Pat PROVINCIAL HOVSES IN SPAIN ARTHVR BYNE MILDRED STAPLEY Corresponding Members of The Hispanic Society of America authors of SPANISH INTERIORS AND FVRNITVRE SPANISH GARDENS AND PATIOS FeLC =e -Ctc ‘i I 25 WILLIAM HELBVRN INC NEW YORK COPYRIGHT, 1925 WILLIAM HELBURN, INC. The Lent & Graff Co., New York, Printers The Moss Photo Engraving Co., New York, Plate-Makers PROV UNG EA @ GSES aN wea INTRODUCTION BOOK on “Spanish country houses” has been suggested to the authors as a useful contribution to the architect's library. The title is an attrac- tive one, but in the case of Spain would be some- what of a misnomer, for it implies that organized, ample, enticing country life which is a recognized thing in other countries. As such, country life hardly exists in Spain. The land is still very medieval, and now as always vast areas have but few rural houses, while crowded little towns hover under the shadow of the seignorial castle or the cathedral, and in many cases still retain their defensive walls. There is nevertheless an interesting variety of small rural dwellings in the provinces, devoid of gardens or land- scape treatment, but picturesque in composition and with much interesting detail. It is these that have been collected for the present work. With them are included minor town dwellings which do not differ essentially from the rural type. In a land where several languages are spoken, where the extremes of climate are encountered, and where the building material at hand varies accordingly, it is only natural that there should be architectural dissimilarity. The Basques, living in the forest-clad hills of the north, had plenty of wood and built half-timber houses; the Castilians on their mountain-bound plain had granite and lived in stone dwell- ings; the Aragonese were deprived of stone but had excellent clay, and in addition harbored a large artizan class of Moors who built for them in brick; the Catalan had stone and used stucco as well; and the Andalusian, like the North African Moors, built in rubble and adobe covered over with stucco. The result is a collection of regional types each with its own special interest and suggestion. Needless to say it is not the genera plan and distribution of the Spanish house that would most interest us of to-day, for plan must always keep pace with the modern developments and exigencies o each country; nevertheless a few plans have been included to give an idea of the layout as dictated by climatic conditions. From this point of view the Spanish plan is excellent; the Andalusian house is based A + MAJORCAN + KEYPLATE on the patio system, the aim of which was to draw the fresh- ness of the garden into the very house itself. In the bleak north the elements are entirely shut out and the fireplace is the center of family life. But aside from these local features Spanish planning is very deficient both ethically practically. anc The exterior, on the other hand, is full of charm as an architect understands the word—unsophisticated and exe- cuted in the simple materials at hand; furthermore, the composition, the decoration, and the construction are very distinctive. Spanish friends conversant with modern American domes- tic work in California and Florida have remarked that nothing quite so intensely Spanish can be found in the This is true. Spanish dwellings are re- served in character like their occupants; those of the New World, expansive. mother country. True, Spain has known certain archi- tectural effervescences—the decadence of Gothic, the ornate- ness of Plateresque, the voluptuousness of Baroque. But these levities have had but little effect on the Spanish house; the Andalusian cortijo has remained the same simple, white- washed structure since the missionaries carried the type to America; the Catalan farmhouse has remained tenaciously Gothic for centuries ; and the Mudejar house (mixed Moorish and Christian), perhaps the most distinctive of all, has changed little since the Moors were expelled. In short the Spaniard in his house and his manner of living is a cautious traditionalist. To him, changes of style were purely politi- cal and concerned public buildings. In contrast to the Spanish palace, which has been pur- posely omitted here, the Spanish house is alwa ’s unpretentious. Precisely because it is so simple, to adapt it to the needs of the twentieth century requires subtlety ; moreover viewed from a practical stand- point, a style that minimizes the use of expensive materials and makes but limited demands on expert handicraft is worth consideration in a country where material is costly and where good craftsmanship is not yet an age-old tradition. INDEX PROVEN CIA, FOU Sissies baby! ANDALUSIA ANDAWUSIAs TEXT 7 PAGES I il LATE 1. Cortijo (Farm-Buildings) on the Estate of the PLaTeE 26. Plan of the House of the Marques de Viana Marques de Casa Luenga, near Seville Cordova (Drawing) Pirate 2. Cortijo of the Marques de Casa Luenga, near PLATE 27. House of the Marques de Viana, Cordova Seville : ee 7 5 . ae 4 Pirate 28. Stair-Landing in a 17th-Century House, Cor- PLATE 3. Cortijo of the Marques de Casa Luenga, near dova Saville oer eville Prate 29. Patio, 17th-Century House, Cordova LATE 4. Cortijo of the Marques de Casa Luenga, near Prate 30. A 17th-Century Palace, Cordova / Rar a é " Seville es ee, PLatE 31. Facade in the Calle de la Traperia, Murcia PLATE 5. Cortijo of the Marques de Casa Luenga, near A ‘ ; A (Drawing) e (Drawing) 2 : = F ; = : ee 4 PLATE 32. Facade in the Calle de la Traperia, Murcia LATE 6. o of the Marques de Casa Luenga, near s A e PLATE 33. louse of t rques de Penaflor, Ecija, Drovinc, iS RS rovince 0 ety) PLATE 7. jo of the Marques de Casa Luenga, near e louse of the Marques de Pefiaflor, Ecija, en age mai ae . rovince of Seville (Right PLATE 8. Cortijo of the Marques de Casa Luenga, near Bow) * * Seville (left) PLATE 34. ouse of the Marques de Pefaflor, Ecija, ‘ Province of Seville (Left) Cortijo of the Marques de Casa Luenga, near % Ree Seville (right) louse oO arques de Pefaflor, Ecija, Droyvi 7 ge nade rovince e (Right PLATE 9. Cortijo of the Marques de Casa Luenga, near = 5 gnt) £ ote Seville PLATE 39. couse of the Marques de Pefaflor, Ecija, Vas Province of Seville (Left) PLATE 10. Cortijo of the Marques de Casa Luenga, near louse of the Marques de Penaflor, Ecija, Seville Province of Seville (Right) PLatE 11. Cortijo of the Marques de Torre Nueva, near a ; : : Alcala de Guadaira, Province of Seville PratE 36. The Old Monastery of La Rabida Where Columbus Lodged, near Huelva PLATE 12. Cortijoof the Marques de Torre Nueva, near =a ath i P Alcala de Guadaira, Province of Seville LATE 37. Casa de Las Torres, Ubeda, Province of Jaen PLATE 38. Casa de Las Torres, Ubeda, Province of Jaen ues de Torre Nueva, near PLATE by (Cortijoro a Province of Seville PLateE 39. Baroque Entrance to the Old Bull Ring, Ronda Alcala de Donne Wh (Crore de Torre Nueva, near Pirate 40. A Pair of Bay Windows, Ronda ince of Seville PLATE 41. The Alcazar, Seville (Left) of the Marques de Torre Nueva, near Patio of the Mondragon Palace, Ronda (Right) e Guadaira, Province of Seville 9 PLATE > + fe =a = me: pe! Q ° OQ ° vn PLATE 4 Group on the Outskirts of Granada (Drawing) PLATE 16. Cortijo of the Marques de Torre Nueva, near Alcala de Guadaira, Province of Seville (left) oO PLATE 4 The Casa Castril, Granada. 3 ae sy: aie Rein: Pirate 44. The 15th-Century Residence of Ferdinand and Cortijo of the Marques de Torre Nueva, neat Isabella While in Granada Alcala de Guadaira, Province of Seville (right) nV PLATE 4 Plan of the Generalife, Granada (Drawing) PLATE 17. Cortijo of the Marques de Torre Nueva, near Alcala de Guadaira, Province of Seville Plate 46. Bird's Eye View of the Generalife, Granada (Drawing) Pirate 18. La Soledad, a Cortijo in the Province of Seville f oe - i J PLATE 47. Case de Las Duejas, Seville Pirate 19. A Typical Moorish House at Ariana (Drawing) : bated : ue a PLateE 48. Casa de las Duefias, Seville (Drawing) PLATE 20. Las Ermitas, a 17th-Century Monastery in the Sierra de Cordova PLATE 49. Case de las Duenas, Seville 50. Casa de Pilatos, Sevillian House of the Duke Las Ermitas, Sierra de Cordova PLATE : i of Medinaceli (Drawing) PLATE 21 PLateE 22. Las Ermitas, Sierra de Cordova ; PLATE ©) Sasa de Pilatos, Seville PLATE 23, Casa de Campo of the Marqueses del Merito, AME, a Case ae vilat os, Seville q Sierra de Cordova PLatE 92. Sacristan’s House, Convento de San Pablo, : Sewi PLATE 24. Casa de Campo of the Marqueses del Merito, . eville Pee Be 8 Sierra de Cordova PLateE 53. Portal and Tejaroz (Tiled Hood), Seville (Drawing) [S) Nn Casa de Campo of the Marqueses del Merito, PLATE pegs ; ae Sierra de Cordova Pate 594. The Former Altamira Palace, Seville PLATE 55 PLATE 56. Isis: OY, PLATE 58. Pirate 59. PLATE 60. Peas, oll, PLATE 65 PLATE 60. PLATE 067. PLATE 68. PLATE 69: PLATE 102. PLATE 103. SLATE 76. juysins. WY, PLATE 78. Bus J), PLATE 80. SLATE 81. PEATE S2, PLATE 83. PLATE 84. The Former Altamira Palace, Seville IPiesinet (y), The Former Altamira Palace, Seville 5 - ae Sa Palace in the Former Ghetto of Seville PLATE 63. A Sevillian Entrance-Hood or Tejaroz PLATE 64. Palace of the Alcazar, Seville Palace of the Alcazar, Seville Window Grilles or Rejas from the Calle Levies, Seville CASTEE 2 TEXT 2 PAGES: Uli Ruined Palace at Saldafuela, near Burgos, PLATE 85. Now a Farmhouse (Left) Palace at Saldanuela, near Burgos (Right) Patio of the Casa de Miranda, Burgos Section through the Stairway, Casa de PLATE 80. Miranda, Burgos (Drawing) PLATE 87 “acade of the Casa de Salinas, Salamanca (Drawing) PLATE 88. Casa de Salinas, Salamanca Casa de Salinas, Salamanca “acade of the Casa de las Muertes, Salamanca , eee (Drawing) LATE 89. Casa de Dona Maria la Brava, Salamanca S - PLATE 90 Casa de las Conchas, Salamanca Casa de las Conchas, Salamanca Patio of the Castillo de Villanueva de Caneda, near Salamanca (Left) PLATE 91. Castillo de Villanueva de Caneda, near Sala- manca (Right) Baws