y ALLI ED STYLE 5 mr de = CEL STEESE ve MASTERPIECES OF SAN LS A “UNG st hai @a Gites ROMANESQUE AND ALLIED STYLES ONE HUNDRED PLATES FROM . MONUMENTOS ARQUITECTÓNICOS DE ESPAÑA WithetextepveJ GOONS VeAVANTPEET © FAR AltA. DO. LIBRARY OF ARCHITECTURAL DOCUMENTS VOLUME IV 7 EUGENE Cute, Editor NEW YORK THE PENCIL POINTS RRESS ING) 159,215 THE ROMANESQUE AND AELIED-STPYEES-OF ARCHITEC TE IN SPAIN DESCRIPTION OF THE ORIGINAL WORK HE Monumentos Arquitectonicos de Espana not only deals with monu- ments, but is in itself a monumental work. The first archaeologists of Spain were called in to expend their most arduous labors and most advanced eru- dition on the task. Measurements of buildings were taken with extreme care and the engraver’s nicest skill called into play. ‘The colored plates, of which there are not a few, were of the best scientific and artistic craftsmanship of that pe- riod. Even the paper is of beautiful texture and the sheets are of unusual size, about 22” x 28”. The work was intended to cover the whole of Spain and all time of which there is historical record, in the building and sculpture of the land. Unfortunately, this enterprise was never completed. It is, in fact, almost impos- sible to obtain entirely complete copies of what was published. A Spanish grandee might have subscribed but during the long period of time from the 3d of July, 1856, when the Royal Decree naming the Commission was pro- mulgated, until about 1880, the grandee may have died or single plates may have struck the fancy of someone in the household and may have been withdrawn to frame. Our present publication is of one hundred sheets, excerpts from the sec- tions covering the Latin-Byzantine and Romanesque periods. The original was divided into provinces and on the plates was engraved the styles to which the buildings belong. Three great divisions were established: Pagan Art, Christian Art and Mohammedan Art. ‘The secondary divisions were those of Latin-By- zantine, Moorish, Gothic, Renaissance, etc. The book was printed at the National Printing Office of Spain and the amount of labor and care expended upon the engraving is stupendous. In fact this engraving is so delicately printed, in many instances with different colored inks, that its reproduction in the present volume has been a typographical feat. This edition includes plans, elevations and sections and a large number of details and elements of sculpture of very great value to the architect and the student of architecture. SPANISH STYLE DISTINCTIONS PANISH architects and archaeologists, differing from the usual custom, make a distinction in the sequence of styles earlier than the Gothic. That is probably the outcome of the unusual national distinctions that became in- digenous to Spain through the conquest of the country by markedly contrasting races. Somewhere about 1100 B.C., the Phoenicians founded Cadiz and Malaga on the southern coast. The Iberians, who were the original inhabitants as far bo THE ROMANESQUE AND ALLIED STYLES back as historical records run, amalgamated with the Celts who came down through the Pyrenees about 500 B.C. and formed a single people, the Celtiberians. In the Third Century B.C., the Carthaginians invaded Spain and at the end of this century they were driven out by the Romans. Shortly before the Chris- tian era, the Romans conquered practically the whole of the peninsula, leaving only the Basques, a remnant of the original Iberians, to maintain their independ- ence in the north. Thus a modified Latin influence was opposed by a sturdy ele- ment in the extreme north. In the early part of the Fifth Century after Christ, the Vandals overran Spain and they were followed by the Visigoths who, toward the end of the century, put an end to the dominion of the Romans. In the Sixth Century, the Visigoths established their rule over the whole peninsula and they remained in power until, in the early part of the Eighth Century, the Moors, under Tarik, appeared and slew Roderick, the last of the Visigoth kings. From that period on through the Ninth, Tenth and succeeding centuries, there were two distinct divisions in the peninsula, the Moorish in the south and the Christian in the north. It was not until 1492, the year of the discovery of America, that Granada was taken by Ferdinand and Isabella and the Moorish dominion ended. As has been said, the architectural expressions that resulted from these dif- ferent conquests and dominations are broadly defined by the Spaniards as Pagan, Christian and Mohammedan. Of the early pre-Roman architecture and sculpture very little remains. Even the Roman buildings show little more than ruins, the most important struc- ture being the Aquaduct at Segovia. There are some bits of sculpture to be found in the capitals of the columns of the Mosque of Cordova at Toledo and Merida. The small Basilica of St. John the Baptist, at Banos, has horseshoe arches of about the middle of the Seventh Century. See pages 31 and 33. It was not until after the Visigoths had established their dominion, indeed not until the early influx of the Moors had somewhat abated in fierceness, that we find such monuments as the churches of the Ninth and Tenth Centuries, San Miguel de Linio, Santa Maria de Naranco near Oviedo, San Salvador de Valde- dios, Santa Cristina de Lena, San Miguel de Escalada and San Pedro de las Puellas at Barcelona, all built before the end of the Tenth Century. These are grouped by the Spaniards under the definition of Latino-Byzantino, or Latin- Byzantine. As a matter of fact, although they are in many ways akin to what is sometimes called the early Romanesque in Italy and France, their capitals and ornaments have a distinctly Byzantine quality. Some of the arches are pointed. The plans of the churches are usually rectangular, sometimes cruciform, with simple barrel vaulting. Toward the end of the Eleventh Century, the Romanesque influence of France and Italy became marked. The plans of the churches were more gen- erally cruciform. Over the crossing a polygonal dome or tower was usual. San- tiago de Compostela, a modified copy of St. Sernin at Toulouse, is one of the most important monuments of this time and betrays a distinctly French influence. The beautiful Panteon de San Isidoro (see pages 157 to 161) is another fine example. In the Twelfth Century, the style became more distinctly Spanish and the archaeologists of Spain are prone to designate the period as Romanesque, al- though from our point of view it is transitional. The Gothic arch and an early form of ribbed vaulting are in evidence. Perhaps the mast interesting example is the old Cathedral at Salamanca (see pages 35 to 49 inclusive). Its tower was THE ROMANESQUE AND ALLIED STYLES the prototype of H. H. Richardson’s Trinity Church in Boston and it has the pe- culiar quality, owing to the form of its plan, of being beautiful from all points of view. The Cathedrals at Tarragona, Tudela and San Vicente at Avila are other noted examples of the same architectural development. This distinctly Spanish expression of a strong and vigorous style was merged by degrees in a new foreign impulse coming from Gothic France. Although the Spanish