 266.

Valencia: arrival at, 260; cathedral, 261; the Micalate, 264; embroidered altar frontals, 267; walls and gates, 268; domestic remains, 269; ajimez windows, 269; features of the city, 271; date of its recovery from the Moors, 410.

Valent, Bartolomé, builder, 265.

Valladolid: arrival at, 65; great Plaza and town-hall, 65; cathedral, 66; church of Sta. Maria la Antigua, 67; San Martin, 70; San Pablo, 71, 74; San Benito, 71, 72; la Magdalena, 72, 75; college of San Gregorio, 71, 75; of Sta. Cruz, 71; Moorish archway, 76; museum, library, university, 76.

Vallbona, monastery and church of, 289 and note.

Vallejo, Juan de, architect, 24.

Valleras, Arnaldo de, architect, 340; his report on plan for completion of Gerona cathedral, 508.

Vallfogona, Petrus de, his report on plan for completion of Gerona cathedral, 504.

Vall-llebrera, Pedro de, architect, 346.

Valmeseda, Juan de, sculptor, 59.

Velasco, Constable, palace of the, at Burgos, 54.

Vergara, 9.

Veruela, ride from Tarazona to, 383; abbey at, 384.

Vicente, San, churches of: at San Sebastian, 9; at Zamora, 99; at Avila, 170.

----, his tomb at Avila, 175.

Vilasolar, Guillermo, architect, 457.

Villa-Amil, M., quoted, 95.

Villafranca del Vierzo, 130.

---- de Panades, 273.

Villalba, 180.

Villia Espepa, chancellor of Navarre, monument to him and his wife in Tudela cathedral, 396.

Viollet le Duc, M., value of his writings, 242 note.

Vique, city of, 339.

Visigoths in Spain, remains of their works in Toledo, 214; votive crowns of their king Reccesvinthus, 212; duration of their rule, 409.

Visquio, Gerónimo, Bishop of Salamanca, 79.

Vitoria, 9.

W.

Wages of architects, &c., in the middle ages, 20, 41, 42, 58, 60, 61, 71, 72, 131, 144, 169, 185, 186, 265, 266, 270, 297, 298 and note, 305 note, 319, 332 note, 349, 449-462.

Waring, Mr., his view of the cloister at las Huelgas, 38 note.

Westminster Abbey, example of the internal arrangement of a Spanish church offered by, 418.

Windows in churches, undue number of, 111, 112.

Wren, Sir Christopher, 67; anecdote of, 370 note.

X.

Xulbe, Joannes de, architect, 304; his report on plan for completion of Gerona cathedral, 503.

----, Paschasius de, architect, 324; his report on plan for completion of Gerona cathedral, 503.

Z.

Zacoma, Pedro, architect, 333, 453.

Zamora: entrance to, 92; cathedral, 92; church of San Isidoro, 97; la Magdalena, 97; San Miguel, 99; San Vicente, 99; San Leonardo, 100; Sta. Maria de la Horta, 100; ruined church, 100; San Juan, San Pedro, 100 note; walls, 101; bridge, 101; Gothic house, 101.

Zaragoza: old cathedral, 369; church of San Pablo, 373; Torre Nueva, 373; another church, 374; Renaissance buildings, 374; church of Sta. Engracia, 374; date of its recovery from the Moors, 410.

THE END.

LONDON: PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET, AND CHARING CROSS.

* * * * *

Typographical errors corrected by the etext transcriber:

Die Christliche Künst in Spanien=> Die Christliche Kunst in Spanien {fn pgvii}

Simple buttresses divide the bays of the clerestory.=> Simple the buttresses divide the bays of the clerestory. {pg 126}

They are to be seen on a sunday=> They are to be seen on a Sunday {pg 148}

the onter built in 1109=> the outer built in 1109 {pg 230}

sarista secundas, Joannes de Boscho=> sacrista secundas, Joannes de Boscho {pg 513}

* * * * *

FOOTNOTES:

[1] I have quoted this book throughout as “Cean Bermudez, Arq. de Esp.”

[2] Die Christliche Kunst in Spanien. Leipzic, 1853.

[3] España Artistica y Monumental, por Don G. P. de Villa Amil y Don P. de la Escosura. Paris, 1842.

[4] Recuerdos y Bellezas de España, por F. J. Parcerisa, 1844, &c.

[5] Monumentos Arquitectónicos de España; publicados á expensas del Estado, bajo la direccion de una Comision especial creada por el Ministerio de Fomento.--Madrid, 1859-65, and still in course of publication.

[6] The church, at Bidart, between Bayonne and the French frontier, is quite worth going into. It has a nave about forty-five feet wide, and three tiers of wooden galleries all round its north, west, and south walls. They are quaint and picturesque in construction, and are supported by timbers jutting out upwards from the walls, not being supported at all from the floor.

[7] Plate I. This (as are all the other plans in this book) is made from my own rapid sketches and measurements. It is necessarily, therefore, only generally correct. But I believe that it, and all the others, will be found to be sufficiently accurate for all the purposes for which they are required. Without ground-plans it is impossible to understand any descriptions of buildings; and they are the more necessary in this case, seeing that, with the exception of very small plans of Burgos and Leon Cathedrals, there is probably no illustration of the plan of any one of the churches visited by me ever yet published in England. I have drawn all the plans to the same scale, viz., fifty feet to an inch. This is double the scale to which the plans in Mr. Fergusson’s ‘History of Architecture’ are drawn; and though it would facilitate a comparison of the Spanish with other ground-plans illustrated by him to have them on the same scale, I found it impossible to show all that I wanted in so very small a compass.

[8] I have not thought it necessary to draw these ruinous additions to the early design. That they are additions is easily proved by the way in which they are tied with bands of iron to the early shafts, as well as by the complete difference in style. The original work is fortunately intact behind the added pinnacles, and there is nothing conjectural in its restoration.

[9] The Chapter entered into a contract with one Jusepe Rodriguez for these books; but Philip II. insisted upon his being set free from this contract in order that he might work for him on the books for the Escorial, where he wrought from A.D. 1577 to A.D. 1585. Cean Bermudez, Dice. Hist. de las Bellas Artes en España. Some illustrations of initial letters in the Burgos books are given by Mr. Waring in his ‘Architectural Studies in Burgos.’

[10] ‘España Sagrada,’ vol. xxvi. p. 301. G. G. Dávila, ‘Teatro Ecclesiastico de las Yglesias de España,’ iii. 65, says that Maurice was a Frenchman; and he mentions the consecration by him of the Premonstratensian Church of Sta. Maria la Real de Aguilar de Campo, on the 2nd Kal. Nov. 1222.

[11] Esp. Sag., xxvii. 306; ‘Memorial in the Archives at Burgos,’ ii. fol. 57. The era 1259 answers to A.D. 1221. The “era” so frequently occurring in Spanish records precedes the year of our Lord by thirty-eight years, and is, in fact, the era of the Emperor Cæsar Augustus. See ‘Cronicas de los Reyes de Castilla,’ vol. i. p. 31, and ‘España Sagrada’ vol. ii. pp. 23 et seq., for an explanation of this computation, which is constantly used as late as the middle of the fourteenth century in all Spanish inscriptions and documents.

[12] Esp. Sag., xxvii. 313.

[13] Esp. Sag., xxvi. 315.

[14] Ponz states that Bishop Pascual de Fuensanta (1497-1512) moved the stalls from the Capilla mayor (_i.e._ choir) to the middle of the church; and Florez, Esp. Sag. xxvi. 315 and 413, makes the same statement.

[15] Ponz, ‘Viage de España,’ xii. 28, says that the sculptures of this Retablo were executed by Rodrigo de la Aya and his brother Martin between A.D. 1577 and 1593 at a cost of 40,000 ducats; and that Juan de Urbina (a native of Madrid), and Gregorio Martinez of Valladolid, painted and gilded it for 11,000 ducats in three years, finishing in A.D. 1593.

[16] Esp. Sag., xxvi. 331.

[17] The chapel of the Visitation was built by Bishop Alonso de Cartagena, 1435-56. The chapel of Sta. Ana was built by Bishop Luis Acuña y Osorio, 1457-95. The chapel of Sta. Catalina in the Cloister is said to have been built in the time of Enrique II.--Caveda, Ensayo Historico, 379-80.

[18] Cod. M., No. 9.

[19] Noticias de los Arquitectos y Arquitectura de España, vol. i., 206-7.

[20] Florez, Esp. Sag. xxvi. 393, says: “A MS. which I have says that Bishop Luis Acuña y Osorio (1457-95) reformed the fabric of the transept in the middle of the church with eight turrets, which became a ruin in the middle of the following century.”

[21] A view of the west front in A.D. 1771 shows the three western doors in their old state; they had statues on the door-jambs, and on the piers between them.--Esp. Sag. xxvi. p. 404.

[22] Cean Bermudez, Arq. de Esp., i. 105, 106.

[23] It was well that I used the word “delighted” when I wrote this page, for this passage no longer delights me as it did. I visited Burgos again last (1863), and found the Cathedral undergoing a sort of restoration; masons cleaning up everything inside, and by way of a beginning outside they had widened the passage to the south door, so as to make it square with and of the same width as the doorway; to do this a slice had been cut off the bishop’s palace, at some inconvenience to the bishop, no doubt, the result of doing it being simply that much of the beauty and picturesqueness of the old approach to the church is utterly lost for ever. Of one thing, such an unsuccessful alteration satisfies me--little indeed as I require to be satisfied on the point,--and this is, that in dealing with old buildings it is absolutely impossible to be too conservative in everything that one does. Often what seems--as doubtless this thing did to the people of Burgos--the most plain improvement is just, as this is, a disastrous change for the worse. And when we find old work, the reason for or meaning of which we do not quite perceive, we cannot be wrong in letting well alone. It is to be hoped that Spain is not now going to undergo what England suffered from James Wyatt and others, and what she is still in many places suffering at the hands of those who follow in their steps!

[24] In A.D. 1257 the king gave a piece of land opposite his palace (now the Episcopal Palace) to the Dean of Burgos. Was not this for the erection of the cloisters?

[25] One of the buttresses of the north transept is seen in the western alley of the cloister. On the face of it still remains one of the original dedication crosses--a cross pattée enclosed in a circle.

[26] On the east side these recessed arches have a very rich foliage in their soffeits.

[27] The coffer of the Cid is that which he filled with sand, and then pledged for a loan from some Jews, who supposed it to be full of valuables; afterwards he honestly repaid the borrowed money, and hence, perhaps, the coffer is preserved, the first part of the transaction being unquestionably not very worthy of record.

[28] Manrique, Anales Cisterciences, iii. 201.

[29] Plate II.

[30] The nuns’ choir in the nave is, according to Florez, “the most capacious of all that are known in cathedrals and monasteries.” Esp. Sag., xxvi. 582.

[31] The organ in All Saints, Margaret Street, has the pipes of one stop similarly placed; but I know no old English example of this arrangement.

[32] Mr. Waring and M. Villa Amil have both published drawings of the inner cloister. The drawing of the latter is evidently not to be trusted; but from Mr. Waring’s view I gather that the arches are round, resting on coupled shafts, with large carved capitals. Mr. Waring calls them Romanesque, but in his drawing they look more like very late Transitional work, probably not earlier than A.D. 1200. They appear to be arranged in arcades of six open arches between larger piers, and with such a construction the cloister could hardly have been intended for groining. The famous cloister at Elne, near Perpignan, with those of Verona Cathedral, S. Trophine at Arles, Montmajeur, and Moissac, are examples of the class from which the design of such a cloister as this must have been derived, and its character is therefore rather more like that of Italian work, or work of the South of France, than that of Northern France or England.

[33] España Sagrada, xxvii. 611-14.

[34] España Sagrada, xxvi. 350, 359.

[35] An interesting account of this meeting is given in Cronicas de los Reyes de Castillos, i. p. 481-3.

[36] That it was “of no diocese” was expressly recorded among the titles borne by the Abbess, and given by Ponz, Viage de España, xii. 65.

[37] See the account at length in Esp. Sag., xxvii. 393 and 558.

[38] These stalls are like late Flemish work, but wrought by a Spaniard, Martin Sanchez, circa A.D. 1480, who received 125,000 maravedis for his labour.

[39] See Cean Bermudez, Dicc. Hist., vi. 171.

[40] A decidedly hyperbolical inscription is quoted by Ponz, in which the Chapel of Miraflores is called a Temple, “second to none in the world for monuments, beauty and curiousness.”--Ponz, Viage de Esp., xii. 61. The remark might fairly have been made if had referred only to the monuments.

[41] Quoted by Cean Bermudez, Dicc. Hist., iv. 378.

[42] There is an illustration of this monument in Mr. Waring’s book.

[43] See España Sagrada, xxvii. 559. Cean Bermudez, Dicc. Hist. iv. 324, vi. 285, and Arq. de España, i. 106 and 121.

[44] “Nobilis Vir Gonsalvus Polauco, atque ejus conjux Eleonora Miranda hujus sacri altaris auctores hoc tumulo conquiescunt:” “Obiit ille anno 1505 hæc vero 1503.”

[45] I fear I must add that Roman Catholics still seem to be fond of western galleries; for one of the most recent, and I hope the most hideous of their works, the new Italian church in Hatton Garden, has, in addition to all its other faults, the glaring one of a western gallery fitted up like an orchestra, whilst the part of the floor which, according to all old usage, was given to the choir to sing praises to God, seems from the aspect of the chairs with which it is filled to be reserved for the more “respectable” part of the congregation! Extremes meet, and this Italian church would be easily convertible, as it would be most suitable, to the use of the baldest form of Dissent!

[46] Ponz, Viage de Esp., xii. 21, gives an inscription on one of the towers of the castle, which states that Pedro Sanchez, “Criado y Ballistero,” servant and archer to the King (Enrique II.), was its Mayordomo during its construction in the year 1295.

[47] In Braun and Hohenburgius’ Théâtre des Villes, A.D. 1574, there is a view of Burgos, which must have been drawn somewhat earlier as the Chapel of the Constable is not shown in the cathedral: San Esteban is represented with a spire on its tower.

