An Architect's Note-Book in Spain Part 23

No doubt many beautiful specimens of Gothic precious metal work once adorned the princ.i.p.al mediaeval ecclesiastical structures of Spain, but it was not till a later date that the most important and famous works, other than those already noticed (by Henrique de Arfe,) were produced. A brief notice of some of these from the pen of a contemporary may not be altogether uninteresting.

"Although Renaissance architecture was introduced in Spain in a fully developed form before the middle of the sixteenth century, it was never thoroughly understood and adopted, we are told by Juan de Arphe y Villafane,[61] in ecclesiastical plate, 'until my father, Antonio de Arfe, began to use it in the Custodia of Santiago in Galicia and in that of Medina de Rioseco, and in the portable shrine of Leon.'

"In all his work he evidenced an imperfect knowledge of good style, introducing fanciful columns of irregular proportions according to his own fancy. Juan Alvarez, who was a native of Salamanca, died in the prime of his life in the service of Don Carlos of Austria. For this reason he left no evidence of his rare talent in any public performance.

Alonso Beceril obtained reputation in his turn on account of having made in his studio the Custodia of Cuenca. This work secured the approbation of every artist in Spain who at that time was really learned in Art.

Juan de Orna was an excellent plate-worker in Burgos. Juan Rinz,[62] a disciple of my grandfather, made the Custodias of Jaen, Baza, and that of San Pablo of Seville. He was the first who used the lathe for forming plate in Spain; he set the fas.h.i.+on for the princ.i.p.al pieces of silver services for the table, and instructed workmen throughout Andalusia. All the above artists, and others, began to give elegant shapes to the princ.i.p.al objects made in silver and gold for the use of the church, each one improving in symmetry and general excellence upon the works of his predecessors until those types became established which I am now about to describe."

Juan de Arphe proceeds, after complimenting Philip II. on his majestic works at the Escorial, to give the forms and proportions of the five orders, and their application to every variety of silversmith's work, recognised as suitable for employment in sacred offices and ecclesiastical rites and ceremonies in his time.

[Ill.u.s.tration: PLATE 96

BARCELONA.

OLD HOUSE IN THE CALLE DE MONCARA.

MDW 1869]

PLATE XCVI.

_BARCELONA._

COURTYARD OF AN OLD HOUSE IN THE CALLE DE MONCARA.

IN noticing my ninety-first sketch I took occasion to comment on the difference which existed between Spanish and Catalonian architecture, and Spanish and Catalonian character. Both are pressed upon one's attention in looking over a house which, like the one I have sketched in the Calle de Moncara at Barcelona, appears to have been the comfortable home of a well-to-do merchant, with roomy stores and warehouses on the ground floor facing the entrance, domestic offices to the left, and counting-house and living rooms on the first floor, with bedrooms above.

As is becoming in the house of one welcoming alike buyer and seller, we find a total absence of that almost Asiatic privacy which the Spaniards generally, and especially the Andalusians, appear in their homes to have adopted from Moorish models. Under the old Counts of Barcelona the architecture of the city had no doubt been mainly French. After the annexation of the city to the crown of Aragon, the architecture became tinctured with detail corresponding with much yet to be seen at Saragossa and elsewhere in Aragon, and finally after the consolidation of the whole monarchy by the marriage of Ferdinand and Isabella, and the expulsion of the Moors, Barcelonese architecture fell under the Plateresque revival and the subsequent Greco-Roman mania which affected all Spain. The date of erection of the house of which I now give a sketch, appears to have brought it under the second of these two sets of conditions. In the twisted column, its cap and base, and some other features, we may recognise the Aragonese style, while in the staircase and some of the windows there is to be traced, I consider, a decided French influence.