OD The Archiepiscopal Palace, Plasencia ian, OF A Small House in Plasencia SL ani. OM Palacio de los Golfines, Caceres, Province of Sane OF Estremadura (Left) is ; Casa de Los Solis, Caceres, Province of Estre- madura (Right) Old Half-Timber Houses at Cuellar, Province 4 : PLATE 96 of Segovia Bi Ruined Castle of the Dukes of Albuquerque, Beno Cuellar, Province of Segovia (Left) SNE. Sc Ruined Castle of the Dukes of Albuquerque, Cuellar, Province of Segovia (Right) Ruined Castle of the Dukes of Albuquerque, as eye Cuellar, Province of Segovia LATE 98. House of Juan Bravo, Segovia ~ ~ < DP: P Palace of the Conde del Puente, Segovia WATER A és * ~ F D; Old House in the Plaza de Espejos, Segovia LATE 100. (Drawing) PLATE 101. CATALONIA VALENCIA: Window Grilles or Rejas from the Calle Levies, Seville Two Andalusian Fireplaces House in the Plaza del Triunfo, Seville (Draw- ing) (Upper) House in Baza, Province of Granada (Draw- ing) (Lower) Ni Former Palace of the Dukes of Luna, Segovia, (eit) Guard House Over One of the Segovia (Right) Calle de Pedro Davila, Avila A Window from the Palace at Penaranda del Duero (Drawing) Town Gates, Country Home of the Marques de Barzana- Ilana at Lupiana, near Guadalajara (Left) Country Home of the Marques de Barzana- Ilana at Lupiana, near Guadalajara (Right) Country Home of the Marques de Barzana- Ilana at Lupiana, near Guadalajara Patio of the Former Mendoza Palace, Guadala- jara (Left) Archiepiscopal Palace, Alcala de Henares (Right) Archiepiscopal Palace, Alcala de Henares Drawing) Casa del Greco, Toledo Street Portal, Casa del Greco, Toledo Plan of the Casa del Greco, Toledo (Drawing) Patio of the Casa del Greco before the Recent Restoration, Toledo (Upper) Garden Porch of the Casa del Greco, Toledo (Lower) Patio of the Casa del Greco as Restored, Toledo Facade of the Casa del Conde de Toledo, Toledo (Left) Portal of the Casa del Conde de Toledo, Toledo (Right) Casa del Conde de Toledo, Toledo (Left) Casa del Conde de Toledo, Toledo (Right) Patio of the Casa del Conde de Toledo, Toledo House of the Painter Sorolla, Madrid A loth-Century House in Cuenca (Drawing) ARAGON CATALONIA, VALENCIA, ARAGON * TEXT » PAGES 7 V + VI PLATE 104. PLATE 105. The Archdeacon’s Palace, Barcelona A Window from the Palacio de la Generalidad, Barcelona (Left) Window from a 15th-Century Palace, Bar- celona (Right) PLATE 100. Country House at Pedralbes, near Barcelona Casa Canal, Sant Marti de Provencals, near Barcelona Casa Armengol, Sant Marti de Provencals, near Barcelona PLATE 107. PLATE 108 PLATE 109 PLATE 110. il. Di PLATE 113 PLATE 114 PLATE 115 PLATE 116 PLATE 117 PLATE 118 PLATE 119 PLATE 12 PLATE 121 PLATE 122 PLATE 123 PLATE 124. PLATE 125. PLATE 1206. PLATE 127. PLATE 128. PLATE 129. PLATE 193. PLATE 154. PLATE 155. Window from a Gothic House at Matar6, near Barcelona (Left) Window from an Old House at Mataré, near Barcelona (Right) Casa de Campo, Badalona, near Barcelona (Drawing) Casa de Campo, Badalona, near Barcelona A Farmhouse, Badalona, near Barcelona Casa Binibiches, Badalona, near Barcelona Plateresque Window from a 17th-Century House at Sant Cebria, Catalonia (Left) Gothic Window from a House at Sant Cebria, Catalonia (Right) Casa Calderan, Alella, Catalonia Peasants House at Montmeld, Catalonia Casa Dalmases, Cabrera, Catalonia Farmhouse at Arema de Dalt, Catalonia Farmhouse at Montornes, Catalonia The Abbots’ House at Villabertran, Catalonia Old Farmhouse at Anglé (Drawing) A 14th-Century House, Gerona, Catalonia Upper Catalonia Farmhouse at Castella, Province of Gerona, Catalonia Central Portion of Catalonia the House at Castella, loth-Century House at Anglés, Province of Gerona, Catalonia (Left) Window from an Old House in Zarroella de Montgri, Province of Gerona, Catalonia (Right) A Collection of Catalan Street Lamps (Draw- ing) Casa Ferré, Caldas de Malavelles, Province of Gerona, Catalonia (Upper) Interior of a Farm Building at Flassé, Province of Gerona, Catalonia (Lower) 14th-Century House at Tarrega, Catalonia mete) 15th-Century House at Castell6 de Ampurias, Catalonia (Right) Fortified House manet, Catalonia at Santa Coloma de Gra- Zorla, in the Foothills of the Pyrenees 15th-Century Hospital at Vich, Catalonia (Drawing) PLATE 130. PLATE 131. PLATE 132. PLATE 133. PLATE 134. u/NIne 139), PLATE 1306. PLATE 137. PLATE 138. PLATE 139. PLATE 140 Piate 141. PLATE 142. PLATE 143. PLATE 144. PLATE 145. PLATE 140. PLATE 147. PLATE 148. PLATE 149. PLATE 150. PLate 151 PLaTE 152. Sitjes, South of Barcelona (Left) Sitjes, South of Barcelona (Right) A Group of Ho ranean, at Sitjes (B Overhanging the Mediter- arcelona) A Group of Houses Built Around the 15th- Century Hospital, Sitjes, (Barcelona) A Group of Houses at Si es, (Barcelona) The 15th-Century Hospital which Forms the Nucleus of the Group, Sitjes, (Barcelona) Corner of the Group at Sitjes, (Barcelona) (Bent) Entrance to the 15th-Century Hospital which To-day Forms the Principal Unit of the Sitjes Group (Right) Group of Old Houses at Sitjes, (Barcelona) C Casa del Marques de la E: a Almundi, Valencia cala, Valencia Casa del Marques de la Escala, Valencia A Muleteers’ Inn at Sagunto, Valencia Two Farmhouse Fireplaces at Godella, Valen- cia (Drawing) l6th-Century Overhang from the House of Don Juan de Austria, Daroca, Aragon (Draw- ing) Wooden Cornice from a Dismantled House in Calatayud, Aragon (Drawing) Patio of the Casa de la Infanta, Zaragoza, Aragon Patio of the Casa de Pardo, Zaragoza F Zaragoza, Aragon (Drawing) Aragon rmer Palace of the Powerful Luna Family, A Cornice of Moorish Influence (Left) Cornice in the Calle de San Voto, Zaragoza, Aragon (Center) A Cornice of Italian Influence (Right) Red Pine Cornice of the Palacio de la Real Maestranza, Zaragoza, Aragon (Drawing) Small House in the Calle Mayor, Zaragoza, Aragon (Drawing) The Old Town Hall of Bielsa, Upper Aragon Typical Houses in the Village of Ansé, Upper Aragon (Upper and Center) Old Houses of (Lower) Anso in the Upper Aragon House in the Village of Ansé, Upper Aragon ISLAND OF MAJORCA MAJORCA + TEXT » PAGES ¢ VII ~ VIII Patio of the Vivot Palace, Palma de Mallorca (Majorca) Casa of Don Juan Marques, Palma de Ma- llorca Casa of Don Juan Marques, Palma de Ma- llorca (Left) Casa of Don Juan Marques, Palma de Ma- llorca (Right) PLATE 156. PLATE 157. PLATE 158. Palace of the Marques De Palmer, Palma De Mallorca (Drawing) Window from the Palace of the Marques De Palmer (Left) Typical Majorcan Renaissance Window, Villa- longa Palace (Right) View of the Patio Stair in the Casa Oleza, Palma de Mallorca (Left) PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE 60. 67. “I oo Patio of the Zaforteza Palace, Palma de Ma- llorca (Right) Two Majorcan Patio Portals The Ayuntamiento or Town Hall, Palma de Mallorca (Drawing) The Wooden Cornice of the Town Hall, Palma de Mallorca (Drawing) Garden Facade of Son Berga, Establiments, fallorca Facade of Son Cigale, Near Son Roca, Ma- lorca (Drawing) Facade of Son Sarria, Mallorca (Left) Detail of the Balcony, Son Cigale, Mallorca (Right) La Granja (the Grange), House Near Esporlas, Mallorca La Granja, Near Esporlas, Mallorca (Left) La Granja, Near Esporlas, Mallorca (Right) The Patio of La Granja, Near Esporlas, Mallorca PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE PLATE Raxa, Country House of Cardinal Despuig, on the Soller Road, Mallorca (Drawing) Raxa, Country House of Cardinal Despuig, Mallorca Raxa, Country House of Cardinal Despuig, Mallorca S'Auqueria, a Country Seat on the Soller Road, Mallorca The Facade of Alfabia, a Country House on the Soller Road, Mallorca (Drawing) The House at Alfabia, Mallorca The Main Portal at Alfabia, Mallorca (Left) Looking Outward from the Vestibule at Alfa- bia, Mallorca (Right) EIS =] Salt, House at Puigpofent, Mallorca (Left) Bl Salt; (Right) North Front of El Salt, Puigporient, Mallorca alt, House at Puigpofent, Mallorca House at Puigpofent, Mallorca THE NORTHERN PROVINCES NORTHERN PROVINCES » TEXT * PAGES+ IX7 X Group of Old Houses, Lugo, Province of Galicia A Galician Horreo or Corncrib Typical Houses in the Village of Cabezon del Sal, Santander (Left and Right) Old Houses at Comillas, Province of Santander (Center) Chimneypiece of the Inn at Ona, Northern Burgos (Drawing) House at Espinosa de Los Monteros, Northern Burgos Old Houses at Santillana del Mar, Santander Country House of the Toreno Family at Gangas de Tineo, Asturias (Drawing) An Old Basque House Known as La Casa PLATE PLATE PLATE PLATE PLATE 86. Santa Cruz, Miravalles, Basques Provinces (Upper) A Country House at Ybarra, Basque Provinces (Lower) A Basque Mountain House (Upper) An Old Manor House Known as La Torre Vieja, Villaro, Basque Provinces (Lower) A Roadside House | at Provinces (Upper) A Twin House at Maya, Province of Navarre (Lower) Luyondo, Basque Two Old Basque Houses The House of Fray Diego de Estella, Estella, Navarre (Drawing) The House of Fray Diego de Estella, Estella, Navarre PROVINCIAL HOUSES aN sr AIN EINTID eV IBN Sige SINDALUSIA, including Cordova, Seville, and Bl the later Moorish kingdoms of Granada and Murcia, occupies the southernmost province of Spain. The principal art centers were Cordova, Seville, and Granada. In climate and vegetation Andalusia even outdoes North Africa itself; the calcined rocks and Moorish villages that cling to them along the Mediter- ranean littoral of Spain find no counterpart along the African coast, which is fairly moist and verdant by comparison. To the popular notion Andalusia is all Spain and Anda- lusian architecture is Spanish architecture. This widespread misapprehension is due to the fact that it was the picturesque semi-Moorish stucco buildings of Andalusia which were carried to the New World and later accepted throughout both Americas as the one typical style of the mother country. That the lands discovered and settled by the Spaniards in the New World bore an extraordinary resemblance to the Andalusia whence they had all sailed is well known; naturally, the architecture