[48] I particularly refer here to our colonial cathedrals, in which I wish that the founders would from the first contemplate the erection of all the proper subordinate buildings, as well as that of the church itself; and also to those large town churches which we may hope to see built before long, and served by a staff of clergy working together and encouraging each other.

[49] _i.e._ the north side, which would be the side of the Gospel ambon if it faced in the right direction. As I never saw these galleries used, I do not know how the ambons were really appropriated.

[50] The work of Berruguete and his school is so called in Spain from its plate-like delicacy of work in flat relief. For Renaissance work it has a certain air of rich beauty, not often attained in other lands; and, indeed, it is only a debt of justice due to the architects of Spain from the time of Berruguete in 1500 to that of the ponderously Pagan Herrera towards the end of the same century, to say, that whatever faults may be found with their overgreat exuberance and lavish display of decoration, they nevertheless possessed rare powers of execution, and a fertility of conception (generally, it must be owned, of very ugly things), for which they may well be envied by their school now, as they were in their own day. Indeed, if the revivers of Renaissance in these days ever think of such a thing as importing a new idea, I wish heartily that they would go to Spain and study some of her 16th century buildings.

[51] The similar but rather earlier iron lectern preserved in the Hôtel Cluny, at Paris, is well known. See an illustration of it from a drawing of mine in the second volume of ‘Instrumenta Ecclesiastica’ of the Ecclesiological Society.

[52] The curious cemetery at Montmajeur, near Arles, is full of graves excavated in the rock, and cut out just so as to receive the body; so too are all our own old stone coffins. See also the illuminations illustrating the burial office so constantly introduced in books of “Hours.”

[53] Vol. xxvii. p. 675.

[54] This is a very common Flemish custom; but whether the Flemings borrowed it from Spain, or _vice versâ_, I cannot say.

[55] Iron pulpits were not unknown in England in the middle ages. There was one in Durham Cathedral. See ‘Ancient Rites of Durham,’ p. 40.

[56] A drawing of this door is given by Mr. Waring, ‘Architectural Studies in Burgos,’ pl. 39.

[57] España Sagrada, vol. xxvi. p. 382-387, and vol. xxvii. p. 540.

[58] “Qui venerandus Pontifex hanc ecclesiam cum sacristia et capitulo suis sumptibus ædificavit.”--España Sagrada, xxvi. p. 387. The cloister was rebuilt by Alonso de Burgos, Bishop of Palencia, cir. 1480-99.--G. G. Dávila, Teatro Eccl. ii. 174.

[59] The inscription on the monument of Gonsalvo, Bishop of Sigüenza, contained the following passage: “Hic venerandus Pontifex fuit filius, _ex legitimo matrimonio_ natus, Reverendi Pontificis Dñi Pauli,” &c.

[60] Ceau Bermudez, Arq. y Arquos. de España, i. 103.

[61] In ‘L’Univers Pittoresque, Espagne,’ vol. xxxi. pl. 54, is a view of the ruin of the west end (apparently) of the convent of Carmelites at Burgos; it is a very richly sculptured and panelled front of the most florid kind of latest Pointed, and in a ruinous state.

[62] The first stone of the cathedral was laid on the 1st of June, 1321, by Cardinal Arnoldo, legate of Juan XXII., assisted by Juan II., Bishop of Palencia, and six other bishops, among whom was the Bishop of Bayonne; “and the first prebendary who had charge of the works (‘obrero’) in this holy church was Juan Perez de Aceves, Canon and Prior of Usillos, who assisted in laying the first stone with the legate and the bishops.”--G. G. Dávila, Teatro Eccl. ii. 159.

[63] In 1504 the conclusion of the cathedral of Palencia was undertaken by Martin de Solórzano, an inhabitant of Sta. Maria de Haces, under the condition that he should finish his work in six years, with stone from the quarries of Paredes del Monte and Fuentes de Valdepero. Salórzano, however, died in 1506, and Juan de Ruesga, a native of Segovia, finished it.--Cean Bermudez, Arq. de España, vol. i. p. 142.

[64] Gil Gonzalez Dávila, ‘Iglesia de Palencia,’ fol. 164, gives a letter from the Chapter to the Bishop D. Sancho de Rojas, begging for money for the work. The Chapter state that the stalls are to cost 76,000 maravedis, and that they are the work of “Maestro Centellas,” and that they propose to adorn the Bishop’s seat with four achievements of arms. The bishop at the time this letter was written was at Valencia, assisting at the wedding of Alonso, Prince of Gerona, and the daughter of King D. Enrique III.--G. G. Dávila, Teatro Eccl. ii. 164.

[65] Cean Bermudez, Dicc. Hist., vol. ii. p. 236.

[66] Ibid., vol. v. p. 121.

[67] Also in his (D. Sancho de Rojas, A.D. 1397 to A.D. 1411) time was built the Capilla mayor, which is now the “Parroquia” of the church.--G. G. Dávila, Teatro Eccl., ii. 164.

[68] Cristóbal Andino made the Reja of the Capilla mayor in A.D. 1520 for 1500 ducats, and in 1530 the screen for 430 ducats, and Gaspar Rodriguez made that of the Coro in 1555 for the sum of 3600 gold ducats, paid by the bequest of Bishop D. Luis Cabeza de Vaca.

[69] Cean Bermudez, ‘Arq. Esp.’ i. 60, says the date 1535 exists on the door from the church to the cloister: and G. G. Dávila, Teatro Ecc., ii. p. 171, says that in the time of D. Juan Rodriguez de Fonseca (translated to Burgos in A.D. 1514) the greater part of the chapels from the crossing downwards were built, as also the cloister and Chapter-house. The same bishop gave the stairs leading to the well of S. Antholin, repaired the dormitories, and gave to the sacristy a rich set of altar vestments (terno) of brocade, four tapestries of ecclesiastical history, and four others of “Salve Regina.”

[70] The stained glass which once adorned the church was executed by Diego de Salcedo in 1542, at the price of 100 maravedis each palm (cada palmo).--Cean Bermudez, Dicc. Hist., vol. iv. p. 304.

[71] This rare arrangement is seen in the church of the Frari at Venice, and in the church of the Capuchins at Lugo.

[72] Madoz, Dicc. de España.

[73] It should be compared, for instance, with the church of the Eremitani at Padua, and the church of San Fermo Maggiore at Verona.

[74] We put up at the Fonda de Paris, in the Plaza Sta. Ana--a good inn, kept by some natives of Belliuzona, who took a good deal of trouble for me, and whose hotel may safely be recommended.

[75] ‘Viage de España,’ vol. xi. p. 38.

[76] Plate III.

[77] The Retablo of the high altar is (except the figure of the Blessed Virgin) a work of Juan de Juni (circa A.D. 1556-1583). He had studied under Michael Angelo, and was either an Italian or a Fleming. I am sorry to differ from Mr. Ford as to the merits of this artist; but I must say that I never saw figures so violently twisted and distorted, so affected and unnatural, or coloured decorations so gaudy and contemptible as those in which he indulged. At the same time, his works are so characteristic of his period and school as to deserve examination, even if they provoke contempt.

[78] Historia de Valladolid, vol. ii. p. 181.

[79] Sagrador y Vitores, Hist. de Valladolid, vol. ii. p. 186.

[80] Cean Bermudez, Arq. de Esp. i. 109.

[81] Sagrador y Vitores, Hist. de Valladolid, ii. 263-268.

[82] Cean Bermudez, Arq. de Esp. i. 128.

[83] Enrique de Egas built the Hospital of Sta. Cruz, at Toledo, between 1504 and 1514. His work at Valladolid is still half Gothic; a few years later, at Toledo, it is completely Renaissance in style. It is seldom that we can trace this radical change of style in the work of the same man.

[84] Little meets the eye, but still I have had several new establishments of regular clergy pointed out to me, and the Church in Spain is already, no doubt, regaining something of what she has lost in revolutions and wars.

[85] Handbook of Spain, vol. ii. p. 572.

[86] Berruguete was not dissatisfied with his work. In a letter from him to Andrés de Nágera (given by Sagrador y Vitores in his History of Valladolid, vol. ii. p. 257) he expresses his own extreme satisfaction in the most unreserved way.

[87] The remarkable brick buildings of Toulouse and its neighbourhood are similarly constructed; so, too, are those not less remarkable works at Lübeck and elsewhere in the north of Germany.

[88] Plate IV.

[89] It is doubtful whether this surname is correct, and whether it is not old Spanish for “Vixit” in the inscription on his tomb.--Ford, Handbook, p. 521.

[90] Teatro Eccl., iii. 236-8.

[91] Cean Bermudez, Arq. de Esp., i. 21.

[92] G. G. Dávila, Teat. Eccl., iii. 344.

[93] Plate IV.

[94] The statues at the angles of the lantern are of our Lord, the B. V. M., an angel, and a bishop.

[95] Don Miguel, priest of San Juan, Medina del Campo, made a donation to the church in A.D. 1178, to complete the work of the cathedral. The Chapter-house is probably of about this date or a little later.--Cean Bermudez, Arq. de Esp., i. 23.

[96] I use the modern terms, which seem to express their offices. The original words are J. G. de Hontañon, “maestro de canteria para maestro principal, y en Juan Campero, cautero, para aparejador.”

[97] Two inscriptions on stones on the church give the dates of its commencement and first use.

“+ Hoc Templum inceptum est anno a nativitate Domini millesimo quingentesimo tercio decimo die Jovis duodecima mensis Maii.”

“+ Pio. IV. Papa, Philippo II. Rege. Francisco Manrique de Lara, Episcopo, ex vetere ad hoc templum facta translatio xxv. Martii anno a Cristo nato 1560.”--G. G. Dávila, Teat. Ecc., iii. 320, 344.

[98] It will be seen presently that in the somewhat similar cathedral at Zamora the Romanesque steeple occupies precisely the same position as this. It is possible that when the Junta sat the steeple they spoke of was of the same age as the old church, and that it has been subsequently recast in Renaissance.

[99] Yet I think a more careful search would be rewarded, for we know of the consecration of several churches at an early date, and Mr. Ford speaks of them as still existing.

Church of San Nicholas, consecrated 11 Kal. Nov. 1192. Do. San Pedro, do. Nov. 1202. Church of Sta. Maria de los Caballeros, consecrated Nov. 1214. Do. San Emilian, do. Nov. 1226. Do. S. Michael, do. Nov. 1238. --G. G. Dávila, Teatro Eccl., iii. pp. 272-4.

[100] Plate IV.

[101] G. G. Dávila, Teatro Eccl., ii. 397. Dávila’s statement, supported by the inscription on his tomb, is that Bernardo was the first Bishop of Zamora; but this does not appear to accord exactly with the result at which Florez arrives. His statement is that Gerónimo was the first Bishop of Zamora after a long hiatus, that he was succeeded by Bernardo, and that both these bishops were appointed by Bernard of Toledo, and both were natives of Périgord. The fact seems to be that Gerónimo was Bishop of Valencia, and had to fly thence when the Moors regained possession after the Cid’s death, and that he was then made Bishop of Salamanca. It is certainly not a little curious that two of the eleventh-century bishops of Zamora should have come from a district where all the vaulting is more or less domical, and that we should have in their cathedral one of the most remarkable examples of a domed church. It will be recollected that nearly the same facts have been mentioned in regard to Salamanca. See Esp. Sag., vol. xiv. pp. 362-368, and p. 79 _ante_.

[102]

Fit domus hista quidem, veluti Salomonica capridem Huc adhibite fidem: domus hæc successit eidem. Sumptibus, et magnis viginti fit tribus annis. A quo fundatur, Domino faciente sacratur. Anno millessimo, centessimo, septuagesimo. Quarto completur, Stephanus, qui fecit habetur. Alfonsus imperator, Rex Septimus fundavit.

G. G. Dávila, Teat. Eccl., ii. 397-8.

The same historian says that King Fernando I. rebuilt the city of Zamora with very strong walls in 1055.--ii. 395.

[103] This I suppose is the chapel of San Ildefonso, founded in 1466 by the Cardinal D. Juan de Mella, Bishop of Zamora.

[104] M. Villa-Amil, who gives a view of this transept, has converted this arcade into a row of windows, presented the doorway with a sculptured tympanum, and entirely altered the character of the archivolt enrichment.

[105] On the north side, the figures and inscriptions are as follow:--

1. Abel. _Vox sanguinis._ 2. Abraam. _Tres vidit; unum adoravit._ 3. Joseph. _Melius est ut venundetur._ 4. Melchisedec. _Rex Salem proferens panem et vinum._ 5. Job. _De terra surrecturus sum._ 6. Aaron. _Invenit germinans._ 7. Samson. _De (comedente exivit cibus)._ 8. Samuel. _Loquere Domine._ 9. David. _Dominus dixit ad me, Filius._ 10. Jeremias. _Dominus._ 11. Ezekiel. _Porta hæc._ 12. Oseas (with cross botonnée on breast). _Addam ultra._ 13. Amos. _Super tribus._ 14. Micheas. _Percutient maxillam._ 15. Abacuc. _Exultabo in Deo Jesu meo._ 16. Sophonias. _Juxta est dies._ 17. Zacharias. _Jesus erat_. 18. Nabuchodonosor. _Quartus similis Filio Dei._ 19. Virgilius Bucol. _Progenies._

On the south side:--

1. Moyses. _Prophetam excitabit._ 2. Isaac. _Vox quidem vox._ 3. Jacob. _Non auferetur Sceptrum de Juda._ 4. Balaam. _Orietur stella ex._ 5. Gedeon. _Si ros solo._ 6. Helias. _Ambulavit in fortitudine._ 7. Helisæus. _Vade, et lavare septies._ 8. Salomon. _Levent servi mei._ 9. Tobias. _Jherusalem._ 10. Isayas. _Ecce Virgo concipiet._ 11. Baruch. _Statuam Testamentum illis._ 12. Daniel. _Septuaginta hebdomades._ 13. Johel. _Magnus enim dies Domini._ 14. Jonas. _De ventre._ 15. Naum. _Ecce super._ 16. Ageus. _Veniet desideratus._ 17. Malachias. _A solis ortu usque ad._ 18. Caiaphas. _Expedit vobis._ 19. Centurio. _Vere Filius._

[106] See plan, Plate VIII.