Gothic churches are different from the foreign prototype, being vaster in scale, (in the case of the Cathedral of Seville, some 5 metres wider than the usual French nave) they are in many ways less individual than the beautiful ex- amples of the later Spanish Romanesque. The other influence that crops out from time to time in manifestation along the southern border of the Romanesque areas is that of the Moorish archi- tecture that flowered south of Toledo. It was but natural that combinations of different kinds should manifest themselves. See among our plates the detail of the Cloister of the Church of San Miguel de Linio, page 53, and the Cloister of San Pedro y San Pablo in Barcelona, page 151. APPLICATION OF THE SUBJECTS SHOWN TO MODERN USES Es since mediaeval times the world has periodically responded to the beau- tiful expression of emotion that is the universal characteristic of Romanesque. Probably it is due in some measure to the simplicity and vigor of the buildings: of that period. In addition to this, anyone sensitive to beauty 1s delighted by the skillful contrast of decorated and undecorated masses, surfaces and ornamental line and form presented, almost without exception, in the build- ings of the Romanesque period. Undoubtedly, the sincerity of the expression of the artists of that day makes a strong appeal and the solemn majesty and even the somberness of the churches create a deep impression upon anyone at all suscep- tible to such influences. Evidences of this were noticeable in Spain with the restorations and additions of such churches as San Vicente at Avila. H. H. Richardson was so enamoured of the style that the greater part of his work bears its impress. Following him, a number of Romanesque, or so- called Romanesque, atrocities were erected in America, to such an extent that it became a well entrenched fashion of the second half of the last century. As in all things American, this was followed by a strong reaction, so that we may con- sider ourselves fortunate that the buildings of this country are usually short-lived and that many of the ugly pretences to Romanesque design, where details have been copied with no perception on the part of the architect of the true spirit of the style, are disappearing. Indeed, this reaction was so strong that prior to the World War, the American architect felt as though he had launched into a field al- most taboo if he gave rein to his personal inclinations and accosted this beautiful recluse. The swing of art from impressionism through futurism to symbolism, with such spokesmen as Clive Bell, the tendency of tourists after the World War to invade Spain, and possibly a psychological stimulation resulting from the War itself, coupled with the publication of a number of excellent architectural works on Italian and French Romanesque, have tended to revive interest in the style. Unquestionably, the astonishingly satisfying result attained by the firm of York and Sawyer in using Romanesque as the medium of expression in the Bowery Bank, has acted as an incentive to others to try for success in similar manner. The THE ROMANESQUE AND ALLIED STYLES danger in trying to emulate such an excursion into new and promising fields is that those that imitate do not act from conviction but merely because they think that in the imitation lies a convenient source of advantage. As can be seen in the followers after Richardson, elements of a style may be copied without any evi- dence of skill in composition, of real response to the feeling of period or the de- mands of the problem in which these details of the style are applied. It is because of this that the engravings held between the covers of the Monumentos Arqui- tectonicos de Espana are so valuable. Spanish Romanesque, the expression of a people of intensely fervid temperament, is instinct with an emotive and stirring force that cannot fail to awaken a response in all not entirely dead to such an appeal. ‘The work has been almost unknown to architects because of the limited number of copies procurable on account of their cost and the cumbersome size of the portfolios. ‘The convenient form of the present reproductions, although they cannot retain all of the charm of the original engravings, tremendously outdo them in usefulness. ‘The greater number of the original drawings was made in rectilineal projection and the scales or sizes in metres are shown on almost all of the plates. This makes it possible to establish the actual dimensions of the structure and affords a tremendous advantage over the ordinary photographic representa- tion. Furthermore, in most cases, the shadows have been accurately cast at 45° so that the projections of the different elements and motives can be gauged with precision. It will be interesting to the student who cares to make some study of the style to notice the plans and general arrangement of the churches. Pages 31, 115, 141, 165 and 167 contain plans of the Latino-Bizantino period with a square altar end of the Basilica type, while pages 25, 33, 73, 93, 103 and 149 belong to the Estilo Romanico (later Romanesque or transition) and have semi-circular apsidal ends or chapels. It has already been noted that the cruciform plan be- came a feature of the later Romanesque. This is not evidenced by several plans shown in the book because they are of smaller dimensions. ‘The cross is marked in the old Cathedral of Salamanca, page 35, and a more careful inspection of such plans as the Parochial Church of San Millan (Segovia) Page 93, amplified by an examination of the elevations and sections, pages 95 and 99, revises the first impression and discloses the cruciform arrangement of the interior covered by a dome with characteristic Romanesque pendentives at the intersection into which the nave and transepts penetrate, the side aisles being lower than either. Some of the earlier buildings are tremendously impressive in their sim- plicity. The Church of San Salvador de Valdedios, pages 115 and 117, is sugges- tive of what might be done in a small village church by the contrast of openings and a plain wall surface. The Hermitage of Santa Cristina, Province of Oviedo, page 141, has an unusually interesting cruciform plan with square ends and chapels and an arcaded choir screen which divides the raised Sanctuary from the lower nave of the Church. The walls of the buildings are, of course, of stone but in many instances the naves and aisles of the Latin-Byzantine churches are not vaulted and the roof timber are apparent from the interior. Usually the shafts of the larger columns are made in drums coursed with the stone of the walls or only slightly higher, although, in the later period, isolated shafts of smaller dimensions and even some of the engaged or tangent columns are monolithic. As the Gothic principle of concentration of the loads and thrusts in piers was not yet under- stood, the walls are universally of heavy dimensions. In the old Cathedral of THE ROMANESQUE AND ALLIED STYLES Salamanca we find ribs and in the lower stories an incipient pointed arch, al- though the dome at the intersection is distinctly round arched. ‘The Parochiai Church of San Juan de