they planted there was singularly appropriate to its new setting. Nevertheless to the rest of Spain, Andalusian architecture is exotic. To illustrate the Andalusian house we have drawn partly from the country and partly from the towns. The agrarian question being in about the same status as it was in feuda times one cannot expect to find the innumerable individua farm-houses such as dot the landscape north of the Pyrenees, for these express the fact that the land was long ago broken up into small holdings. In Andalusia several isolated groups of buildings are found on one vast estate. These farm units and the buildings they comprise are known in Andalusia as cortijos. The great difficulty confronting the investigator of cortijos is that of finding them (for which reason they have received but little publicity). The estates are often vast and the roads bad; furthermore the country- side is deserted and one must be escorted. Where roads permit, the motor makes them more accessible but many lie far off from the beaten track and can be reached on horse only. As a rule the cortijo does not include a residence for the Often the buildings are on an enormous scale, like a little town around master; the majority are strictly utilitarian. several vast patios, and the group completely walled in. They embrace the quarters of the overseer and his sub- ordinates, dormitories and mess rooms for as many as five hundred hands, repair shops and forgeries, stables, granaries for wheat, and great vaulted cellars for olive oil and wine pressing. The mechanism for crushing olives is most primitive and picturesque. It consists of tremendous levers of stout oak timbers on which are crowded from twenty to thirty men; additional pressure is brought to bear by gigantic turn-screws which are cut from Spanish walnut and which loom lofty in the dim interior. The whole apparatus resembles nothing so much as the medieval machinery employed in reducing fortifications as depicted by Viollet-le- Duc. a large uncovered space it is evident that the old Roman In grouping these various units of the cortijo around plan for granaries and storehouses was adhered to. In some instances, as at La Torre Nueva, near Alcala de Guadaira, a cortijo may include the owner's residence, in which case there are certain indulgences; colored tiles are employed on a more extensive scale, not only as wall panels, benches and door-hoods, but also on the very roofs. Lower story windows are enhanced with graceful wrought potted flowers, and the azotea, or flat roof portion where the cool of iron rejas, those above with balconies laden wit the evening is enjoyed is likewise made attractive. Grass mats nearly an inch thick are hung at the doors and windows to interrupt the fiery sun. The vegetation, limited because of the lack of water, is close-clipped and smart. The roads and court are freshly strewn with yellow gravel every day. In connection with La Torre Nueva is a chicken-run (of prize stock) decorated in black and white glazed tiles, with water-fonts of green and yellow, all very gay under the brilliant Andalusian sun. The stucco cortijo is the prototype for the Mexican hacienda and the adobe ranch-house of the American south- west. Its materials are the simplest; stone is rarely seen and never carved. Walls are of either rubble or adobe covered with stucco. The whitewasher spares nothing. Here and there colored tiles may appear (one wonders how they escaped him) or an occasional band of Pompeiian red or ultramarine blue kalsomine. The buildings are long and ow, covered with tawny-colored tile roofs, and frequently surrounded by interminable white walls, unfeatured except for a semi-fortified entrance or two—living in the country in Spain was always considered hazardous. Of the strictly utilitarian type the principal cortijos are: the half-dozen groups on the estate of the Marques de Casa Luenga, in the vicinity of Seville; Cortijo de Guzman, at Rinconada, near Seville; La Soledad near Seville; Cortijo de a Reina, on the outskirts of Cordova; and la Bodega de El Carmen, near Cordova. Of the cortijo with master’s quarters the best example is La Torre Nueva, already mentioned belonging to the Marques of the same name. The Andalusian town house is also a consistently stucco type. Naturally more architectonic than the rural dwelling it is featured with stone or marble portals of Renaissance character, molded cornices, a greater amount of polychrome detail: furthermore it boasts certain refinements of plan which were entirely overlooked in the country places. Oc- casional stone-built exceptions exist, such as the Casa Castril, Granada, and various Renaissance houses in Seville, purposely not illustrated. This break in the tradition is easily explained: Christian Granada profited by the Con- fiscation of Moorish wealth, and Seville by the Conquest of Mexico and Peru; the newly rich of that day became dis- satisfied with the old manner of building. To help Gra- nadinos spend their money, Diego de Siloe, of Burgos, was mployed. Diego was a gifted ornamentalist but also a high class commercial architect bound to attract a large following. He died, ‘very rich, owning houses, slaves, jewels, silver, and precious stones.” The traditional Andalusian town house may be best studied in the Casa de las Duefias, Casa de Pilatos, and Casa e Altamira, all in Seville; in and around Cordova we have a the Casa del Marques de Viana, Casa del Marques del Mérito, and Las Ermitas; while Granada offers the Casa Chapiz and various other Mudejar houses in the Albaicin district; at Ecija is the interesting Casa del Marques de Pefaflor. This is of course but a very partial list. Many other examples not illustrated exist in Cadiz, Jerez, Zafra, tc., but are in the main a repetition of the details seen in Q the above. These examples conform more or less to a type covered by ee he term Andalusian, yet they present certain local charac- teristics. Sevillians, for example, had great commerce with Genoa and imported complete portals, windows, columns, etc., from Italian marble merchants. These motifs were often combined with Moorish elements with extraordinary facility. In general there is an air of grace and lightness in Sevillian detail; elso an almost insatiable liking for poly- chrome tiles. These were employed principally for floors and wainscots, but entire walls, and sometimes even ceiling panels, are encounter: IP ROW IUINEC NIE VOWS 22a) IN Seer IN| In the case of Granada its long-delayed Christian con- quest (not until 1492) resulted in its being more tenaciously Moorish. The Christians shared the Moorish liking for carved wooden detail; or more accurately speaking, made prompt use of the conquered Artizen class. Their patios are framed in wood, with light chamfered posts supporting carved zapatas or double corbels also of wood. The diminu- tive rafter-ends of Eastern profile were exquisitely carved. One has the feeling of greater intimacy in these wooden Granadine patios than in the marble and tile of Seville. The Cordovese proudly inform one that the houses of Cordova adhere closest to the genuine Andalusian tradition. By this is meant that the town houses are less urban than those of Seville and Granada. Little or no stone work is employed and the use of glazed tiles is minimized. The one material is stucco; and in no district of Andalusia is the application of color (in kalsomine) so general. The three prevailing colors are Pompeiian red, ultra-marine blue, and yellow ochre. The last mentioned is employed as a sort of dado, probably because mud and dust were less visible on it; the red is found mostly in band courses, and the blue in ornamental features like vases, urns, pinnacles, etc. It is quite probable that this frugality of material was dictated by the general poverty of the district—in other words a virtue of necessity—which often, as in this instance, turns out satisfactory. In this brief résumé it will be seen that Andalusian archi- tecture is primarily simple; in fact that is its whole charm. Great principles are not involved nor is the craftsmanship extraordinary. But being an art of the people it is not easy to recreate. Andalusian builders instinctively understood good proportion. They grasped the artistic value of roofs, and as their buildings were low, this was important. Limited to simple materials for the ensemble, they lavished affection on a wrought iron grille, a panel of polychrome tiles, or a door of intricate cabinet work. No one understood better than they how to employ these accessories. There is much to commend in this simple style and much to learn from it, JEIREG) VMI CAC NI SONOS IBS ION) SPV IE PLATE 1 ” ee = CORTIJO (FARM-BUILDINGS) 7 ON » THE ESTATE » OF » THE » MARQUES 7 DE 7 CASA » LUENGA, 7 NEAR » SEVILLE The Andalusian cortijo preserves the best tradition of rural Architecture in Southern Spain [10 10} satsousodap puke sateuesd ay Ay[esouad aie sSuIpying ureut ay], ATIAS + UVAN « ‘VONANT + VSVO * AC + SANDUVI + AHL * JO * OLT.LYOO U aLVIg ING cls) IN ISS SiO Ta yl ONG @ ara PINOy aNVe AM Se OU SS ON go el PLATE 3 CORTIJO 7 OF 7 THE » MARQUES * DE 7 CASA + LUENGA, + NEAR + SEVILLE The group is often featured with a tower from which the overseer watches the harvesting PROM NeCiM TlOUSHS IN SPAIN PLATE 4 CORTIJO 7 OF » THE » MARQUES 7 DE 7 CA Heat and light being intense, fenestration is minimized SA * LUENGA, » NEAR + SEVILLE PaJ2A09 ainIONIYs 9Yy} JO a1nIBU ay} 0} Surpsoooe payiwa skeaye st aul] JOoI IL ATTIASS * UVAN ¢ ‘VONANT + VSVO * AG + SANOUVN + AHL * JO * OL. LYOO aT ee opt] | lh ae wl ¢ ALVIg INDUS INUE SSeehs OUOMEL WS OUNU Oise PROV UNGAR OUSES ENes earn PLATE 6 SS NS SS —S CORTIJO + OF 7 THE 7 MARQUES 7 DE 7 CASA 7 LUENGA, » NEAR 7 SEVILLE Each cortijo is a distinct unit or farm and is lived in by the overseer and his family PIROQOWIUNC IAI IIOUSIES IIN SIPAIIN PLATE 7 > a « ai i OO Ae Lees ee Ba CORTIJO * OF » THE » MARQUES + DE 7 CASA 7 LUENGA, 7 NEAR + SEVILLE The