YALE UNIVERSITY
ART LIBRARY

ARCHITECTURE AND APPLIED ARTS
IN OLD SPAIN

t'-'y, OF ARCHITECTUrtft
fitMO'JL OF THE FIN£ AATi
, Yale uwiva&rry

OLD SPAIN

By AUGUST L. MAyER, PH. D
PROFESSOR AT THE UNIVERSITY OF MUNICH
CORRESPONDING MEMBER OF THE REAL ACADEMIA
DE BELLAS ARTES DE S. FERNANDO IN MADRID
OF THE REAL ACADEMIA DE BUENAS LETRAS IN SEVILLA
AND OF THE HISPANIC SOCIETY OF AMERICA
IN NEWyORK

WITH 3 Jo ILL USTRA TIONS

NEW yORK / BRENTANO'S / MCMXXI
\ ¦**£ '•

Jy

PRINTED By E. HABERLAND, LEIPZIG (GERMANY)

R E F A C E

The richness of Spain in significant architectural monuments, in characterful and
characteristic old townsites, as well as conspicuous products of the applied arts,
is today still overwhelming in spite of the considerable vandalisms of the Napoleonic
wars and in spite of the modernization craze of the nineteenth century.
To make a choice that will illustrate the various types in every branch of the wide fields of
applied arts and architecture is exceedingly difficult. On the one hand is the simply immea
surable plethora of materials, on the other the lack of good- photographic examples of important
objects scarcely known outside of the narrowest professional circles,
It is to be noted that the procuring of materials during these present troubled times was
difficult. The Association of Friends of Art in Madrid <Sociedad de los Amigos del Arte)
as well as the Institut d'Estudis Catalans in Barcelona deserve great thanks for their ener
getic activity in making important materials available, not only by instituting exhibitions,
but also by the turning out of numerous photographs and model catalogues.
Of all this the editor has made most bountiful use, and is under the greatest obligations to these
associations, as well as to the Director of the Repertorio Iconografico de Espana,
Photographer Mas, J. Roig, formerly of Lacoste, Moreno, and the In=
stitution Hauser y Menet, and last but not least, to the collect
tors who have assisted him in a large measure through
the loan, and often special reproduction,
of photographic copies.

MADRID, OCTOBER 27, 1920 AUGUST L. MAyER 2 05 4

CONTENTS <
Preface  Page V
Moorish Art ...  Page IX Plates 1-14
City Sites and Castles  Page X Plates 15—32
Churches   Page XI Plates 33-61
Buildings   Page XII Plates 62-106
Furniture  :.*.-  Page XIV Plates 107- 125
Wrought Iron Work  Page XIV Plates 126-141
Precious Metals   Page XVI Plates 162-164
Leather  Page XVI Plates 155-158
Carpets  Page XVI Plates 166-168
Stuffs  Page XVI Plates 168-174
Ceramic Art  Page XVII Plates 141-154
IVOfy  Page XVIII Plates 159-161
GIass  Page XIX Plates 175-176
Bibliography  page XX
List of Illustrations  Page XXI

¦*"**- -~, :"F '

Madrid, Don Jose Weissberger. Leather Work. XVII. century

The special charm an&pecuftarity ofofdSpa=
nisfj art lies in the wedding of the western,
European or Christian art with the eastern,
Asiatic=African or Moorish, and this is especially
true of its architecture and applied art.
This unique interpenetration and amalgamation, this
wedding, in which, as a rule, the Moorish element
proved the stronger, not only produced in the Gothic
period the so-called Mudejar style*), but the in=
fluence and effect of the Moorish style showed
itself far into those periods in which Spanish
art had impressed a special national stamp upon
European style. For instance, in the period of the
early Renaissance <first half of the 16th century)
there developed the Plateresque or silversmith
manner. It was so called because it strongly sug=
gested the applied art style and because the similar
*> Mudejar is derived from the Arabic "mudefalat" su6°
mitted, and the Mudejar style means the style of the politU
cally but spiritually unconquered Moor.