[107] The western doorways of Salisbury Cathedral are emphatically mere “holes in the wall,” and very characteristic, too.

[108] I add Dr. Neale’s notes of two churches here which I did not discover.

“San Juan de la Puerta Nueva. Principally of Flamboyant date, has a square east end. The whole breadth of the church is here under one vault, the span somewhere about sixty feet. The north porch, separated by a parclose from the chapel of the Cross, has an excellent Transitional door. The western façade has a middle-pointed window of five lights.

“San Pedro. Has had its originally-distinct nave and aisles thrown into one in Flamboyant times, and vaulted with an immense span.”

[109] Nevertheless, Dr. Neale describes it as existing, and so, no doubt, it does.--‘An Ecclesiological Tour,’ Ecclesiologist, vol. xiv. p. 361.

[110] See plan, Plate VIII.

[111] There is an inscription on the south-east buttress of the transept which, I believe, refers to the date of the church; but, unfortunately, though I noticed it, I forgot to write it down.

[112] See Catologo de los Obispos de Leon. Cixila II. Esp. Sag., xxxiv. 211.

[113] In a deed of the 20th March, A.D. 1175, mention is made of Pedro Cebrian, “Maestro de la Obra de la Catedral,” and of Pedro Gallego, “Gobernador de las Torres.” It is possible, of course, that Cebrian may have been the architect of the new cathedral if it was commenced between 1181 and 1205, but I do not believe that this was the case; and the real architect was, more probably one who is thus mentioned in the book of Obits of the cathedral: “Eodem die VII. idus Julii, sub era MCCCXV. obiit Henricus, magister operis,” and who, dying in the year 1277, may well have designed the greater portion of the work. At a later date, in 1513, Juan de Badajoz was architect of the cathedral, and may probably have finished one of the steeples.--Cean Bermudez, Arq. de España, i. 37, 38.

[114] “Hoc tempore,” he says, “ampliata est fides Catholica in Hispania, et licet multi Regnum Legionense bellis impeterent, tamen Ecclesiæ regalibus muneribus ditatæ sunt in tantum, ut antiquæ destruerentur Ecclesiæ, quæ magnis sumptibus fuerant fabricatæ, et multo nobiliores et pulchriores in toto Regno Legionensi fuudarentur. Tunc reverendus Episcopus Legionensis Manricus ejusdem Sedis Ecclesiam fundavit opere magno, sed eam ad perfectionem non duxit.”

[115] “Cum igitur,” they say, “ad fabricam Ecclesiæ Sauctæ Mariæ Legionensis quæ de novo construitur, et magnis indiget sumptibus, propriæ non suppetant facultates, universitatem vestram rogamus,”--“quatenus de bonis vobis a Deo collatis eidem fabricæ pias eleemosynas de vestris facultatibus tribuatis, ut per hæc, et alia bona opera, quæ inspirante Deo feceritis, ad eterna possitis gaudia pervenire.” This indulgence is preserved in the archives of the cathedral.--España Sagrada, xxxv. p. 269.

[116] “Cum igitur Ecclesia Beatæ Mariæ Legion. Sedis ædificetur de novo opere quamplurimum sumptuoso, et absque fidelium adminiculo non possit feliciter consummari, universitatem vestram monemus et exhortamur in Domino,” &c. &c.; “ut per subventionem vestram, quod ibidem inceptum est, ad effectum optatum valeat pervenire,” &c., given in the general Council of Leon, 10 Kal. Aug. A.D. 1273.--España Sagrada, xxxv. p. 270.

[117] Plate V.

[118] So, at least, I was assured by the superintendent of the works at the cathedral. Some of the material I saw was no doubt tufa; but some of it seemed to me to be an exceedingly light kind of concrete. The vaulting of Salisbury Cathedral is similarly constructed. I do not know whether at Beauvais the same expedient was adopted to lessen the weight.

[119] The three crucifixes at the entrance to the cemetery at Nuremberg will be remembered by all who have ever seen them; and such a group would have made a fitting centre for such a cloister as this at Leon.

[120] This conceit is illustrated more elaborately than I have elsewhere seen it in a palace near San Isidoro, where the angle windows are designed and executed in a sort of perspective, which is inexpressibly bad in effect.

[121] _Not_ a crucifix.

[122] Witness Mr. E. Burne Jones’s beautiful picture over the altar of S. Paul, Brighton, and Mr. D. G. Rossetti’s at Llandaff.

[123] Teatro Ecclesiastico, i. p. 365.

[124] “Hic requiescit Petrus de Deo, qui superædificavit Ecclesiam hanc. Iste fundavit pontem, qui dicitur de Deus tamben: et quia erat vir miræ abstinentiæ et multis florebat miraculis, omnes eum laudibus prædicabant. Sepultus est hic ab Imperatore Adefonso et Sancia Regina.” Esp. Sag., xxxv. p. 356. G. G. Dávila, Teatro Eccles., i. p. 340. Dávila adds the words “servus Dei” before the name of the architect.

[125] See Cean Bermudez, Arq. de Esp., i. p. 14.

[126] The whole of this deed of endowment is interesting. I quote a few lines only, which have some interest, as bearing, among other things, on the Gothic crowns found at Guarrazar, and mentioned at p. 212. “Offerimus igitur” “ornamenta altariorum: id est, frontale ex auro puro opere digno cum lapidibus smaragdis, safiris, et omnia genere pretiosis et olovitreis: alios similiter tres frontales argenteos singulis altaribus: Coronas tres aureas: una ex his cum sex alfas in gyro, et corona de Alaules intus in ea pendens: alia est de anemnates cum olivitreo, aurea. Tertia vero est diadema capitis mei,” &c. &c.--Esp. Sag., xxxvi., Appendix, p. clxxxix.

[127] “Sub era millesima centesima octuagesima septima, pridie nonas Martii, facta est Ecclesia Sancti Isidori consecrata per manus Raymundi Toletanæ Sedis Archiepiscopi, et Joannis Legionensis episcopi,” &c. &c.--Teatro Eccl., vol. ii., p. 243. See also the similar inscription on a stone in San Isidoro.--Esp. Sag., vol. xxxv. p. 207.

[128] Ponz, Viage de España, xi. p. 234.

[129] Plate VI.

[130] _E.g._ Segovia, Avila, Salamanca, Benavente, Lérida.

[131] So, at least, says Cean Bermudez, but without giving his authority.

[132] Pallares Gayoso, Hist. de Lugo, from the black book in the archives.

[133] Cean Bermudez, Arq. de España, i. 25.

[134] Plate VII.

[135] A.D. 1577.--Madoz, Dicc.

[136] Teatro Eccl., iii. 182, 183.

[137] Plate VIII.

[138] The following inscription remains on one of the columns on the north side of the nave:--

SANTA : MARIA : RECE AB : ESTE : PIAR : DE : FON DO : A TE : CIMA : CON : LA METADE : DOS : AR COS : CA : QUELQUE : O : PAGON : EN : VIII. : IDUS JULII : ERA : MCCC : XL.

From which it appears that this column, with the halves of the two arches springing from it, was built in A.D. 1302. On another column on the same side is an inscription recording the erection of the Chapel of the Visitation in A.D. 1374.

[139] Plate VIII.

[140] España Sagrada, xix. p. 91.

[141] Historia del Apostol Sanctiago, by Mauro Castella Ferrer, p. 463.

[142] The latter document in particular has much architectural interest, and is worth transcribing in part, on account of its reference to these early buildings, and their materials and furniture. It commences as follows:--

“In nomine Domini nostri Jesu Christi, edificatum est Templum Sancti Salvatoris, et Sancti Jacobi Apostoli in locum Arcis Marmoricis territorio Galleciæ per institutionem gloriosissimi Principis Adefonsi III. cum conjuge Scemena sub Pontifice loci ejusdem Sisnando Episcopo.” (877-903.) “Supplex egregii eximii Principis Ordonii proles ego Adefonsus Principi cum prædicto antistite statuimus ædificare domum Domini et restaurare Templum ad tumulum sepulchri Apostoli, quod antiquitus construxerat divæ memoriæ Dominus Adefonsus Magnus ex petra et luto opere parvo. Nos quidem inspiratione divina adlati cum subditis ac familia nostra adduximus in sanctum locum ex Hispania inter agmina Maurorum, quæ eligimus de Civitate Eabecæ petras marmoreas quas avi nostri ratibus per Pontum transvexerunt, et ex eis pulchras domos ædificaverunt, quæ ab inimicis destructæ manebant. Unde quoque ostium principale Occidentalis partis ex ipsis marmoribus est appositum: supercilia vero liminaris Sedis invenimus sicut antiqua sessio fuerat miro opere sculpta. Ostium de sinistro juxta Oraculum Baptistæ et Martyris Joannis quem simili modo fundavimus, et de puris lapidibus construximus columnas sex cum basibus todidem posuimus, ubi abbobuta tribunalis est constructa, vel alias columnas sculptas supra quas portius imminet de oppido Portucalense ratibus deportatas adduximus quadras, et calcem unde sunt ædificatæ columnæ decem et VIII. cum aliis columnelis marmoreis simili modo navigio.”--España Sagrada, xix. p. 344, Appendix.

[143] Handbook of Spain, pp. 600-605.

[144] The authors of the ‘Manual del Viagero en la Catedral de Santiago’ are, however, not quite of this opinion. They say of it, “The monument which we examine belongs not to Santiago, to Galicia, to Spain, but is the patrimony of the Christian religion, of the Catholic world; since in all fervent souls something remains of the ancient and fervent faith of our forefathers.” This guide-book, by the way, is one of the worst I ever met with.

[145] The twentieth volume of ‘España Sagrada’ is entirely occupied with the reprint of this chronicle.

[146] Histor. Compost, lib. iii. cap. 1.

[147] “Postquam supradictus Episcopus,” “ad Ecclesiam Patroni sui B. Jacobi Apostoli rediens, circa eam indefessam solicitudinem exhibuit.” “Reversus itaque a supradicta expeditione, vetustissimam Ecclesiolam obrui præcepit, quæ intra immensam novæ ecclesiæ capacitatem imminente ruina lapsum minabatur. Hæc in longitudinem ad altare B. Jacobi protendebatur ab illo pilari qui juxta principalem ecclesiæ parietem, et secus unum de quatuor principalibus pilaribus existit, in sinistra parte superiorem partem chori ingredientibus pone relinquitur, et juxta fores pontificalis Palatii Ecclesiam introeuntibus, recta fronte opponitur, et in alia parte, id est in dextera, a pilari opposito supradicto pilari usque ad idem altare: latitudo vero illius eadem quæ modo et chori est. Destructa illa Ecclesia in era I.C.L.” (A.D. 1112.) “quæ quasi obumbraculum totius Ecclesiæ esse videbatur, Chorum satis competentem ibidem composuit, qui usque in hodiernum diem Dei gratia et B. Jacobi per industriam ejusdem Episcopi optimi Cleri excellentia egregie decoratur. Ipse quoque Episcopus, utpote sapiens architectus, in ejusdem chori dextro capite fecit supereminens pulpitum, in quo Cantores, atque Subdiacones officii sui ordinem peragunt. In sinistro vero aliud, ubi lectiones et Evangelia leguntur. Est autem B. Jacobi specialis et præclara nova ecclesia incæpta Era I. C. XVI.--V. idus Jul.” (A.D. 1078.) Histor. Compost., lib. i. cap. 78.

[148] The Archbishop’s words were as follows:--“Fratres, nostra ecclesia non nostris sed Dei gratia et nostri Patroni Beatissimi Apostoli Jacobi meritis maximi et celeberrimi est nominis, et ultra portus et citra portus pro ditissima et nobilissima reputatur.” “Quælibet Sedes ultra portus pulchriora et valentiora ædificia habet quam nostra,” &c. &c.--Hist. Compost., lib. iii. cap. 1.

[149] Histor. Compost., lib. ii. cap. 64.

[150] Ibid., lib. iii. cap. 36.

[151] See Appendix.

[152] Before this time, in 1161, Master Matthew had built the bridge of Cesures in Gallicia.--Cean Bermudez, Arq. de España, i. 33.

[153] “Era: millena: nova: vicies: duodena.”

[154] By a strange coincidence, S. Sernin boasts of having, among the bones of several of the apostles, those of S. James; though, of course, this would be strongly denied at Compostella.

[155] The church from which the cathedral at Santiago was copied is one of a considerable number in France, all of which have the same general characteristics. I have already given some description of them in a paper read before the Royal Institute of British Architects in 1861, and published in their Transactions. The following list of some of the more remarkable examples will show both their date and locale:--Conques, completed in A.D. 1060; S. Etienne, Nevers, commenced in A.D. 1063, consecrated A.D. 1097; S. Eutrope, Saintes, consecrated in A.D. 1096; S. Genes, A.D. 1016-1120; S. Hilary, Poitiers, A.D. 1049; Montierneuf, Poitiers, A.D. 1069-1096; S. Radigonde, Poitiers, A.D. 1099; S. Amable, Riom, A.D. 1077-1120; S. Sernin, Toulouse, A.D. 1060-1096; Cluny, A.D. 1089-1131; Dorat (Haute Vienne) and Bénévente (Creuse), A.D. 1150-1200; S. Saturnin; Volvic; Issoire; S. Nectaire; N. D. du Port, Clermont Ferrand, circa A.D. 1080-1160; Brioude, A.D. 1200. There is a church of similar construction at Granson, on the lake of Neufchâtel. These churches agree generally in their plans, but especially in those of their chevets (which almost invariably have chapels in the alternate bays only). Their sections are also alike, the triforia galleries being always vaulted with a continuous half-barrel or quadrant vault, and they have no clerestories. No doubt they were always intended to receive stone roofs, without any use of timber; and this mode of covering has been carefully restored recently at N. D. du Port, Clermont Ferrand.

[156] This façade was designed by D. Ventura Rodriguez, in 1764.

[157] The ground-plan of this chapel is shown on Plate IX., above the plan of the cathedral.

[158] The sacristan will not trouble himself to show this chapel, and it was by a mere accident that I discovered its existence. The keys are kept by the carpenter of the chapter, whose shop is below the chapter-house.

[159] The seminario on the west, the hospital on the north, and the College of San Jerónimo on the south side.