architecture is very simple and depends on humble material for its adornment PROVINCIAL HOUSIES IN SPAIN PLATE 8 A, 7 NEAR +» SEVILLE H 7 CASA + LUENC » THE » MARQUES » DE OF An important cortijo consists of CORTIJO and repair, the group being walled in but the tawny-colored roofs The whitewash brush ur PROVINCIAL HOUSE Ss sUNB Ss ayn CORTIJO » OF » THE » MARQUES * DE 7 CASA 7 LUENGA, 7 NEAR 7 SEVILI The interior of the cortijo is very simple and equipped with only the bare necessities for housekeeping FO) VIUINVC WAGES Ve@nUF SS) ILIN Suey CORTIJO 7 OF » THE » MARQUES ¢ DE » CASA 7 LUE GA, 7 NEAR » SEVILLE The life of the occupants is frugal and the kitchen appointments few, part of the cooking being done outdoors PROW TING TAL OWS mse ln Ss 2 lin PLATE 11 CORTIJO 7 OF» THE » MARQUES 7 DE TORRE + NUEVA, 7 NEAR 7 ALC ALA» DE7GUADAIRA, 7 PROVINCE 7 OF 7 SEVILLE Principal entrance to the enclosure; the ubiquitous white is relieved by bands of Pompeian red yoayyore [eins Ainquao yIudaIUIAas Jo a[duiexa qua|jaoxe UB—1aISPUI dU} JO] aouapisal [BIJUBISqns B sapNoUl Of17109 ayI soURISUI SIyI UT ATIARAS + HO * SONTAOUd * ‘VYIVOVND + AG + VIVOTV ¢ UVAN + ‘VASNN * AUUOL + AA + SANOUVW ¢ = Cl SLY Ic NU Vicl SNS el Si@ ei ay leo NO) click PROVINCIAL HOWS ES Nein PLATE 13 CORTIJO* OF * THE » MARQUES DE 7 TORRE» NUEVA, » NEAR » ALCALA 7 DE » GUADAIRA, * PROVINCE 7 OF 7 SEVILLE The plan harks back to the system of defense courts and strong portals PROX UN CTA TOU SE STUN ss PALIN PLATE 14 ARAAAARAAME TEs, CORTIJO » OF » THE » MARQUES * DE* TORRE * NUEVA, * NEAR » ALCALA » DE » GUADAIRA, » PROVINCE 7 OF SEVILLE Entrance to the house proper; whitened walls featured by colored tiles, lanterns, and rejas IRON INC JA be ISON STE S= IN) SueUN IBN 1S PLATE VILLE GUADAIRA, » PROVINCE + OF + SE By 7 ALCALA 7 DE Inner patio of the master’s house; yellow gravel is laid fresh ev ery day 2 * MARQUES DE» TORRE » NUEVA, » NEAR CORTIJO + OF + THI pue yoR[q Jo sj unJ-uayoiyo VW ATTAMAS ¢ HO * AONIAOUd + ‘ VIVO ¢ UVAN ¢ ‘VASNN ¢ FU IL? Gal Sal E 10 Of1LYoo KK chs NUIEVd SINT Ses Oi {yb oan VA Orstl RAO WAIINGG Iie TGV Sass. IRIN Sev IN| PLATE 17 CORTIJO 7 OF + THE » MARQUES» DE + TORRE 7 NUEVA, * NEAR 7 ALCALA + DE GUADAIRA, PROVINCE 7 OF » SEVILLE A service portal framed with black tiles; hood of green and white tiles IROOM TIN CVS IES Va OMG SE, Se LIN = Sy See LIN) PLATE 18 LA + SOLEDAD, 7 A CORTIJO + IN + THE 7 PROVINCE 7 OF 7 SEVILLE The seventeenth and eighteenth century cortijos are always based on a and stables heme of large patios and corrals surrounded by farm buildings 6 FLVIg NGS INI S ES Olle ay 2 Nae v@ rail PO ViNnie Ve rl OUs2 Ss Ne San PLATE 20 LAS 7 ERMITAS, 7 A 7 SEVENTEENTH-CENTURY 7 MONASTERY + IN 7 THE 7 SIERRA 7 DE » CORDOVA The complete isolation of each monk’s house permitted the usual domestic treatment ICON ING C MIE NOU Sens IONE S248 LIN. PLATE 21 LAS 7 ERMITAS, 7 SIERRA 7 DE 7 CORDOVA The Prior's house built around the traditional patio PROVINCIA FOUSE SolNe oP ah PLATE 22 LAS 7 ERMITAS, 7 SIERRA + DE 7 CORDOVA Nothing is more typical of Andalusian architecture than the long expanses of white walls The entrance lodg €¢ ALVIg atwoy AQUNOD UJapOU B OIU! PaULojsuesy A]jNyssaoons useq sey yoy A1ayseuow Aunquad YUaaIXIS VY WO) GIGI WSO) ANE SESSIGOGMWIA2 SIGUE 2 210) 2 Orel! INGINF lS. GNU TS BES (AMON S| SEG SUN AO) ctl PROVINCIAL BLOUSES IINSs Pack PLATE 24 CASA + DE » CAMPO » OF + THE * MARQUESES 7 DEL 7 MERITO, + SIERRA 7 DE » CORDOVA The arcaded facade creates cooling shadows and pleasant promenades PO VGN CVA Foor SNe 2 aan PLATE 25 CASA * DE + CAMPO + OF + THE » MARQUESES 7 DEL » MERITO, 7 SIERRA * DE » CORDOVA Built on a steep hillside, buttressing and arcading were a structural necessity PROV UGA BO USE SiN ss AlN PLATE 26 2X AD) Do A E18 INV AP GO FEET AO 20 SCALE OF O AARQUES + DE + VIANA, 7 CORDOVA ses almost as many patios as rooms PLAN 7 OF 7 THE » HOUSE 7 OF 7 THE 7 N An important Andalusian house comp BIRO) VOMIN IC Ay les Ia OUWESS2, SIN SIVAN ON PLATE 27 SIXTEENTH 7 CENTURY 7 HOUSE 7 OF 7 THE » MARQUES 7 DE 7 VIANA, 7 CORDOVA ‘Entrance patio; pavement of black and white river pebbles, columns tinted with ochre kalsomine, walls whitewashed STAIR-LANDING 7 IN 7 A» SEVENTEENTH » CENTURY 7 HOUSE, 7 CORDOVA The oak newel-posts and railing are bleached by constant rubbing with sand PROV DING I 1a) USES) JON SU INI PLATE 29 PATIO, SEVENTEENTH » CENTURY + HOUSE, 7 CORDOVA The tile panel of the loggia windows is carried out in brilliant blue and yellow A[Sulpsoose pazeaq [J] PUB sqUdUIAUA SB INO Paquad AOU a1B BAOPIOD Jo sadejed JusdyIUSseLU 9DUO 9Yy Jo AuRY\y VAOCXUOD + “AOV1Vd + AUN.LNAD * HLNAGLNAAGS + ¥ Q¢ ALVId INOW GES GENUS BIS JONCHS IO ION Na Gla lel sourqodiul jo we ue sqiedum apeoey ured pea ue ul MOpuIM anbseseqe]q Yo VW VIOUNW 4 ‘VINAdVUL * V1 + AC + ATIVO + SHL + NI « SCVOVA aS rie <2 eT RR TLSL SS ar 5 Lt wt ier li I€ 3LVIg INUINECES: SLI SS BESIOUO IE Gi Las orale PLATE 32 FACADE 7 IN 7 THE » CALLE 7 DE LA TRAPERIA, 7 MURCIA Detail of Plateresque window shown in the preceding plate apeoe} ay} JO UOBIOSap paqured ay] pue Auosjeq uO Suo] ayy Jo [1eIIC anboreg ueisnjepuy Ainquao yuaaquaaas Yo! Jo JoaId kB s] a9UR.QUd ay Suloesquua JOU [e.IUI0 dU F J i 1 r Ui F Tey E T2ur 30 e326 i ul i OKABE) I tue . SOOWNatS ‘ ATIASS AO * AONIAOYd ¢ “WITOE + “UOTAVNAd * AC * SANOUV * AHL ¢ SO * ASNOH AO * JONIAOUd ¢ ‘WTO * MOTAVNAd * AC * SANDUVW * AHL * SO * ASQOH « “y €¢ ALVIg Nivds Ni sasQoH DPV 1ONDAO ad sioirut onboseg papyls YIA JjO Jas aie sjaued ooonjs dy} I[qIBLU Pat JO OISUTBA\ B BAOGY efiog ul snosauinu aie sinods J9qBM\ UCI BANBIOIIG "JOU anboseg [esIUad ay} Jo [!eBI9q ATIHAS ATIAAS HO + AONIAOUd + ‘W{TOA + “YOTAVNAd ¢ AC + SANOUVW + AHL * AO * OILVd AO + AONIAONd ¢ ‘VITO + “MOTAVNAd * AC * SANOUVIN * AHL * AO * ASNOH ss e Ae) se FE ALVIg IUD iat INS BUSOKO SE Wi SUN eo’ DIIOAB] B SBA\ [[BA\ ODONJs B YsUIeSe AO * AONIAOYd ¢ ‘VITOE + “UOTE GE ALVIg paqanot i SOWA WNad += ] (a2 Se 1 yMIUOIS ONboIeE ipl € JUVIN 4 AHL * AO * ASNOH AO * FONIAOUd * if Z Ss INDI zal SIN UIS SS, SeSJ@UGN S| SDG IN OUN UNO) *s lal J ‘asnoy-YyoRos ay 0} douRIIUA Bl19qq JO jeaIdAQ st aurpino aayxo1q YU due OOP aU], GHGIINES /NAd + AC + SANODRVW * AHL + JO * ASQOH Je 78 Jou pue ueyd ur 9493] posayip Asajseuowr | oyu VATSOH * YVAN ¢ ‘GSOCOT + SNAGWNT100 ¢ FYSAHM * VOIEVa 4 VT 30+ AYALSVNOW + G10 + AHL asnoy Aijunod uBIsnyepuy ay} WO} JUDLUIBIII U Q¢ ALVIg INGEN GES INCL See SOKO el Gall SUSE alal PRO VIIN Cues r OU sis Se Si Aa N PLATE 37 ae ‘i yf 4 S PR ae sme Foe 7 = SOE @. mR 1 © i Be, SIXTEENTH 7 CENTURY 7 FACADE ¢ OF * THE 7 CASA 7 DE 7 LAS » TORRES, 7 UBEDA, 7 PROVINCE 7 OF 7 JAEN Curious example of a provincial facade inspired by a Plateresque reredos oned yedioutid ay) jo Asayjpes addy, NavV{ + SO * SONIAOUd + ‘VARAN ¢ ‘SAUYOL * SV1 4 AA * VSVO Se ALVId INDE Salis INUE SSUS IOKOUBE DY IOSD) 73% EO VUNG IGE ELOISE S WIN SIAN PLATE 39 BAROQUE 7 ENTRANCE 7 TO » THE * OLD » BULL » RING, * RONDA The graceful iron balcony is ornamented with symbols of the national sport SPAIN y Yn aa Yn > oO ae i) < O A > SC ad Oo, r flush with the wall or with the window grille gle The sion. The Andalusian bay window varies according to the reg [fp FLV 1g d+ NOS 1g 942 07 Aso.19qUL IVAANOW I ppe sjaao NIWdS$ yes ap. atin” INS SES OSL I CMON Gaia ay JO ssouystyy oyq ul qInq BIEL YVZVOTV ¢ 18 | L pay V soled ayy yo quatujzeas Uado ay Aq JasYo s} JO119yxa aYI UO SAMOPUIA JO AjI9.1BOS VOVNVUD 4 JO + SLYIMSLNO * AHL * NO + dnOwo “ea 7 a ¢ Ti unin ong wi ye aa Tt “3 TAT ag, © Yi ni i ES 3S So Ses: it Up ALVIg ING eels INGE S BUS IOnOel A IES NUO sll RRO NG NAG SOI BUONO SIS Sg IN SRS IAIN PLATE 43 mh sa ep eet AK eee. iS re Bret. Bde we NTURY An example of Granadine Plateresque, probably the work of Diego de Siloe THE * CASA * CASTRIL, GRANADA, 7 SIXTEENTH 7 CE BiVOy I NGTAL TOUS 2 slo Palin PLATE 44 THE + FIFTEENTH 7 CENTURY * RESIDENC OF 7 FERDINAND 7 AND 7 ISABELLA + WHILE 7 IN 7 GRANADA The Baroque facade was later added when the building was made into a town hall PROVINCIAL HOUSES IN SPA IN PLATE 45 _o SUMAN sem 4 "ny serrennii a \ gta ABUL yy, , onan « av! PLAN 7 OF THE 7 GENERALIFE, 7 GRANADA Showing the successful manner in which Moorish architects combined house and garden BIRD'S 7 EYE 7 VIEW 7 OF » THE » GENERALIFE, » GRANADA The Moorish architect kept his house small in scale so that it would not seem to overwhelm the garden Zz i Ww PLATE PALACE + IN + THE * FORMER + GHETTO * OF 7 SEVILLE The arch was rarely featured with an archivolt in Andalusia IRONING WG CONG S SS) IN SIP ASN PLATE 58 A 7 SEVILLIAN » ENTRANCE-HOOD * OR » TEJAROZ The roof is laid with glazed green tiles PROVINCIAL FOUSE SolN SPAIN PLATE 59 PALACE ¢ OF » THE » ALCAZAR, 7 SEVILLE Garden walls with windows and rejas were peculiar to Andalusia LN) SUPE SIN, Y ea ip) = O a = O mo at PLATE 60 SEVILLE ZAR, 7 7 THE 7 ALCA PALACE * OF A patio of the Moorish portion with decorative screen of per rforated brickwork pROVINCTAL IOUS Ss UNESP AIN PLATE 61 7 SEVILLE IES, WINDOW + GRILLES » OR » REJAS * FROM 7 THE » CALLE 7 LEV le ornament in iron I ig, Simp! Showin PROVING VAL LrOws i Sein or IN PLATE 62 \ | WINDOW * GRILLES 7 OR » REJAS 7 FROM 7 THE + CALLE 7 LEVIES, 7 SEVILLE The square bar is set on the diagonal to increase the play of light and shade J A1IYM pue NJBU SBA\ SB |JELUS SABAE SBA\ S Add * NVISNTIVGNV 4 OAL 69 ALVIg INU NEeES: SINUS SESIGUON SE IA I OUNG Inu) skal PROVING Ae tO Urs is ln aoe aN PLaTE 64 Pe ry TE nl H aoe nae HOUSE ~ IN + THE 7 PLAZA 7 a L 7 TRIUNFO, 7 SEVILLE ices for dimin @ light and heat (upper) OVINCE + OF » GRANADA Oy PROVINGIAL HOUSES TIN SPAIN OLB AND HE combined provinces of Old and New Castile embrace the vast central plateau of the Span- ish peninsula. This practically means all of Spain except the Pyrenean and sea-coast prov- inces. The southern part of this bare, wind-swept, high-lying plain constitutes New Castile, and is almost negligible (with the exception of