Spanish architecture of the sixteenth century; general view of the plateresque and Herrera styles

Front matter

OF

\<K a "is.

STAIRWAY OF THE PALACIO ARZOBISPAL, ALCALA DE HENARES. Alonso de Covarrubias, Architect , IS34 e l se<2-

Preface

D FIRING that opulent century when Renaissance art flourished in Spain there was no Vasari to record the names and achievements of the men who were enriching the land with the Estilo Plateresco. The few con¬ temporaneous writers who made mention of them were not specially gifted with the critical faculty; still less with accu¬ racy. Only in the various cathedral archives, and even there with many an error, were the names of workers entered with any sort of system; those engaged on civil buildings went for the most part unrecorded. As for the buildings themselves they were hardly known outside their own province.

Not until the late eighteenth century did Spaniards begin to investigate their country’s abundant art treasures. Then in succession four dedicated themselves to the worthy task, and produced valuable though necessarily incomplete results. In 1772 Don Antonio Pons published his discursive and un¬ documented Viage de Espana; in 1800 followed Don Juan Agustin Cean Bermudez with the more practical Diccionario Historic 0 de los mas I lustres Prof e sores de las Bellas Artes en Espana; in 1804 Don Isidoro Bosarte began the publication of a well-authenticated Viage Artistico but never carried it beyond the first volume; and lastly came Don Eugenio Llaguno y Amirola with his Noticias de los Ar quite do s y Ar quite dura de Espana desde su Restauracion. This work, the first to pay attention to the long-neglected architects, was published after the author’s death by his friend Cean Bermudez (1829). Other capable investigators followed, but generally speaking it was these four productions with all their merits and demerits

that were the source of foreign writings on Spanish art until

iii

IV

PREFACE the Englishman George Street added Some Account of Gothic Architecture in Spain to the list. Street, who was as enthu¬ siastic over the mighty Spanish temples as any native could have been, gave us instead of mere rhapsodies the benefit of his rare and highly trained critical faculty. Whatever ground he left unexplored fifty years ago has been ably covered re¬ cently by Don Vicente Lamperez in his Historia de la Arquitectura Cristiana Espahola en la Edad Media.

As all the authors cited concerned themselves most with the Gothic period those who borrowed from them kept per¬ force within the same limits. Few critics, native or foreign, ever ventured into the Renaissance century, the epoch of civil rather than ecclesiastical building activity. A number of Spaniards are now devoting themselves to this period but their researches appear to be more archaeological than archi¬ tectural. Thus far each has been vying with the other in clarifying the authorship of disputed monuments. This subject is certainly confused enough but meanwhile the really helpful thing, graphic presentation and sound criticism, is wofully neglected.

The unearthing of the history of civil monuments will be long and slow and will never yield the copious information available on the Renaissance movement in other countries. While patient people are ransacking the archives for a name or a date some of the finest specimens of the period are falling to pieces, and he who would wait until their identity is estab¬ lished before writing about them would have nothing but a memory to discuss.

Spanish Renaissance or Plateresque, in its merely partial acceptance of the Italian and its adherence to earlier styles which it never hesitated to combine with the new, diverged farther from the established Renaissance type than did any architecture north of the Pyrenees. It was far more mobile, more personal, than the pseudo-classic which followed and crushed it. It flourished principally in Castile. It is abso¬ lutely a distinct product from that picturesque, semi-Moorish stucco architecture of Andalusia which was carried to the Spanish colonies, later to be accepted throughout both Ameri-

PREFACE v cas as typical of the mother country. Andalusia has very little in common with the stern central and northern provinces where the race battled so long for its birthright of Europeanism as against Asianism. There stone was used and monumental¬ ly was achieved. While not wishing to deny the charm of the stucco house nor its suitability to the Andalusian climate, one is forced to protest against its standing for the whole of Spanish architecture. Such widespread misapprehension simply means that the buildings of Castile, the very heart of the country, have been passed over for a type acknowledged by all Spaniards except Andalusians to be exotic. It is to increase the appreciation of what was done in Castile, to point out its charm (which fortunately does not depend upon documents), and to give the student some idea of what awaits him in Spain that this general view of the sixteenth century is written.