[160] This is the Puerta Santa, and is only opened by the archbishop in years of jubilee.

[161] It is just open to doubt whether the small circular window over the other is original, but I think the similarity to S. Sernin is in favour of its being so, in spite of some awkwardness in the mode of its introduction, which would otherwise have inclined me to doubt it.

[162] See the illustration of this doorway in the frontispiece.

[163] I could not discern the meaning of a rite the people perform here. They kneel down and put the thumb and three fingers of one hand into some cavities just fitted for them in the sculpture of the central shaft, and then with the other hand throw sand down the throats of the monsters. Some people evidently did this much to their own satisfaction, whilst an acolyte called my attention to the practice as being curious and unintelligible.

[164] España Sag., vol. xix.

[165] This practice illustrates the intention of the singular pilgrimage chapel at the west end of Lapworth church, Warwickshire, which has two newel staircases to its small upper chamber, evidently intended to facilitate the passage of a crowd of people.

[166] Cean Bermudez, Arq. de España, i. p. 105.

[167] “Don Juan of Medina, Bishop of Segovia, Abbat of Medina, President of the Cortes, Chancellor of Valladolid, ordered this chapel to be made in the year 1503. Laus Deo.”

[168] The walls near San Vicente are 42 feet high by 14 feet thick, and the towers of the gateway upwards of 60 feet in height.

[169] Ariz, Historia de Avila, part ii. p. 13. Ponz, Viage de España, xii. 308-9.

[170] Cean Bermudez, Arq. de España, vol. i. p. 18.

[171] España Sagrada, xxxviii. p. 134.

[172] See ground-plan, Plate X.

[173] See ground-plan, Plate XXIII.

[174] Teatro Eccl. ii. 258. Dávila, among the celebrities of Avila, includes himself, “the least of all, Pulvis et umbra.” One is surprised to find in his account of his own town so little really original matter as to the history or the date of its buildings.

[175] Juan de Borgoña contracted on March 23, 1508, to paint five pictures which were lacking in this Retablo, receiving 15,000 maravedis for each, and binding himself to finish them by All Saints’ Day of the same year.

[176] Plate XI.

[177] See the illustration of San Esteban, Segovia.

[178] Teatro Eccl. ii. 230.

[179] Teatro Eccl. ii. 229.

[180] Teatro Eccl. ii. 230.

[181] “In 1465 the sepulchre of the martyrs was made by donations from the Catholic kings, prelates,” &c. D. Andres H. Gallejo, ‘Memoria sobre la Basilica de San Vicente,’ p. 13. This date can only refer to the canopy.

[182] The following inscriptions on churches in Avila are given by G. G. Dávila. On a stone in San Nicolas, “In honorem B. Nicolai dedicavit hanc ecclesiam Jacobus Abulensis Episcopus, &c. &c., vi. Kal. Novembris, era MCC.XXXVI.” On a stone in San Bartolomeo, “In honorem S. Bartholomei Apost. dedicavit hanc ecclesiam Petrus Episcopus, &c. &c., vii. idus Decembris, MCCXLVIII.” The same bishop consecrated San Domingo in 1240.

[183] Cean Bermudez, Arq. de España, vol. i. p. 113. This convent is said to have been founded by the Catholic monarchs entirely with the confiscated goods of Jews.

[184] Cean Bermudez, Dicc., &c., de los Bellas Artes en España, vol. ii. p. 125.

[185] Cean Bermudez, Arq. de España, i. p. 214.

[186] Here lies Rodrigo Gil de Hontañon, Master of the Works of this Holy Church. He died the 31st of May, 1577. He set the first stone, which the Bishop D. Diego de Ribera laid on the 8th of June, 1525.

[187] Plate XII.

[188] See ground-plan, Plate VIII.

[189] Colmenares (Historia de la insigne Ciudad de Segovia; Segovia. 1637) gives the date of the first foundation 1447, but the buildings do not seem to have been begun before 1474, and the vaulting was finished in 1485.--Cean Bermudez, Arq. de España, i. p. 111.

[190] These particulars are all given in Cean Bermudez, Arq. de España, i. pp. 111, 120, 146.

[191] See Plate VIII.

[192] See ground-plan, Plate VIII.

[193] San Millan is said to have been founded in A.D. 923, and similar early dates are given for Sta. Columba and San Esteban: none of them, I believe, retain any features of so great an antiquity.

[194] I did not see the church of San Lorenzo. It has three eastern apses, and an arcaded cloister on the western and southern sides, some of the arches being round and some pointed. The detail is all of the same kind as in other examples here, with much delicate imitation of natural foliage.--See Illustration in Monos. Arqos. de España.

[195] The illustration of this courtyard is engraved from a photograph.

[196] See ground-plan, Plate XIII.

[197] Teatro Eccl., vol. i. pp. 131-148.

[198] See an illustration of this window on the ground-plan of Sigüenza Cathedral, Plate XIII.

[199] Hoc. claustrum. a. fundamentis, fieri, maudavit. Reverendissimus. Dominus. B. Carvaial. Car. S. +. in. Jerusalem. patriarcha. Ierosolimitan. episcopus. Tusculan. Antistes. hujus. alme. basilice. quod. cempletum. fuit. de. mense. Novembris. anno. Salutis. M.C.C.C.C.C.V.II. procurante. D. Serrano. Abbate. S. Columbe. ejusdem. ecclesiæ. operario.

[200] B: Carvaial: Car: S: +: eps: Saguntin:

[201] Teatro Eccl., i 161.

[202] Señor Cabezas, a commissionaire, to be heard of at the Fonda de Lino, may be recommended. He knows all the most interesting churches, as well as the Moorish remains; and to see these last it is indispensable to have some conductor who knows both them and their owners.

[203] This castle is said by Ponz to have been built by Archbishop Tenorio, circa 1340.--Viage de España, i. 163.

[204] It seems that the bridge of Alcantara fell down in the year 1211, and when it was repaired Enrique I. built a tower for the better defence of the city, as is recorded in an inscription given by Estevan de Garibay as follows: “Henrrik, son of the king Alfonso, ordered this tower and gate to be made, to the honour of God, by the hand of Matheo Paradiso in the _era_ 1255” (A.D. 1217). In A.D. 1258 the king D. Alonso “el Sabio” rebuilt the bridge, and put the following inscription on a piece of marble over the point of the arch: “In the year 1258 from the incarnation of Lord Jesus Christ, was the grand deluge of water, which commenced before the month of August, and lasted until Thursday the 26th of December; and the fall of rain was very great in most lands, and did great damage in many places, and especially in Spain, where most of the bridges fell; and among all the others was demolished a great part of that bridge of Toledo, which Halaf, son of Mahomet Alameri, Alcalde of Toledo, had made by command of Almansor Aboaamir Mahomet, son of Abihamir, Alquazil of Amir Almomenin Hixem; and it was finished in the time of the Moors, 387 years before this time; and the king, D. Alonso, son of the noble king D. Fernando, and of the queen Doña Beatriz, who reigned in Castile, had it repaired and renovated; and it was finished in the eighth year of his reign, in the year of the Incarnation 1258.” Cean Bermudez, Arq. de Esp., i. p. 254-255. The bridge was restored again by Archbishop Tenorio in 1380, and fortified in 1484 by Andres Manrique.--Ford, Handbook of Spain, p. 783.

[205] I must mention in this place one very curious collection of relics of the age of the Gothic kings of Spain. This is the marvellous group of votive crowns discovered in 1858 in a place called La Fuente de Guarrazar, in the environs of Toledo, and which were immediately purchased by the Emperor of the French for the Museum of the Hôtel de Cluny. They consist of five or six crowns, with crosses suspended from them, and three smaller crowns without crosses. They are of gold, and made with thin plates of gold stamped with a pattern, and they have gold chains for hanging them up by, and are adorned with an infinity of stones. They have been illustrated in a volume published by M. F. de Lasteyrie, with explanatory text. I cannot do better than quote the conclusions at which he arrives: “(1) The crowns found at Guarrazar are eminently votive crowns. (2) They have never been worn. (3) Their construction belongs probably to the age of Reccesvinthus and the episcopate of S. Ildefonso, who excited so great a devotion to the Blessed Virgin in Spain. (4) One of the crowns was offered by Reccesvinthus (whose name, formed in letters suspended from its edge, occurs on it); possibly the next in size may have been given by the queen, and the rest by their officers. (5) The place from which they came was a chapel called N. Dame des Cormiers. (6) All of the crowns, though found in Spain, appear to belong to an art of the same northern origin as the conquering dynasty which then occupied the throne. They certainly give the idea of an extraordinary skill in the gold-smiths’ art at this early period (circa 650-672), and it is probable that they had been buried where they were found at the time that the Moors entered Toledo as conquerors in A.D. 711.”--See Description du Trésor de Guarrazar, &c., par Ferdinand de Lasteyrie, Paris, 1860. Since this discovery some other crowns have been found in the same neighbourhood, and these are, I believe, preserved at Madrid. They have been described in a short paper in the Proceedings of the Society of Antiquaries, to which I must refer my readers. The crowns preserved at the Hôtel Cluny certainly form one of the greatest attractions in that attractive collection. They are in a singularly perfect state of preservation. Their workmanship is rather rude, and they all appear to be of as nearly as possible the same age and manufacture. There can be no question that M. F. de Lasteyrie is right in saying that they were never worn as crowns; they were designed for suspension before an altar, and most of them have crosses hanging from them. The largest crown--that of Reccesvinthus, is formed of two plates of gold, the inner plate plain, the outer pierced, beaten up, and set with very large stones. The plates of gold in many cases are stamped with a pattern. At the top and bottom of the plate which forms the coronet is a narrow band of cloisonnée gold, the spaces in which seem to have been filled with glass or red-coloured enamel. The largest crown is eight-and-a-half inches in diameter, and has a splendid jewelled cross suspended from its centre, and the name of the king in large Roman letters hung by chains from its lower edge, and formed of cloisonnée gold. When I see such work done in the seventh century, and then look at modern jeweller’s work, I am tempted to think that the much vaunted progress of the world is not always in the right direction. Gold and silver ornaments were exported from Spain to so considerable an extent, that the tiara of the Pope, being richly wrought with precious metal, was called _Spanoclista_.--Masdeu, Hist. Critica.

[206] “The Christians, in all matters exclusively relating to themselves, were governed by their own laws, administered by their own judges. Their churches and monasteries (rosæ inter spinas) were scattered over the principal towns, and their clergy were allowed to display the costume and celebrate the pompous ceremonial of the Romish religion.”--Prescott, Hist. of Ferdinand and Isabella, vol. i. p. 5.

[207] Sta. Justa (founded in 554), Sta. Eulalia (559), San Sebastian (601), San Marcos (634), San Lucas (641), San Torcuato (700), and Nuestra Señora del Arribal were the churches so granted for the use of the Mozarabic Liturgy. See D. Manuel de Assas, ‘Album Art. de Toledo,’ Art. II., and D. Sisto Ramon Parro, ‘Toledo en la Mano,’ p. 167 et seq.

[208] “The most remarkable buildings which illustrate the Mahomedan architecture in Toledo are the following:--The Mosque, now church of Cristo de la Luz, the Synagogues Sta. Maria la Blanca and El Transito, the church of San Roman--probably once a Mosque or Synagogue--the gateways De Visagra and Del Sol, and one on the Bridge of Alcantara, the Alcazar, the Palace of D. Diego, the Casa de Mesa, the Taller del Moro, the Temple (No. 10, Calle de San Miguel), the College of Saint Catherine, the house No. 17, Calle de las Tornerias, the ruins of the Palace of Villena, those of St. Augustine, of San Ginés, the Baths de la Cava, the Castle of San Servando (or Cervantes), the Palace of Galiena, and finally the Churches of SS. Ursula, Torcuato, Isabel, Marcos, Justo, Juan de la Penitencia, Miguel, Magdalena, Concepcion, Sta. Fé, Santiago, Cristo de la Vega (or Sta. Leocadia), SS. Tomé and Bartolomé.”--D. Manuel de Assas, Album Artist. de Toledo, and Toledo Pintoresca, Don J. Amador de los Rios. There are other remains, and among them a very fine room behind the house, No. 6, Calle la Plata.

[209] Ponz, Viage de España, vol. i. p. 210, gives a view of the considerable remains of a Roman aqueduct. I believe these have now entirely disappeared.

[210] There is a view in Villa Amil’s work of this interior, but the scale of the figures introduced is so much too small as to increase largely the apparent size of the building; otherwise the drawing is fairly correct. The illustration which I give is borrowed from Mr. Fergusson’s ‘Handbook of Architecture,’ and is from a drawing by M. Girault de Prangey.

[211] I find that Archbishop Rodrigo consecrated the church of San Roman on the 20th of June, 1221. See his Historia de Rebus Hispaniæ, in España Sagrada, vol. ii. p. 23.

[212] San Vicente Ferrer is said to have converted more than 4000 Toledan Jews in one day in the year 1407; and in 1413 a vast number were converted in Zaragoza, Calatayud, and elsewhere in the north of Spain. One cannot but fear that coming events in this case cast their shadows before them, and that the Jews had a shrewd suspicion of the coming of the edict of 1492, by which 170,000 Jewish families were ordered to leave the kingdom if they would not be baptized. The establishment of the Inquisition was the necessary consequence of such an edict. See Don J. Amador de los Rios, Estudios sobre los Judios de España, pp. 84, 106, 156.

The illustration which I give of the interior of this synagogue is borrowed from Mr. Fergusson’s ‘Handbook of Architecture.’ The original view is in M. Villa-Amil’s work, and gives a fairly correct representation of the general effect of the building.

[213] Said to have been so called on account of the passing-bell rung at the death of any of the Knights of Calatrava, to which it belonged after A.D. 1492; but more probably owing to its possession of a picture of the Assumption, the church having sometimes been called Nuestra Señora del Transito. It is also called San Benito. See D. Man. de Assas, Alb. Art. de Toledo.

[214] For some notice of Samuel Levi, and the inscriptions in the Synagogue, see Don José Amador de los Rios, Estudios sobre los Judios de España, pp. 52-7. Translations of these long and curious Hebrew inscriptions are given by D. F. de Rades y Andrada in his Chronicle of Calatrava, pp. 24, 25.