In spite of legislative a.s.similation, the Catalonians have never been able to cordially adopt a Spanish nationality. They have never warmly responded to the caresses of their monarchs. Even as late as 1802, when Charles IV. paid a visit to Barcelona with the infamous G.o.doy, and a retinue like an army, and drew some eighty thousand strangers to the city, a visitor in the following year records that "the Catalans felt a generous pride in observing that no accident or quarrel occurred on that occasion, and no life was lost, _notwithstanding the enmity subsisting between them and the Spaniards_."[63] Whittaker further ill.u.s.trates this mutual jealousy and spiteful feeling by the following characteristic anecdote:--"This enmity," he says, "is carried to such a height that when it was proposed to strike a medal in honour of the King's visit, the Academy of Arts of St. Fernando, at Madrid, were requested to superintend the execution; but this body, actuated by a most illiberal and unworthy spirit, endeavoured to excuse themselves, and made every possible delay, which so enraged the Catalans, that they withdrew the business from their hands, and trusted it to their own academy. The medal was produced in a month, and remains a record rather of their loyal zeal, than of their ability in the fine arts."

[Ill.u.s.tration: PLATE 97

CALLE DE MONCARA.

MDW 1869]

PLATE XCVII.

_BARCELONA._

STAIRCASE OF AN OLD HOUSE IN THE CALLE DE MONCARA.

I AM induced to give this one little specimen of what the Spaniards call "Churriguerismo" for these reasons: 1stly, because it is a prettier example than usual of the style practised early in the eighteenth century by the fas.h.i.+onable Jose Churriguerra--the William Kent of Spanish architecture; 2ndly, because it affords a good specimen of the comfortable house of a rich Barcelonese merchant of the last century; and 3rdly, on account of the singular arrangement of the jointing of the masonry, which converts the apparently double arch into very little else than one tolerably stable spanning of the whole s.p.a.ce.

In describing my eighty-fifth sketch I alluded to the fact that the trade of Spain gradually fell into the hands mainly of foreigners, and especially at first of the Genoese, the difference between them and the native Spanish merchant being that while the former were crafty, industrious and dishonest, the latter were stupid and lazy, but (except in the matter of smuggling) strictly honest. Plenty of witness is borne by different writers to both facts. Quevedo, for instance, abounds in hits at the Genoese and other Italians. "Give an Italian to the Devil,"

he says in his "El Alguazil Endemoniado," "and the old gentleman won't try to take him, for an Italian would take away the Devil himself."[64]

Elsewhere in the same satire he cautions his readers telling them that they are bound to know "that in Spain the mysteries of the accounts of the Genoese are disastrous for the millions that come from the Indies, and that the cannons of their pens are batteries for purses. There are no incomes which, if they once get into the strokes of their pens, and the inkholders of their inkstands, escape without drowning."[65]

The poco-curante honesty of the Spaniard on the other hand, (the "poco-curanteeism" at least an inheritance from the East,) kept business in his hands which, but for his reliability, ought according to every recognised law of probability in trade, to have left him before it did.

Laborde, a writer by no means inclined to take too favourable a view of the national character, confesses that "Spanish probity is proverbial, and that it conspicuously s.h.i.+nes in commercial relations. Good faith and punctuality are generally prevalent among merchants, the instances of deception, negligence, fraudulent dealing and non-fulfilment of engagements, so general in the trading world, being unknown to and not practised amongst them." As an ill.u.s.tration, Laborde mentions some coined silver sent home in the year 1654, which was paid away by the Spanish merchants, and was subsequently discovered to have been debased.

Not only were the Spanish merchants eager to make good the loss to those who had dealt with them, but having discovered the culprit they obtained his conviction, and the wretched man was publicly burnt alive. In spite of honesty, however, trade and commerce will not thrive in any country in which they are looked upon as degrading. A Catalonian might work, since he was but half a Spaniard. A Castilian, however, was quite willing to pay any one who would work for him, and as with his increase of wealth his wants became more and more artificial and luxurious, the swarms of foreigners he harboured about him to do his bidding, increased to an unprecedented extent. The Countess D'Aulnois gives a capital account of the state of things in this respect in her time (circa 1679).

"Spain," she says,[66] "cannot well be without commerce with France, not only on the frontiers of Biscai and Arragon, where it hath been almost ever permitted, but through the whole country where it is prohibited, for Provence hath ever had correspondencies in the kingdom of Valentia, by its necessity of the others commodities; and for the same reason Britaign, Normandy, and other parts on the ocean have continually sent theirs to Cadiz and Bilbo. I speak not of corn and stuffs of all sorts brought from that country, but even of ironwork and swords; by which it appears a mistake to think that in these dayes the best come of Spain.