M. S. B.

5 Villanueva,

Madrid,

Chapter I

THREE HOSPITALS BEGUN BY EGAS IN THE EARLY SIXTEENTH CEN¬ TURY — TOLEDO HOSPITAL THE MOST IMPORTANT - INFLUENCE OF THE ARCH¬ BISHOPS OF TOLEDO IN POLITICS AND ART - EL GRAN CARDENAL MENDOZA

AND HIS COLEGIO IN VALLADOLID - WHY THE RENAISSANCE ARRIVED

LATE IN SPAIN - IN WHAT PROVINCES IT FLOURISHED AND BY WHAT

MEANS IT WAS PROPAGATED — VARIOUS ITALIANS WHO WORKED IN SPAIN — EGAS AND THE CATALAN GOLDSMITH — ORIGIN OF THE TERM PLAT-

ERESCO - PROBABLE INFLUENCE OF THE GENOESE ARCHITECTS AT LA-

CALAHORRA — VARIOUS BUILDINGS ATTRIBUTED TO EGAS - THE EARLIEST

PLATERIA SHOWING THE NEW FORMS — ANALYSIS OF THE HOSPITAL DE

LA SANTA CRUZ - THE TERM ARTESONADO - RESEMBLANCE BETWEEN THE

STAIRWAY OF THE HOSPITAL AND THAT AT LACALAHORRA - THE HOSPITAL

REAL AT SANTIAGO DE COMPOSTELA — EGAS’S SLIGHT CONNECTION WITH THE HOSPITAL AT GRANADA — EGAS AND HIS SON-IN-LAW COVARRUBIAS — DOMESTIC ARCHITECTURE IN TOLEDO — THE MUDEJAR STYLE - THE GRAN¬ ITE PORTALS OF TOLEDO HOUSES ...... 2

Chapter II Alonso De Covarrubias - The Competition For The Capilla De

LOS REYES NUEVOS — COVARRUBIAS APPOINTED MAESTRO MAYOR OF TOLEDO CATHEDRAL IN 1 534 AND LATER APPOINTMENT AS MASTER OF ROYAL WORKS — DESCRIPTION OF HIS CHAPEL OF THE NEW KINGS — HIS

PORTAL TO THE CAPILLA DE SAN JUAN - ALCALA DE HENARES AND ITS

RELATION TO TOLEDO — DON ALONSO DE FONSECA, ARCHBISHOP OF TOLEDO, ORDERS THE REMODELING OF THE ARCHIEPISCOPAL PALACE AT ALCALA — LAS MEDIDAS DEL ROMANO AND ITS DEDICATION — DESCRIPTION OF

THE ARCHBISHOP’S PALACE - BERRUGUETE’s SCULPTURE IN THE PATIO -

MARKED TENDENCY TOWARDS REALISM IN SPANISH ORNAMENT — REPE-

vii via

TITION OF EGAS’s STAIRWAY AT TOLEDO — MAGNIFICENT SERIES OF ARTESO-

NADOS IN THE PALACE - THE UNIVERSITY OF ALCALA FOUNDED BY CARDINAL

JIMENEZ DE CISNEROS AND BUILT BY PEDRO GUMIEL — ITS NEW FAQADE BY RODRIGO GIL DE ONTANON — THE ESCUTCHEON OF SPAIN AND ITS DECORA¬ TIVE USE — SPANISH OBJECTIONS TO THE RENAISSANCE FORMS AT ALCALA — THE INTERIOR OF THE UNIVERSITY — THE CARDINAL’S TOMB IN THE COL¬ LEGIATE CHURCH — LACK OF OTHER RENAISSANCE WORK IN ALCALA . 40

Chapter III The School Of Francisco De Colonia In Burgos

BISHOP JUAN RODRIGUEZ DE FONSECA AND HIS PROTEGES — THE FON¬ SECAS AT COCA AND SALAMANCA — THE PUERTA DE LA PELLEJERIA BY FRANCISCO DE COLONIA - FRANCISCO’S EASILY RECOGNIZED PECULIAR¬ ITIES — HIS DOOR TO THE SACRISTY OF THE CONSTABLE’S CHAPEL - THE

REJERO CRISTOBAL DE ANDINO AS A RENAISSANCE DESIGNER - THE ESCALERA

DORADA BY DIEGO DE SILOE — OTHER PLATERESQUE WORKS IN BURGOS CATHEDRAL — THE HOSPITAL DEL REY — THE CASA MIRANDA . . 78

Chapter IV The Domestic Plan And The Palace At Penaranda

ABANDONING THE FEUDAL CASTLES — NEW HOMES UNLIKE THOSE OF CONTEMPORARY EUROPE — EVOLUTION FROM CASTILLO TO PALACIO — THE PATIO AS NUCLEUS OF PLAN AND ITS PART IN THE LIFE OF SPANISH WOMEN — LACK OF SYSTEMATIC ARRANGEMENT IN ROOMS, WHICH ARE MERELY A SERIES OF SIMILAR UNITS AROUND THE PATIO — PRACTICAL ASPECT OF THE SPANISH PLAN — LACK OF SYSTEM IN HOUSEHOLD ADMINISTRATION AND ITS EFFECT — THE KITCHEN ALMOST NEGLIGIBLE — NO BUILT-IN ACCESSORIES IN THE LIVING-ROOMS, THESE BEING DESIGNATED BY THE CONTENTS OF THE CARVED CHESTS — ABSENCE OF GARDEN TREATMENT IN FRONT OF THE PALACE — ALL THE PECULIARITIES OF PLAN AND SETTING EXEMPLIFIED IN THE PENARANDA PALACE — CRUDE MASONRY AND BEAUTI¬ FUL PORTAL OF THE FAQADE — PATIO AND SUMPTUOUS CLAUSTRAL STAIR WITH MAGNIFICENT ARTESONADO — SALONS OF THE PISO PRINCIPAL OR MAIN FLOOR AND THEIR ARTESONADOS — YESERIA OR MOORISH PLASTER- WORK — PRESENT CONDITION OF THE PALACE . . . . 106