rity to costly silversmith work, with its use of small
decorative forms instead of great monumental ones,
is very close. In this period there came also the Spanish
late and high Baroque <about 1650), which was called
the Churriguera style after its originator, Chur=
riguera of Salamanca. After these two styles , with
their luxuriantly flourishing decorations, there soon
followed, as a reaction and in sharp characteristic
cally Spanish contrast, styles which were simple
in the highest degree. In the second half of the
16,h century came the estilo desornamentado,
that is, the severe ornamentless style of Herrera,
and in the 18th century, classicism.
Foreign artists have worked in Spain at all times
and in all branches, but most of them have sub*
mitted themselves to the charm of the country and
adapted their style not only to the peculiar climatic
conditions (particularly to the relation of light and
shade), but indeed to the whole atmosphere which
they found there. This was the easier for men from

VIII

the northern countries, as certain elements which
are today generally indicated as Gothic are met
again in Moorish art and belong to the essentials
of the Spanish building and decorative arts, i. e.,
freedom and breadth in place of regularity — a play
with the constructive. We find the demateriali*
zation of everything useful into the transcendental
pi.1-5,54 in the Alhambra as well as in the Baroque sacristy
of Cartuja of Granada. The extraordinarily fan
tastic conception of quantity meets us in the forest
pi. 14 of columns in the Mosque of Cordoba, as well as in
pi. 4o the building of the Escorial, in the ornamentation of
the Alhambra halls, in the Plateresque churches
and palace facades and in the buildings of the Chur*
rigueresque style. Everywhere there is a rhyth*
mical sweep of space to which Charles Scheffler's
comment is appropiate when he says of northern
Gothic that it "glitters like a million facettes".
The only difference is that, in the south, up to the
time of the Churrigueresque style, no unsteady
splendour of light and shade is to be found, but
everything is rhythmically related. But of prime im*
portance is the fact that the wall, in contrast to walls
of the northern style, remains always recognizable
as a closed surface even though its material gra=
vity is not accentuated,- the architect, on the con*
trary, always doing his utmost to give it the light*
ness of a tent wall. The rich decoration has an ex*
ceedingly delicate appearance and is always set up
on this background, while the plastic form has the
general effect of being pressed flat. Even the build*
ings of the Churrigueresque style, which had been
developed to a degree before unknown, have, in spite
of the severity of the facette work, something of the
tapestry=carpet effect possessed by the Moorish as
well as the Mudejar and Plateresque wall decorations.
This complete covering of the surfaces with pure
ornamental or figured plastic, or else with plastic
consisting of these two elements, is exceedingly
characteristic of Spanish art. It springs from the
Moorish art*principle, and was, till late in the Pla*
teresque period, very popular for facades, chapel
walls and the construction of high altars. In the
Churrigueresque period a large carpet was hung
up, as it were, only on a certain part of the wall
or facade. The richness of decoration concen*
^<s9trated itself upon the portal section,- the whole
facade up to the gable was included and, in har*
mony with the Retablo, or carved altar work, re*

ceived a specially striking construction and deco*
ration.
While we find here many inner and outer relations
to the northern art, sudi relations are not lacking as
regards the Italian, and especially the Upper Italian
art. Such buildings as the Certosa of Pavia can also
be designated as Plateresque. The effect which
Venice produces by its situation on the water <the
self evidence of the manner in which oriental
ideas could be taken up there) is shown throughout
all Spain because of the peculiar conditions of air
and light which produce an optical illusion quite
impossible in other parts of Europe. This tendency
toward the flat style went so far that the single
ornamental element was finally formed in quite a
flat manner and the final result was the fret*saw
laminated style of Alonso Cano and the School of
Santiago.
The<3few<decoration) had characteristically attain*
ed its completion after the discovery of America,
and during the setting in of the strong decline of the
Spanish world=power. Perhaps the most favourable
place for the study of Spanish decoration is Sala*
manca, although Burgos, Toledo, Granada, Sevilla
and, last but not least, Zaragoza, offer plenty of im*
portant material. In the decorative motives the
Spanish strong sense of reality is revealed. What
has not been used here ! The pilgrim's flask, the Pf. 6i
cord of the monks' capoch, ship=cables, crowns, but
above all, the coats*of=arms which have nowhere
enjoyed greater triumph nor been so generally em*
ployed as in Spain.
Two things emphatically give Spanish decoration its
real life: light and colour. The geometrical brick
ornamentation of the Mudejar, the blind arcades
and tower decorations, the plateresque stringpieces
of the stairway, and the repeated clear linear or*
naments of the flat style receive their real clearness
from the light plastic form. The heavy Baroque
forms are relieved of their oppressiveness, not only
indirectly through their flatness, but directly through
the manner of their expression. And then the colours!
AH Moorish constructions and the entire Moorish
scheme of inner decoration are built up on the harmo*
ny of blue, red and gold. <Of these, of course, only
miserable remains can be recognized today.) To this
colourfulness, which was even more heightened by
the variegated wall=tilings, the artists of the Mu=
dejar style and even those of the Plateresque held