Amandi, Villaviciosa, Oviedo, page 25, has a heavy series of ribs at the intersection between the Chapel of the main body of the church carrying down on to divided column shafts. Nevertheless, they are dis- tinctly different from the Gothic rib, the vault of the Chapel being a barrel carrying on the side walls throughout its full length. ‘The exteriors of these buildings are of great dignity and simplicity. San Lorenzo in Segovia, pages 87, 89 and 91, is suggestive of the French Romanesque except in the campanile, or tower, which is almost Italian. The low pitched roof probably contributes to this, and it is unquestionably the natural type of covering for a warm country. In general the roofing material of these churches is tile. Tiles of similar appearance are now obtainable in this country. The sculpture of the earlier period is strongly reminiscent of Byzantine work. Notice how the simple outline and rather flat treatment of the capitals of the Parochial Church of Santa Maria de Naranco, Oviedo, page 21, San Miguel de Linio, Oviedo, pages 55 to 61, San Salvador de Valdedios, Villaviciosa, Ovi- edo, pages 115 and 117, the Hermitage of Santa Cristina, Pola de Lena, Oviedo, pages 139 and 141, San Pedro, Zamora, pages 143 and 145, San Adrian de Tunon, Villanueva, Oviedo, page 165, Priesca y de Fuentes, Villaviciosa, Oviedo, page 167, the Basilica de Santa Eulalia, Merida, page 179, the remains of the old Monasterio Visigodo, Province of Zamora, page 181 and of the Basilicas Catoli- cas of the Province of Cordoba, page 197, contrast markedly with the deeply in- cut sculptural qualities of the later Romanesque or transition work to be seen at the old Cathedral of Salamanca, pages 43, 45, 47 and 49, or such capitals as those of Santa Maria de Villamayor, Infiesto, Oviedo, pages 75, 77 and 79, the ruins of Santa Maria del Temple in the province of Valladolid, page 81, San Martin, Segovia, page 85, San Lorenzo, Segovia, page 91, San Millan, Segovia, pages 95 and 97, San Juan de Priorio, Oviedo, pages 103 and 105 (note the bases on page 107), the tower of San Esteban, Segovia, pages 153 and 155, and the Pan- teon de San Isidoro, Leon, pages 157, 159 and 161. The study of this contrast can be further prosecuted by a comparison of the running bands, plane ornaments and decorated panels. A first group of these can be found in the examples derived from the Church of San Juan, Banos, page 33, San Miguel de Linio, page 57, San Mi- guel de Escalada, Leon, pages 129 and 135, including the charming inscription stones with border of the same church, pages 131 and 133, the beautiful Sep- ulchre in the Cloister of the Colegiata de Covadonga, Cangas de Onis, Oviedo, page 137, Ermita de Santa Cristina Pola de Lena, Oviedo, page 139, the fragments dating back to a period earlier than the Mohammedan invasion from Granada, Castulo, Atarfe and Tocon shown on page 1609, the Baptismal Font from Sevilla, page 173, the lightly incised decoration and inscription from the same district, page 175, the sculptured ornaments of the Cloister of the Colegiata de Covadonga, Oviedo, page 185, and the motives from the Basilicas Catolicas, probably early examples, preserved in the Cathedral, Cordoba, page 195. In the later Romanesque or transition, the sculpture has more relief, free- dom and boldness of outline, the porches greater depth with successive arches. A composite impression of the characteristics of this detail can be formed by a review of a second group including the portal of the Church of San Juan de Amandi, Villaviciosa, Oviedo, page 27, the old Cathedral of Salamanca, pages THE ROMANESQUE AND ALLIED STYLES 37 to 49, of which not the least interesting are the sculptured figures and their supporting corbels on page 41, the porch of the Church of Ujo, Mieres, Oviedo, pages 63 and 67, the Portal of Santa Maria de Villamayor, Oviedo, page 73, the vigorous archivolts of the same church, page 75, Santa Maria del Temple, of Valladolid, page 81, the apse and chapels of San Lorenzo, Segovia, page 80, the lovely porch and sculptured figures (notice the slightly radiating lines of the lat- ter) of the Parochial Church of San Millan, Segovia, page 95, supplemented by the cornice moulds and corbels of the same church shown on the succeeding page, the deeply recessed porch of San Juan de Priorio, Oviedo, pages 101, 105, and 107, the last of these giving an interesting detail of the tangency of the col- umn shafts and of the arrangement and profiles of the bases, the Portal of Villa- viciosa, Oviedo, page 111, the vigorous cross and its niche and the interesting column shaft decorations and bases of the same church, page 113, especially the wonderfully decorative detail of the Panteon de San Isidoro, Leon, page 157, the portal of Santa Clara, Oviedo, page 177, the Abadia de San Quirce, Burgos, page 191, and of the Cathedral of Valencia, page 100. The foregoing is a suggestion of the possible usefulness of this book in de- veloping, by merely a rapid turning of the pages, an appreciative feeling for the elemental characteristic of the two main divisions of this period and the evolu- tion of this section of Spanish art. Although the distinctly ecclesiastical motives of the style may be peculiarly applicable in modern architecture to churches of a more spiritual nature, the wonderfully successful application of its decorative elements and qualities and of the strength that is one of its dominant characteristics by such men as Richardson and Louis Ayres to modern problems that are entirely secular, suggests how the book may be used in a far wider practical application. A bank building that needs the suggestion of massive strength, a library that recalls the lore and history of earlier times, such buildings as fraternity houses, lodges and temples with a suggestion of the mystic have in them some- thing that is at one with the impression induced by Romanesque. By signaliz- ing these groups of buildings, I do not wish to imply that other types of structures may not be harmoniously expressed through the adaptation of Romanesque orna- ment. In any event, the lesson taught by the Romanesque designers of the effec- tiveness of contrasting elaborately ornamented spaces and lines with very simple backgrounds is one that cannot be too repeatedly impressed upon the minds of all draftsmen. A particularly useful quality of the Monumentos Arquitectonicos de Es- pana is the inclusion of a number of details of iron work, doors, etc., that are more or less lacking in similar works recording other styles. Indeed, there is a distressing dearth of information about Romanesque iron work, the natural result of the long period of time that has elapsed since the iron was forged and also because of its attractiveness to invaders as a means of procuring additional ma- terial for weapons. Grilles, hinges and door pulls, probably the original ones, evidently part of or in excellent harmony with the style are to be found in the apse of the old Cathedral of Salamanca, page 45, Santa Maria de Villamayor, page 73, a detail of the Parochial Church of San Millan of Segovia, page 93, on the main entrance doors of the same church, page 95. There are