Chapter V Salamanca Many Renaissance Buildings In Salamanca — Antiquity And Fame

OF SALAMANCA UNIVERSITY — THE CITY IN GOTHIC TIMES - RENAISSANCE

EMBELLISHMENT OF THE MEDIEVAL BUILDINGS OF THE UNIVERSITY -

IX

ANALYSIS OF THE FACADE — THE ESCUELAS MENORES OR PREPARATORY

SCHOOL - INTERIOR WORK IN THE UNIVERSITY — PALACES AND THEIR

DIVISION INTO TWO GROUPS - NEAREST APPROACH TO THE ITALIAN IN THE

PALACES BUILT BY THE FONSECA BISHOPS — DESCRIPTION OF THE CASA

SALINA — THE CASA DE LAS MUERTES - THE MALDONADO HOUSES OPPOSITE

THE CHURCH OF SAN BENITO - THE PALACIO MONTEREY LARGEST IN SALA¬ MANCA — SEVERAL SMALL EXAMPLES - THE DOMINICAN CHURCH OF SAN

ESTEBAN - ARCHBISHOP FONSECA’S COLEGIO DE SANTIAGO APOSTOL,

NOW COLEGIO DE LOS IRLANDESES — PEDRO DE IBARRA— ARCHITECTURAL SCULPTURE BY BERRUGUETE AND HIS SCHOOL IN SALAMANCA . . I3O

Chapter VI

AVILA AND THE TOMB BY DOMENICO FANCELLI — FANCELLI S DISCIPLE VASCO DE LA ZARZA AND HIS MONUMENTS IN THE CATHEDRAL — ZARZA’S EXTRAORDINARY FACILITY IN THE SMALL MARBLE CUSTODIA — THE MONU¬ MENT IN THE SACRISTY BY BERRUGUETE OR A PUPIL - GRANITE PALACES

OF AVILA - SEGOVIA AND ITS PALACES - SGRAFFITO TREATMENT — VAL¬

LADOLID AND ITS SCARCITY OF RENAISSANCE — THE COLEGIO DE SAN

GREGORIO - THE PROVINCIAL MUSEUM IN THE COLEGIO DE LA SANTA

CRUZ AND THE REMARKABLE SCULPTURE IT HOLDS - SHORT HISTORY OF

WOODEN POLYCHROME SCULPTURE IN SPAIN - THE PROCESS OF ESTOFADO —

ALONSO DE BERRUGUETE, TRAINED IN ITALY, RENOUNCING MARBLE AND

RETURNING TO WOOD AND COLOR - HIS STALLS IN TOLEDO CATHEDRAL -

THE RETABLO FOR SAN BENITO — HIS PUPILS AND FOLLOWERS — ESTREMA¬ DURA AND THE CATHEDRAL OF PLASENCIA — LOCAL TYPE OF HOUSE BUILT FOR THE CONQUISTADORES IN ZAFRA, TRUJILLO, AND CACERES — LEON

AND THE WORK OF JUAN DE BADAJOZ - THE FACADE OF SAN MARCOS -

THE GUZMAN PALACE - THE CLOISTER OF THE MONASTERY OF SAN ZOIL IN

THE TOWN OF CARRION DE LOS CONDES — BITS OF RENAISSANCE IN WIDELY SCATTERED TOWNS OF OLD AND NEW CASTILE . . 1 68

CHAPTER VII Seville’s political importance after the discovery of America

THE CASA DE CONTRATACION OR BOARD OF TRADE - DIEGO DE RIANO,

ARCHITECT OF THE CASAS CAPITULARES OR CITY HALL — RIANO COMPARED WITH DIEGO DE SILOE WHO WORKED CONTEMPORANEOUSLY IN GRANADA — RIANO’S PROBABLE PLAN FOR THE CITY HALL — EXTERIOR OF THE BUILD¬ ING — INTERIOR AND ARRANGEMENT OF RADIATING FIGURES IN CEIL¬ INGS — RIANO’S WORK IN THE CATHEDRAL AS MAESTRO MAYOR— HIS EARLY DEATH — MARTIN GAINZA AND OTHERS WHO SUCCEEDED AS MAESTRO

X

MAYOR AND THE CHANGES THEY MADE IN RIANO’s PLANS — THE SACRISTIA MAYOR - A FEW OF THE TREASURES GUARDED IN THE SACRISTY - RENAIS¬

SANCE REJAS IN THE CATHEDRAL BY SANCHO MUNOZ OF CUENCA AND FRAY FRANCISCO OF SALAMANCA — THE GIRALDA OR BELFRY OF THE CATHEDRAL— ITS UPPER PORTION BY FERNAN RUIZ— LOCAL CRITICISM OF RUIZ’S WORK .... OTr.