86 rigSt

IX

Barcelona, Museo. Embroidery in Gold and Silver. XV century

fast. After the colourlessness of the Herrera style,
the greatest luxuriance of gold and colour set
in again. That the colouring and the carpet*like
character of the decor were vigorously emphasized
from the early periods until well into the 18th een*
tury goes without saying.

Pl.l-4,
97,loo-lo3, 153

M

ooris/j art delights in the contrast of sim*
pie exterior construction with the great*
est richness in the interior. Without, se*
elusion, great seriousness and the utmost simplicity,-
within, luxury and a delicate brightness. In the Al*
Pi.i~io hambra of Granada and in the Mosque of Cordoba
Pf. 11,12,14, splendid examples of secular as well as ecclesiastical
9 ''°3 Moorish art are still conserved. Of the style and
final architectonic idea of the Alhambra, Charles
Osthaus has given aclassical estimate in his "Outlines
of the Development of Style". In the Court of
pi. 1,2 Myrtles as well as in the whole building of the Al*
hambra water is used for the first time for building
purposes. Courtyards and towers, passages and
halls are constructed in striking contrast to each
other. Elevation as opposed to flatness, great calm*
pi. i, 2, s ness <Court of Myrtles) in contrast to lurking, graceful
Pi.4,6, 7 liveliness (Court of Lions). The spaces are treated
very individually,- the corridors are flatly roofed, the
halls vaulted with cupolas, the walls often perforat*
ed, so that they may be compared to hanging lace
veils, and a rhythm of light is provided which was
not outdone later on. In the Alhambra, as in the
market halls, the light manner, quite in the spirit
of the wooden frame building, is to be perceived.
The walls of the Moorish and Mudejar buildings,

generally more massive than strong, are of consider*
able thickness, the fortresses and mosques being very
often built of quarried stone and brick. Still more Pf.ioi
popular, however, was loam and unburnt brick, a
material which has proved unexpectedly durable.
A thick, clay=like earth, to which lime and small
stones were added in greater or smaller quantities,
according as a greater or smaller strength and con*
sistency were desired, was also employed. To make
this mixture still more durable, spongy bullrushes,
small wood splinters and twigs of trees were mixed
in, and it was by these means that such astonish*
ing durability was attained (Caveda). Wood
was an important constituent of the Arabian build* pt.ioo,ioi
ing. The rafters of the interior arches of galleries
and chambers, the edges of baths, the panelling and
vaulted ceilings, groined roofs ornamented with little
carvings, beams and the interior parts were all inlaid
with wood. The third important material was gyp* Pi.3,7,9
sum, which served as a binding material for the
masonry, but was principally used for decorative
purposes. From this material were formed the horse*
shoe and pointed arches, as well as their archivolts and
the ornamented wall surfaces. This covering of the
actual construction was fastened to the wall by iron
nails and hooks, or by cane and tufts of a particu*
larly strong grass. The fine ornamental work of the
Alhambra, like that of the Mudejar buildings in Sevilla
and Toledo, consists of a kind of superfine stucco
of unheard of firmness and durability, the composition
of which has remained a secret among the Moors.
Through their predilection for the light and dainty
style, we find early in Moorish art that small deco*