[215] The capture of Granada, on Jan. 2nd, 1492, and the expulsion of the Jews at the end of July in the same year, were jointly recorded over the door “del Escribanos” at the west end of the cathedral; and at the same time so great was the zeal for the Christian faith that nothing else was tolerated anywhere in Spain, and least of all here under the eye of the Primate. Yet it is more than doubtful whether the country gained in any way--moral or material--by such a measure; it lost its most skilled workmen, its most skilled agriculturists; and the gloom-inspiring effect of the necessary Inquisition, seems permanently to have fixed itself on Spanish art and manners. 170,000 families of Jews, at the time of their expulsion, were compelled to leave the kingdom in four months, or be baptized.--Don J. A. de los Rios, Estudios s. l. Judios, p. 156.

[216] From _artesa_, a kneading-trough; a carved ceiling, made in the shape of an inverted trough. This term is usually applied by Spanish writers to this class of roof, and I follow Mr. Ford’s example in adopting it, as we have no term which exactly represents it.

[217] Viage de España, vol. i. p. 41.

[218] España Art. y Mon., vol. i. p. 78.

[219] I am aware that in saying this I blame myself as much as any one else. The truth is, that so violent is the popular prejudice on some points that he must be a bold architect who ventures to run counter to it; and I am quite sure that the first brick building I erect with the brickwork executed in the proper way will be met by a storm of abuse from all sides. This is a great snare to most of us. Nothing is more easy than to secure popular applause in architecture. If we abstain from study, thought, or over-labour about the execution of every detail, we may still do what every one will agree is right and proper, because it has been done five hundred times before; but if we only give a fair amount of all three we are sure to meet with plenty of critics who never give any of either, and who hate our work in proportion to their own incapacity to criticize it from their old standpoint.

[220] A good illustration of San Tomé is given in Villa Amil, vol. ii.

[221] Toledo en La Mano, pp. 249 et seq. Escosura in Villa Amil, vol. ii. p. 51.

[222] Ford’s Handbook, p. 777.

[223] see ante, p. 210.

[224] An inscription was put up in the time of Philip II. giving the history of the bridge, and stating that it had been rebuilt by Pedro Tenorio, the archbishop: “Pontem cujus ruinæ in declivis alveo proxime visuntur, fluminis inundatione, quæ anno Domini MCCIII. super ipsum excrevit, diruptum Toletani in hoc loco ædificaverunt. Imbecilla hominum consilia, quem jam amnis lædere non poterat, Petro et Henrico fratribus pro regno contendentibus interruptum, Petrus Tenorius archiepiscopus Toletan. reparâdum curavit.”

A quaint story is told of the building of this bridge. The architect whilst the work was going on perceived that as soon as the centres were removed the arches would fall, and confided his grief to his wife. She with woman’s wit forthwith set fire to the centring, and when the whole fell together all the world attributed the calamity to the accident of the fire. When the bridge had been rebuilt again she avowed her proceeding, but Archbishop Tenorio, instead of making her husband pay the expenses, seems to have confined himself to complimenting him on the treasure he possessed in his wife.--Cean Bermudez, Not. de los Arquos., &c., vol. i. p. 79.

[225] A stone was found in the 16th century with this inscription on it:--

IN NOMINE DNI CONSECRA TA ECCLESIA SCTE MARIE IN CATHOLICO DIE PRIMO IDUS APRILIS ANNO FELI CITER PRIMO REGNI DNI NOSTRI GLORIOSISSIMI H RECCAREDI REGIS ERA DCXXV

This stone is still preserved, and is interesting as a proof that a church was standing here in the year 587.

[226] Bernard, the first bishop, after the expulsion of the Moors was sent from France, at the request of the king, by Hugo, Abbot of Cluny. The story of this seizure of the mosque is as follows: “Regina Constantia hortante de revete adscitis militibus Christianis, majorem Mezquilam ingressus est Toletanam, et eliminata spurcitia Mahometi, erexit altaria fidei Christianæ, et in majori turri campanas ad convocationem fidelium collocavit.” The king came back forthwith in great wrath, determined to burn both queen and archbishop, and riding into the city was met by a crowd of Moors, to whom he cried out that no injury had been done to them, but only to him who had solemnly given his oath that their mosque should be preserved to them. They, however, prudently begged him to let them release him from his oath, whereat he had great joy, and riding on into the city the matter ended peacefully.--Archbishop Rodrigo, De Rebus Hispaniæ, lib. vi. cap. xxiii.

[227] “In the _era_ 1264 (A.D. 1226) the king D. Fernando, and the archbishop Don Rodrigo, laid the first stones in the foundation of the church of Toledo.”--Anales Toledanos III. Salazar de Mendoza, in the prologue to the Chronicle of Cardinal D. Pedro Gonzalez de Mendoza, says that the function took place on the 14th Aug. 1227, the eve of the Assumption. The archbishop, in his History, lib. ix. cap. 13, says that the work was carried on to the great admiration of the people: “Et tunc jecerunt primum lapidem” (the Toledo MS. has lapides) “Rex et Archiepiscopus Rodericus in fundamento ecclesiæ Toletanæ, quæ in forma mexquitæ” (of a mosque) “à tempore Arabum adhue stabat: cujus fabrica opere mirabili de die in diem non sine grandi admiratione hominum exaltatur.” It is vexatious to find the archbishop who laid the first stone writing a history of his own times, and saying nothing throughout the entire volume beyond these few words about his cathedral. No one seems to be able to judge what will interest another age. Most of the archbishop’s facts are rather insignificant, and what thanks would we not have given him for any information as to the building of one of the grandest churches of the age!--See his History--finished in 1243--in vol. iii. of Coll. Patrum Ecc. Toletanæ, Madrid, 1795.

[228] It is preserved in the Chapel of St. Catherine.--See Blas Ortiz, Summi Templi Toletani graphica Descriptio.

[229] I venture to speak with great positiveness about some features of detail. It is possible enough that architects in various countries may develop from one original--say from a Lombard original--groups of buildings which shall have a general similarity. They may increase this similarity by travel. But in each country certain conventionalities have been introduced in the designing of details which it is most rare to see anywhere out of the country which produced them. Such, _e.g._, are the delicate differences between the French and English bases of the thirteenth century, nay even between the bases in various parts of the present French empire. These differences are so delicate that it is all but impossible to explain them; yet no one who has carefully studied them will doubt, when he sees a French moulding used throughout a building, that French artists had much to do with its design.

[230] Cean Bermudez, Arq. de Esp., &c., vol. i. pp. 253-4; and Bellas Artes en España, passim.

[231]

+-----------------+---------+---------+-----------+ | | | |Width of | | |Width in |Length in|Nave from | | -- |clear of |clear. |c to c | | |Walls. | |of Columns.| | | | | | +-----------------+---------+---------+-----------+ | |feet. in.|feet. |feet. in. | |Toledo[A] |178 0 |395 |50 6 | |Milan[B] |186 0 |395 |50 6 | |Cologne[B] |130 0 |405 |44 0 | |Paris[A] |110 0 |400 |48 0 | |Bourges[A] |128 0 |370 |49 0 | |Troyes[A] |124 0 |395 |50 0 | |Chartres[C] |100 0 |430 |50 0 | |Amiens[D] |100 0 |435 |49 0 | |Reims[C] | 95 0 |430 |48 0 | |Lincoln[C] | 80 0 |468 |45 0 | |York[C] |106 0 |486 |52 0 | |Westminster[C] | 75 0 |505 |38 0 | +-----------------+---------+---------+-----------+

A: Five aisles, exclusive of chapels between buttresses. B: Three aisles, exclusive of chapels between buttresses. C: Five aisles. D: Three aisles.

[232] The north-west tower only was built, and this long after the original foundation of the church (_i.e._ circa 1380-1440). Blas Ortiz, speaking of the foundation of the Mozarabic chapel at the west end of the opposite (south) aisle, says it was placed “in extrema Templi parte, ubi cœptæ turris fundamenta surgebant.” The four western bays of the nave are no doubt rather later in date than the rest of the church, but they follow the same general design, and are not distinguishable on the ground-plan. My ground-plan of this enormous cathedral is deficient in some details; but my readers will pardon any departure from absolute accuracy in every part, when they consider how much useless labour the representation of every detail entails in such a work, and how impossible it would be for any one without a great deal of time at his disposal to do more than I have done. I am not aware that any plan of this cathedral has ever before been published. I omitted to examine a detached chapel--that I believe of the “Reyes Nuevos”--but with this exception, I think my plan shows the whole of the old portion of the work quite accurately.

[233] The account given by Blas Ortiz (who wrote his description of the cathedral in the time of Philip II.) ought to be given here, because it seems to show that in his time the roofs were not entirely covered with stone, but, as at present, with tile roofs in some parts above the stone. “Ecclesiæ testudines,” he says, “candidæ sunt, muniunt eas, et ab imbribus aliisque incommodis protegunt tabulata magna (sive contiguationes) artificiose composita, fulcris statura hominis altioribus suffulta, tectaque partim tegulis, partim lateribus ac planis lapidibus. Turriculæ lapideæ in modum pyramidum erectæ, e singulis (inquam) pilis per totum ædificium exeunt, quæ sacram Basilicam extrinsecus pulcherrimam faciunt.”--Descrip. Temp. Toletani, cap. xxi.

[234] M. Viollet le Duc’s articles in the Dictionnaire de l’Architecture Française on the planning of French churches are extremely valuable, as indeed is all that he writes; and I take the opportunity afforded me by the aid which he has thus given me in the consideration of this question, to express the gratitude which I suppose every student of Christian art feels for what he has done towards promoting its right study.

[235] That ingenious form of vault invented by modern plasterers, in which the transverse arch gives all the data for the shape of the diagonal rib, which is consequently neither a true pointed arch, nor a true curve of any kind, is, of course, the worst of all forms; and it might be thought unnecessary to utter a protest against it, were it not that we see some of our best modern buildings disfigured beyond measure by its introduction. Nothing is simpler than a good vault. The best rule for it is to make a good diagonal arch and a good transverse arch, and the filling in of the cells is pretty sure to take care of itself.

[236] I refer my readers to Chapter XX. for an account of the curious likeness between this plan and one by Wilars de Honecort.

[237] Plate XIV.

[238] Toledo Pintoresca, p. 87.

[239] I take the height of nave from Blas Ortiz. He gives the dimensions of the church in Spanish feet as follows:--Length, 404; breadth, 202; height, 116 feet.

[240] Compendio del Toledo en la Mano, p. 182.

[241] The western bay, on the north side, has a monument with a gable, and the spandrels between it and the side pinnacles crowded with tracery mainly composed of cusped circles. The second bay, counting from the north-west, has in the tympanum over the cusped arch figures of the twelve apostles; and over them, our Lord, with angels holding candles and censers on either side. The monument in the third bay has figures of twelve saints, and above them the coronation of the Blessed Virgin Mary. The fourth or eastern bay has a modern altar, which conceals completely the old work. The fifth bay has a Renaissance tomb of a bishop. The sixth, the same monument as in the second and third bays, with figures of twelve female saints, and above them the Resurrection, and the Last Judgment. The seventh bay corresponds with the first, which is opposite it; and the eighth bay contains the arch of communication with the choir aisle.

[242] Archbishop Don Pedro Tenorio was one of the most munificent of the archbishops of Toledo. In addition to the cloister and chapel of San Blas he is said to have built the castle of San Servando, the bridge of San Martin, and the convent of Mercenarios in Toledo. Besides which, he built castles and forts on the frontier of the kingdom of Granada, and erected the town of Villafranca with its famous bridge “del Arzobispo.”

[243] There are twelve bells, of which the largest is San Eugenio. There are some old lines which show its fame:--

Campaña la de Toledo, Iglesia la de Leon, Reloj el de Benavente Rollos los de Villalon.

[244] It is said that a number of designs were sent in competition for this monument, and that from among them that of Pablo Ortiz was selected, and a contract entered into for its erection on January 7th, 1489.--Bellas Artes en España, iii. 284.

[245] These later stalls have the following inscription:--

“Signa, tum marmorea, tum ligna cœlavere: Hine Philippus Burgundio Ex adversum Berruguetus Hispanus Certaverunt, tum artificium ingenia. Certabunt semper spertatorum judicia.”

But for their whole history see Bellas Artes en España, v. 230. Borgoña carved the stalls on the Gospel side, Berruguete those on the Epistle side of the choir.--Ponz, Viage de España, i. 59. This same Felipe de Borgoña was architect of the lantern of Burgos cathedral.

[246] The Reja east of the Coro was designed by Domingo Cespides, by order of the Chapter, to whom he presented a model made in wood by Martinez, a carpenter.--Toledo Pintoresca, p. 40.

[247] Alonso de Covarrubias, Maestro Mayor from 1534 to 1536, mentions among his works the removal of most of the Retablos, which, he says, produced a “detestable effect.” For an account of the Retablo of the principal altar, and the names of the men who executed it, see Ponz, Viage de España, i. 65. It was designed in 1500. See also the Life of Juan de Borgoña, in Diccin., &c., de las Bellas Artes en España, vol. i. p. 163.

[248] I find the following interesting account of the colours used during the different seasons of the ecclesiastical year given by Blas Ortiz, Descriptio Templi Toletani, pp. 387, 388:--

_White._--The Nativity and Resurrection of our Lord, and the feasts of the Blessed Virgin Mary and Virgins.

_Red._--Epiphany, Pentecost, Festivity of Holy Cross, Apostles, Evangelists, and Martyrs, and the Victory of Benamarin.

_Green._--In the procession on Palm Sunday, and the Solemnity of S. John Baptist.

_Saffron, or light Yellow._--On Feasts of Confessors, Doctors, and Abbots.

_Blue._--Trinity Sunday, and many other Sundays.

_Ash-colour._--Ash-Wednesday.

_Violet._--Advent and Lent, wars, and troubles.

_Black._--For the Passion of our Lord, and for funerals. And besides these all sorts of colours mixed with gold on the festival of All Saints, on account of their diversity of character, and on the coming of the king or archbishops of Toledo, or of legates from the Pope.