Chapter VIII The Sevillian House And The Monuments At Osuna

PREVALENCE OF MUDEJAR TRADITIONS IN DOMESTIC ARCHITECTURE -

COLOR FREELY USED IN INTERIORS — THE PATIO CHIEFLY AN EXPRESSION IN YESERIA METHODS OF WORKING PLASTER — AZULEJOS AND THEIR USE INTRODUCTION OF RENAISSANCE DESIGNS BY THE ITALIAN CERAMIST FRAY NICULOSO OF PISA — HIS PORTAL TO THE CONVENT-CHURCH OF SANTA PAULA — SEVILLIAN GARDENS AND THEIR TREATMENT — HOUSE OF THE DUKE OF ALBA, KNOWN LOCALLY AS THE CASA DE LAS DUENAS — OTHER MUDEJAR HOUSES — THE RIBERA TOMBS IN THE CHAPEL OF THE UNIVER¬ SITY THE TOWN OF OSUNA NEAR SEVILLE — THE COLLEGIATE CHURCH AND THE SEPULCRO DE LOS DUQUES ...... 234

Chapter IX

ATTITUDE OF THE CHRISTIAN CONQUERORS TOWARDS MOORISH ART — IMPORTATION OF CASTILIAN ARCHITECTS — THE ROYAL CHAPEL OR MAU¬ SOLEUM FOR THE CATHOLIC SOVEREIGNS THE FIRST UNDERTAKING — ITS

FURNISHINGS ORDERED BY DON ANTONIO DE FONSECA - THE TOMB OF

FERDINAND AND ISABELLA BY DOMENICO FANCELLI — THAT OF JOAN AND

PHILIP THE FAIR BY BARTOLOME ORDONEZ - THE RETABLO BY FELIPE DE

VIGARNI THE REJA BY BARTOLOME OF JAEN - ENRIQUE DE EGAS AND

THE NEW CATHEDRAL - THE COMMISSION TRANSFERRED TO DIEGO DE

SILOE HIS MANNER OF ADAPTING A RENAISSANCE PLAN TO EGAS’S GOTHIC

FOUNDATIONS - SILOE’s DOME — HIS CARVING ON THE PUERTA DE PERDON

AND THE PUERTA DE SAN JERONIMO - SILOE AND THE CONVENT-CHURCH

OF SAN JERONIMO - SILOE AS AN ARCHITECTURAL ORNAMENTALIST — THE

CASA CASTRIL SILOE’s LONG LIFE IN GRANADA — HOSPITAL REAL BY ENRIQUE DE EGAS AND JUAN GARCIA DE PRADAS . . .268

Chapter X The Royal Palace At Granada And Provincial Work

PEDRO DE MACHUCA RECOMMENDED TO THE EMPEROR — CLASSIC PLAN OF THE PALACE AND ITS AWKWARD ADJUSTMENT TO DOMESTIC NEEDS — VARIOUS INTERRUPTIONS TO THE WORK — THE SOUTHERN OR SECONDARY PORTAL BY MACHUCA - THE WESTERN OR PRINCIPAL ENTRANCE BY HIS xi

SON — THE CIRCULAR PATIO — DOMESTIC WORK IN GRANADA — THE TWO

VARIETIES OF WOODEN CEILINGS - CEILING IN THE EMPEROR’S APARTMENTS

IN THE ALHAMBRA — TILED STAIRCASES — PEBBLE MOSAICS — THE MENDOZA CASTLE AT LACALAHORRA — ITS STAIRCASE AS A POSSIBLE INSPIRATION TO ENRIQUE DE EGAS — JAEN AND THE WORK OF ANDRES VANDELVIRA — VANDELVIRA’S CHURCH OF SAN SALVADOR IN UBEDA — SILLERIA IN THE CHURCH OF SANTA MARIA — PALACES IN UBEDA — THE AYUNTAMIEN TO OR CITY HALL OF BAEZA — THE BENAVENTE PALACE . . .296

Chapter XI

ZARAGOZA’S RENEWED PROSPERITY AFTER THE UNION OF ARAGON AND CASTILE — RESTORATION OF THE MOORISH ALJAFERIA — ROYAL ARCHBISHOPS IN ZARAGOZA — ENRIQUE DE EGAS’S CIMBORIO TO THE CATHEDRAL OF LA SEO AND OTHER PERSIAN FEATURES — THE ITALIAN GIOVANNI MORETO IN ZARAGOZA — HIS INFLUENCE ON DAMIAN FORMENT — THE PORTAL OF SANTA ENGRACIA BY JUAN AND DIEGO DE MORLANES — TUDELILLA AND THE TRASCORO OF LA SEO — HIS ALTAR OF THE TRINITY IN JACA — THE DISPUTED CAPILLA DE SAN BERNARDO IN LA SEO — IMPORTANCE OF MUDE- JARES IN ZARAGOZA — MUDEJAR TOWERS AND TILED CUPOLAS — MUDEJAR