X

t rative forms are chosen in preference tolarge mon*
'*"¦; umental ones, as was also done later in the Plate*
resque style. The gratings become reed work, the
large frames and plates are replaced by small ones,
while later on,-instead of the column, the balustrade
Pf. 9, io is chosen. Instead of watef*spouts we find stalac*
/t tites. The door panels are cut and divided into
smaller squares, just as the mosaic predominates in
pt.4,10 the complicated tiling=work which is put together
out of small pieces. The rich handwork of the 14th een*
pf.ioo,ioi tury tiling is again seen in the woodwork of the win*
dow_gratings and in the perforated ceilings. But,
above all, a flourishing vitality is displayed in the
pi.4, 6, 7, rich arabesque ornamentation of the stucco wall cov*
8,lo,12 . . tl . r . i . <
ering. Almost as contusing as this charming ara*
Pt.13 besque style is the Moorish town, which, with its nu=
merous ramifications of broad and narrow streets, its
lanes and -blind alleys, seems indeed to be but a gi*
gantic arabesque itself. *
The medieval division of t/je towns into cities
and suburbs, and in the interior again a di*
vision into Christian, Moorish and Jewish
quarters, can be easily recognized even "P to the pre*
sent- day in Toledo and Segovia, except that the
enclosure of single quarters by walls can no longer
be noticed. The limits fixed in accordance with the
different businesses and trades have been preserved
in most Spanish towns up to the present day. The
streets were very narrow, not only in the south, but
pt.3i also frequently in the north. As in other countries,
they were rendered still narrower by the fact that
the wooden houses were constructed in stories
which extended over the street and had wide gables.
Today, on the other hand, a general tendency to
enlarge the streets, as in European cities, is to be
observed not only in the north of Spain, but also
in the south, where the narrow streets (over which, as
a protection from the heat, cloths are stretched) are
really in the highest degree natural. The main streets
of Barcelona and some other large towns already
had drainage in the middle ages. Town sites fre*
quently cover an area out of all proportion to ne*
cessity. This comes from the fact that, even in small
towns, numerous churches, chapels, cloisters and
orphanages, old hospitals, etc., not only take up con*
siderable space, but also because the one*family
house has always been highly esteemed in Spain.

Hilly land is utilized everywhere in the most skilful Pt.i5,i6
manner. The logical issue of this is the cave dwellings
still frequently seen today.
The old ramparts and gates have been, for the pf.20-24. 26 32
most part, done away with. Nevertheless, numerous
sites have been preserved in their completeness,
especially in Castile. The Moorish double gate, with
its originally more or less defective passage*way,
was remodelled in the 16th century into a splendid
gate=way always richly adorned and inclosed by
two round towers.
The main square of the Spanish town is not pi.2s,3o,
only, as in Italy, " the best room", but served origin* 7°
ally for tournaments, bullfights and a court of in*
quisition. The townhall, which was often contained Pf. 30,65,6,
in this square, has also, therefore, a public hall in its
upper story. This is the so=called Miradero, or
audience* room, for those who preside at certain
festivities and for their especial guests. Thesurround*
ing houses in the main square frequently open on
the ground floor into arcades, and there is apromen* pi. 28, 73
ade where one can go about conveniently even in
bad weather. These arcade walks are also often to
be found in the neighbouring streets of this square,
even in their remotest parts. Madrid and Salamanca
possess perhaps the finest constructions. A highly
characteristic aspect is given to many a provincial
town through the individual character of the stately
mansions of its citizens.
Castile is especially blessed with castfes and thus Pf. 17-20
this part of Spain justly deserves its reputation. But
in the south as in the west, a great number of castles
have also been preserved. We also know of large
monasteries and convents after the style of Poblet, pf. 20,
which bear on the outside a strong fortress=like char*
acter,- for these monasteries also contained a king's
palace and the tombs of the monarchs, as did theEs*
corial later. In hilly towns like Toledo, Segovia or pf.15
Arcos de la Frontera, the castle is, of course, built
on the highest point of the town site.
The principal church, the catfiedraC rises generally pi.33-36,
on the site where the principal mosque and, some
time earlier, a Roman temple stood. The plan of the
mosque can frequently be recognized through that of
the cathedrahespecially inSeville, where, for instance,
the great mosque courtyard as well as the "Pardon
Gate" leading to it have been left almost untouched.
The style of the Moorish minarets has also influen*
ced the shape of the church towers. The Sevillian 42%~47

XI

Toledo, S. Juan de la Penitentia. Early Plateresque Trellis. Wrought Iron. Beginning of XVI. century. Detail.