No more being now made at Toledo, few but forrain are used, unless a very small quant.i.ty that come from Biscai, which are excessively dear.

"It is, moreover, hard to imagine how much Spain suffers for want of manufactures. So few artificers remain in its towns, that native commodities are carried abroad to be wrought in forrain countries. Wools and silks are transported raw, and being spun and weaved in England, France, and Holland, return thither at dear rates. The land itself is not tilled by the people it feeds. In seed time, harvest, and vintage, husbandmen come from Bearn and other parts of France, who get a great deal of money by sowing and reaping their corn, and dressing and cutting their vines. Carpenters and masons are (for the most part) also strangers, who will be paid treble what they can get in their own country. In Madrid there is hardly a waterbearer that is not a foreigner, such are also the greatest part of shoomakers and taylors, and it is believed the third of these come only to get a little money and afterwards return home; but none thrive so much as architects, masons, and carpenters. Almost every house hath wooden windows (here being no gla.s.s), and a balcony jutting into the street."

[Ill.u.s.tration: PLATE 98

GERONA OLD HOUSE NEAR THE ESTRELLA DE ORO.

MDW 1869]

PLATE XCVIII.

_GERONA._

OLD HOUSE NEAR THE ESTRELLA DE ORO.

IF my last sketch ill.u.s.trated the regular rich merchant's house of the eighteenth century--symbol of peace and plenty, police and protection--the kind of residence I now submit to the reader's attention is cast in quite a different key. It is essentially a fighter's house, the only kind of structure in which (before the use of gunpowder) a family could hold its own for months of foreign siege or protracted street fighting. Gerona has always been, as we shall have occasion to recognize in examining its fine old walls, almost a frontier city, struggled for repeatedly by Christian and by Moor. The house I have sketched is one of the earliest and most complete of its cla.s.s I have ever seen, the lower half alone having been materially altered from its original construction. It dates in all probability from the middle of the twelfth century, and yet stands strong and stalwart in a quarter of the city in which very little of anything not comparatively of yesterday meets the wandering visitor's eye. On comparing this sketch with that from a house at Barcelona (No. 96) erected at least three hundred years later, it will be found that the type furnished by the earliest in date had changed but little in the interval. Hence we may fairly infer that the conditions of insecurity affecting domestic life had scarcely varied in Catalonia during the whole of that term. In fact, it was not until the invention of printing spread abroad the elements of education, and brought about changes in social systems, that men began to dream of peace and security ensured by other preservatives from danger than heavy armour and fortress-like houses.

[Ill.u.s.tration: PLATE 99

GERONA. UPPER PART OF OLD HOUSE. NEAR SAINT FELIX

MDW 1869]

PLATE XCIX.

_GERONA._

UPPER PART OF OLD HOUSE AND SPIRE OF THE CHURCH OF SAN FELIU.

THE west front of the Cathedral at Gerona stands at the top of a n.o.ble flight of eighty-six steps, and these ascended, platforms are reached on the west and south of the splendid pile from which fine views over the city and its environs are obtained. The sketch now under notice was taken from the southern platform, the wall enclosing which upon the west cuts off something like thirty feet in height of the fine old house which forms the princ.i.p.al object in the sketch. Its uppermost story, with its continuous arcade, has a symmetrical and agreeable effect, and appears to have been the only portion of the building really suitable for habitation according to modern views as to the value of abundant light and air. On the right is seen the cathedral well, the waters of which have no doubt alike served for the bodily and spiritual ablutions of Mahommedan and Christian, since cathedral, mosque, and then again cathedral, have existed in turn upon the same site from the days of Charlemagne to the present time. During the Moorish occupation in the eighth century the Christians were permitted to wors.h.i.+p in the original church of San Feliu (Felix) the truncated spire of the successor to which appears in my sketch between the old house, and the south-west angle of the cathedral, shown on the extreme right. The present church, dedicated to San Feliu, dates probably from the early part of the fourteenth century. Its history has been clearly traced by Mr. Street from a comparison of the building with the particulars given and doc.u.ments quoted in the "Espana Sagrada." "The steeple is said to have been finished in 1392. Pedro Zacoma having acted as architect as late as A.D. 1376." It was struck by lightning in the year 1581, and has remained ever since shorn of its fair proportions, as we now see it.