charming early Latin-Byzantine forged grilles in San Salvador de Valdedois, Villaviciosa, page 117, and some unusual hinge plates on the Puerta Llamada de Lerida of the Cathedral of Valencia, page 199. THE ROMANESQUE AND ALLIED STYLES Furthermore, the manner in which the doors of some of the churches were constructed is of interest and there are a few examples showing this quite clearly, notably in the Parochial Church of Ujo, Oviedo, page 63, Santa Maria de Villa- mayor, the same province, page 73, the Parochial Church of San Millan, Segovia, page 95, of San Juan de Priorio, Oviedo, page 101, and the Portal of the Valen- cia Cathedral, page 199. The arrangement of studs or nail heads in the last men- tioned door, especially the peculiarly interesting bands of iron work already noted that cross it as hinge plates are unusual and contain suggestions that might be use- ful in modern application. The iron decorations binding the heavy planks of the door together continue the line of the stone but are different from it in character. They terminate on either side of the axis of the door in open work flowering finials of unlike design, so similar in general appearance, however, that this fact passes unnoticed but gives added interest when a minute examination is made. The windows of the old Cathedral of Salamanca, pages 47 and 49, contain some leaded glass that is interesting because it is indicative rather than unusual. The window of San Miguel de Linio, page 53, is filled with tracery that is novel and suggestive. A somewhat similar tracery is to be seen in San Salvador de Valdedios, page 117, and a design that might be appropriate to such use is found in San Pedro, Zamora, page 145. The book contains quite a number of inscriptions, usually in a rather sim- .ple form of block letter, rather tall in proportion. Where the lines in the panels of San Miguel de Escalada, pages 131 and 133, do not fill out adequately, a little figured leaf or cross, incised in manner somewhat like that of a letter, has been added to satisfy the eye. It seems hardly possible that the arrangement of the letters in the titular panel of San Pedro y San Pablo, page 147, waseun- intentional. ‘The three small letters at the left of “Paulus” are distinctly smaller and the “VS” of Petrus, receding from the center of the composition on the right, is markedly reduced in height and balances the small letters at the right of the center. As a result, the gray of the whole composition unites with the circular motive on the axis. It diminishes in a distinctly decorative manner on either side, so that the border frames a form of free silhouette, without harshness, that carries the eye back to the cross in the center. Such work as this immediately raises the question why we should be so inexorably tied down to measurements and dimensions in our modern work. As a mat- ter of fact the old Greeks, the exponents and high priests of classicism, were astonishingly free when it came to the matter of inscriptions or even of sculptured ornament. If a line deviated too far to the right, another line was made to deviate in the opposite direction to restore an agreeable rela- tion. Although a rule may have been prescribed, that rule was always made subservient to the decorative effect. There are three more beautiful inscriptions to which I wish to call atten- tion before leaving the fascinating review of these plates. On page 173, is a sepul- chral stone with a cross and two incised doves. The letters again are higher than wide, the space between the lines about half as great as that of the letters. At the bottom where the lines do not fill out to the exact square, the lowest line has been set off from the harsh marginal delineation. The balancing of the let- ters in the shaft shown in the center of page 175, makes the inscription a real ornament that harmonizes with the vertical lines of diaper pattern on either side. ‘The same success in balancing a group of letters is to be found in the cir- cular motive in the center of page 179. Notice that the letters themselves are THE ROMANESQUE AND ALLIED STYLES slightly inclined in order better to fit the frame. Finally, the series of hori- zontal lines in the inscription at the left of page 181, is remarkably decorative, the contrasting of large and small letters brought back to rhythm by the succes- sive rectangles that enclose them. This last inscription is a very early one. The letters, instead of being block letters, or with only reminiscent end enlargements, distinctly branch out in a recall of Roman design. Where it suited the artists, two lines have been placed in the height of a single preceding or following major group and yet the whimsicality of these details is made both decorative and dig- nified by the balancing of the grays and voids. The original work of the Monumentos Arquitectonicos de Espana con- tains a lengthy treatise as preface to the plates on each province. These treatises are learned in the extreme and full of interesting historical data. Each dis- sertation is printed in both Spanish and French. However, the information they contain has little of architectural value and the historian would be more likely to refer to the original than to gather the gist from such a curtailed resu- me as might be possible here. It has, therefore, seemed wiser to omit any review of the text and to let the work make its appeal through the illustrations and the beauty of the original monuments, with only the general suggestions as to the time at which they were constructed and the conditions controlling their crea- tion that I have gathered from other sources. JOHN VREDENBURGH VAN PELT. The Library of Architectural Documents RAWINGS and photographs of the architecture of the past are indispen- LD sable in the practice and in the study of architecture. However, the books of plates containing such drawings are so costly that many architects are obliged to work under the handicap of an inadequate library and most draftsmen and students must depend entirely upon the books in the office or school, when they might derive much inspiration and development from studying such books at their leisure. Knowing this condition and having found that the plate pages from old works of architecture published in PENCIL POINTS are appreciated by a large number of readers, the publishers of PENCIL POINTS have begun the publication of a series of reprints of old books of architectural plates under the general title of “The Library of Architectural Documents,” with the purpose of making this material available for every one at as moderate a price as is consistent with a satis- factory presentation of the matter, not costly publications of limited appeal but a practical working library. This, the fourth volume in the “Library of Architectural Documents,” con- tains one hundred plates of excerpts from “Monumentos Arquitectonicos de Espana” and is devoted to masterpieces of the Romanesque and allied styles in Spain, together with text by John V. Van Pelt. Among the succeeding volumes will be one on French Romanesque, and one on the Renaissance, Gothic and Moorish styles in Spain. These will be fol- lowed by volumes, rounding out the series into a reference library embracing a wide range of the best material, presented in such a way as to meet the require- ments of the architectural profession. Other Volumes in This Series Vol. 1, Architecture Toscane, by Grandjean de Montigny and A Famine Reprint. Vol. 2, D’Espouy, One Hundred Plates from “Fragments d’ Architecture Antique’’. Vol. 3, Masterpieces of French Gothic Architecture, One Hundred Plates from “Cathedrales de France’’ and “Monuments Historiques”. INDEX ABBEY OF SAN QUIRCE, PORTAL OF THE; PROVINCE OF BURGOS... 