PALACES OF THE SIXTEENTH CENTURY - THE LONJA AND ITS RESEMBLANCE

TO THE RICCARDI PALACE OF FLORENCE — ITS MASSIVE WOODEN CORNICE — INTERIOR OF THE LONJA — TWO TYPES OF WOODEN CORNICE OR ALERO — THE CASA ZAPORTA OR DE LA INFANTA, NOW REMOVED TO PARIS — THE PALACIO DE LUNA OR AUDIENCIA — BRICKWORK OF THE FACADE — OTHER HOUSES IN THE CITY — TARAZONA AND OTHER ARAGONESE TOWNS . 334

Chapter XII

THE MALLORCAN ARISTOCRATS OF THE EARLY SIXTEENTH CENTURY — SIXTEENTH CENTURY FURNISHINGS STILL IN DAILY USE IN PALMA HOMES — MALLORCAN ARCHITECTS IN GOTHIC DAYS — JUAN DE SALES FIRST RENAIS¬ SANCE ARCHITECT IN THE CATHEDRAL - HIS LARGE PULPIT - DOMESTIC

ARCHITECTS UNKNOWN — INSULAR TYPE OF PALACE — FAQADE DICTATED BY NARROWNESS OF STREET — PECULIARITIES OF THE PALMA PATIO, CALLED ZAGUAN — SUPERIOR CHARACTER OF ITS MASONRY — UNIQUE STAIRWAY CONSTRUCTION THROUGHOUT THE CITY — SHEET-IRON BALUS¬ TRADES — CONCENTRATED PLAN OWING TO BUILDING OVER OF ZAGUAN AREA — PALACE OF THE MARQUES DE VIVOT — THE CASA DEL MARQUES DE PALMER AND ITS FLEMISH TOUCHES - THE OLEZA HOUSE - OTHER EX¬ AMPLES IN THE CITY ........ 362 xii

CHAPTER XIII philip’s interest in architecture while yet prince — the chill

HE CAST OVER PLATERESQUE - FORETASTE OF HIS PREFERRED STYLE TO

BE FOUND IN THE HOSPITAL OF ST. JOHN THE BAPTIST IN TOLEDO — ITS FOUNDER ARCHBISHOP TAVERA RENOUNCES COVARRUBIAS AND SELECTS

THE PRIEST BARTOLOME BUSTAMENTE - BUSTAMENTE AND THE MAESTROS

OF THE CATHEDRAL - SIMPLICITY OF THE PLAN - THE CHURCH OF THE

HOSPITAL CONTAINING ARCHBISHOP TAVERA’S TOMB BY BERRUGUETE- —

THE ONLY COMPLETED QUADRANGLE OF THE PLAN - THE UNFINISHED

FAQADE AND LATER ADDITIONS - THE ROYAL ALCAZAR OF TOLEDO AND THE

CHANGE OF STYLE IN THE PLATERESQUE ARCHITECTS EMPLOYED ON IT -

THE PATIO BY COVARRUBIAS AND THE STAIRWAY BY VILLALPANDO — THE PROVINCIAL HOSPITAL OF SEVILLE — THE PALACE AT SALDANUELA . 388

Chapter XIV Juan De Herrera And The Latter Part Of The

CENTURY

THE ESCORIAL THE GREAT MONUMENT OF PHILIP’S REIGN — HIS SEVERAL MOTIVES FOR BUILDING IT - THE ESCORIAL COMPARED WITH THE VAT¬

ICAN — philip’s choice of juan bautista de Toledo as architect —

THE MONARCH’S SOLICITUDE IN CHOOSING AN APPROPRIATE SITE FOR

THE MONASTERY - JUAN BAUTISTA’S SPLENDID SOUBASSEMENT - GRIDIRON

PLAN OF THE BUILDING - PHILIP’S PROMPTITUDE IN ORDERING FURNISH¬

INGS AND MATERIALS — HIS DECISION TO INCREASE THE CAPACITY OF THE

MONASTERY AND THE ADDITION OF A THIRD STORY - EARLY DEATH OF

JUAN BAUTISTA - HIS SUCCESSOR JUAN DE HERRERA, AN ASTURIAN —

COMPLETION OF THE COLOSSAL STRUCTURE - FOREIGN ARCHITECTS CLAIM¬ ING TO HAVE BUILT IT - ITS GREAT ACHIEVEMENT NOT IN ARCHITECTURE