Giralda has been copied by many Andalusian church
towers. The tower of St. Catalina in Valencia,
with all its Baroque forms, intentionally leaves no
doubt that it was erected on the site of an old mina*
Pf. 33,43 ret. The cimborio, or central tower, is characteristic
of quite a number of Spanish cathedrals. In the
northern part of Spain it has the function of ad*
mitting more light to the interior.
In Andalusia this object is, of course, in abeyance,
for in this sunflooded region the emphasis in cathe*
dral and church is, as in ancient Greece, rather
on twilight and gloom with their atmosphere of pro*
tection and mysticism.
Pf.49 The design of many Gothic cathedrals betrays a
strong French influence, above all in Castile and
Leon (old and new Castile). In these mountainous
countries, cathedrals and churches were built which,
without the influence of the great masters of the "He
de France", would have been impossible. We have
only to turn our attention to the elegant Cathedral
Pt.26 of Leon, (the "Pulchra Leonina" which strongly
resembles the cathedrals of Rheims and Amiens), to
Pf.45,49 the mighty cathedral of Toledo, and to the Gothic
parts of that of Avila. In the east, we not seldom

find a transition of the northern Gothic style into a
width and spaciousness, which are strongly reminis*
cent of the Italian Gothic.
It is very characteristic of the conservative character
of the Spaniard that, at a time when the^Renaissance
was penetrating everywhere, cathedrals in the Gothic
style, like those of Segovia and the new one at Sala*
manca, were founded and built. However, it could,
of course, not be avoided that the Renaissance ele* Pf.35
ments joined those of the Gothic. This gave to the
transition style, which may be designated as that of
the early Plateresque, a special charm. This epoch Pf.36,47
is called after its originator, Cardinal Cisneros, the
Cisneros style, and it was Enrique Egas, the dis*
ciple of a Brussels artist, who carried this style to
triumph. He tried, at first with small success, to con*
struct Renaissance buildings, which were reminiscent
of the Gothic. Later, however, he constructed Go*
thic buildings which were suited to his style issuing
from the Mudejara decorative art. But it was his
son=in*law, AntonioCovarrubias, who first succeed*
ed in obtaining full recognition for the Italian Re*
naissance. He became the greatest representative of
the full Plateresque style (also called the style of 43%39'

XII

Pt. 47, 53,
54

Carlos V. His
later works pos*
sess, on the who*
le, the genuine
highRenaissance character, free
from all the petty
features of the
Plateresque style.
Churriguera
had, later on, as*
sociated himself
with the art me*
thods of Egas,
and with a sue*
cess which de*
serves to be call*
ed unexampled,
Madrid, Don Jose Lazaro Jt is true that' in
Late Gothic Castillian Door Knocker fhe latter part of
Wrought Iron. Beginningof XVI. century the 18th century
Ventura Rodri*
^-3/guez, contrary to Churriguera's will, converted
many churches into classical temples and erected
a number of classicistic altars. But this was of
little importance in comparison to the mad en*
thusiasm felt for Churriguera and his pupils, and
to. which innumerable Gothic altar works were
sacrificed. A special Spanish peculiarity in the forming of
the interior details is the choir built in the centre, — a
church within a church, so to speak, — and, although
it is true that sometimes the whole impression of
the interior seems complicated thereby and the
worshipper pushed back from the high altar, still on
the other hand, a special atmosphere is gained and
new fields of activity are given to the architect as
well as to the sculptor.
Manifold in the highest degree is the construe*
pt. 68,78, tion of the large hospitals and colleges, with their
64,84,85,92 splendid facades and courts, the Gothic Ex*
pt.6i-63 change in Valencia, Palma and Zaragoza, the Law
pt.63-9o Courts like those of Barcelona, and the Palaces
Pf. 71 of Administration, Diet and the Provincial Parlia*
ments.
pc.74 The great Spanish cemeteries are gruesome and
gloomy spots. That of Barcelona, illustrated here,
shows that they are real burial places, where
no living creature has anything to seek. The mark*