191 PARTISMAL. FONT ANDISEPULCHRAL INSCRIPTIONS; PROVINCES OF MON NEA GURY IA ROMER MCE A A METAS ASTETCA Or STASEUEALIA+REMATNS OF THE DUCAL (?) COURTYARD A A A A eR MATO CAPITALS IN THE CATHEDRAL, CÓRDOBA; PROVINCE OF CÓRDOBA £95, 195 etO75 2015203 Suk GH OF SAN [UAN, OF AMANDI; PROVINCE OF OVIEDO......4... Li Sg eg A Whe SHU RGH OF SAN JUAN; BAÑOS; PROVINCE OF PALENGIA...........5. ZOE, Meee oN SLORENZO; PROVINCE OF SEGOVIA... ii 87, 89, 91 CHURCH OF sAN -MIGUEE OF ESCALADA, DETAILS; PROVINCE OF A SR ghee IZ ot AI Soa Oa ae Moe SIENA O A A ea PAI Talos use SSA AN MIGUEL OF LINIO; OVIEDO ow ios. tS. e Oe al CHURCH OF SAN PEDRO AND SAN PABLO; PROVINCE OF BARCELONA. 147, 149, 151 CHURCH OF SAN SALVADOR OF VALDEDIOS; PROVINCE OF OVIEDO | 115, 117 SauRCH.OF SAN SEGUNDO, PORTAL-* OF THE HERMITAGE; PROV- A CREE VAL A A eN Sealed IR ba ge 205 CHuUmGHLOr SANTA CLARA, PORTAL: OF THE; PROVINCE OF OVIEDO 177 CHURCH (PAROCHIAL) OF SANTA -MARIA’ OF “NARANCO;. OVIEDO; SEO EDO ia a a nears ae eR cena ee Are Y ee pe eh 14, 19721 MHAURCHADE SANTA MARTA OF VALDEDIOS; PROVINCE OFROVIEDO” >.< 7 119,121 CHURCH OF SANTA MARIA OF VILLAMAYOR; PROVINCE OF OVIEDO AS ELA IESO ES EVIELA DETAILS A ited A 183 CHURCH (PAROCHIAL) OF SAN “JUAN: OF. PRIORIO; PROVINCE OF DADO AS A a Ve IMR BNE ayes Uns IES IO ona ad Rene 101, 103, 105, 107 CHURCH (PAROCHIAL) OF SAN MARTIN; PROVINCE OF SEGOVIA. ... 83, 85 COAURCHA(PAROCHTIAL)OF:SAN MILLAN; PROVINCE OF "SEGOVIA. 5 93,95; 91, 99 GHORCHs(PAROCHTAL)-OF SANSPEDRO; PROVENGE-OES AVILA. 00% 207, 209, 211 GHURCH. (PAROCHIAL)OF* SAN “ 40 0 Ay Conhmebos ai ae eee SS Decimitros Detalles de la Iglesia de San Juan (Baños). Provincia de Palencia. Estilo Latino-Bizantino. io p 1OtI9]UL Tap [ande o "OMUPINO Mf 0N4SFT "DINDUMDIDS va y [VAPIPDO a — FF 3 A SAR may — +r my F € £ ’ Wi 'OLIOQUIL) Á soprsqy T pyueyg = I VNVdSH Ad SODINOLOALINOYV SOLNAWOANOW OSNEIO [Pp ryiond e] op pudes, JOLID)UL [IP 101950 Y 35 e h y y . + . » ; % e , 4 Ls A Pa hi >; A . o t i yi on } . i , < y 2 o > 8 booed E H E 1 to dy 2 rt Y” - y "E , , y. Ed tis ae e 4 ie > e iy r a J > É; ‘ d 4 (3 i ae ee > . 3 4 PA j , & a dd. ‘ Á x Y ‘ 7 MONUMENTOS ARQUITECTONICOS DE ESPANA ERA FER OTAN A í VITA pee NAVA Fa en a wae aS Estilo Románico. Detalles de la Catedral Vieja, Salamanca. al 2 00 po sf ' E ESPANA + MENTOS ARQUITECTONICOS D Zi O = 39 Ye Mares se VNCO. -Rome 1antino lo Bi sti l de la Catedral Vieja, Salamanca. E ma d ngitu Seccion Lo . a. o » . id * > y 4 .. y a 3 1 + E E ~# * 3 A St cand “so + ‘ L 6 y . > a po eN a’ = i $ KE , 3 pl > v > + 5 » pus = > ay = de be * ' e pa 7 oe : ‘ , ” E rer bef ; ey + 7 i Y e 7 , ho a Pe E att A 4 5 i ~ ee) és" = < z 2 + . Ñ ij E le ) ‘ e ¢ A 4 ss "y , % j | + > | ale 3 e. ' 5 y Y E ‘ : ” Le * ñ A > 7 4 NE 4 4 y L 4 an © ase oe , ; Mn 7 A A » . 4 Ss = «ns a of 0 f y en “e a“ F q i y + y uy {if yy 4 a Mi i he 70 Je pe me HR A | ~’ i ‘ m . pi o Xx 4 A ages 4 a e _ ¢ + » 3 , i 4 bo wv Z ” é a pos 7 E e xl * se F A . ' po % . oy , 4 qa n . o d ‘ ) la y 4 ps # - a , ~~ 1 A . Y sl 4 $ * . e" fon « 3 , ‘ F 4 “ a a - ae, ee 4 zs FS > 4 1 F \ i : e ; $e y $e ; a A O 7 » ¢ y 7 ‘ ad 4 , " ] ) . ú 4 ‘ 4 - > p 4 ¿ »~ id - * p < 5 ¥ nat , A $ ] ya b 4 : f * 7 - - + Ss > A af oye ie O a eh} a 4 A 5 E y ' $ “+ H EN A VALES AMA SO A $ E a sí * ane | E ne Ac cokes . É PLA aaa "> + y Pa . , ' * ‘ $ 1 ' ” y « e *'OMUDUOS OSA “DIUDULOIOS ap DIIMIROLJ ‘vIUDUL_IDS “DÍA Y JDApIJDD D] ap Sayjojaq '0199NI9 [OP SPISIIP SP] UW semeIsT VNVdSH AG SODINOLDALINO AY SOLNANANON “e "OMUPULOS] O[ST “DIUDULDIDSG ap DIIMIZIAJ (VIUDULDIDY) “VÍ Y JPAPIDO D] IP SINDIIT JOLI}UI 9ABU eT ap SaJardez) y AH VNVdSH Ad SODINOLOALINOYUV SOLNANANON 43 Y 1 X ee x e * so “st ' § q ~~ A 1 eS f » “A + jie E 4 , ee a sf E 2 ; | >? ' E h lA y - ONICOS DE ESPANA MONUMENTOS ARQUITECT ra ui n LA fa aña oa : Ae Up A ri a watt ae e Escala dela 05. p.m: Ventana del Abside. (Salamanca.) to de la Catedral Vieja. Cimborr side y Detalles del Ab ÍMICO. Romi antino- ~ nu 1 Estilo B Provincia de Salamanca. 45 AA UNES AE ATAN SS A MONUMENTOS ARQUITECTONICOS DE ESPANA ant Ventana del 1” cuerpo. Detalles del Abside y Cimborrio de la Catedral Vieja. (Salamanca.) Provincia de Salamanca. Estilo Bizantino-Romdanico. 47 MONUMENTOS ARQUITECTONICOS DE ESPANA Ventana del 2° cuerpo Detalles del Abside y Cimborio de la Catedral Vieja. Provincia de Salamanca. Estilo Bizantimo-Románico. 49 MONUMENTOS ARQUITECTONICOS DE ESPANA ‘iy ou isi Ke wea mt} Lee eee aM eel ne úl i My ; p GN eo NDS ace al UA OLD A a ip Seely . pa oe Hi ANS NES ; : ales Te) , Aro ae Sail ie e Ml a at pias A Dee | eae 4 yl is dt aay Dee i (ie | a YY pa oe ar Ray E st oa} / Di E ; Ear a e yl > : ; Z ae y ts assy e SI Me ! ani a A a mil = ii hg > cl iil opr $ INT SA a E COR es ; . Se NY A he LID 7 4 et in Ms H ing Y Yj; a BE Mi E E iW ne e CEE GN Es Aa pardo Wt IN) ih ice Ky Vr ACE fin a nie i If aN == = SS e == ==23 ra Ta ae iy 1 i nit a fie AM (ae a 2 vu AU E 3 ‘in Sa ality oud Ea lm afronte. aS i Seat OM ARE als PRs ies Rg i 4 —_ Í Metros. 10 & o 10 Poy Imafronte, de la Iglesia de San Miguel de Linio (Vulgo Lino). 51 TU JS DE ESPANA ( MONUMENTOS ARQUITECTÓNIC [NTE Te aT tty ye EOS vif SO B Tas ñ tos a See ats Kao it ae 4 = SH! , Y Y Les Ayimez del fastial de la Epistola. nedo). Estilo 7 Miguel de Linio (Concejo de O Detalles de la Iglesia de Sn. Latino antino. o ~ -Bi 53 ‘OUNUDELG-OUNVT OPUS “opa ap olamuoyj ‘(oury objny) osury ap janhiyy ung ap visajby ‘SOQTIYSS SOT 9P UO0TIT L099 (7 Ta Ne ar SORIA pS Sah Nam pa Th | A A i do: so Bre NID Binet GELO ------=----------~---- VNVdSH HA SODINOLOALINOAV SOLNANONOW y ae dl e s ONICOS DE ESPANA MONUMENTOS ARQUITECT Pik =o E A Sear See ae ae Hp nee ede Beane dll antino. mM “ Estilo Latino-Bi Concejo de Oviedo. Iglesia de San Miguel de Linio (Vulgo Lino). MONUMENTOS ARQUITECTONICOS DE ESPANA = Ñ ie ON Mi E : } 10 Mi a) Interior Vista Interior de la Iglesia de Sn. Miguel de Linio (Concejo de Oviedo). Estilo Latino-Bizantino. 59 Fl E MONUMENTOS ARQUITECTONICOS DE ESPANA Uf SENS er CANDO 0 $ a 7 2 a 4 oi Metros A vg 12) 10 ee eee eee í Pies Iglesia de San Miguel de Limo (Vulgo Lino). Concejo de Oviedo. Estilo Latino- Bizantino. 61 MONUMENTOS ARQUITECTONICOS DE ESPANA te a Li ) i Y ANA lalo alo i i i al Beat } l pa al i NOS S SS S SS SS AS GQ QagA]}HA||HWG SQA MOE! Mv S S S WS SS SOS Ws z A > e Iglesia Parroquial de Ujo (Concejo de Mieres). Provincia de Oviedo. Estilo Romámco. 63 MONUMENTOS ARQUITECTONICOS DE ESPANA SS o GE GE IN Wy W | i ll ! Seccion transversal Iglesia Parroquial de Ujo (Concejo de Mieres). Provincia de Oviedo. Estilo Románico. 