Toledo) in any study of architecture, being mostly occupied by the desert of La In both Castiles the climate is rigorous with a long cold winter and a brief but Mancha (Don Quixote’s country). iery summer. No apter setting could be imagined for the stern medieval life which still lingers here. The natives are best described by a paragraph from Royall Tyler: “The peasants are tanned by the sun, racked by the cold, storm- beaten, toil-worn, and innocent of letters. Their cunning, hard-bitten faces and lean underfed bodies are those of medieval villeins such as we see in old paintings and illu- minations. It is a sort of human being that has vanished rom other more prosperous countries.” Old Castile being the very heart of the Spanish nation and cradle of its nobility should present innumerable old palaces and houses; instead, the whole province teems with the ruins of those great feudal seats which gave rise to the expression “Castles in Spain,” but which, by an order of the Catholic Sovereigns endeavoring to abolish feudalism, had to be abandoned in the fifteenth century. True, a few castles are still preserved but the greater part served long ago as quar- ries for the countryside, and only their gaunt towers remain, undraped by the mantle of ivy with which a more humid climate would have enveloped their nudity. Outside the walled towns the existing structures that might inspire the present-day architect are very scanty. It has been re- marked elsewhere that small isolated country dwellings are rare, the Spaniard being of very gregarious habit. For this reason it will be seen that most of the Castilian illustrations are urban. Two distinct types of house present themselves, that of Moorish influence which is termed Mudejar, and the other conforming to European tradition, but showing certain racial ch confined mostly to the one city, Toledo (though houses and aracteristics. The Mudejar examples of Castile are palaces in the style were built freely over the entire prov- ince). The Mudejar house is small, as was the Eastern house from which it was derived, built around one or more diminu- tive patios which have wooden galleries for circulation on the upper floor. The staircase is inconspicuous (though often charming), built between walls and enlivened with [iii] NEW CAS TEE colored tiles. Aside from one or two principal salons, none of the rooms are large. One room is—or once was—devoted to the bath, a feature which the house of Christian tradition was devoid of. Decoration is limited to carved plaster (yeseria), and polychrome tiles (azulejos). Ceilings are of wood (arteso- nados) either oiled or painted in a simple way; elaborately gilded ceilings were only produced for the palaces of the rulers. In Toledo there are numerous examples of this hal Moorish, half Christian house, the Casa del Greco and the Casa del Conde de Toledo are among the best known. It will be seen that this Toledan Mudejar is similar to that already described in Granada. Granada did not fall unti 1492, whereas Toledo had succumbed to Christian rule in 1085, and the preservation of its Moorish tradition is there- fore more remarkable. Its houses are of brick as well as of rubble covered with stucco. Windows and doors are few and are made interesting by iron rejas and paneled wood- work. The rooms of the interior are severely plain, depend- ing more on furnishings for the final touch than on built-in architectural accessories. In the patio, covered in summer with an awning (toldo) for an outdoor living room, a few tiles are used. The side from which the stair ascends has a wooden gallery overhead supported on wooden or stucco posts; the rail is made up of simple square spindles scored in the Moorish fashion. Those rooms which do not give on the gallery can only be reached by passing through one to the other, a defect in plan which in no way violated Moorish or Spanish ethics. From the artistic standpoint these Mudejar houses are such a separate creation from the gorgeously decorated Mohammedan palace such as the Alhambra, that they surprise one who knows only of royal Arabian architecture. There is much in them of practical appli- cation. In Old Castile the house of European tradition is more general. For its decoration it draws on the current medieval art of Europe and on the Italian Renaissance which pene- trated Spain early in the sixteenth century. The adaptation of this style was called Plateresque. The more important examples are built of stone—granite in the vicinity of Avila and Segovia, a golden sandstone in Salamanca; humbler houses are of stone rubble covered with stucco. In certain districts, notably around Cuellar and Segovia, half-timber is frequent, the space between the beams filled either with wattle and plaster of brick nogging. In widely separated spots in Castile important Renais- sance palaces were built dating from the middle sixteenth century, with sumptuous patios surrounded by a two-storied arcade and embellished by a claustral stair often magnificent in size and detail, and in marked contrast to the incon- QD icuous stairways of Moorish and Gothic days; but the plan n general never attained that studied adjustment reached in other countries and lacked those niceties characteristic of co ne Renaissance. In other words, it remained picturesquely medieval and unstudied. In Salamanca small city houses of the most perfected Plateresque style are found. The term Plateresque is erived from the resemblance of the fine scale ornament to 5 the plateros, or silversmith’s work. The Casa de las Muertas, he Casa de la Salina, and the Casa de los Maldonados are a justly admired. The last-mentioned is pure Italian, but the Casa de las Muertas might well have been evolved in Spain even though the Renaissance in Italy had never flourished. Alcala de Henares is another Plateresque center, where the inimitable Spanish master, Alonso Berruguete left much exquisite detail. At Avila and Segovia the type of architecture completely changes. Granite, a coarse friable granite hewn from the gigantic boulders which are strewn over the countryside, forms the building material. Peculiarly fitted to the ‘in domitable character of the natives of this region, one is tempted to ask whether it was the granite that left its mark on the people, or vice versa. The facade of the house is as a rule severely plain with scant fenestration (following me- dieval tradition) and arched portals of heavy voussoirs. In one corner of the vestibule a flight of six or seven steps leads to the low-ceilinged porteria with narrow slit windows from PROVEN OC RARSELOU SE Ss 11N SPAN which the bowman defended the entrance to the patio. Whatever ornament the house possesses begins here. The bays are seldom arched. Granite columns with great carved double corbels support the lintel, and though the nature of the material precluded delicate carving, the coarse bold motifs are not unpleasing. In Segovia the severity is modi- fied by a liberal use of sgraffito on stucco, an art practiced in the city from the time of the Moors to the present day. In widely separated districts one finds sporadic manifesta- tions called into being by some local patron of art; such is the palace at Saldafiuela near Burgos, Lupiana near Guada- lajara, Pefaranda del. Duero, etc. All of these are very interesting in themselves but are in no way indicative of a general evolution, as might have been the case in another land; rather they are the work of separate builders who left no school behind them. “he extreme western portion of the province of Castile bordering on the Portuguese frontier is known as Estrema- dura. It is one of the most backward and illiterate portions of Spain. Most of the Conquistadores who made early American history were Estremenians;' some returned with riches and built palaces in Caceres and Trujillo, but these. were isolated instances. If the Renaissance penetrated slowly into Castile, it lost almost a century in reaching Estremadura, and Caceres, the capital, is one of the most medieval cities of medieval Spain. Its gaunt towers with machicolated galleries give a splendid picture of a fifteenth century city. The houses, all with massive escutcheons, are built stone upon stone and it is one of the few districts in Spain where the stoniness is not mitigated by stucco. ayasep ul sasnoy Asqunos queqodut Aaj 9yy JO aUO Joy AYWOMIIOU pu AiNquad YIUZEIXTS 9] uoltaed pua ut MOpuIA\ Jo [1eI9q ASNOHWVA SODUNE * UVAN ¢ ‘VIENNVATVS ¢ LV ¢ AOV1Vd V+ MON ¢ ‘SODUNE ¢ UVAN ¢ “WISENNVATVS ¢ 69 ALVIg NE cls Naas SSO dy Lo NN eld IPA OWAUINI CSE TehOMUS12.s) ININ| (Seva. IN! PLATE 66 PATIO * OF » THE 7 CASA » DE 7 MIRANDA, 7 BURGOS One of the few examples of a completely Renaissance house in northern Spain PROVING IAL HOUSE SHEN SPAEN PLATE 67 a ee SS Ee Bye SECTION » THROUGH »* THE 7 STAIRWAY, 7 CASA 7 DE + MIRANDA, * BURGOS The stair is enclosed and covered with a Renaissance vault PLATE 68 SALAMANCA CASA DE LA SALINA PROVINGIAL HOUSES INysrAlN FACADE + OF + THE » CASA.» SALINAS, 7 SALAMANCA The unequal setting out of the bays did not disturb Spanish Renaissance architects = gd 69 ALVIg UOIIBIOISAL dy} a1OJaq ‘ AsaTPeS pajaqios YIM oned oy] VONVINV TVS ¢ SWNITVS ¢ Ad * VSVO NA ABS oe SP INP ViciSINIeS as Olt Lvl oN Orca PROM INCI SE NSO 1 SIGS DIN: eleven CASA + DE » SALINAS, r SALAMANCA The patio as restored in the nineteenth century PROV UNG VA OSE SiN es PA EN PLATE 71 CASA DE LAS MVERTES « SALAMANCA Scalesof 2 = 10. 