edly conservative character of the Spaniard, al*
ready mentioned, shows itself pronouncedly in the
declining middle ages through the arrangement
of tombs. That the artists had a special preference PA5?^5'-
for wall tombs is not astonishing, after all that
has been mentioned about the flattened character
of objects projecting from the wall. How long the
Gothic forms were conserved is especially re*
vealed to us by the tomb of Archdeacon Villegas
in the Cathedral of Burgos.
The Spanish Bouse, and above all, the nobleman's Pf. 66-7c
mansion, originally generally showed not only a re*
served, but a dark and defiant method of construe*
tion. In Avila, the towered houses of the nobility
form, as it were, an interior fortification girdle
against not only attacks from without, but,, still
more, against rebellions from within the town. Very
often the towered house stands free and clear
and, built on a quadrangular ground plan, shows
a flat roof and crowned battlements. Like the
towngate, the facades of these houses were later
built in a finer and more stately style. The boarded
passages of defence in exchanges and colleges were
replaced for decorative purposes by open halls sup*
ported by columns. The battlements were decora*
tively shaped,- those of the Valencian Exchange Pf 62
were formed like crowns, and from them developed
the still pop*
ular fil* rr
agree like
roof crown,
the so* call*
ed "Cres*
teria". The
traditional
corner tow*
ers are
still to be
found in the
18th een*
tury, for in*
stance, on
the gay and
delightful Rococo
Palace of the
^ Barcelona, Museo
Dos Aguas Lat£ Gothic Door Knocker
in Valencia. XV. century

Pt.69

Pt.7o

XIII

Madrid, Don Jose Lazaro. Late Roman Bronze Censor <XIII. century) and Gothic Bronze Candlestick from
Zamora <XIV. century)

The dwelling house still preserves to the present
time a very closed, reserved and repellant exterior/
not revealing its real character. The houses very
often have two floors for the reason that the
ground floor is occupied in summer, because of
its greater coolness, while in winter the family
moves to the upper floor, the lower one being too
Pt. 66, 67, damp and cold. On the upper floors, narrow bal*
conies are never lacking, nor, on the ground floor,
the grated windows through which at night lovers
and betrothed converse. The peasant's house on
the east coast is very lightly built, because of the
pi. 72 mild, equable climate,- those in harsh Castile and
Aragon are massive and firm while in the pro*
vince of Galicia, which has been justly called for
ages Spanish Switzerland, they naturally show a
great similarity to the Swiss peasant houses.
Pf.90-93 Splendid staircases are not often seem in Spain,-
however, those in the stately mansions of the no*
bility always display a sombre reserve and never
exceed a somewhat subdued brightness.
pc 94-99 In the court buildings two different types are to
be remarked at an early period. In the north were

found the closed walls, while in Andalusia and
Toledo was to be noted the sort of peristyle*like
building of the open courts, surrounded by ar*
cades, and frequently having a little fountain in the
middle.The ceilings of churches, like those of palaces, pt.ioi-ioe
have always been constructed in a specially magni
ficent manner. The Moorish model can be recogni*
zed up to the 16th century, when the Mudejar
panelled ceiling, with its cell=like wainscoting, was
succeeded by the Renaissance coffered ceiling. The
geometrical pattern of the ceiling was preserved in
the most various ways, whether they were built
of wood or stone. At the time of the late
Gothic, the star design was frequently so enriched
that there arose quite a striking resemblance to lace
patterns. The Mudejar wood ceilings show mani*
fold inlaid ornamentations of ivory and other ma*
terials. The Renaissance ceilings are frequently
richly gilded. The dividing of the doors and door* Pf. 107,109,
wings into small panels remained in use in Spain
until late into the 16th century. The development
and variation of the geometrical motives used are

XIV

easily to be traced by the examples here shown.
Pf. 75, 92 (Observe in this connection the door in the back*
ground of the Cathedral of the Way of the Cross
in Burgos, and on the staircase of the University
of Salamanca.)