65 ae MAN ee ANS —S oe "Ls = V y ' i . s . ' MONUMENTOS ARQUITECTONICOS DE ESPANA Ercala de 2,05 p.m Detalles del arco de triunfo NT ih y il Escala: de 03 p.mu mM 0 UW ones - -+++-a70-—---= “Detalles de la portada. on A RI one Seccion por el centro del arco de la portada. Iglesia Parroquial de Ujo (Concejo de Mieres). Provincia de Oviedo. Estilo Románico. 67 ilies ae oon Y . ' ‘ t > ' . £ ' + po ' Ed . 1 y « . - . % » + 3 Pp ’ - MONUMENTOS ARQUITECTONICOS DE ESPANA * GITO - Bc ES ES A Pe yaaa el dee o | side apit C Metopas de la portada Metopas de la portada 1a de Province Tveres ) jo (Concejo de I Estilo Románico J ot Detalles de la Iglesia Parroquial de L Oviedo. 69 MONUMENTOS ARQUITECTONICOS DE ESPANA fs 2, ye de at ai LENO ean a ami A ' AUNADO p art lo IM IO A it a ie (Magy Mh i na SS oe EA Ri ne { at aE Ha | i eat ifhite Mano i Nr Fs di mayo CAS rad ne oy Can i ae sio MEAR ll ES |e o) AA rele NS Cd, NA AS aN "id eee! 2 yes AD Game ele h q: ríe a \ OM Al Mel : Vista Interior del Abside. Iglesia de Santa Maria de Villamayor. Provincia de Oviedo. Estilo Románico. it ~ 2 MONUMENTOS ARQUITECTÓNICOS DE ESPANA a portada / 1) Uf Uh es Lf Ih i 73 ee oa SE te RS Se me IS RS + Sta i] Seccion de o Planta de la Ielesia £ Pies y Portada Estilo Oviedo. la de OVINCIA o del Infiesto), Pr 4 yor, (Conce illamay a de V: 1 Iglesia de Santa Mar UHICO. Romi OPUS Op c Mi 2 a O 'OMNUPULO M op vidmaoag “(opsoJu] jap 0l299407)) 40ko0wD]p APT Go - Y oor 10 >ptsqe [Pp LOW Ul [Sp SIJP ]UITUBUILO SOOTY O 9]]PI9(] VNVdS4 HUA SODINOLDOALIMO AV SOLNANONOW Ma my mE $ ae Nee ar Y NE ie "OMUDULOS] O]USH ‘OpIl2gd Ip viaMIro1g ‘(ojsaifuy jap ol990)) 1OXDUD]N L A ap DIAD JT DIJUDY IP DIS C OT dv re Ip Ss 9110197 VNVdSH HUA SODINOLOALINOUV SOLNANONOW 77 Ne ~ "OPI 20 op vinmaorg “(ojsoafu] jap ol9940 )) AOÑOMB]Y Y op DAD DIUVS 'OMUDMUO YOST] Ip SINDIIT ‘a if Ui he == sl VNVdSH Ad SODINOLOALINOAV SOLNANWOANOW 79 MONUMENTOS ARQUITECTONICOS DE ESPANA CRISTIANO, STILO ROMANICO : ESTILO ROMANICO CONSTRUCCIONES RELIC Ruinas de Santa Maria del Temple (Céinos-Distrito de Villalon). Provincia de Valladolid. Estilo Románico. 81 > MONUMENTOS ARQUITECTONICOS DE ESPANA Iglesia Parroquial de San Martin (Segovia). Provincia de Segovia. Estilo Románico. 83 =< MONUMENTOS ARQUITECTONICOS DE ESPANA el! i 4 Ny tl OIA RT ate ! iS cu Arco de la Portada, Cornisa y Capiteles del Portico de la Iglesia Parroquial de S. Martin (Segovia). Estilo Románico. ~ 4 MONUMENTOS ARQUITECTONICOS DE ESPANA [AS de dubadeded did reter RR APBPS' £66 pM y RA IPRAARIADP' dela fey tat pare DIRA Ye MURAD DRY Fos £44 paper ie Sa DOUSRDRORE, ld o) ) o dasa wry 0) Hic pp EA. m AAA APPPA lid 8) PENRO TSE asa dd dde dd) An ao PPREPPDDBPD’ 24d PPP e TATED aL: ay 42s pews ¡ES Hace y pitt ¿LAA IAS AD 5 A DWPEBBBRS y GI MRLIOROE + ADRRPAD oo pict ea ba A] 2102.00) $ IAE PRADA 1 = < ADD! ALADO) AAA DAA. Goa LUCA DA a) Ahead mona rt GLEE EDD 1 o ED SS mild £ (IARIPEADOD E. MARINA y sra da Etta) pa e Ud: z E sega e SP seus 87 lo Románico. sti de Segovia. E “OVINCIA Py 20, Fachada Lateral de la Iglesia de San Loren MONUMENTOS ARQUITECTONICOS DE ESPANA EE MONA i 1 AL Led lo db L Anwelet.lo grab. Absides de la Iglesia de San Lorenzo (Seg ovia). Provincia de Segovia. Estilo Románico. 89 e. 4 MONUMENTOS ARQUITECTONICOS DE ESPANA 91 Í Pomanico, stilo 1 li Provincia de Segovia. o (Segovia). e pa Detalles de la Iglesia de San Loren MONUMENTOS ARQUITECTONICOS DE ESPANA Cavitel de la Porta Seccion trasversal 22 End py Hi Coutimerres Imafronte E AA 20g he re AE, » 3 2 a » 3 Pa Iglesia Parroquial de San Millan (Segovia). Estilo Románico. 93 MONUMENTOS ARQUITECTONICOS DE ESPANA i ña a ado de la epistola. ry Seccion de la portada | / I Metros nef se i 2 3 LR Capitel del ábside de la capilla | \ / — ieee Detalle dei portada ad Capitel del abside mayor Parroquial de Sn. Millan (Segovia). Provincia de Segovia. Estilo Iglesia Románico. 95 M “OITUDULO Mf O]USA JOAQUI SAPU Pj 2q =i elon “iia ‘DILODIC IP VDIIULLOAT dNC Tep Bpeyoe] eT 9 estulo OE a = Lp La ree et ano jap oonsod ma0b0IS UPS ap jonbossng MSI] D] ap $909] JOÁBUI DABU Bj a [ep eyusana e sa(¡miw9p sopwaed dnau sod po sp ejeasq “NG [9p ooniod 1241 VNV4S4 Ad SODINOLOALINOAV SOLNINANON exouer eyideo e] =P episqe tra oF e yu “OMNUDIUO NM ONIS ‘(p120b9 UDIN TT “UC IP IDIMDOLID 7 DISIIN | Si DA P 10: d PISIPPT [PAP] vpryoey ‘Teuipnytoaoy VNVdSH Hd WOLI29g SOJINOLOALINOAV SOLNAWOANOW 99 = MONUMENTOS ARQUITECTONICOS DE ESPANA IM i i | a Doselete, en la portada Detalle de la portada. i: eo ] li | hi Hy Capileles de Planta de la archivolta la portada CEA Imafro PU Pila de Detalle agua bendita. ortada NN Pay = [oan imi nan DNATA WANT if Ñ ie A i ii Ht { ul ll iM MUA ll ll : Sea a i || Planta del basamento Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo-Caldas). Provincia de Oviedo. Estilo Romántico. 101 4 ~ MONUMENTOS ARQUITECTONICOS DE ESPANA Capitel, del abside. Capitel del abside Detalle del abside il Hay Detalle del abside PETERS Capiteles del arco triunfal | Seccion trasversal ¡ES F Metros f E 7 k : 4 it | | oh Hull His! te Detalle del ábside. talle del ábside Planta 1 A ea E EE £ E OY) mee t 2 a Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo-Caldas). Provincia de Oviedo. Estilo Románico. 103 swe wy MONUMENTOS ARQUITECTONICOS DE ESPANA ATA IRA IO ARES SS EE CLE OO, WN WT aces 19 | f y i j a | ~ Neen E l q | | Sl == y . o fi md DN Si BY Ñ ) pu A © Sm Capileles de la portada. Detalles de la Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo- Caldas). Provincia de Oviedo. Estilo Románico. 105 ES MONUMENTOS ARQUITECTONICOS DE ESPANA MARY, | UN Y «y ll il AN Ñ | 0) / | AN E l i I fi a | - l | i } UA 0: me aa A ae i ia i iH 4 i ' ] ME ll i fi | an) a hat | ved He: ai ie | aa \ i WL i i ¡ aw nN) 149 i | l AIAN UM Ht ih - rr A AS AAA A AA AAA TT : 2 LAA OD 0 1111111 COULD SATA MIATA CU GOGDIDOCCCO NRO NOU DOI OI CRI DADA MOD UIDDNO CCA L Ando TORA AEREA hy PTA FEE 21100100) = 5 ———— ————S ===> === } | pe el fi a a MTI | Y Yj lid ME e O Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo-Caldas). Estilo Románico. Provincia de Oviedo. po Raney.) + "par -OIUPMOS] OLS TT "(psorM2D]P 4 op olamuoy)) vSomMADd y ap jrinbossvg pisajb] vb) ap SIIC Ñ ajuoafomy ngou sod sro APODOS 1d $ y ¿ El 91 WOU? Ta [0.1918] CpVYoUvs eT op PUTIUIA [2.1918] Bepelyory E] op PUBJUIA VNV4SA Ad SODINOLOALINOYV SOLNINANON 109 ‘OMNUDULOM O]YSIT “OpMA(Q) ap DIIUIAOAT *(VSOMAD IP Ol9IU0)) Vso A ap yomnbossvg Dis] ‘ajuosfomy D] ap vpvjso0g E ypouod fo,08 Pop OST ATTN \ f UA ORD VNVdSH 4d SODINOLOALINOYV SOLNAWONOW 111 a) 'OMUPUOS OS] ‘Opa2g Ip VIIMR0AJ *(DSOIMAD]N A ap olamu0y)) vsoinanjn 4A ap jonbossvg visa AGUILA oronp mrs z TE E 7 E F E EJ z 7 F a 7 a or vars [BUIpMIsuo[ WoOT90a¢ y oy Jp, 113 opis qe [ep [e yuS Ue uo, OLY upeyiod e] op saysng A seseg VNV4SA AG SODINOLOALINONV SOLNAWONOW MONUMENTOS ARQUITECTONICOS DE ESPANA oo +967 =--+-—-f ES les Capitel del portico Capite] del pórtico. Iglesia de San Salvador de Valdedios (Concejo de Villaviciosa). Estilo Latino- Bizantino. Bae 115 MONUMENTOS ARQUITECTONICOS DE ESPANA A iy AA ger i a | Del exterior del pórtico A f att PE Litros Del testero de la iglesia Del extremo del pórtico A junto al testero de la ig e E E ae pa £ sE Ba. isl ( ijt Seccion Transversal y Ventanas de la Iglesia de San Salvador de Valdedios (Concejo de Villaviciosa). Provincia de Oviedo. Estilo Latino-Bizantino. 