9 feet FACADE 7 OF * THE « CASA 7 DE LAS 7 MUERTES, * SALAMANCA Built in the early sixteenth century by Bishop Fonseca and regarded as one of the gems of Spanish Plateresque PLATE 72 Pe iOr iN CHAE Ge OSes SIN SSP IN CASA * DE + DONA » MARIA + LA, BRAVA, » SALAMANCA A late fifteenth century house thoroughly Salmantine in character eeeu eeced a ART Pt NT ep ner FN OW INC Ar SOW S 2S Nsa2 AglIN Nay N PLATE i err rw ree aco PAIRS IErEOE ae ~~.” _— 7 SALAMANCA ple of a fifteenth century Castilian window reja CASA + DE 7 LAS » CONCHAS, eueatth F Fine exam: PIR IDING Abe Ves OMUE Set Se JIN] aSJe eV PIN LLISLDITI IIE fed | iS = ay 4 ee yt w. CASA 7 DE » LAS 7 CONCHAS, » SALAMANCA By comparison with Renaissance rejas those of the fifteenth century were very elaborate VONVINVTYVS + aALVIg oned YVAN é Joa ‘VGANVO * alate idn ay seoasuo.j ayy Aq yING RI9q VAGONVTIIA ¢ AG 4 OTTILS YVAN 4 ‘VCANVO ¢ AC * VASANVTTIA ¢ AC ¢ OTT.LSVO * JH INS Viel S INES S ers Oe SN © ele I Anjuad YwUaaIYy VW 4 HO # O1LVd PR ONve NCTA ElOU Sie SUNS Paci PLATE 76 | Vist THE » ARCHIEPISCOPAL 7» PALACE, » PLASENCIA A distinctive note are the chimneys which are rarely featured in Spain PROVINCIAL HOUSES IN SPAIN A+ SMALL 7 HOUSE 7 IN 7 PLASENCIA One of the few pieces of domestic work by Juan de Herrera, Philip [1's official architect sasnoy |PBAdIpawt Jo [[Ny st Ayo ayy Aep sty OL, qIng sea ssnoy oy} UdYA se ABM JATIILULId auUeS 9Y2 UT f VACVWARILSA VUNAVNGALSA * JO * AONIAOUd ¢ ‘SANAOVO + “SITOS « SOT* ACA * VSVO AO * AONIAOUd * ‘SAUAOVO * ‘SANIATIO9 ¢ SOT+ AC * OIOWTVd Qf ALVIg INU hel NEES BESTOWS FW uN GUNG akal PIROQ WINING TAIL ItOUWSIES JON SIP AIIN PLATE 79 + OF * SEGOVIA ghout the province half-timber work is freely encountered OLD 7 HALF-TIMBER 7+ HOUSES 7 AT 7 CUELLAR, » PROVING! Throu, eqs jessnepo ayy Sunysty soy uoeYsauaj Jo atuayos anbrun y Ainquas yiuaaqxig “les [e.ASNe]D ay} 07 :dURJQUAa SuLAoys Oed Jedioulid aya jo Asa VIAOODGS ¢ AO * AONIAOUd VIAOOGUS ¢ dO * AONIAOUd AVTTAND + “ANOWANONATY + JO + SAMNG + HHL * HO * ATLSVO + GENIN SMVTIAND + “ANOUANONETY + SO * SANG + AHL * AO + ATLSVO * GENIN A & , a v Pee 08 FLV 1d NUR oS INUIT S GiSdOKON SI ai LOUSUUAO alc BIRO NIN CINE. 1EVOIES IS: SNE SEs 1 N PLATE 81 RUINED ¢ CASTLE 7 OF » THE + DUKES” OF * ALBUQUERQUE, * CUELLAR, * PROVINCE »* OF 7 SEGOVIA The southern gallery serving as a winter promenade PROV UNG AE TOMS Se liNe Ss saliN PLATE 82 | F. ALVAREZ 7 |. ENCUADERNADOA . », ig . . *. wt 8 i . Ss HOUSE * OF 7 JUAN 7 BRAVO, 7 SEGOVIA A small fifteenth century facade full of the local granite tradition DING STAN PIROW MINCWAIL, IEIOUSIES PLATE 83 PALACE * OF » THE 7 CONDE 7 DEL 7 PUENTE, 7 SEGOVIA Carved stucco was a favorite wall covering in the middle ages in Segovia; the upper coat is ivory in color cut back to a dark ground PLATE 84 PROVINCIAL TTOUSES IN| So Res UN sgraffito worked in brown and white VZ4 VZ N etn Cou on Pe pe A. i ie \ a ify Ty ~ Sy 4, P| ee 7 —~ . ws Le Wis eee % ve w” y RT PRE ON DS24 he ES © A 4 A q Es scale of 2. OLD » HOUSE 7 IN » THE » PLAZA + DE » ESPEJOS, 7 SEGOVIA The timberwork following Moorish tradition is decorated in primitive colors Sa1-x G4) swro:c10101010 "AF N == JBM pasdAoo eB sey AyUO apts ouUO |[eWs Suraq orjed ayy Ainjuao y1uIa3UaAas YI Ul payrpoul sea AvAiaqeS ;eAdtpou ay VIAOODSS ¢ ‘SALVO + NMOL * AHL * JO * ANO + UAAO + ASNOH « GUVAD | | | | 68 ALV1g INI ES INUID SEBS MOUSE TG OENTINO) tala! IIR @) WING AMIE. TSUCHUNSHE,S 1UIN| SSIeVeIN| PLATE 86 CALLE 7 DE 7 PEDRO 7 DAVILA, 7 AVILA Granite is the dominant material in this completely medieval city IIRQ WIN CIAIL ISKQUW SITIES JUN SIPAIIN PLATE 87 SES — Brick. and Tile) Base a SECTION Ce Te “ae PENARANDA ; SALON WINDOW WITH | YESERIA ORNAMENT | AND WOOD SHVTTERS J SCALE OF 5 4 7 St Se E » AT y PENARANDA 7 DEL » DUERO framed in carved stucco; the unglazed openings have A+ WINDOW 7 FROM » THE » PALA! Built in the sixteenth century in the style of Francisco de Colonia. The reces heavy wooden shutters st oljed paliojzs-omj ay [ AlaqsBUO B se AIN}UID YIUDIINIS 9Yy1 UT saWWAUOIaIEY ayI Aq Ying SPUIM JaqUIN JsuTese UO!Ia}0I1d B se YOU ay} UO Jays! Vuv(VIVGVND YVAN VUVIVTVGVNAD YVAN “VNVIdN T+ LV * VNVTIVNYVZUVa ¢ AG + SANOUWN + AHL + SO * SINOH* AULNNOO “VNVIdNT+ LV VNVTIVNVZUVd + AC * SANOUVN: FHL + JO + SINOH * AALLNACO 4 Li a sHAACLAATIE 88 aLVIg INDIES INI SS GESIOUON ST Dy IE OUNUIGN OF élral PLATE 89 COUNTRY * HOME ¢ OF * THE » MARQUES 7 DE + BARZANALLANA » AT + LUPIANA, * NEAR * GUADALAJARA The broken elliptical arch was a favorite device of Plateresque architects | | [ i oned yediourid ay jo Auayye: 06 SLV Iq Joddn aya jo pieqq ‘seiqnaeaoD ap osuoyy Aq ¢¢¢] Ul ang sprerueds ay Aq poadope sea uunjoo ay dAoqe Jaq1o9 a[qNop YsIIOOWY By, SAYVNGH ¢ AC ¢ WIVOTW ¢ “SOV TVd 4 TVdOOSIdaIHOUV VuUV(VIVAVND ¢ “AOV1Vd * VZOCNAW + UAINNOA * AHL * JO + OLLVd INGE Wee INDIES BESIGKONS = SIN OUND AKO naka FRO NOLIN IC VIE Ste SS JUIN Sie ALIN PLATE 91 i Th eT j | | HAN Ml i | ) : : A : Plaster py eee meh ad Es oe on ae | ARCHIEPISCOPAL + PALACE, * ALCALA + DE » HENARES A characteristic Covarrubias portal in the upper gallery of the patio uapies ayi SuPyooj1aA0 apeory jedioutg *(Ainquao yusaix!s) O9a15 Jz Joqured aya Aq parqeyul asnoy sefapnyy Vy OGeIOL + ODEFUD * Tada * VSVO apes ea | 76 ALVI1g ING ata NINES eis Ose s Wey TO NO) aici ST TT tT NR EE cee RAMON SUNICLAIG JEU SIS SUN) SBA ON PLATE 93 SS) FF a OS aM el Ties See (i | 7 CASA 7 DEL * GRECO, 7 TOLEDO Many Toledan doorways are built up of Visigothic fragments STREET 7 PORTAL, WOO! SUIAT] JOOpINO UP se saAsos 7 JoUNLUNS UT fasnoy ay} JO sMajonu ayy suo Oe oY], OGHTOL 4 ‘ODFUD + TH + VSVO * SHL ¢ SO * NV'Id ae pat Pa iN Piate 102 be PE 4 (Photo Mas) THE » ARCHDEACON’S » PALACE, » BARCELONA, 7 EARLY + SIXTEENTH + CENTURY The Catalans are essentially Gothicists and the tradition remained strong until the sixteenth century PIAIp Jopuays Yat YS] a]d149 10 afqnop ay |, siaqqnys Uapoom ayy JO sqUatUIDR VaYaAND ¢ W714 AC « OIOV TVd ¢ SHL * WOU * MOGNIA + V (spyy clog) ]49]UI ay UI das s 1OOWY JO 29R1] VW ndod sXeaye sea (zauuife p VNOTAOUVE ¢ AOVIVd * AWN.LNAO * HLNES LATS ¢ V * WOU * MOGNIM VNOTSOUVE ¢ GVAI €Ol 3LVTId NO VelS@NUS GSMOE ly LON TA Gadd approie uado ue Aq passoidxa st oy uaa ay7 sasnoy A1jUuNOD uP]RIeD UT (SPY 10Yef) eee FOI FLV1d Niyvds Nl sas Ot iy LONE Orda SOL FLV Ig soyoinyo uPyeie") Ul pelle TY VOUANYUl PABQUUOT aY1 dINQIaITYoIe DISaLUOp UI Saas 9U_ VNOTSHOUVE” * UVAN ¢ ‘STVONAAOUd ¢ AC ¢ LLYVIN * LNVS ¢ “IVNVO « VSVO. Ree =S INS cls aN SS SOs Ty 1 OsuNtle Oreial o90N3s UPA pasaaod Ajjes9uas a1eB sasnoy AjUNO9 Ue[PIeD Aruoseut jo Inq Ayprjos Yysnoy ] VNOTHOUVE 4 UVAN ¢ ‘STIVONAAOUd ¢ AC * LLUVIN ¢ LNVS 4 “TOONAINAVY = -VSV9. a TL mn 901 SLVTId NIVaASeNIT SASMOE a yi o Nal Orel PARO MN AUSCNEIE 1SVONUNS ERS) INE SHBSE ON i i ei sip Ais ETE a TNT : f a accep SINCE a 7 i Boh : (Photo Mas) (Photo Mas) AR + BARCELONA window based on Moorish tradit ATARO, 7 NE ErAT*M Ss ROM 7 AN 7 OLD » HOU. WINDOW 7 F eS Zz e) = Wy Oo 4 < fea} % < SE » AT » MATARO, 7N >*HOU OTHIC Catalan houses are simple in composition but often exh SS WINDOW + FROM? A+ C 2 Sy 5 3 3 é ©) O ag | < OC EB > Oo (az A, \ A > / Z \ ~& = a 4° = PROVINGIAL HOUSE SSEN SP AnN PLATE 143 CORNICE FROM A HOVSE IN CALATAYVD WOODEN 7 CORNICE 7 FROM 7 A # DISMANTLED 7 HOUSE 7 IN 7 CALATAYUD, 7 ARAGON n ur An unusual example of Renaissance in a province conspicuous for Moorish details anbsazaje[q aind st ‘ooonqs puey ul padseo “uolje}UaWUBUIO dy} INq UBIsap Jo safdioulsd Yssooy UO pase s} aLWIaYOS ay], NOOV€UY ¢ ‘VZOOVUVZ ¢ ‘VINVANI 4 V14 Ad ¢ VSVO * SHL * SO * OLLVd FP] ALVIg INI wal INU eS SUS GOEL UA On IEG rai al PLaTE 145 PATIOF OF 7 THE ~ € ASA + DE 7 PARDO, 7 ZARAGOZA, 7 ARAGON Because of the lack of stone, carved yesso (hard plaster) was employed a great deal in Aragon syelioqeul IODVUV 4 ‘VZOODVUVZ 4 “ATIWVA * VNOT + TNAYAMOd * AHL * SO * SOW TVd * YAWAOE Sur [ING 10f poom puP YoIIq 07 7JOsa1 0} asauOsBIY ay} Padsoy auoys Jo AyorBos OY] nt OF] ALVIg MT “il ama wap ACLU win | aT CLUE NUS ELSI WO OEN eG rata ah VZODVEVZ VIONAICAV AHL BZUBIISIE LAY JsajlueW SI JOUANYU! J1ay] pue [e2y PB] ap o1oejed ayi suMoso a[duuexa sourssteuayy oy yp Ainquas yyuea3xIs ayy [Hun sourAosd ay1 Ul payxJOAM suezZIIe Ys|ooyy NOOVUY ¢ ‘VZODVUVZ NOOVUV ‘AONANTANI ¢ NVITV.LI * JO * ADINUOD + V ‘VZOOVUVZ + ‘OLOA* NVS + AC 4 ATIVO + AHL + NI* AOINUOD SONANTANI ¢ HSTHOOW + JO * SOINYOO + ¥ LPI ALV1g INGER ich Sa INGGes 4) SOue ey ee) Na Orsi PROV IMG Li i OW SE SaliNy Sie ehN PLaTE 148 aN, ‘| IN} SG q WOOD CORNICE —— _—<——— AEX —— == se 7. areas i e ? wT ALTERNATE OPENINGS - FILLED WITH TVCCO , SECTION THRO CORNICE | SSSI SVS SE: SIZE OF BRICKS 13 x 13 IN: CORNICE AND VPPER. STORY VF RED * PINE * CORNICE 7 OF 7 THE 7 The Aragonese capital still contains a number of fine wooden cornices ERO Tay | PLAN OF SOFFIT PALACIO DELA REAL MAESTRANZA ZARAGOZA Bynes PALACIO » DE » LA 7 REAL » MAESTRANZA, 7 ZARAGOZA, * ARAGON d]eP 193e] Yon eB ye JBAO paosomjs pue pasopo sea doy ay Ie AsaTTeS uado oj ‘apeoe] yorsq esauosery jeordA 1 NOOVUV ¢ ‘VZOOVUVZ * MOAVIN ¢ ATTVO * AHL * NI ¢ ASNOH ¢ TIVINS O5tL sea, ESSoCeeeco ca (olefin a | i AX! WOIAG Nvwoad ll oe) ee foal ( io) be Be) eee ow, Ss) ——————— = O Oss JJOSIO eS Tt a one Se gteieerirt ane iD ete tan’ Pipl pinto ined “MUMMULULU Wma i ee ss a ee 6Fl FLV Id NIU WalS INI SSISINOIR, W\¥ I OIN TAO dial IPEEO WING I, Tal C)ILES SS UIN See IN| Prane 150) THE * OLD » TOWN 7 HALL » OF » BIELSA, » UPPER + ARAGON The “Alta Aragon” bordering on the Pyrenees is the wildest and least explored part of Spain to-day; the architecture is crude but picturesque FIO) YOON CINE SONOS SUN) Sen PLATE 151 TYPICAL » HOUSES * IN » THE » VILLAGE 7 OF + ANSO, » UPPER * ARAGON Steep roofs that have borne many winters of snow (upper and center) OLD » HOUSES 7 OF » ANSO 7 IN » THE » UPPER 7 ARAGON From the principal room of each house rises a huge funnel-shaped chimney around which the family gathers during the long winter (lower) PROVING PAL HOUWS Eo: DN SPAN PLATE 152 HOUSE + IN + THE 7 VILLAGE » OF * ANSO, » UPPER » ARAGON Here in the snowy mountains as in other similar climates the houses are provided with an upper gallery PROVING )AL HOUSES IN) (SIPAUINI Mea) ORC: AJORCA, the major unit of the Balearic Isles, lies due east of Valencia and south of Barcelona. It was wrested from the Moors in 1229 by : ieee Y Don Jaime I, Count of Barcelona and King of Aragon, known as el Conquistador. For a short while the island group formed the