[249] Hernando del Pulgar, in the ‘Cronica de los muy Altos y Esclarecidos Reyes Catolicos’ (part ii. cap. 65), records the erection of the church in accomplishment of a vow made after the battle of Toro; and D. Francisco de Pisa, in his ‘Descripcion de la Imperial Ciudad,’ says that Ferdinand and Isabella intended to be buried here. They changed their intention in favour of the chapel they built at Granada after the conquest.

[250] Said to be portraits of Ferdinand and Isabella.--Toledo en la Mano, p. 137.

[251]

ANNO DOMINI M.CC.LXII. X. KAL. JUL. FUIT POSITUS PRIMUS LAPIS IN ECCLESIA BEATÆ MARIÆ SEDIS VALENTINÆ PER VENERABILEM PATREM DOMINUM FRATREM ANDREAM TERTIUM VALENTINÆ CIVITATIS EPISCOPUM.

[252] This doorway ought to be compared with the south door of the nave of Lérida cathedral, the detail of which is so extremely similar to it that it is impossible, I think, to doubt that they were the work of the same men.

[253] Madoz gives the same date.--Dicc. Geo. Esp. Histórico.

[254] The illustration which I give of this lantern is borrowed from Mr. Fergusson’s ‘Handbook of Architecture.’

[255] Noticias de los Arquitectos, &c., vol. i. p. 256.

[256] Viage Lit. á las Iglesias de España, vol. i. p. 31.

[257] L’an 1238, lorsque Jaques I. Roi d’Arragon assiégoit Valence, qui etait au pouvoir des Mores, il déclara que les premiers qui l’emporteroient auroient l’honneur de donner les poids, les mesures, et la monnaye de leur ville à ceux de Valence; là dessus ceux de Lérida s’y jettèrent les premiers, et prirent la ville. C’est pourquoi, lorsqu’on repeupla Valence, ils y envoyèrent une colonie, leurs mesures, et leur monnaye, dont on s’y sert encore aujourd’hui; et la ville de Valence reconnoit celle de Lérida pour sa mère.--Les Délices de l’Espagne, iv. 613. Leyden, A.D. 1715.

[258] Ponz, Viage de España, iv. 21, 22.

[259] Valdomar also built the chapel “de los Reyes,” in the convent of San Domingo, commenced 18th June, 1439, and completed 24th June, 1476. This convent is now desecrated, and I did not see it, but it is said still to contain a good Gothic cloister.

[260] Pedro Compte is mentioned as having been invited by the Archbishop of Zaragoza to a conference with four other architects as to the rebuilding of the Cimborio of his cathedral, which had fallen down in 1520.

[261] Viage de Esp., vol. iv. pp. 29, 30.

[262] Spain boasts other like treasures, _e.g._--a figure still preserved at Mondoñedo, and which is still called “la Yuglesa,” because brought from St. Paul’s.--See Ponz, Viage de España, vol. iv. p. 43.

[263] Handbook of Spain, i. 367.

[264] Cean Bermudez, Arqua. y Aquos. de España, vol. i. p. 139.

[265] In May, 1862.

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

[267] España Sagrada, vol. xxv. p. 214.

[268] Historia de los Condes de Barcelona, p. 183.

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

[270] See p. 388.

[271] See illustrations of these on the ground-plan of Tarragona Cathedral, Plate XV.

[272] See detail of this pavement on Plate XV.

[273] In 1278 M. Bartolomé wrought nine figures of the Apostles for the façade; and in 1375 M. Jayme Castayls agreed to execute the remainder. His contract is made under the direction of Bernardo de Vallfogona, acting as architect to the Chapter, and father probably of the man of the same name who was consulted about Gerona cathedral, and who executed the reredos of the high altar at Tarragona in A.D. 1426, and died in A.D. 1436.

[274] The stalls of the Coro were executed between A.D. 1479 and 1493, by Francisco Gomar of Zaragoza.

[275] See the illustration of this marble pavement on Plate XV.

[276] Vallbona has a very fine Romanesque cruciform church with eastern apses and a low central octagonal lantern; Poblet was an early cross church with a fourteenth-century central lantern, and a cloister of the same age; and Sta. Creus is an early church with a fourteenth-century cloister, which has a projecting chapel with a fountain in it on one side similar to that at Veruela.--Parcerisa, Recuerdos, &c.

[277] There is a good inn here, the Fonda del Europa. But beware of the Fonda de los Cuatro Naciones, which is dirty and bad. Tarragona may be reached easily by steamboats from Barcelona. They go twice a week in five or six hours, I believe.

[278] He was buried here, and this inscription was formerly in the church: “Sub hac tribuna jacet corpus condam Wilfredi comitis filius Wilfredi, simili modo condam comitis bonæ memoriæ, Dimittat ei Dñs. Amen. Qui obiit, vi. Kal. Madii sub era DCCCCLII.” (A.D. 914).

[279] San Cucufate del Vallés is not far from Barcelona; it has a fine early cloister somewhat like that of Gerona Cathedral, an early church with parallel triapsidal east end, octagonal lantern and tower on south side.--See illustrations in Parcerisa, Recuerdos, &c., de Esp. Cataluña, ii. 23, &c.

[280] Cean Bermudez, Arq. de España, i. 12.

[281] According to Ford it was built by Guillermo II., Patriarch of Jerusalem, in imitation of the church of the Holy Sepulchre.--Handbook for Travellers in Spain, p. 416. It was one of the churches founded by the Order of the Holy Sepulchre in Jerusalem after the year 1141, in which they sent emissaries to Spain for the purpose.--Viage Literario á las Iglesias de España, xviii. 139. The necrology of the monastery contained the obit of a canon who came from Jerusalem, called Carfilio, as follows: “Obiit Caifilius frater Saucti Sepulchri, qui edificavit ecclesiam sanctæ Annæ.--Viage Lit., xvii. 144. See ground-plan of this church on Plate XVII.

[282] Plate XVI.

[283] The inscription on the right hand of this door is as follows:--

+ In: noīe: Dñi: nri: I[=hu]: X[=ri]: ad. honorē. + S[=ce]: Trinitatis: Pat[=s]. et. Filii. et. S[=p]s. S[=c]i. ac. Beate. Virginis: Marie. et S[=ce]. crucis. S[=ce]. q. Eulalie. Virginis. et. Martiris. X[=ri]. ac. civis Barc[=hn]. cujus. sōm. corpus. in ista. requiescit. sede. opus. istius. eccē. fuit. inceptum. Kl. Madii año. Dñi. M.CCXCVIII. regnāte. illustrissimo. Dño. Jacobo. rege. Aragonū. Val[=n]. Sardinie. Corsice. + comite. Q. Barchinone.

The other inscription is on the left side of the same door:--

In. noīe. Dñi. nri. I[=hu]. X[=ri]. K[=ds]. Novēbr. anno. Dñi. M.CCC.XXIX. regnante. Dño. Alfōso. rege. Aragonū. Valēcie. Sardinie. Corsice. ac. comite. Barc[=hn]. opus. hujus. sedis. operabatur. ad. laudē. Dei. ac. B[=te]. M S[=ce] + S[=ce]q. Eul[=aie].

[284] The inscription which records the depositing of the body of Sta. Eulalia in the crypt below the choir in A.D. 1339, says that “el Maestro” Jayme Fabra and the masons and workmen of the church, Juan Berguera, Juan de Puigmolton, Bononato Peregrin, Guillen Ballester, and Salvador Bertran, covered the urn with a tomb and canopy of stone.--Cean Bermudez, Arq. de España, i. p. 63. Diego, Historia de los Condes de Barcelona, pp. 298-301.

[285] “The directors of the work of the new temple,” says S. Furio (Diccionario historico de los Professores de las Bellas Artes en Mallorca, p. 55), “agreed to give to the architect, Master Jayme, eighteen sueldos a week for the whole of his life, as well when he was ill as well; and during the work, in case he should have to go on matters of business to Mallorca--his country--the Chapter bound themselves to pay him his travelling expenses and maintenance as well going as returning. They promised also to give a house rent free for him and his family, and two hundred sueldos annually for clothing for him and his children.

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

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

[288] Given in España Sagrada, xxix. p. 314, in facsimile. In the edition of 1859, engravings both of the shrine and of the crypt are given.

[289] Villanueva, Viage á las Iglesias de España, xviii. 157.

[290] The account of the building of Segovia Cathedral, given in the Appendix, mentions the provision of rooms for this purpose.

[291] Parcerisa, Recuerdos, &c., de España. Cataluña, i. 57.

[292] Viage Lit., xviii. 145.

[293] The lower range of stalls was made in 1457, by Matias Bonife, for fifteen florins for labour for each. In his contract with the Chapter he agrees to carve all the seats, but “in no wise any beasts or subjects.” In 1483 Miguel Loquer made the pinnacles of the upper stalls. The Chapter disputed the goodness of his work, and he died--partly of disgust, apparently--during the lengthy dispute. The Chapter then named arbiters, who, after a formal examination, pronounced them to contain grave defects.--Parcerisa, Recuerdos, &c., Cataluña, i, p. 59.

[294] Here, in 1519, Charles V. celebrated an installation of the Golden Fleece--the only one ever held in Spain.--Ford’s Handbook, p. 413.

[295] Viage Lit., xviii. p. 142.

[296] Plate XVII.

[297] In nomine Dñi nostri Jesu Christi ad honorem sanctæ Mariæ fuit inceptum opus fabricæ ecclesiæ Beatæ Mariæ de Mari die Annuntiationis ejusdem, viii. Kal. Aprilis Anno Domini MCCCXXVIII.

[298] Cean Bermudez, Arq. de España, i. p. 61.

[299] Recuerdos, &c., Cataluña, i. p. 66.

[300] Plate XVII.

[301] Plate XVII.

[302] Viage Literario á las Iglesias de España, xviii. 161.

[303] Arq. de España.

[304] Recuerdos, &c., de España, Cataluña, vol. i.

[305] An inscription is given by Villanueva, Viage Literario, xviii. 162, said to be cut on the jamb of the side doorway, which records the consecration of this church on June 17th, 1453.

[306] See Appendix.

[307] Cean Bermudez, Arq. de España, i. 55. But Diego, ‘Historia de los Condes de Barcelona,’ p. 316, puts the foundation in A.D. 1293.

[308] Villanueva, Viage Literario, xviii. 165, mentions the convent of San Francisco as still existing (in 1851).

[309] Parcerisa, Recuerdos, &c., Cataluña, i. p. 107.

[310] See previous page.

[311] Cean Bermudez, Arq. de Esp., i. 70.

[312] Hala de paños.

[313] See España Sagrada, xlv. pp. 2-3. See also the deed executed by Bishop Roger in 1015. “Nostra necessitate coacti causa ædificationis prædictæ ecclesiæ, quæ satis cognitum cunctis est esse destructa, &c.”--Esp. Sag., xliii. p. 423.

[314] See the act of consecration, España Sagrada, xliii. pp. 432-437, which declares the church to have been rebuilt “a fundamentis.”

[315] Esp. Sag., vol. xliv. p. 43.

[316] “Capitulum Gerundense in cerca nova ecclesiæ Gerundensis more solito congregatum, statuit, voluit et ordinavit, quod caput ipsius ecclesiæ de novo construeretur et edificaretur, et circumcirca ipsum novem cappellæ fierent, et in dormitorio veteri fieret sacristia. Et cura ipsius operis fuit commissa per dictum capitulum, venerabilibus Raimundo de Vilarico, archidiacono, et Amaldo de Monterotundo, canonico.”--España Sagrada, xlv. p. 3.

[317] “Dimitto etiam ad caput prædictæ ecclesiæ, vel ad cimborium argenteum faciendum, desuper altare Beatæ Mariæ ilia decem millia solidurum Barchinon: quæ ad illud dare promisseram jam est diu.”--Will of Guillermo Gaufredo, Viage Lit. á las Iglesias de España, vol. xii. p. 184.

[318] Esp. Sag., vol. xliv. pp. 51, 320, 322.

[319] “Pateat universis,” “quod die Lunæ 4 Idus Marti intitulata anno Domini 1346. Reverendus in Christo Pater” “S. Tarrachonensis ecclesiæ archiepiscopus, altare majus Beatissimæ Virginis Mariæ cathedralis Gerundensis ecclesiæ a loco antiquo ipsius ecclesiæ in quo construtum erat in capite novo operis ejusdem ut decuit translatum est,” &c. “De quibus omnibus ad perpetuam rei memoriam venerabilis vir Dominus Petrus Stephani Presbiter de capitulo et operarius memoratæ ecclesiæ mandavit unum et plura fieri instrumenta per me Notarium infrascriptum præsentibus ad hoc vocatis testibus,” &c. &c.--España Sagrada, xlv. pp. 373, 374.

[320] Or “sueldos,” Parcerisa. “Sous,” V. le Duc. = 1500 francs at the present day.

[321] Register entitled Curia del Vicariato de Gerona, Liber notulorum ab anno 1320, ad 1322, fol. 48, quoted in Esp. Sag. xlv. p. 373. See also Viollet le Duc, Dictionnaire Raisonné, i. p. 112. F. J. Parcerisa, ‘Recuerdos y Bellezas de España,’ Cataluña, i. 146, says that the work was commenced in 1316, and that Enrique of Narbonne died in 1320.

[322] The list of architects given by D. J. Villanueva (Viage Lit. á las Iglesias de España, xii. p. 172 et seq.) does not agree with this. The first he mentions is Jayme de Taverant, a Frenchman from Narbonne (and no doubt identical with Jaques de Favariis), in 1320. Francisco de Plana, a Catalan, held the post after him, and was removed in 1368 in favour of Pedro Coma (de Cumba), who was employed also at San Feliu, Gerona; and in 1397 Pedro de San Juan, “de natione Picardiæ,” was employed. Guillermo Boffiy succeeded him; in 1427 Rollinus Vautier, “diocesi Biterrensis,” was master of the works, and in 1430 Pedro Cipres succeeded him.

[323] The original is in the Liber Notularum. It is reprinted in España Sagrada, vol. xlv., appendix, pp. 227 to 244. Cean Bermudez has again reprinted it in Arq. de España, vol. i. pp. 261 to 275; and D. J. Villanueva in the appendix to vol. xii. of the Viage Lit. á las Iglesias de España, prints it in the original Catalan dialect.

