An Architect's Note-Book in Spain Part 3

MDW. 1869]

PLATE XII.

_LEON._

PATIO OF THE CASA DE LOS GUSMANES.

PALACES, such as supply our twelfth ill.u.s.tration, are now rarely occupied in Spain by one family only. Instead of serving as the place of general rendezvous for the dependants and intimate friends only of the aristocratic proprietor, the Patios are now usually peopled with men, women and children belonging to the numerous families, between whom the occupation of the Palace, sadly fallen from its high estate, is divided.

Instead of the mansions being guarded by a grand inquisitor in the shape of a porter, with armed servants within hail, with almost more than Oriental jealousy, as in the old days, he who will, may usually find entrance or exit unheeded, pa.s.sing but as one more or one less of the hundreds who go to and fro in the course of the day to the various apartments which are frequently let and sublet, at ridiculously low rents, to poor occupants who can afford to pay no other. Poverty, in fact, revels in halls where magnificence once reigned supreme.

It is no easy task for the imagination to repeople such grand old residences with the stately Hidalgoes and Senoras, who once occupied and maintained them with scrupulous care and princely dignity. Happily, the Countess d'Aulnois comes to our aid with her lively account of the dwelling at Madrid of the d.u.c.h.ess of Terra Nueva, appointed Camerera-Mayor to the young Queen, in 1679; and her picturesque sketch may be freely accepted as expressing the general style in which families of dignity, such as the Guzmanes, magnates of Leon, lived during the plenitude of Spanish wealth and power.

"One can hardly see anything," says she,[11] "that looks more splendid than this house of theirs; they use the upper apartments, which are hung with tapestry, all done with raised work of gold. In one great chamber, which is longer than it is broad, you may see several gla.s.s doors, which go into closets, or little cells; the first of which is the d.u.c.h.ess of Terra Nova's, hung with grey, and a bed of the same, and all other things very plain. On one side lodges her daughter, the d.u.c.h.ess of Monteleon, who is a widow, and has her room furnished like her mother's.

Afterwards you come to the Princess of Monteleon's chamber, which is not larger than the others; but her bed is of gold and green damask, lined with silver brocade, and trimmed with Point-de-Spain. The sheets were laced about with an English lace of half an ell deep. Over against it were the chambers of Monteleon and Hijar's children, which were furnished with white damask. Next to these is the little chamber of the d.u.c.h.ess Hijar, furnished with crimson coloured velvet upon a gold ground. Their rooms were no otherwise divided than by part.i.tions of a certain sweet wood; and they told me that six of their women lay in their chambers upon beds brought thither at night. The ladies were in a great gallery, spread with a very rich foot-cloth. There were set round it crimson coloured velvet cus.h.i.+ons embroidered with gold, and they are longer than they are broad. There were also several great cabinets inlaid, and adorned with precious stones; but they are not made in Spain. And between them were tables of silver, and admirable looking-gla.s.ses, both for their largeness and rich frames, the worst of which were of silver. But that which I thought finest, were their escaparates, which is a certain sort of close cabinet with one great gla.s.s, and filled with all the rarities which one can imagine, whether it be in amber, porcelain, crystal, bezoar-stone, branches of coral, mother-of-pearl, filligreen in gold, and a thousand other things of value."

[Ill.u.s.tration: PLATE 13

LEON

MDW 1869

CALLE DELLA TESORIERA. LEON.]

PLATE XIII.

_LEON._

DETAIL FROM A HOUSE IN THE CALLE DE LA TESORIERA.

THIS pretty little keystone, with its acanthus leaf well drawn and freely cut in good cinque-cento style occurs over the Portal of an old house in one of the secondary streets of Leon. The pot of lilies which surmounts it is a pretty little "impresa," quaintly signifying the devotion of the owner of the house to the especial object of every good Spaniard's wors.h.i.+p, the most holy Virgin "sin pecado concebida." The S shaped irons, which appear on the right and left of the pot of lilies, serve to help to support the light balcony, which generally occurs over entrance doors of minor importance in Spain, and which often serves as a small open air addition to the common sitting room, in which the women of the house do much of the usual needle work, spinning, &c.

[Ill.u.s.tration: PLATE 14

SALAMANCA

CASA DE LAS CONCHAS

MDW 1869]

PLATE XIV.

_SALAMANCA._

EXTERIOR OF THE CASA DE LAS CONCHAS.

THIS is, upon the whole, the most complete house I met with of its period, answering in Art, and nearly in point of time, to the florid Burgundian style of the Low Countries, with which there was much intercourse at the probable date of its construction--the close of the fifteenth century. It stands almost opposite the great Church of the Gesuitas, some of the columns of an unfinished porch or portico of which may be seen upon the left hand side of the sketch. No doubt this fine mansion does not possess its original roofing, as testified by the comparatively modern windows of a portion of the top storey, but with that exception it is fairly complete, both externally and internally.

The little projections on the masonry looking like nail heads are, really, as will be seen by the details given in Plates XVII. and XIX., representations of sh.e.l.ls, the heraldic badge of the owner of the house, from which, rather than from his name, the cognomen by which the house is known, has been derived. It is difficult now to divine in what way the top storey was originally constructed, but judging by a.n.a.logy with what was usual in such houses elsewhere in Spain at the time, it appears probable that it may have consisted of a light open arcading, serving as a "look out"--"mirador"--and place for exercising for the ladies of the household, at times when the streets may have been neither safe nor agreeable.

[Ill.u.s.tration: PLATE 15

SALAMANCA, CASA DE LAS CONCHAS

MDW 1869]

PLATE XV.

_SALAMANCA._

PATIO OF THE CASA DE LAS CONCHAS.

THE Patio of this house is yet more perfect than its facade, and, a rare circ.u.mstance in Spain, I found it both clean and well kept. It is not upon a large scale, and did not, perhaps, look the less elegant on that account. The upper arcade produces a far better effect than the lower, since in the latter the principle of the arch seems fantastically and heedlessly lost sight of. With the exception in the upper arcade of the way in which the wreaths and escutcheons are placed, as though to conceal a confusion in the lines of the archivolt, which the architect (or mason) did not seem quite to know how to bring together comfortably over the capitals, the whole effect is quiet and pretty. The open work parapet at the top is the only _motif_ in the design which appears to be borrowed from the architecture of the Moors.

[Ill.u.s.tration: PLATE 16

CASA DE LAS CONCHAS

MDW 1869]

PLATE XVI.

_SALAMANCA._

STAIRCASE OF THE CASA DE LAS CONCHAS.

ON the side of the Patio, opposite to the entrance, occurs the archway through the wall which forms the back of the arcade on that side of the Court, and beyond which is seen the staircase which connects the upper and lower arcades. From its masonry bonded in with the enclosing walls, it a.s.sumes even, while simple in design, a thoroughly architectural character, while the depth of shade, which almost invariably covers the back wall and parts of the side wall, serve to throw the lower part of the staircase into brilliant relief. The graceful and gay figures which, in the characteristic costume of Salamanca, from time to time, went up or down the staircase, or linger upon it in groups chatting or smoking, or flirting, make up occasional pictures not rapidly to be effaced from the author's memory.

[Ill.u.s.tration: PLATE 17