Kingdom of Majorca, but in the fourteenth century they were joined to the Kingdom of Aragon and have been under Spanish rule ever since. For a short while in the eighteenth century Minorca, next in , was alternately under British and French sovereignty, which accounts for the occasional bits of English and French furniture and porcelain found there. In spite of Majorca’s long occupation by the Moors, its great commerce with Barcelona and Genoa made it the ready receptacle of the art influences of those two cities; thus the Moorish traces were quickly submerged. Majorca enjoyed great prosperity in the fifteenth, sixteenth, and seventeenth centuries, and Palma, the capital, was from the beginning a rich and beautiful city. It is from this period that most of its architectural monuments date; unfortunately, its Gothic palaces were almost entirely swept away by a con- flagration in the fifteenth century. These were replaced by sixteenth century Renaissance examples in the Catalan and Genoese styles, and are inhabited to-day by the descendants of the very nobles who built them. In addition to their town houses these same families have vast possessions in the interior, known as sons, which are the original grants of land parceled out by Don Jaime to those who helped him win the island. The Palma town houses illustrated date from the six- teenth and seventeenth centuries. They are mostly Renais- sance but not without reminiscences of Gothic, as seen in the facade of the Casa Palmer. Patios are more featured than facades, for the logical reason that the streets are very narrow and the patios very spacious. Contrary to the Castilian patio, which is entirely open to the sky, the Major- can is as a rule partly built over, thus gaining more floor area on the second or principal story. In the few remaining Gothic palaces the stair was patterned after the Florentine, that is, a single run up one side of the court; but in Renais- sance examples it was given more importance, starting from the open part of the patio to a landing with runs leading to left and right, the whole motif ending in a sort of loggia. In constructing this patio stair, supported on flat arches which intersect the vaulted stair-landings beautifully, the Major- cans displayed their traditional ability as masons. An interesting note is that the stone balustrade so beloved by the Italians is substituted by one of iron—flat sheets of iron cut to the silhouette of the baluster, with a result both substantial and decorative. The interior of the Palma house is even of greater distinc- tion than the exterior.» Halls are exaggeratedly high—25 to 30 feet—and covered with red pine timbers; floors are of blocks of stone, hardly ever covered with a rug, but daily strewn with finely sifted sand. In many instances the furniture is intect from the sixteenth and seventeenth cen- turies and includes tapestries woven by special order in Flanders. The villa or son of the Mallorquins is the country house to which they resort from time to time to watch the progress of their various harvests (oranges, olives, and almonds). For this reason the estate is fully equipped for the storage of crops, with mills for pressing olives, with vast stables, and quarters for the farmhands. In many instances these plants are in full operation to-day and offer an interesting insight into the sixteenth century. Huge caldrons are kept con- stantly stewing on the open fires and their savory contents ladled out at meal-time to the labradores who range them- selves along heavy refectory tables. Nor is their spiritual food neglected, for every son has its chapel. It is the case of the benevolent master which adverse critics of the feudal system rarely mention. As a country residence the Majorcan son reflects more of Italian than Spanish precedent. As a rule it is built around a spacious patio, in the form of a hollow square; the side de so as to permit the winter sun to enter. The patio stair to the south is often kept low or featured with an open ar C. ascends in a single run to the piso principal, which is occu- pied by the family; the entire lower floor being given over to storage and servants’ quarters. The island being pros- perous, the kitchens and larders (in contrast to those of Castile) are much featured and remind one of English homes rather than Spanish. Proper orientation was never overlooked in the placing of the son; summer and winter the southern was the desirable exposure; furthermore, a slight eminence was always sought so that a distant view of the Mediterranean might be had (Majorcan towns and houses were built several miles in from the coast because of the frequent raids of the Barbary pirates in the centuries past). Exteriorly the houses are treated in stucco; not the white- washed stucco of Andalusia, but of a rich ivory tone and enhanced with bands of chrome or faded red in the manner of Mediterranean countries. Window and door openings, * For illustrations of Majorcan Interiors see Spanish Interiors and Furniture by the same authors [ vii] and sometimes the corners in more important houses, are featured with stone quoins, small in scale and kept flat with the stucco. The principal facade is graced with a loggia which either extends the full length, as in the case of La Granja, or merely a triple arch motif as at Son Berga. Columns, voussoirs, and balustrade are of a faded golden stone. assuming important proportions; this and the belfry niche A ubiquitous detail is the painted sun dial often for tolling the hours of meals and mass are two important details. As has been observed, the Majorcan son was generally set The thick walls of the lower story of the house were then considerably splayed, giving out on an eminence or hillside both the impression and the reality of great strength. As the space behind was devoted to stables and storage there EEO TINGS AN IES KOU) S18, Ss) ION Seva UIN| was little need of windows and this increased the appearance of solidity. One might well describe this as a great soubasse- ment on which the house proper was placed. If in addition the rise in the ground permitted, the ground in the immediate vicinity was terraced, thus adding to the impressiveness of the setting. An excellent example for this general scheme of setting and layout is seen at El Salt, near Puigponent. On the whole these Majorcan villas make a valuable contribution to the study of the Spanish house. In addition to the island properties here illustrated, there are numerous others scattered among the hills, and it is the intention of the authors to treat them separately in a forthcoming book. Most of them have a beautiful setting—not in the sense of great gardens, but just flowers, oranges, and fine old trees, entrancing views and varied terrain. Pe ERwT tense tds inte ub Oduul st Way} WO] SuIpUsose Bs uado ay) pur snorseds aie soned oy yp (VONOLVIN) VONOTIVIN + AC + WN TVd ¢ ‘AOV1Vd * LOAIA + SHL ¢ JO + OLLVd a ivy) €61 ALWIg IND Wicl SINT SS a SiO ay SNA aad ENG Seer iN POW ENGIANE TOUS Es ) PLATE 154 A costae CASA 7 OF » DON 7 JUAN 7 MARQUES, * PALMA 7 DE 7 MALLORCA, 7 SEVE} 2NTH » CENTURY A unique scheme for the stair, preserving below it free passage to the garden s][B\ ayi yoaqo1d 07 dAJas puke pan aie sasi0y aJdYA\ aie sa]iq Jo sadenbs jeuoseip ay | “uapies yi 5) AO SUIPUR] B 0} SPU pue oned aya jo 34) VOMOTIVIN + AC + WIN TVd + ‘SANOUVN * NVAL + NOG + JO + VSVO VOMOTIVIN * AC *¢ VIN TVd ¢ ‘SANDUVW + NvAL + Nod 61 ALV1g NU WalS NI SalSOlOls Wy lON TAO Slel eae DUB Ja] ay} OF sUIdaq JIeIs ay oned ay] Jo apis 1ayi0 941 UO pazeada. si siy ‘sreqs ay Jo SuruuTsa f Hey SI POE | 2 LL I Hoey 1 I | J lesa 10 * VSVO Agyjes uado ay} si a1 asoy {uOWLUOD UI YonuT aARY sUOIBaI YIOG Jo sasnoy dy} suRTeIeD Aq payes pue pajonbuoo usaq Suravy Bo1oleyy, 9661 ¢ CALVC ¢ ‘VONOTIVIN « AC + VN TVd * SAIN Td ¢ AC * SANOUVIN + AHL ¢ AO * SOV 1Vd Liga oF te ih mi wry 5 ? 7 ims. SE eS ER eR ge el a ne ayy 0 dines ARES SS ESR OT ES A alg 96] ALVIg INCINAaUS NOL SEES TQUON ES AD OU eG all S\N A(GIGUE\ (Gl AOV1Vd * VONOTVTTIA « ‘MOCNIA\ * AONVSSIVNAR * NVOUOLVIN * TVOIGAL NAW Vd + AC * SANOUVIN + AHL * SO * SOW 1d * AHL * WOUT* MOCNIA CAITLIN Ls] aLv1d INUDWelS INI SSISINOQIa! WW DINU A © lel SUOSBLU [NJ[PYS Waa ‘suBpeIeD IYI oy!] ‘suBoIOLeyY OY], VOROTIVIN AC + WW 1Vd ¢ ‘VZA10 ¢ VSVO * AHL + NI + MIVLS * OILVd * HHL * SO * MAIA Nel velS INISS 4S ORLY TONG N@! alel DOURSSIBUDY UPI[RI] PUP IIYIOD Ystueds Jo onyxiLW XopoyysoUN uP SI [IeIap PURIST BUI Jo YONYY TWLdOd * OLLVd + NVOUOLVIN + ?aNON + TAC ¢ ATIVO + AHL + NI ¢ ASQOH TWALYOd ¢ OLLVd * NVOUOLVN +: VIIFMOGDINd ¢ VSVO 61 TLV Ig INGE icliS a Nibes hS: 0 OjEe diva 2 NA Oral YAO ofsawOp Aunquas YyIUsaIUAAes sa[quiasat 7 Surpying jediorunus eB Yysnoy |, VOUOTIVW +4 AC ¢ WNAVd + “TIVWH * NMOL + YO * OLNATNVLNNAY * FHL O9T ALVId ING Wich SeeNV SS als Ouro val OUNNI@ ala PROVINCIAL HOUSES IN SPAIN PLATE 161 PALMA DE MALLORCA CORNICE OF THE CASA CONSISTORIAL tile roof CORNICE OF NATIVE RED PINE VNDEC- ORATED < E 7 aS SY, ei IPIG AUN, Gp SO) III ee ck Si Une Od 2 ON Ne a ME SSE Se Bagel ee SCALE OF FEET THE * WOODEN 7 CORNICE 7 OF 7 THE 7 TOWN + HALL, * PALMA 7 DE » MALLORCA An elaborately carved cornice with a projection of eleven feet AE coe za co INA - AUT ANAT ARDEN 7 FACADE ¢ OF 7 SON 7 BERGA, » ESTABLIMENTS, » MALLORCA The country villa and estate is known as a ‘‘son” and generally reflects Italian influence S. C Zz — A) rs] $ s 3) 5 i 8 2 iss} x) Ge) i § ic a) ie | 2 iss} = iS 2 i) 5 2 a uopies oned ayi ayieq pue asnoy Yyi0q UaYsalj OF SaAsas YOIYA\ Joye Surids pjoo Jo NOAJasaJ 9YyI s} asNoy ay) JO 100} By IV 0} uNs JaqUIM ayy WUWed 07 uado yday s! ainsodxa siyi ‘asked dy} DIJO SI SY “apRoR] UJAYINOS ay] VOUOTIVW ¢ ‘SVTHOdSA + UVAN ¢ ‘VINVUD +¢ V1 VOUOTIVI ¢ ‘SV THOdSA + UVAN ¢ ‘VINVUD + VT ult lpia ill Wa YL N N Ss N N N N ‘Ss Mi MUM MMMM QQ] ALVTd INE GES INGE S GISIGN Oa AW ILO UNC rata ccoxaaicaocsvennammrermenetaceeemeemieet ree eee PROVINCIAL HOUSES IN SPAUN PLATE 167 THE » PATIO 7 OF LA » GRANJA, » NEAR * ESPORLAS, » MALLORCA A case of marked Italian influence Ayeqy wo. soinsea. qe Auer yorq IYSnoiq pue suoteAvoxa quBIJOdiuT spe Sindsaq [BUIpIeD aWIOY 3 oTIY A, VOROTIVIN 4 ‘VOU WATIOS * AHL NO ¢ ‘OINdSAC ¢ TVWNIGUVO ¢ AO * ASNOH ¢ AWLNNOD * AUN.LNEO + HLINAGLLHOIA ¢ SHL + ‘VXVU i aint JPR EArt L I Suu} =u Au | QO] ALVIg INGE icles @ NGS ce SerhOl yl SNe Orc al PROVINCIAL ROWSE S aN SP Ag N PLATE 169 RAXA, 7 THE » EIGHTEENTH » CENTURY * COUNTRY » HOUSE 7 OF * CARDINAL » DESPUIG, » MALLORCA Looking down on the house from the garden terrace IPSCO INCAS Ss SONOS IE. UIN |S Pee Piate 170 RAXA, + THE 7 EIGHTEENTH * CENTURY 7 HOUSE 7 OF » CARDINAL » DESPUIG, * MALLORCA In contrast to the lofty front the garden facade is only one story high due to the declivitous ground Arp 03 yay suryduund yy pour Ayjesauad st Arayjed ay Jo a8pe] ay], “sasnoy uessofeyy plo jo Suey Iso ay} JO JUG VONOTIVIN + ‘VOU + UATIOS + SHL + NO + LVAS * AULNNOD + V+ ‘VINANON.S IZ] SLV1g NEVeasS NI Sas mOmn Ty lon VOrrd PROV GENE DAI sEh© UiSieSe INS Ag liN) PLaTE 172 =Z §& = Z aS 4 g Z 4 (Gc rl RES EREEA N T LAT (CNT A RURANBRANRL fon ones or amps ory AUG = = were 10 Seale £2 7 MALLORCA 7 ROAD, The Baroque front is an addition of the late seventeenth century and conceals the sixteenth century Gothic house 7 ON + THE 7 SOLLER 7 A 7 COUNTRY » HOUSE < Oo 7 ALF, THE 7 FACADE 7 OF PROVEN CUE IOUGE S IN) oPAtN Ve PLATE THE + HOUSE 7 AT + ALFABIA, » MALLORCA A long approach of sycamores leads up from the highroad Q-Ystiooyy) refepnyy yi B ayqueut UIA PaIQAOD st ‘s100p YsloojY] 2 Bl qse] ou 3 2 YIUIIIXIS 94] WO} sayep U 10d sIy 9-A.10. 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A1OIs JAMO] DY], sooRdq PRIYIIAO YUA\ pauays skBAye aie spies Auospeq Suoy{ VOXOTIVIN VOUOTIVIN “LNAENOdDINd + LV * ASNOH * AUN.LNAO * HLNEALNAASS + V+ “LTVS * TA “LNANOdDINd * LV + ASNOH * AUN.LNAO * HLNEALNAAGS ¢ V + “1 OZ] ALVIg Ni Vas "Nusa SOs ty PoiNni\© ad PROV ENG EA 2 EOS 2 slits Aen PLATE 177 NORTH + FRONT ¢ OF » EL + SALT , » PUIGPONENT, * MALLORCA Showing to what an extent Italian architecture affected the Island PROVENGIAL ROUSE S iN sRA IN ea Ou Eke KN SPRO-y DNG@iEs IXCLUDING Catalonia and Aragon, already mentioned, there are four provinces occupying the north of the Peninsula; these are, from east to west, Navarra, without seacoast, V aya and Asturias on the Bay of Biscay, and Galicia on the Atlantic. Asturias is very important historically. All of them are magnificent in scenery, but poor in monuments. The most interesting in Las Asturias are the little pre- Romanesque churches built shortly after the defeated Goth nobles sallied out from these mountain fast- nesses and pushed the Moor back southward. Galicia contains the beautiful romanesque cathedral of Santiago, to which thousands from all over Europe made the pilgrimage annually—perhaps the greatest social and artistic move- ment of the Middle Ages. But of the domestic type there is not much to hold the architect in Galicia unless it be that curious unit of the farm group known as the horreo. The hérreo, or granary, is found also in Asturias. In Galicia it is invariably of granite even to the roof. The sides are of immense blocks pierced with louvres for ventilation, the roof is laid in flat slabs, and the door and finials show coarse but interesting carving. In Asturias the structure is generally of wood, with tiled roof, and the floor beams extended to form a gallery all around with a rail of wooden spindles cut in profile. In both provinces the granary is mounted on stilts as if it were the direct descendant of the prehistoric Swiss lake dwellings. Pa prosperous seaports certain urban houses (locally called sing east along the coast of Asturias we find in its palaces) of the seventeenth and following centuries which were built by those who returned fortunate from the New World. Most of them are long and low, with simple baroque openings, an iron balcony across the whole second story, and a heavy stone escutcheon up under the eaves. Avilés Gijon, Oviedo, Llanes, etc., contain examples. T the Andalusian palace of the Conde Pefiaflor, in Ecija; and strange as it may seem from the geographical point of view, there is considerable Andalusian influence along this shore, explained by the fact that in those days the sea was an easier highway than the land. Around Santander, going to the more eastern of the two Asturias, we get a very definite regional type. This region is called La Montafia. The Montafies house, of stone, has no patio, a long low facade between two towers or, less often, flanking a central tower, a rappel of the necessary defensive feature of earlier days along the Biscay coast. The very picturesque old town of Santillana del Mar contains a number of these houses, as well as earlier domestic examples. [ ix J The family blazon dominates everything, even more than in the facades of the fifteenth and sixteenth century palaces of Caceres. The favorite composition of end towers has a deep-set arcaded loggia between, stone, and above this the escutcheon. The loggia, protecting against the interminable rain, is never omitted up here; whereas in Andalusia the patio, refuge against the interminable sun, is the prime necessity. The smaller Montafies house, of farmers or fishers alike, accomplishes the loggia protection in the following economi- cal way: bringing the side walls forward of the facade about five or six feet, and projecting the floor beams equally, a wooden-railed gallery is run across and roofed by the deep eaves, which in turn rest upon the top of the walls. Orien- tated as are all these smaller dwellings with balcony to the south to catch the scanty sun, they present from this side an animated aspect ; but the north wall is always an absolute blank. In the better structures there is a great deal of archaism. Certain Gothic traces would lead one to place a house in the sixteenth century, were it not dated one, two, or at times even three hundred years later; added to the archaic touches the mellowing effect of the humid climate on the coarse stonework gives the Santander towns an appearance of great antiquity. The Basques are, as all know, a people apart. To-day a hey belong politically to France and te Spain according to which side of the Pyrenees their ancestors settled in the days before the boundary was known, but to them the divid- ing line means but little Bis they are first and always Basques. ya in Spain consists of three provinces, all of which have been wrangled over at times by the kings of Aragon, Castile, and Navarra respectively. The province of Alava leans more to Castile architecturally, but its monuments are of little importance; the other two, Viscaya and Guipuz- coa, reflect more of Navarre, and Navarre in turn reflects in large measure Aragon. The Basque’s most interesting contribution to domestic architecture is his farmhouse. Related in form to the mountain chalet of all northern Europe, its thick masonry walls are intercepted with half-timber.and its gable roof is fairly flat and of wide spread (in the mild Biscayan cli- mate the heavy snowfalls of northern Europe are unknown, hence the absence of steep roofs). Across the front at the second story level is a wooden gallery with attractive spindles, and on to it open the long casements; below, at ground level, cattle and farm implements are kept. This simple picturesque Basque house has served as prototype PISO V SUNG IGS ES SOnOt SIE S for the summer homes built of late years by Madrid families in the near-by Guadarrama Mountains. In what was the old kingdom of Navarre the population is made up of the original Basques, Aragonese, and Cas- tilians. One of its kings, Sancho the Great, dominated Castile for a time; the royal family being French (Dukes of Champagne), its ecclesiastical structures are good ex- amples of French Romanesque and Gothic, as are the royal residences of the period, but lesser dwellings are reminiscent of Castile and Aragon in the cities, and of Viscaya in the IN SPAIN In Estella there is an interesting seignorial ascribed to the twelfth rural districts. palace, of the Dukes of Granada, century, but more likely of the thirteenth; and in this same attractive old town, a fine Renaissance palace of the sixteenth century, called the house of Don Diego de Estella. Sanguesa, another town worth visiting, is close to the Ara- gonese border and still possesses a number of fine carved wooden aleros (cornices) such as are seen in Zaragoza. The country houses of the province adhere so closely to the Basque type that they present no new features. Io Zell n ACOA ( PRON ONC AG wel OWS Shine Sen PLaTE 178 GROUP * OF + OLD » HOUSES, » LUGO, » PROVINCE 7 OF 7 GALICIA A city of the rainy north where the slate roofs are overgrown with lichens and moss iin Ul Nol D 6Z] ALV1g doll Pjay ysurese uo1993}0I1d w a1e sIBTJOD DUOYS 943 AMNLNAO * HLNSAALHOIA ¢ ‘A SuoHeyUaA Joy payesojiad are sapis Inoj [je URIS TYONAOD ¢ YO * OAAUAOH 4 NVIOITVO ¢ V anueis Jo yIng ysnouryy NIN cl Se NI Sa SO Riv lO NEN Ord (24814 pun ya]) Aqrssaoou Jeoroevid e oe satuosyeq pue sarva Surqoa[o1d-sey dy} SUIBI IAISSIOXA JO PUB] B UT WACNVLNVS ¢ “TVS ¢ Tad * NOZAAVO + JO * AOVT a t OST FLVIg Noy cl SNES ais Oda a valor N@ eal PROVINCIA TOW Sse i NeSP AlN PLATE 181 = pl) Res Calin i a i BN ‘if firebaclks 4] wood Huh | bla sf tir le I PLAN ATA SAUD ee CHIMNEY-PIE IN THE FONDA ONA CE CHIMNEY-PIECE * OF THE 7 INN 7 AT 7 ONA, » NORTHERN 7 BURGOS A practical cooking fireplace with plenty of hearth for pots and accessible fire PROV VNC VAI HOU Ss msm esi oar PLATE 182 SSPINOSA 7 DE 7 LOS * MONTEROS, * NORTHERN 7 BURGOS Though still in Castile, this house has all the characteristics of the ma Montafiesa,”” as the house of the mountainous province of Santander is called ZA O aa A, THE » HOUSE 7 OF TX LS SY ty PLATE 190 Santa Satie renanbiainie cos meaner etn Lele el tiirvaiinice G ETTY RESEARCH INSTITUTE H \ WN 0 Nl II ll ll il 3 3125 01096 5305