The inner rooms of the mansions of the nobil*
ity and of the citizens have no tendency
to any great luxury, not even to real com*
fort or convenience. The masculine and, at times,
slightly ascetic manner of the Spaniard is expressed
in such a renunciation. The furniture corresponds
to the character of the rooms. Great attention is paid
to behaviour and dignity, as well as to an aristocratic
bearing and, in addition to this, there comes at times
a certain childlike trait, which reveals itself in a naive
joy in playful things, such as complicated furniture.
The wealth of Spain is considerable in old ecclesiasti*
pt.ioa, ca\furttiture, such as the numerous choirstalls, often
richly carved by artists of Germany, the Nether*
Pt. 122 larids or France, and the sacristy wardrobes, which
were magnificently wrought in the 17th and 18th
pi. 113 to centuries. As regards secular furniture, chests,
12o, 122-124 chairs and secretaries play the principal part. The
pi. 113, 114 chair, the so-called "Sillones fraileros", greatly
resembles the Italian chair in its main form, except
that the pattern of the carved or inlaid ornamenta*
tion, especially of the nail work, betrays the national
Spanish character.' On the carved=wood chests,
pi. 115- m as well as on those covered with leather or velvet,
the ornamental iron garnishments and locks play
an important part. Of the greatest interest is a
pi. us 15th century buffet in three parts, which is painted
inside and which shows the Mudejar style through*
out. The panels were divided in a manner similar
to the large Moorish and Mudejar doors. The sec*
pc 115, 119, retaries and cabinets (contador or bufete) were
12 o 12 2- 124 frequently introduced from Germany in the 15th een*
tury and it would appear that in the 16th century
such furniture was made there in large quantities
with special consideration for the Spanish taste.
These importations were forbidden in 1603 and the
foreign models were then copied and varied by the
Spanish. The secretaries made in Vargas, in the
province of Toledo, were especially popular and
pci2o were known under the name of Varguenos. These
were case=like writing tables upon a carved stand, the
folding board on the outside being ornamented with

rich iron garnishments mounted on velvet and, above
all, adorned with a gigantic lock. The inside facade
of these writing=tables was very often covered with
wrought silver work, and to such an extent, that the
manufacture of such silver secretaries was repeat*
edly forbidden because of their exaggerated luxury.
However, ebony work with wrought=silver remained
especially popular until into the late periods. It is
not astonishing that the inlaid work of costly ma*
terial, with the application of tortoise shell, ivory
and mother*of=pearl, was especially esteemed at
the time of the Churrigueresque style. The Spanish
tables are very often easily recognizable by their
wrought*iron supports. Naturally, in connection
with all this furniture, the satisfaction in detailed
forms, already expressed in the main architecture,
is particuarly noticable. This can be observed also
in the form of the beds.
In no other country has the art oj wrouglot=iron
been so ardently fostered as in Spain. Only Ger*
many and England can compete with her, and this
is also true in connection with works in bronze.
The Moors added no new motives to this art, neither
did they excel in it. Wrought*iron work pro*
duced skilful masters throughout all Spain. In 1250
the Catalanians Blay and Sunol were summoned
to Paris to construct the gratework for Notre Dame.
The principal features of the Spanish wrought*iron
work are the numerous chapel gratings (the
Rejas) above all, the monumental ones which
enclose the altar house and choir. Besides these
the Spanish wrought* iron art achieved great
triumphs with candelabra, braziers (Braseros) and
door garnishments, as well as locks and chest=bind=
ings. The conservative character of the Spaniard
reveals itself here again in the fact that the Roman
element was preserved until late into the Gothic
period. The same fact is to be noted in connection
with the ornamentation of mortars and weights in
the 17th and 18th centuries. Just as the artistic,
perforated garnishments are the chief decoration
of many a simple or velvet=covered wooden chest
and of the outside of many a secretary, thus the
large nails with which the leather or stuff covering
of chairs is fastened are of considerable decorative
importance. Of the greatest importance is the fact
that large nails, manifoldly varied in their form, are
used as the sole decorative motive on the heavy
wooden house doors in Castile and Arragon and,