[324] This key-stone has a sculpture of San Benito.--España Sagrada, vol. xliv. p. 420.

[325] Plate XVIII.

[326] España Sagrada, xliii. p. 200, and Appendix, p. 453.

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

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

Albi 58 feet between the walls. Toulouse Cathedral 63 do. S. Jean Perpiñan 60 do. Amiens 49 centre to centre of column of nave. Paris 48 do. Bourges 49 do. Chartres 50 do. Cologne 44 do. Narbonne 54 do. Canterbury 43 do. do. of choir. York 52 do. do. of nave. Westminster Abbey 38 do.

[329] Liber Notularum, fol. 31.

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

[331] España Sagrada, vol. xlv. p. 8. Villanueva, Viage Lit., xii. 175, gives the name of this artist as Antonio Claperos “obrer de ymagens.”

[332] See the description of this silver frontal in España Sagrada, vol. xlv. p. 8. The Historia de S. Narciso y de Gerona, by P. M. Roig y Yalpi, is quoted as authority for the statements given. See also the act of consecration of the cathedral in A.D. 1038 (España Sagrada, xliii. p. 437), in which among the list of signatures at the end occurs the following passage:--“S. Ermessendis comitissæ quæ eadem die ad honorem Dei et Matris Ecclesiæ trescentas auri contulit uncias ad auream construendam tabulam;” and in a necrologium, from 1102 to 1313, occur the following entries: “1254. Pridie Kalendas Februarii obiit Guillelmus de Terradis, sacrista major, qui tabulam argenteam altari Beatæ Mariæ Cathedralis fieri fecit.” “1229. Kalendis Martii obiit Ermesendis Comitissa quæ hanc sedem ditavit et tabulam auream ac crucem Deo et Beatæ Mariæ obtulit, et ecclesiam multis ornamentis ornavit.”

[333] “Hic jacet Amaldus de Solerio, Archidiaconus Bisalduenensis qui etiam suis expensis propriis fecit fieri cimborium seu coopertam argenteam super altaro majori ecclesiæ Gerundensis. Obiit autem anno Dni. M.CCCXX. sexto, viii. Kal. Augusti.”

[334] See note^{3}, p. 319.

[335] See Martene de Antiq. Eccl. Rit., lib. i. cap. iv. art. 3.

[336] “Galligans; in the old Latin, Galli Cautio. The name is taken from a little stream which washes its walls and falls into the Oña.”--Don J. Villanueva, Viage Lit., &c., xiv. 146.

[337] See ground-plan on Plate XVIII.

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

[339] Parcerisa describes this little church as that of S. Daniel, but I was unable on the spot to learn its dedication. I believe, however, that its dedication is to S. Nicolas, and that S. Daniel is a larger church of later date. In España Sagrada, xlv. p. 185 et seq., some account is given of the foundation of S. Daniel. This took place in 1017, Bishop Roger having sold the church to Count Ramon, and Ermesendis his wife, for 100 ounces of gold, which were to be spent on the fabric of the cathedral. The Countess, after the death of the Count, endowed the church, and the deed still preserved recounts how that “Ego Ermesendis inchoavi prædictam ecclesiam edificare et Deo auxiliante volo perficere.” An architectural description of the present church is given by Villanueva, Viage Literario, xiv. 158, from which it seems that it is a Greek cross in plan, and mainly of the fourteenth century, with an altar in a crypt below the high altar, constructed in 1343: and if this account is correct, this small twelfth-century church cannot be S. Daniel.

[340] S. Felix.

[341] España Sagrada, xlv. p. 41.

[342] Extract from the book entitled “Obra = Recepte et Expense, ab anno 1365;” It.: Solvi discº. R. Egidii Not. Gerunde v die Septembris, anno M.CCC.LX.VIII., pro instrumento facto inter Capitalum hujus Eccle. et P. Zacoma magistrum operis Cloquerii noviter incepti et est certum quod in isto instrumento continentur in efectu ista.--Pº, Quod ille proficue procuret ipsum opus dictum evitando expensas inordinatas quantum in ipso fuerit, et hoc juravit. It.: Quod aliud opus accipere non valeat sine licencia operarii. It.: Quod quotiescumque fuerit in ipso opere factus apparatus operandi quod vocatus quocumque opere dimisso operetur in nostro opere: in premissis fuit exceptum opus Pontis majoris in quo jam prius extitit obligatus et convenit quando ipso fuerit in ipso opere Pontis vel in alio quod una hora diei sine lexiare--videat illos qui operabuntur vel parabunt lapides desbrocar in ipso opere. Et est sibi concessum dare pro qualibet die faoner quod fuerit in opere predicto IIII SS. et uni ejus famulo I vel II secundum ministeria ipsorum.--It.: Ulteris ammatian dare sibi de gratia CXL SS. (_sueldos_), segons lo temps empero que obraran. Car per lo temps que no obraran en lo Cloquer ne en padrera no deu res pendrer mes deu esser dedecet dels dets CXL SS. pro rata temporis, et quantitatis.”--España Sagrada, App., xlv. p. 248. See Spanish translation do., p. 73. In an old Kalendar, of Gerona, printed in España Sagrada, xliv. p. 399, is the following paragraph, which refers to the works of Pedro Zacoma:--“An. 1368 fuit inceptus lo Pont non de mense Madii; á 9 Aug. ejusdem anni fuit inceptus lo Cloquer de Saut Fehu.”

[343] A memorandum in the book of the ‘_Obra_,’ under date 1385, describes the various works in the fortification then in progress, and mentions “P. Comas, maestro mayor,” España Sagrada, xlv. p. 45. Parcerisa, Recuerdos y Bellezas de España, Cataluña, says that the spire was finished in 1581. But I think he has been misled by some repairs of the steeple rendered necessary after the destruction of the upper part of the spire in this year by lightning, and mentioned in the Actas Capitulares.

[344] Roussillon belonged to the Kings of Aragon from A.D. 1178. Perpiñan was taken, after a vigorous resistance, by Louis XI. in 1474, restored to Spain, and finally taken by the French in A.D. 1642.

[345] An illustration of this organ is given in M. Viollet le Duc’s Dictionary of French Architecture.

[346] Viage Literario á las Iglesias de España, vol. xiv. p. 106.

[347] Viage Lit. á las Iglesias de España, vii. 179.

[348] See Plate XIX.

[349] Viage Lit. á las Iglesias de España, vii. 180.

[350] The subjects are as follows:--

1. The Marriage of the Blessed Virgin. 2. The Annunciation. 3. The Salutation. 4. The Nativity. 5. The Adoration of the Magi. 6. The Flight into Egypt. 7. The Presentation in the Temple. 8. The Dispute with the Doctors. 9. The Money-changers driven out of the Temple. 10. The Crucifixion. 11. The Entry into Jerusalem. 12. The Last Supper. 13. The Agony in the Garden. 14. The Betrayal. 15. Our Lord before Pilate. 16. The Scourging. 17. Our Lord bearing His Cross. 18. The Resurrection. 19. The Descent into Hell.

The subjects begin at the upper left-hand corner, and are continued from left to right, the subjects 1 to 9 being on the left, and 11 to 19 on the right of the Crucifixion.

[351] To those who know them I need hardly say that the remains of the Anglo-Saxon vestments found in S. Cuthbert’s tomb, and preserved at Durham, are perhaps the most exquisitely delicate works in existence--so delicate that a magnifying glass is necessary in order to understand at all the way in which the work has been done. This Florentine work, of a later age, quite makes up in art for what it lacks in minute delicacy of execution when compared with S. Cuthbert’s vestments.

[352] Viage Lit. á las Iglesias de España, ix. p. 17.

[353] I do not forget the successful defence of Lérida, in the sixteenth century, against the Prince de Condé; it is one of which the people may well be proud: but this was before the desecration of the cathedral.

[354] Vol. xlvii. De la Santa Iglesia de Lérida en su estado moderno. Su autor el Doctor Don Pedro Sainz de Baranda.

[355] I give a few notes from the rules of this church as agreed on at the Synods. In 1240: No priest to say mass more than once in a day, save in case of great necessity. Priests to administer the sacrament of penance in the sight of all in the church. Godchildren are prohibited from marrying the children of their god-parents of baptism or confirmation. Mendicants are forbidden to celebrate on portable altars (_super archas_). Clergy are ordered to have a piscina near the altar, where, after receiving, they may wash their hands and the chalice. In a Synod held in 1318, it is ordered that, as many corpses are interred in churches which ought not to be, for the future none shall be so save that of the patron, or of some one who has built a chapel or endowed a chaplain.

[356] “Anno Domini MCCIII. et xi. Cal. Aug. sub Innocentio Papa III. venerabili, Gombaldo huic ecclesiæ presidente inclitus Rex Petrus II. et Ermengandus Comes Urgullen. primarium istius fabricæ lapidem posuerunt, Berengario Obicionis operario existente. Petrus Percumba Magister et fabricator.”--Esp. Sag. xlvii, p. 17.

[357] Viage Lit., vol. xvi, p. 81.

[358] “Anno Dñi MCCLXXVIII. ii Cal. Novembris Dominus G. de Montecatheno ix Ilerd. Eps. consecravit hanc Eccm. et concessit xl dies indulgencie per omnes octavas et constituit ut festum dedicationis celebraretur semper in Dominica prima post festum S. Luce.”--España Sagrada, xlvii. p. 33.

[359] Viage Lit., vol. xvi, p. 83.

[360] “Cum nos concesserimus dari operi claustri Ecclesie Sedis civitatis Illerde sex mille pedras somadals de petraria domus predicte de Gardenio: ideo vobis dicimus et mandamus quatenus dictas sex mille pedras de dicta petraria operario dicte Ecclesie recipere libere permitatis convertendas seu imponendas in opere supradicto. Datum Illerde duodecimo calendas Septembris anno Domini M.CCC.X.--Ex. Arch. reg. Barc. grat. 9 Jacob. II. fol. 145b.

[361] Esp. Sag., xlvii, p. 46.

[362] Ibid., p. 47.

[363] The inscription on this bell was as follows:--“Christus. Rex. venit. in. pace. et. Deus. homo. factus. est. Chtus. vincit. Chtus. regnat. Chtus. ab. omn. mal. nos. defendat. Fuit. factum. per magistrum. Joannem. Adam. anno. Dñi. 1418 in mense. Aprili.--Viage Lit. á las Iglesias de España, xvi. 89.

[364] See plan, Plate XX.

[365] There are said to be three doorways from the cloister to the church.--Viage Lit., xvi. 86.

[366] See reference to this porch at p. 349.

[367] As, _e.g._, at S. Etienne, Nevers.

[368] “During the episcopate of Romeo de Cescomes, 1361-80, the work of the principal altar was ordered to be concluded, and it was forbidden to say mass there from All Saints’ day till the following month of May, 1376.”

[369] See plan, Plate VIII.

[370] There is a very fair inn at Lérida, the Parador de San Luis, pleasantly situated on the bank of the Segre; and the railway from Barcelona to Zaragoza, passing by Lérida, makes it easy of access.

[371] Parcerisa, Recuerdos y Bellezas de España, Aragon, p. 120.

[372] Almudévar has a picturesque castle, with a chapel on its eastern side, but I was unable to examine it.

[373] Cean Bermudez (Arq. i. 83) says that the work was commenced in A.D. 1400, and not finished until A.D. 1515.

[374] See plan, Plate XXI.

[375] It will be seen that the plan is exactly the same as that of the church of Las Huelgas, Burgos (see Plate II.), and the cathedral at Tudela (Plate XXIV.).

[376] This reredos cost 5500 crowns (escudos) or libras jaquesas.--- Cean Bermudez, Arq. de España, i. 218.--Damian Forment is said to have studied under Donatello, which seems, however, on a comparison of dates, to have been all but impossible. The epitaph on his monument in the cloister here described him as “arte statuaria Phidiæ, Praxitelisque Æmulus,” a statement which must be accepted with the reserve usual in such cases.--Bellas Artes en España, ii. p. 132.

[377] See Ainsa, Historia de Huesca, lib. 4.

[378] See ground-plan on Plate XXI.

[379] Parcerisa, Aragon, p. 157.

[380] Views of Jaca and San Juan de la Peña are given by F. J. Parcerisa, ‘Recuerdos y Bellezas de España,’ Aragon.

[381] Seu, Sedes, See.

[382] I am reminded by this of a curious passage of somewhat similar character in the life of Sir Christopher Wren, which is to be gathered out of the entries in the old parish books of St. Dionis Backchurch, Fenchurch-street. Here Sir Christopher built a steeple, and when it was nigh completion the grave question arose whether they should have an anchor for a weather-cock. Sir Christopher preferred it, and some of the parishioners, of course, opposed it. They appealed to the bishop, and after many interviews it was at last decided that the bishop should meet them at Sir Christopher’s at 8 o’clock a.m. to settle the matter, Sir Christopher’s “gentleman” (who was always treated to something to drink by the churchwarden when he came to the church) having made the engagement. The bishop was punctual to his appointment, but Sir Christopher seems to have gone out for an early walk and forgotten all about it; and finally, the Bishop of London, having waited an hour for the great man, retired in despair, but ordered Sir Christopher’s weathercock to be adopted.

[383] The following inscription on the Cimborio fixes the date of it’s completion: “Cimborium quo hoc in loco Benedictus Papa XIII. Hispanus, patria Arago, gente nobili Luna exstruxerat, vetustate collapsum, majori impensa erexit amplissimus, illustrisque Alphonsus Catholici Ferdinandi, Castellæ, Arago, utriusque Siciliæ regis filius, q. gloria finatur, anno 1520.”

[384] Don P. de la Escosura (España Art. y Mon.), iii. 93, attributes this tower and the church to the twelfth century, but, I feel confident, without good ground for doing so, as far as the former is concerned.

[385] Vol. ii., plate 45.

[386] Madoz, xiv. pp. 595-599.

[387] See Plate XXII.

[388] The fact is worthy of record, because in these days, though it is often manifestly convenient to use a different material from that which was used by our ancestors, there are many well-disposed people who object to such a course, as being an unwarrantable departure from old precedents; yet, if our forefathers’ example is to be followed, we ought to do as they would have done in our circumstances.