AS A FINE ART, BUT IN SCHEME — DOME OF THE CHURCH IN RELATION TO

Michelangelo’s and the elder sangallo’s — Herrera’s architec-

TURALIZING OF THE PRINCIPAL FAQADE - ANALYSIS OF THE PLAN -

COMPARISON BETWEEN JUAN BAUTISTA AND HERRERA — REMAINING PRO¬ DUCTIONS OF THESE TWO - HERRERA’S CATHEDRAL IN VALLADOLID — HIS

SMALL PALACE IN PLASENCIA — THE PUENTE DE SEGOVIA IN MADRID —

THE LONJA IN SEVILLE - THOROUGH CONFORMITY OF ALL IMPORTANT

NEW EDIFICES TO HERRERA’S AND PHILIP’S TYPE AND UTTER EXTINCTION OF THE CREATIVE SPARK ....... 408

PLATES

Stairway of the Palacio Arzobispal, Alcala de Henares

Frontispiece

PLATE PAGE

I. — Hospital de Santa Cruz, Toledo ... 5

II. — Patio of the Hospital de Santa Cruz, Toledo. 9

III. — Section through Stairway of the Hospital de

Santa Cruz, Toledo . . . . 19

IV. — Stair Newel in the Hospital de Santa Cruz

Similar Newel in a Toledo House . . 23

V. — Elevation of Hospital Real, Santiago de

Compostela . . . . . -25

VI. — Portal of the Hospital Real, Santiago . . 31

VII. — Patio of the Casa del Greco, Toledo . . 35

VIII. — Portal of the Convento de San Clemente,

IX. — Doorway of the Capilla de San Juan, Toledo

X. — Patio of the Palacio Arzobispal, Alcala . 53

XI. — Doorway in the Palacio Arzobispal, Alcala . 59

XII. — Section through Stairway of the Palacio

Arzobispal, Alcala . . . . .61

XIII. — Pilaster Panels of the Palacio Arzobispal,

XIV. — Elevation of the University of Alcala . 69

XV. — Entrance to the Sacristy of the Capilla del

Condestable, Burgos Cathedral . . 81

XVI. — Palacio de Medinaceli, Cogolludo . . 87

XVII. — The Escalera Dorada, Burgos Cathedral . 89

xiii

XIV

PLATES

PLATE PAGE

XVIII. — Entrance to the Hospital del Rey, Burgos . 93

XIX. — Door Panel of the Church of the Hospital del

Rey, Burgos ...... 95

XX. — Patio of the Casa Miranda, Burgos . . 101

XXI. — Portal of the Palacio de Penaranda . . 115

XXII. — Artesonado over the Stairway of the Palacio

de Penaranda . . . . . .119

XXIII. — Window with Yeseria in the Palacio de

XXIV. — Artesonado in a Small Salon of the Palacio de

XXV. — Detail from the Faqade of the University,

XXVI. — Portal of the Escuelas Menores, Salamanca 135

XXVII. — Stair Ramp in the University of Salamanca . 141

XXVIII. — Casa Salina, Salamanca. Elevation of the

Casa Salina ...... 147

XXIX. — Elevation of the Casa de Las Muertes, Sala¬ manca . . , . . . .151

XXX. — Palacio de Maldonado y Morillo, Salamanca 153

XXXI. — San Esteban, Salamanca . . . . 159

XXXII. — Patio of the Colegio de los Irlandeses, Sala¬ manca ....... 163

XXXIII. — Tomb of the Infante Don Juan in the Church

of Santo Tomas, Avila . . . .171

XXXIV. — Monument to Bishop Alfonso de Madrigal, El

Tostado, Avila Cathedral . . 175

XXXV. — Patio of the Colegio de San Gregorio, Valla¬ dolid ....... 183

XXXVI. — Three Figures in Wood from the Retablo of

San Benito, Valladolid, by Berruguete . 187

XXXVII. — Detail of the Faqade of San Marcos, Leon 195 XXXVIII. — Two Bays in the Cloister of San Zoil, Carrion

DE LOS CONDES ...... I97

XXXIX.— Cloister of Former Hieronymite Monastery,

PLATES xv

PLATE PAGE

XL. — Doors in tthe Sacristy, Cuenca Cathedral . 205

XLI. Ayuntamietnto or Town Hall, Seville . .213

XLII. — Scale Drawing of a Window of the Ayunta-

miento*, Seville . . . . . .219

XLIII. — Reja of THfE Capilla Mayor, Seville Cathedral 225

XLIV. La Giraldai, the Campanile of Seville Cathedral

Scale Drawing of the Giralda . . 229

XLV. — Three Paniels of Yeseria from the Casa Alba,

XLVI. — Altar of AiZulejos in the Real Alcazar, Seville 241

XLVII. — Azulejo Portal of the Convento de Santa Paula,

XLVIII. — Garden of- the Museo Provincial, Seville . 247

XLIX. Plan of tihe Casa Alba, Seville . . *251

L. — Main Patho of the Casa Alba, Seville. Minor

Patio of the Casa Alba, Seville . . 255

LI. — Tomb of D)on Pedro Enriquez de Ribera in the University Church, Seville. Tomb of Dona Cat alena de Ribera, in the University Churcih, Seville ..... 259