117 | | | 'OMUPULOS] ONIS 5] ‘OpI2gd ap DIIMROAFJ “(VSOIMAD]A p ap OLIIMO )) SO1PIP]D A IP DAD] JUS ap DISI5] [e.)U99 WU LY op sapoyrdey a [euro atu ey ep sejaidey VNVWdSd HA SODINOLOALINOAV SOLNANONOW 119 = e AS MONUMENTOS ARQUITECTONICOS DE ESPANA A | vl (ill 4 = (q pam] = E © a =, ~~) A 3 Ss a > a QM not eee > As O a, O wens O < ES (==) Go O ae (e) ‘Planta de la ventana Detalles de Santa Maria de Valdedios, Concejo de Villaviciosa. 121 DA ‘OPI20 IP DIIMIROAL “(OpMA()) KJUDS DADUDI) DP] IP SINDIICT E HS EAN OS O += VNVdSH AC SODINOLOALINOUV SOLNANNNOW RW ooo ooo 67 '0 === =====-=--i 123 - mb | y ! 2s ll ii NO === ==-=0)/20 ——- nw - --- -- - -9 JS ovincia de Oviedo. COs ES e 7 a Santa en la Catedral (O: amar £ 123 MONUMENTOS ARQUITECTÓNICOS DE ESPANA Wy YY Y YY, Vif, bao: Detalles de Ee MONUMENTOS ARQUITECTONICOS DE ESPANA Pak Hil (Se ony > dl ade (MR ¿QUA ee Y asl nite UNA ga iil E SZ ual Ui aN eae it EE DA YES FN Nn i) Hu DA ay pe il ¡UY 7 Peas A PES UNI Torre Vieja de la Catedral Adherida á la Cámara Santa (Oviedo). Estilo Románico. 127 NENE ges l it Hal ra 11 hi fi y JA il a Provincia de Oviedo. ll | ÁNICOS DE ESPANA MONUMENTOS ARQUITECTÓN 129 Detalles de la Iglesia de San Miguel de Escalada (Ayuntamiento de Gradefes) Provincia de Leon. gantino. Estilo Latino-B1 ~ “ MONUMENTOS ARQUITECTONICOS DE ESPANA AG Ce XX o ) ‘alli CALIDA 131 Detalles de la Iglesia de San Miguel de Escalada (Ayuntamiento de Gradefes) Provincia de Leon. antino. Estilo Latino-Bi o Cd ot. Sn ae e - MONUMENTOS ARQUITECTONICOS DE ESPANA ql os AE, y Liens ie tite Y) { Cera] 192911 CARETO a E LE | Il | Y Rec] ata TES TIACOBJAPSEFRT es te 7 7 vuntamiento de Gradefes). Bizantino Detalles de la Iglesia de San Miguel de Escalada (A Estilo Latino Provincia de Leon. 133 . | ‘OULJUDZIG-OULJDT OS 109] op MAMIA0A Y “(SIJIPDAL) op ojuoimpjunk Y) DPD]DISH ap janbipy UDS ap VISIO] D] ap SIDIIT y di VNV4SA Ad SODINOLOALINIONV SOLNAWONOW 135 wif, y pa py MONUMENTOS ARQUITECTONICOS DE ESPANA Sepulcro de la izquierda is i o1 PM Sepulcro Existentes en la Claustro de la Colegiata de Covadonga (Concejo de Cangas de Onis). Provincia de Oviedo. Estilo Latino-Bizantino. 137 j------------09192 -----------4 MONUMENTOS ARQUITECTONICOS DE ESPANA a mn cae A E EN EE O oe aes O a ee a To ee atk N N AAN $: Le MUM it oo) YY \ XS LLAMAS MAA ip EN (pa AT, NIT RA AA ees B €, : A : $ : > z > . — . o Si asim i TRC ee sR aut it si IK hi it TL “TAN A ee WATT at bt Nae wan UH 1M Beta! Mi eT RR mst} Cs Detalles de la Ermita de Santa Cristina, Concejo de la Pola de Lena. Provincia de Oviedo. Latino-Bizantino. 139 MONUMENTOS ARQUITECTONICOS DE ESPANA Seccion longitudinal | hid by id daghiaillest Y PM ARA yy Capiteles del cerramiento a Alo =n = = ESS > Antepecho del presbiterio a, 2w/ NARRA Ts OPERA VE = = <= S aly Medallones de la nave DRA ANA Os Ermita de Santa Cristina (Concejo de la Pola de Lena). Provincia de Oviedo. Estilo Latino-Bizantino. 141 a —_—— ¿e - MONUMENTOS ARQUITECTÓNICOS DE ESPANA Capitel del Arco de triunfo. Capitel de la interseccion. Pila baptismal Basa de la interseccion. Columna de las fenestras. 143 Cimaceo del Arco de triunfo Escala de $] 6 sea de 0714 por metro. Centimetros Estilo Latino-Bizantino. Detalles de la Iglesia Parroquial de San Pedro (Nave). Provincia de Zamora. | ‘OULJUDELG-OUNYT OfSs] "VAQUIDZ Op DIIMIBOA Y *(02DN) OAPIG UPS ap joinbodsvg DISI] D] ap SIYDII] “UO0t999SIMUL Y] ep joideg UuO1999S191U1 e] op poudey 145 | | ; | ll): , ab EN OLIBNURS [ap RNS] Y] op 19qUET VNVdS4 ACG SODINOLDALINÓNVY SOLNINANON ye MONUMENTOS ARQUITECTÓNICOS DE ESPAÑA FL | ll Detalles =- rd S PS S AROS NS ES Yi Iglesia de San Pedro y San Pablo (Barcelona). Provincia de Barcelona. Estilos Latino-Bizantino y Románico. 147 MONUMENTOS ARQUITECTONICOS DE ESPANA = MAA bar Mah i ás i a My IN a oe iin p ie ; i ue MT a Ms ci | 2 ME em da vu aut ra | I il ¿1 rm | Mi l mA AnD 1} I | re if) ABN RTT I Fl ua 11:81) ait WA a" Fachada. Seccion A AIM CER Fs EAS. 2 xave Iglesia le San Pedro y San Pablo (Barcelona). Provincia de Barcelona. Estilos Latino-Bizantino y Románico. 149 'OIMMUPULOS] Ñ OULJUDSIG-OULYT SOS "DUOJIIADE Ip VIIMIROAJ “(VDUOJIIADE) O]QDG UDG $ OAPI UDS ap 0AJSNO]) Ñ VISIO] 7 $ z re o i eres SOZU9 so taBd omapt tod goo ap e]uos OSNKT]?) [Sp $ oZu3t = VNVdSd Ad SODINOLOALINOÓNV SOLNAWANOW 151 q MONUMENTOS ARQUITECTONICOS DE ESPANA Mi | lado. ll lion Bie : IT Aili ili: al IA amon) | il Detalles de la Torre de San Esteban (Segovia). Provincia de Segovia. Estilo Románico. 153 MONUMENTOS ARQUITECTONICOS DE ESPANA ‘alt H (FTC SS a 4 E Z A GA EE SSS — Ñ Ie Detalles de la Torre de San Esteban (Segovia). Provincia de Segovia. Estilo Románico. 155 “ODMMDIULO MY OLLSTT “WOIT IP DIDMIA0AS *(W0IT) OLOPIS] UDS IP Wood JAP UOIIIIS as TA] q Y eout] e] tod uoto) iil POUT AA | Intl ll = SITE E eg | | ry =¢ p AO um A mE 15D p 4 i Gu A} TOCCATA Ni Ñ A 1 Ss < | Ñ \ Z S SS > | e : S ®& S E \ a VNVdSH HA SODINOLOALINONVY SOLNAWONOW 157 4 E ESPANA 2 MONUMENTOS ARQUITECTONICOS D 159 l del crucero SS el Capite Capitel del crucero IniCO., £ Estilo Romi de Leon. vincia Pro Detalles de San Isidoro (Leon). "E MONUMENTOS ARQUITECTONICOS DE ESPANA EAT TS Wiis iM il i MI AAA DM i iN ! ES AA O TE Detalles del Panteon de San Isidoro (Leon). Provincia de Leon. Estilo Románico. 161 UTTECTONICOS»DE: ESPANA - O MONUMENTOS AR( 3 ih ee = Ac - Sys AS AN gi ee duetos 163 Vista mico. s lo Romi sti E Provin ta de Zamora. (Toro). egiata Vista Exterior de la Col © oes Ne * els AL qe e Yo LA RE MONUMENTOS ARQUITECTONICOS DE ESPANA Detalles de la cubierta Seccion t Escala de 4, Decimetros $$ ee eae E aes A Sa ae de L Metrns Capiteles en el arco del Santuario ila baptismal Seccion loweihde undies’ Planta, Secciones y Detalles de S. Adrian de Tunon (Concejo de Villanueva). Provincia de Oviedo. Estilo Latino-Bizantino. 165 n29 os A MONUMENTOS ARQUITECTONICOS DE ESPANA calado de las fene3tras arcade dno. Textero de q 4 By 6 A rf 3 2 a a oral ders 015 por metro PUR Agimez de la sacrisua. Capitel del arco wrunfal 2 4 Seccion AB de la Iglesia de Priesca ‘ 5 ‘ J : ; E ‘ > 10 $, ora Sa eae a 4 =, i mn escala de 9 920 per metro. AAA Caprtel del santuario a a Pt: = escalado ce por mat Basa y capitel del arco triunfal J i} 2 eee) ovale deo.19 par metre BO Be WM ion Seccion ©D de 12 s 4 la Iélesia romamica de Fuentes 3 e 2 Z a £ - sunsiadors 920 par matro ¡ Planta de la Iglesia de Fuentes ~ 2 nis mcalade 9005 per melro Plantas, Textero, Secciones y Detalles de las Iglesias Parroquiales de Priesca y de Fuentes (Concejo de Villaviciosa). Provincia de Oviedo. Estilo Latino-Bizantino y Románico. 167 ~~ Le e ols sy UOISD2UT “UID [ A D] D é “OULJUDSTG-OULJOT pppunay ap mouroig ‘(apy “U090 | “IJADIY “OMISDO DPDUDAL)) vupjomoyn py S940149U 7 S9PAN HI soanjug op N soauojsapnbapy soquoubysg W SO4AQUIA JN Mali | VNV4SA HA SOOINOLOALINOUV SOLNANANON 169 a MONUMENTOS ARQUITECTONICOS DE ESPANA mí Restos del Atrio ducal ? NE | Sa ye >> Restos del Atrio Ducal (?) y Capiteles. Repisa y Lápida de la Basilica de Sta. Eulalia (Mérida). Provincia de Badajoz. Estilo Latino-Bizantino. 