[389] His name occurs in an inscription on it.

[390] Madoz, vol. xv. p. 685.

[391] See Plate XXIII.

[392] See ground-plan, Plate XXIV.

[393] The lead _flêche_ in a similar position at Reims cathedral will no doubt be remembered by many of my readers. No doubt, however, this work at Tudela is earlier, and being of stone is even more remarkable.

[394] There is, I believe, a fine old bridge of seventeen arches over the Ebro, near Tudela: unfortunately I did not see it.

[395] See illustration on next page.

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

[397] Plate XXV.

[398] Arq. de España, i. p. 83.

[399] See ground-plan on Plate XXV.

[400] Morales, lib. 12, cap. 76.

[401] See p. 212.

[402] Noticias de los Arq. de España, i. 1-14.

[403] Esp. Sag., vol. xxxvii. p. 86-7.

[404] Recuerdos y Bellezas de Esp., Ast. y Leon, p. 76 and 244.

[405] See the account of it in the Historia Compostellana, lib. i. cap. 78.

[406] See p. 331. I am not certain as to the dedication. I refer to the small church near San Pedro de los Galligans.

[407] For illustration, &c., see p. 366, and Plate XXI.

[408] Both these churches are planned upon precisely the same system of proportions founded upon the equilateral triangle. Taking the width of the nave and aisles as the base, the apex of the triangle gives the centre from which the vault of the nave is struck; and all the subordinate divisions are also so exactly marked that there is hardly room for doubt that the system was distinctly recognised, and intentionally acted on.

[409] The Monistrol I refer to is the village between S. Etienne and Le Puy, and not the place of the same name at the foot of Monserrat, in Cataluña.

[410] _E.g._, St. Albans, Winchester Cathedral, St. Cross Chapel.

[411] The parallel holds good in very small matters. At Westminster the clergy and choir assemble in the choir, and begin the service so soon as the clock strikes. In several Spanish churches the same custom obtains. I think it would be a great gain if the metal screens across the transepts were moved so as to form the narrow central passage from the choir to the altar, so common in Spain. They would then have some meaning and use, which they certainly have not now.

[412] See pp. 385-6.

[413] The design of this chevet is almost a repetition of that of the church at Avenières, near Laval, which is said to have been commenced as early as A.D. 1040, though most of it is certainly later by a century than this.

[414] I might perhaps add Tarazona Cathedral to this list.

[415] See ground-plan, Plate XIV.

[416] The round portion of the Temple Church, London, has its aisle groined with alternate bays of square and triangular outline. The latter have no ribs, and are constructed differently from those at Toledo.

[417] Facsimile of the Sketch-book of Wilars de Honecort. Eng. edit. Edited by Professor Willis. Plate XXVIII.

[418] Beauvais cathedral was commenced in A.D. 1225.

[419] See the plan, Plate I. The chapel marked B is, I think, the only original one; and this repeated five times will probably give the exact plan of the original chevet.

[420] The commerce of the south of Spain with England was considerable; and it is just possible that some of the middle-pointed work in Valencia may have an English origin. The English sovereigns encouraged the Catalan traders by considerable immunities to frequent their ports during the fourteenth century.--Macpherson, ‘Annals of Commerce,’ i. 502, &c.

[421] I speak only of town churches here: our little English village churches are the most perfect in the world, so thoroughly characteristic, and at the same time so suitable for their work, that we may always study them with greater gain than any others elsewhere in Europe.

[422] See frontispiece. In so small an engraving--putting out of view the extreme difficulty of getting a faithful transcript of a careful sketch of sculpture--it is impossible to do justice to such a work; and I must ask my readers rather to accept my statement than to pass judgment by aid only of the illustration.

[423] See p. 283, and illustrations on ground-plan, Plate XV.

[424] See p. 366.

[425] See p. 381.

[426] See p. 215.

[427] See ground-plan, Plate IV.

[428] See illustration of this battlement at Las Huelgas, No. 4, page 38, and on the walls at Veruela, No. 48, page 384.

[429] ‘Annals of the Artists of Spain,’ 1848.

[430] The paintings at Leon seem to me to be such as one might expect at the hands of Dello Delli. He is said to have made Seville his place of residence during the many years that he spent in Spain. But the period of his abode there is just that during which the paintings at Leon were executed.

[431] See the short account of these painters in Mr. Stirling’s ‘Annals of the Artists of Spain,’ vol. i. chap. ii.

[432] I venture to regard the stern simplicity of Mr. Butterfield’s noble church of St. Alban as his silent protest against the vulgarity in art to which I here refer. Without any sculpture, this church is from first to last the work of a great master of his art, and one for which his brother artists owe him a great debt of gratitude.

[433] See Appendix. The maravedi was, I believe, a more valuable coin than it is now, so that it is difficult to say what amount of money at the present day this grant really represents.

[434] This inscription is referred to at p. 144.

[435] I do not know the meaning of this term; it is evidently the name of a trade or calling, and probably corresponds with “masons,” as distinguished from “wallers;” the two terms, “Lambardos” and “Cementarios,” being used somewhat in opposition to each other.

Cementarios is one of the earliest terms used in documents referring to English buildings, and no doubt would be properly translated by the word “mason;” but in the case of the Urgel contract, it seems there were to be several “Lambardos,” and, as “Cementarios” were only to be employed if absolutely necessary, there must have been some distinction between them, which was more probably of grade or degree than of profession. Possibly the “Lambardos” may have been members of a guild, “Cementarios” common masons.

[436] This contract is given by Don J. Villanueva, Viage Literario a las Iglesias de España, vol. ix. pp. 298-300. I extract from it the parts which are especially interesting:--

“EGO A. DEI Gratia Urgellensis episcopus, cum consilio et comuni voluntate omnium canonicorum Urgellensis ecclesiae, commendo tibi Raymundo Lambardo opus beatae Mariae, cum omnibus rebus tam mobilibus quam immobilibus, scilicet, mansos, alodia, vineas, census, et cum oblationibus oppressionum et penitentialium, et cum elemosinis fidelium, et cum numis clericorum, et cum omnibus illis, quae hucusque vel in antea aliquo titulo videntur spectasse sive spectare ad prephatum opus beatae Mariae. Et preterea damus tibi cibum canonicalem in omni vita tua, tali videlicet pacto, ut tu fideliter et sine omni enganno claudas nobis ecclesiam totam, et leves coclearia sive campanilia, unum filum super omnes voltas, et facias ipsum cugul bene et decenter cum omnibus sibi pertinentibus. Et Ego R. Lambardus convenio Domino Deo, et beatae Mariae, et domino episcopo, et omnibus clericis Urgellensis ecclesiae, qui modo ibi sunt, vel in antea erunt, quod hoc totum, sicut superius scriptum est, vitâ comite, perficiam ab hoc presenti Pascha, quod celebratur anno dominicae incarnationis M.º C.º LXXV.º, usque ad VII. annos fideliter, et sine omni enganno. Ita quod singulis annis habeam et teneam ad servitium beatae Mariae, me quinto, de Lambardis idest IIII. lambardos et me, et hoc in yeme et in estate indesinenter. Et si cum istis potero perficere, faciam, et si non potero addam tot cementarios, quod supra dictum opus consumetur in prephato termino. Post VII. vero annos, cum iam dictum opus, divina misercordiâ opitulante, complevero, habeam libere et quiete cibum meum dum vixero, et de honore operis et avere stem in voluntate et mandamento capituli postea. Preterea nos, tam episcopus, quam canonici, omnino prohibemus tibi Raymundo Lambardo, quod per te, vel per submisam personam, non alienes vel obliges aliqua occasione quicquam de honore operis, quae modo habet, vel in antea habebit. De tuo itaque honore, quem nomine tuo adquisisti, et de avere, fac in vita et in morte quod tibi placuerit post illud septennium. Si forte, quod absit, tanta esterilitas terrae incubuerit, quod te nimium videamus gravari, liceat nobis prephato termino addere secundum arbitrium nostrum, ne notam periurii incurras. Sed aliquis vel aliqui nostrum praedictam relaxationem sacramenti facere tibi non possit, nisi in pleno capitulo, comuni deliberatione et consensu omnium. Et quicquid melioraveris in honore operis, remaneat ad ipsum opus. Si vero pro melioracione honoris operis oporteret te aliquid impignorare vel comutare, non possis hoc facere sine consilio et conveniencia capituli. Juro ego R. Lambardus, quod hoc totum, sicut superius est scriptum, perficiam, et fidelitatem et indempnitatem canonicae beatae Mariae Urgellensis ecclesiae pro posse meo, per Deum, et haec sancta evangelia = Sig + num R. Lambardi, qui hoc iuro, claudo et confirmo = Sig + num domni Arnalli Urgellensis episcopi,” &c. &c.

[437] _E.g._ at San Cristóbal de Ibeas--

Eia M. C. LXX. Fuit hoc opus fundatum Martino Abbate regente Petrus Christophorus Magister hujus operis fuit.

Or another at Ciudad Rodrigo--

Aqui yace Benito Sanchez, Maestro que fue de esta obra, e Dios le perdone. Amen.

So too the inscription given at p. 234 of the architect of Toledo. The same term was used extensively at the same time over the greater part of Europe.

In France we have these among others:--“Ci git Robert de Couey, Maitre de Notre Dame et de Saint Nicaise, qui trépassa l’an 1311.” In A.D. 1251, at Rouen, “Walter de St. Hilaire, Cementarius, magister operis,” is mentioned; and in A.D. 1440, in the same city, we have this inscription: “Ci git M. Alexandre de Berneval, Maistre des Œuvres de Massonerie au Baillage de Rouen et de cette église.” In Italy the same term was commonly used, as, _e.g._, in the Baptistery at Pisa, which has the inscription, “Deotisalvi magister hujus operis;” and again in the church at Mensano near Siena, which has “Opus quod videtis Bonusamicus magister fecit.” But in England, according to Mr. Wyatt Papworth, who has devoted much pains to the elucidation of the subject, the term “Master of the works” appears to be very seldom employed, and sometimes of the officer called the “operarius” in Spain, rather than of the architect.

[438] Villanueva, Viage Lit. xxi. 106.

[439] Fabre is spoken of in the inscription on the shrine as Jacobus “Majoricarum, cum suis consortibus.”

[440] These fabric rolls contain the names of Martin Mayol, G. Scardon, Bernardo Desdons, and Jayme Pelicer, as painters of pictures between A.D. 1327 and 1339.

[441] See p. 319.

[442] See p. 332.

[443] See p. 57.

[444] See p. 349, note 1.

[445] Villanueva, Viage Lit. a las Iglesias de España, xvi. 99, says that “Lapicida” does not really mean a cutter of stones, which would be described as “pica petras.” In vol. xxi. p. 107, however, he speaks of “Lapicida” as the Latin term corresponding to “picapedres” in the vulgar tongue; and he says sculptors of figures called themselves “Imaginayres.”

[446] See p. 265.

[447] The contract is given at length by Cean Bermudez, Arq. de España, i. 257-61.

[448] See the translation of these documents in the Appendix.

[449] This sum would probably be equal to about 90_l._ or 100_l._ per annum at the present day.

[450] Other plans still preserved in Spain are, the original design for the church of San Juan de los Reyes, Toledo, and that for the west front of Barcelona Cathedral. I have tried in vain to obtain copies of these plans.

[451] Arq. de España, i. 282-4.

[452] We have accidental evidence of the fact that Hontañon was an architect, for the “Master of the Works” of La Magdalena, Valladolid, contracted in A.D. 1570 to build the tower and body of the church according to his plan for a specified sum. But it will be observed that the date of this agreement is very late, and that, whilst the maker of a plan had become an architect in the modern sense of the word, the Maestro Mayor had descended to be, in fact, nothing more than the contractor for the work, also in the modern sense. Somewhat in the same way, we know that when the lantern of Burgos Cathedral fell, in A.D. 1539, Felipe de Borgoũa was summoned from Toledo to superintend the two cathedral masters of the works: from which it seems probable that they executed the work which Borgoũa designed. So again at an earlier date, in A.D. 1375, Jayme Castayls executed some statues for the west front of Tarragona cathedral, under the direction of Bernardo de Vallfogona, the Maestro Mayor.

[453] Bellas Artes en España. This catalogue of artists includes those who lived before the year 1500, the names of fifty sculptors, thirty painters, several silversmiths, workers in stained glass, and others.

[454] See p. 252.

[455] See p. 182.

[456] Cean Bermudez, Arq. de Esp., vol. i. p. 285.

[457] Cean Bermudez. Arq. de Esp., vol. i. p. 286.

[458] Cean Bermudez, Arq. de Esp., vol. i. p. 287.

[459] In the margin of this paragraph is written, in the hand of Maestro Juan del Ribero Rada,--“It has been built square.” The word ‘Trascoro’ seems to be used here of the east end of the church.

[460] From Cean Bermudez, Not. de los Arq. y Arquos de España, vol. i. p. 293-299.

[461] The sense of this word is given in Connelly and Higgins’s Dictionary, as “the substitute of the chief architect of the building, who places the workmen and distributes the materials according to the arrangements of the plan.”

[462] Cean Bermudez, vol. i. p. 300.

[463] Ibid., vol. i. p. 315.

[464] Ibid., vol. i. p. 317.

[465] _Sagrario._--This, I think, sometimes means the chapel, commonly called the _Parroquia_, or Chapel of the Cathedral Parish.

[466] This subject occurs in the well-known illustrations of Queen Mary’s Psalter, 2 B. VII., at the British Museum library. It is described as “Here GOD reposes on His throne with His angels.”

[467] This subject occurs in the ‘Biblia Pauperum,’ with the following inscription:--“Legitur in Apocalypsi xxiº Capº et in iiiº Ysaya xiiii Capº quod lucifer cecidit per superbiam de celo cum omnibus suis adherentibus.”

[468] This interrogatory, and the declarations of the twelve architects, are in the Catalan idiom in the original, and are translated into Castilian by Fr. José de la Canal, Esp. Sag. xiv. pp. 227-244. I have thought it best to give an English translation.

[469] “Cana,” a measure of two ells Flemish.

[470] A “cana” equals two yards and three inches Spanish measure.

[471] Cean Bermudez, Arq. de España, i. pp. 276-279.