LII. — Patio in t'he Sepulcro de los Duques, Osuna 263

LIII. — Tombs and* Reja in the Capilla Real, Granada 271

LIV. — Drawing o>f the Tomb of the Catholic Kings, in

the CiAPiLLA Real, Granada . . .275

LV. — Polychromie Wooden Retablo in the Capilla

Real, Granada . . . . . -279

LVI. Interior of Granada Cathedral . . . 287

LVII. — South Porltal of Charles V’s Palace, Granada 299

LVIII. — Fountain of Charles V in the Alameda del

Alitamibra ....... 305

LIX. — Ceiling ini the Council Room of the Ayunta-

miento Viejo, Granada .... 309

LX. — Ceiling ini the Emperor’s Apartments in the

Moo rush Palace of the Alhambra, Granada 313

LXI. — Stairway (of the Castillo de Lacalatiorra . 317

LXII. — Cathedral, of Jaen . . . . . -321

XVI

PLATES

PLATE PAGE

LXIII. — Silleria of Santa Maria, Ubeda . . . 325

LXIV. — Casa de las Torres, Ubeda .... 329

LXV. Mudejar Brickwork of the Cathedral of La Seo,

LX VI. — Wooden Cornice of the Lonja, Zaragoza . 347

LXVII. — Cornice and Facade of the Real Maestranza,

LXVIII. — Elevation of the Audiencia, Zaragoza . . 355

LXIX. — Patio in the Former Museo Provincial, Zara¬ goza . . . .3 57

LXX. — Cupola over Stairway in the Archivo General de Aragon, Barcelona. Artesonado in the Council Room of the Audiencia, Valencia 365

LXXI. — Two Views of the Stairway in the Casa Oleza,

Palma de Mallorca ..... 373

LXXII. — Elevation of the Casa del Marques de Palmer,

Palma . 377

LXXIII. — Wooden Cornice of the Casa Consistorial,

LXXIV. — Hospital de San Juan Bautista, Toledo . . 391

LXXV. — Tomb of Cardinal Tavera in the Hospital de

San Juan Bautista ..... 395

LXXVI. — Spandrel over Main Portal of the Hospital

Provincial, Seville ..... 403

LXXVII. — El Monasterio Real de San Lorenzo, El Escorial 41 1 LXXVIII. — Plan of the Escorial . . . . .415

LXXIX. — Patio de los Evangelistas in the Escorial . 421

LXXX. — Cathedral of Valladolid . . . • 425

ILLUSTRATIONS IN THE TEXT

FIGURE PAGE

1. — Plan of the Hospital de Santa Cruz, Toledo . . 13

2. — Silver Custodia in the Colegiata at Covarrubias . 15

3. — Gold and Silver Custodia in the Royal Monastery of

4- — Detail of Portal of the Santa Cruz Hospital, Toledo. 16

5. — Interior of the Santa Cruz Hospital, Toledo . . 17

6. — Upper Story of Patio of the Santa Cruz Hospital,

7- — Plan of the Hospital Real, Santiago de Compostela . 28

8. — Patio of the Hospital Real, Santiago .... 29

9- — Plan of the Restored Casa del Greco, Toledo . . 33

10. — Reproduction of Chimney-piece in a Toledo House . 34

11. — Typical Granite Doorway, Toledo .... 38

12. — Tomb of Enrique II of Castile, Toledo Cathedral . 42

13- — Detail of the Portal of the Capilla de San Juan,

Toledo Cathedral. ...... 46

14- — Carved Wooden Doors to the Sala Capitular, Toledo

15- — Panel from Wardrobe in the Antesala Capitular,

Toledo Cathedral ...... 50

16. — Two Figures from the Silleria, Toledo Cathedral . 52

i7- — Upper Story of Patio of the Palacio Arzobispal,

18. — Detail of Rustication in the Patio of the Palacio

Arzobispal, Alcala ...... 57

19- — Capital from the Palacio Arzobispal, now in the Museo

Arqueologico, Madrid ...... 58

xvii xviii ILLUSTRATIONS

FIGURE PAGEi

20. — Wooden Artesonado in the Palacio Arzobispal, Alcala 64.

21. — Detail from the Faqade of the University, Alcala . 71

22. — Escutcheon of Charles V over Portal of the Monastery

23. — Blind Window in the Facade of the University, Alcala . 74.

24. — Portal of the Convento de las Carmelitas, Alcala . 77’

25. — Rubbing from Tomb of Dona Mencia de Mendoza, Wife

OF THE CONDESTABLE DE CASTILLA, BURGOS CATHEDRAL 83;

26. — Puerta de la Pellejeria, Burgos Cathedral. . . 84.