171 y £ ¢ £ ‘ * Sn : \ r ‘OUNUDSIG-OUlwT Ose “VANE W pass op smaunorg “(0)q9N “vaypjy vppaas) sapagngay souovdiassuy 9 jousudyg Yt y dl Tapers, 9 VNYdsa qu SODINOLOALINOUV SOLNAWONOW 173 s\ ~~ is E 4 J P]11299 IP SMIUIOAY JE as === 'OUYUDELJ-OUNOT ONIS “DAME W ‘(DIQIUN ‘PIYYIT Dppass) sapo amdos souor9drosu] 9 soOMMOJIIMbA Y SOAQUIL Y pure] VNVdSH AG SODINOLOALINONV SOLNANANON 175 = Pe Races. q" do. - MONUMENTOS ARQUITECTONICOS DE ESPANA UT TAT Tea Ml \ MAN i well ttt UE Mh Bn 1 pita e bt hy y ( i! Ú | ! it Hg! 7 am Mames, ==" ATA Mia Y 1 i ih h ADO e UD o ll A AC INGHAM Oo NR A AGD Suc A a ) AN pu - i ff i iffy. Me My May f a ID E AS ‘ > Ñ Mt ni NK IS SA AAA | e JS , KY Mh mH A IM A Hitt ns NS NN A \ ih el Mi ! en UNA Pern oT M iv AA O UT eal HAN i ca o \ Lb) bepboa pp, ll Uae 0% i l il TNT CORO AA mal) t SA rail AE hil xi \ \) EAT AA Ñ | Palla TN Saul AANA i HH TH EN eT q E AHH ii i aj a a fl HA Y V o usa aK ¡| cant IA | a AN aves ist Metta rf DY Miter LY wit i wit isi ah \ Ua Sa iG yh TEA 3) AI Al MIA) ha Ht NM) Of BLY AW MW A i" il HH hi i} { ‘wi IN Tr (E Ht Fahl =. la i ue E ei pe A a NDA CAN nw Lt Nn iat ICC E] auf i AEN ia Nahe PML MS LCNES DENIA nie) NITRATE AMMEN oN TT hi de a AN AU pgp ¢ i mm il iit HK 0 i) { SEG SN 11 EA AT TESEO CUNA) O TE em HT FT over NOA BOUL ATC SANA ETT A se i i Meet dla cal ; A i a A cy SOT nt mA MN ¡de A] TTY Uh allied ‘hth im i : ne A ii i th Al Uh eee IY AN y Mal Ñ i DRT TTC eM TERT ame TIAL a e beret EA ti) Pe i UU Vie PA itil! ay Hi wy ariel 1 l haat Ne Tt aa 4 4 Escala de,o30 por metro Portada de la Iglesia de Santa Clara (Oviedo). Provincia de Oviedo. Estilo Románico. 177 st 'OMIJUDELE-OUIDT OPUS] ‘solppyg ap pim201g *(npiaapy) vyony “DIS ap voyisvg D] op vpidvT & vsiday “sojapdoo E (¿) ¡PM OY jap sojsoyf my ORD VNVdSH YU ¿la 18S PI SODINOLOALINO AV SOLNAWONOW 179 en) ‘OULJUDZLG-OUNDT OS] ‘DAOUD IP DIIMI04] “(PLOMO LT IP UDMOS] UDS) Opohisi 4 O14IISDUO Ty ONDUJ, JIP SOI Dunas) => = VNWdSd HA SODINOLDALINONV SOLNAWANOW 181 2% ul = ti eee he Ge e q Y ; x A e. y : a J Re y P 4 pl ys 2 a + a »! 4 ” y » J a * 0 | i A 1 ' > Vee . y y y ‘ A $ 4 o e ray ‘ y . * ‘ A » i Ñ a . , > ¥ : ‘ e ' = 7 Es r A , , z aT > a Me y er A eS + 13 E oe BE 8 e . =p rat as Ta t A = y sl ab 1 ] > bee oF A Vga O A ; - Se ’ ” ‘ A Y , ¥ “ o EN ¥ de e y od 7 é 1 . 4 Wed s mt a ls ‘ ap ‘ p 4 4 ¿ » Y Ed E | A ‘ , ! Fi . f j e 1 4 wa OY : ] Ky a os ‘OUNUDSIG-ONUDIUO Y OUST "DINLIS ap SDISIN] Sv] Ip SI] DIT VNWdSd HA SODINOLOALINOAV SOLNAWONOW 183 | | | ‘OUNJUDSLG-OUNDT OPS] “Opa ap MINUIROAG (sumo op sobuvo op ola3u0 7) vbuopv20) ap viajo) D] ap O4jSND]D 19 Wa SIPUIISIAE so19mdoS D] Ip $2]D19(] AS 60'o ANNE epaombzt e] op oxopndos op sa][e19 (1 HUTT ~-ohe'e - eyoorop Bl 2p oto]ndos [2P 311812 (1 VNVdSH AG SODINOLOALINOAV SOLNINANON 185 “OULJUDSIG-OULNDT OUST “0P9]0 | ap DI9UIROAJ *(opajo fy ) Sasoldaqupy SORAJDAOII(] Soquawmbosg Ñ SOIMOJIIMDA Y soaquarpy DUDIIMOYD IY U0IINAA] D] D VNVdSH HA SODINOLOALINOUV SOLNINANON ISZSZSZS: SAINTS ASAS AS ASA 187 ‘OUNJUDZIGJ-OUNDT OPASH “OPIO | ap DIIMROAJ ‘(opajo,) Dunjamoynpy uormdnas] o, y Sasorsajupy soaypsoray sopuomboaqg Ñ soomoj9pmbaj7 soLquiol py Nie ear a ne a a ee — aer ena wy = y d 3 a Es a £ ou od goo vat 0% +19 4 09.6 ge Lo 994419 99:19:09 69:49 OF GH Hh oh ¿By RNY ap mprosq Ge ae WIG YD | A 4 YOY RON | dom raddy | WSL wSAQL | Hs no NI) ISMAIL SINVINIWONNE | VNVdSH HA SODINOLDALINONV SOLNANONOW 189 5 alo [a xo d 199.95 50279 TY 'OIMPMOJS] Ops “SOBANZ ap DIIMIROAJ “9IAMÉ *S IP vippgy D] ap vpvj4og 9 o4 o S ¿8 Sc z . ud juso yg vas o epersod ej op e[eos y e peor oF SALIA DO RA VNV4SA AA SODINOLOALINÓAVY SOLNAWANOW 191 de MONUMENTOS ARQUITECTONICOS DE ESPANA Sn o O IN : 1 qn A y > Hist) AQUA Miembros Arquitectónicos de las Basilicas Católicas y de Otras Construcciones Conservados en la Catedral y Fuera de Elia, Provincia de Córdoba. Estilo Latino- Bizantino. 193 ta ned + E ‘DI 9P VAIN W ]VAPIPDO) D] UI SOPDALISUO) ‘svIyOIWD SDIMISDE SD] ap SonuojIJapnbAP SOLQULA JN "OUMUDSIG-OUNDT OPASF] “DGOPlOD IP DIIU0AJ VNVdSH HA SODINOLOALINONV SOLNIANANON 195 A Lo x . . v * y ° 4 * " Ñ e r A k k aa a + F 4 » i ./ MONUMENTOS ARQUITECTONICOS DE ESPANA Miembros Arquitectónicos de las Basilicas Católicas, Conservados en la Catedral y Fuera de Ella. Provincia de Córdoba. Estilo Latino-Bizantino. 197 'OMUPBUMOY 0984] 'DIYUI]O A IP DIIUIOAT “(VIII |) VAPIPOD VD] UY DPLAIT IP DPDUMID]T vj4amng 3 = > > > =: 2 > Es sees +4 so. 3 $49 ant $ E OO 9.9 +9 > > $ AS + 999 >>> > > 393399 $ 99 $$ 9 PDs > > > > +> ooo +o >> 9 4-9 4 % +99 »r 499 34339099 ES ++ +o > IIA > E E E 4S 3$J99523-_ $ > +> 49 >> Lo ‘at i ES Ss ATA VNVdSH ACG SODINOLOALINOAV SOLNAWOANOW 199 aN É ‘(0gop40)) ‘OUNJUDEIG - OUND T OPUS “DQOPAQ) IP VIIUIAOA ‘wapajny Kop “opmbza y] 0] ua Soppasasuoy “SVINYIWO SvINISD| SD] IP sajando7 GES 2 , ñ ER ea 201 4 a = E Meee OF VNVdSdH Ad SODINOLOALINONV SOLNAWONOW ONICOS DE ESPANA 2 4) e MONUMENTOS ARQUITECT y Catedral S = $ o 3 q-3 "e 8 ere eS eS oss + e S SS SES —~ => = q ‘eS SS 3 9 A! ES QS S16) = » AS O 3 e & rs = hn» SS Los SA e SS] SS o > Y % *S s O Pm a NOH + ta a, S Ss 203 | | MONUMENTOS ARQUITECTONICOS DE ESPANA igo NRA Portada de la ermita de S. Segundo. Escala de 40 sea de 004 p metro A 10 6 a 4 2 Decimetros 1+. 1 1 1 1 i : i Iglesia de San Segundo, Portada de la Ermita (Avila). Provincia de Avila. Estilo Románico. 205 eae “a ‘ODUDILOY ons sy ‘DNQP ap dinmao1g “(vpay) OApag uns ap joinbossvg msob] WON F F E H o Ba ni ATTE ES] ZI Pee Seis SIL LTTE MSY A WAN AE IOMIOJUT Top sopoytde y META | ae SEEN V Be me Sig RG =: Og O VNVdSH HA SODINOLOALINOUV SOLNAWANOW 207 MONUMENTOS ARQUITECTONICOS DE ESPANA Hille Hi ii Hl i ll ee (ule ill li IA] ST vs pl il nn Hill ae HI ail UA o ie li on TAHT RENE “A E POS mins ma y Ve PTS ro VAD $ i ait a TD ‘ ly Al | Md > =F i Hi | it ary iy va fe WA SA ‘tty { mn Hit eT i oH BH ' i i Hit, ¡e mo. ers | ty hh) Por tH | ear Hf MAA IAEA . Puerta del Mediodía i eye ee j Metro. TTD Iglesia Parroquial de San Pedro (Avila). Provincia de Avila. Estilo Románico. 209 A MONUMENTOS ARQUITECTÓNICOS DE ESPAÑA AL AO il Mota IIA AAN 0) ni ly ull pins mn uu po ES a ie a ali ie di i INPUT ees A Ape ms ora IN Me : | > Ni SS | i yo) 1d i | 7. Y ne | uli ljj! ATA iu) st tft Mu if mane > === == Ss == >: | = MA Mi S dl Hit a alti: Mic 5 tit ! a x | A i me Ge en Metro Iglesia Parroquial de San Pedro (Avila). Provincia de 211 Avila. Estilo Románico. Ena E | MONUMENTOS ARQUITECTONICOS DE ESPANA i" ith 0 | a Al 6 il i pl Ml | la i E Lalor Ss UE AQ ee (oy a | Wea WW ENON ‘ ULES fae — i U AS a ail / x, a i ay > e ¢ Es A Say 4 lim i 1, 4 an My SS Y eA) ( = SS UN 7 y $) ad Pe <8). ¡Y \ Pan Firs : Y te As ii its pp il il A | i AA OEA edad 1000 if TT MO DIAN) um IN HOU UU) TAT | gan maT di | EI Hl sen Ht NWO i A NOU Wa A MI a thy ae | | | Ermita de San Isidoro (Avila). Provincia de Avila. Estilo Románico. 213 LS ‘ONUDULON OST “DAP ap mouao1g “(DpapyY) 040piS] UDS ap vjMAT Ipisqe [Pp UWOTOIIISG — z 0 VNVdSH HU SODINOLO4ALINOAV SOLNIANANON 215 ¥ UE 5 ¿e TS E ar: , A A Ñ Je : : ee ae: e ape ; A es: Es A 2 y a 3 a es ‘fl a ¿E = dl = = E CTEFer PF. wt RP ee a @ tthe i GES i ig wie A * ae A S.L tly < r oD re THe y 4 vi ni a E