27. — Detail from Reja of the Capiula del Condestable,

Burgos Cathedral . . . . . . 91;

28. — Detail from Tomb of Canon Gonzalo de Lerma, in the

Capilla de la Present acion, Burgos Cathedral . 92;

29. — Detail of Arch Soffit, in the Hospital del Rey, Burgos 98;

30. — Section through Stairway in the Casa Miranda, Burgos 99)

31. — Vaulting of Stairway in the Casa Miranda, Burgos . ioo>

32. — Santa Maria del Campo, near Burgos .... io3i

33. — Long Gallery in the Palacio de Monterey, Salamanca 107^

34. — An Outdoor Kitchenette . . . . . .108!

35. — Plan of the Palacio de Penaranda de Duero . . . 1 io>

36. — Upper Gallery of Patio in the Palacio de Penaranda . 117-

37. — Carved Stone Plinth of Upper Doorway in the Palacio

de Penaranda . . . . . . . 1181

38. — Doorway from Patio to Main Salon in the Palacio de

39. — Main Salon of the Palacio de Penaranda . . .122

40. — Frieze of Wood in Main Salon of the Palacio de

41. — Faqade of the University, Salamanca .... 137

42. — Detail of Portal of the Escuelas Menores, Salamanca . 138

43. — Wooden Ceiling in Patio of the University, Salamanca . 140'

ILLUSTRATIONS xix

F7IGURE PAGE

44. — Stair Newel in the Palacio de San Boal, Salamanca . 144

45. — Corbels in Patio of the Casa Salinas, Salamanca. . 149

46. — Motif from Facade of the Casa de las Muertes, Sala¬

manca 15°

47. — Palacio de Monterey, Salamanca . . . . • 156

48. — Colegio de San Ildefonso, Salamanca .... 157

49. — Detail from Portal of San Esteban, Salamanca . . 161

50. — Upper Cloister of the Colegio de los Irlandeses, Sala¬

manca 162

51. — Patio of the Convento de las Duenas, Salamanca . . 165

52. — Patio of the Castillo de Villanueva de Caned a, near

53. — Trascoro of Avila Cathedral . 17°

54. — Altar of Santa Catalina, Avila Cathedral . . .174

55. — Altar in the Sacristy, Avila Cathedral . . • 177

56. — Typical Palace Doorway, Avila . 179

57. — Patio of the Palacio del Marques del Arco, Segovia . 180

58. — Wooden Pulpit in Colegiata of Aranda del Duero . 182

59. — Pulpit with Alternating Mujjejar and Renaissance

Panels, Amusco, near Palencia . . . ..185

60. — Portal Adjoining the Bishop’s Palace, Plasencia . 190

61. — Palacio del Duque de San Carlos, Trujillo . . 191

62. — Vaulting of the Sacristy, Siguenza Cathedral . . 192

63. — Detail of Stairway in the Palacio de los Duenas, Me¬

dina del Campo . . . . . . 193

64. — Patio of the Later Mendoza Palace, Guadalajara . 194

65. — Pier in the Convento de la Piedad, Guadalajara . 199

66. — Detail of Stone Portal in the Cathedral of Cuenca . 200

67. — House in Cuenca . 201

68. — Small Iron Reja in the Cathedral of Cuenca . . 202

69. — Patio of the Palacio Espejo, Ciudad Rodrigo . . 207

70. — Plan of the Ayuntamiento, Seville . . . .215

71. — Detail from Doorway of the Ayuntamiento, Seville . 216

72. — Escutcheon of Seville on Faqade of the Ayuntamiento. 218

XX

ILLUSTRATIONS figure

73- Sculptural Panel from Facade of the Ayuntamiento .

74- — Ceiling of Vestibule in Ayuntamiento of Seville

75- — Custodia in Seville Cathedral .....

76- — Corner Pinnacle on the Giralda Tower, Seville

77- Panel of Azulejos in the Casa Pilatos, Seville .

78. — Sunken Patio in the Casa de los Venerables Sacerdotes, Seville ....

79- — Azulejo Treatment in Gardens of the Real Alcazar,

So. — Garden in the Casa Pilatos, Seville .... 249

81. — Wooden Ceiling in the Casa del Duoue de Alba, Seville 254 82— Doorway in Upper Cloister of the Alba House, Seville 257

83. — Detail of Patio in the Sepulcro de los Duques, Osuna . 261

84. — Garden Entrance to the Sepulcro de los Duques, Osuna 262

80- — Portal of the Colegiata, Osuna ..... 265

86. — Detail from Tomb of Ferdinand and Isabella, Granada

8 7- — Detail from Tomb of Dona Juana and Don Felipe, Granada .......

88. — Plan of the Cathedral of Granada ....