PC 124

PC 125

PC130-135
page XI

PI. 138

PC 137

PC 115-W
PC 129

PI. 126, ni
compared
PC 84

XV

Barcelona, Catedral. Gothic decorative Finish for vaulted Ceiling. XIV. century

naturally, also on the wooden doors of churches
and great public buildings. The mussel motive, like
that of the insignia of different, knights' orders, is fre*
quently employed in the decoration of wood and
stone. That the locksmith's profession produced
139,140 eminently fine work in locks, bolts and keys, goes
without saying. Among the large seven=branched
peas church candelabra, those in the cathedrals of Burgos
and Sevilla are justly the most celebrated because

of their beautiful proportions and the fineness of
their execution. Finally, our attention must be
turned to the numerous pulpits made of base metal. pci36
As in other branches, so also in works mprecious
metafs the church vessels cover a broad field. Be*
sides chalices, crosses, reliquaries and 'Pax'*tablets,
the tabernacle or Custodia developed a splen* pci62
did and remarkably individual manner of construe*
tion. The most beautiful specimens of these always

XVI

individual, architectonically articulated and costly
little structures which, considering their materials,
rise to an uncommon height, were produced in the
16th century by members of the Arphe family, orig*
inally from Germany. We refrain from giving a
description of the celebrated and often described
West Gothic consecrated crowns. On the other
hand, it is entirely owing to the unfavourableness
of the present time if no example is given of the
Veneras, which, often formed in a triangular shape
and bearing the name of the Virgin Mary or Christ,
were worn as medals or, as it were, as Agnus Dei.
Secular ornament is not distinguished by any
especial peculiarity. At the period of the transition
to the Churrigueresque style, however, the change
in taste and in decor must be very distinctly noted.
In harmony with the new Gothicism, the stones are,
for the most part, set "a jour" (Holland). In the
17th century the most extreme luxury reigned in gold
pc. 163,164 and silver table furnishings, although at the present
time there are not very many examples to be seen.
The finest are naturally in the houses of the Spanish
upper nobility.
pc 113, Leather was used in Spain in the applied arts with
Page vn a special partiality. Besides holders for all possible
sorts of utensils, covers for caskets and upholstery
materials for settles, there were also produced, richly
decorated wall hangings, the variegated decor of
which often lies on a gold ground. This is seen in
the so*called Guadameciles, which derive their name
from the Guadames in Africa, where they were first
produced extensively. They were made with great
elegance in Cordoba and later often imitated in
France.
pi. 166-168 Carpets were produced at a very early period,
especially in Chinchilla (province Alicante), and in
Cuenca. The oldest examples known to us extend
back to the beginning of the 12th century. Excellent
work was also done in Alcaraz, near Murcia, chiefly
in the 16th century. The Spanish carpets or rugs of
the Middle Ages frequently show an especial knotting
tedinic which allows sharp contours and small geo*
metrical patterns. Through this technic a decorative
principle can be carried out like that of the Azulejos.
The middle ground is not infrequently divided into
small mosaic*like parts, and sometimes the pattern
stands out from a sort of plaited back ground. Natur*
ally, Cufic inscriptions were ornamentally used
here in the borders, as in stucco decoration. A strik*

ing feature is that the border decoration frequently
covers two thirds of the whole carpet, the middle
part being thus very narrow. Besides geometrical
patterns we find, especially on the borders of the
narrow sides, conventionalized figures of men and ani*
mais, the grotesque forms of which were perhaps not
the intention of the designer of the carpet, but which
nevertheless strongly remind us of Coptic patterns.
A further peculiarity of the Spanish carpet is the
coat* of* arms motive. A great predilection was
shown for this from the second half of the 15th een*
tury, and it was manifoldly varied until into the
18th century. In the rich collection of the South
Kensington Museum, one is struck by the numerous
carpets which show as main motive such patterns
as are usually found in wall coverings. Besides floor
carpets, the so*called "Reposteros" is known in
Spain. This is used to hang over the balconies on
festive occasions.
In the development of the actual textile art, i. e., of pi. m-m
the stuffs, three periods can be distinguished. First,
the Arabian, with Almeria as the principal manu*
facturing place. Besides the Sassanian influence, with
its conventionalized patterns of animals, that of the
Coptic is strongly to be perceived and, through these,
the whole Moorish style can be understood. Later,
from the time of the late Gothic epoch, the Italian,
or rather the Venetian influence, is to be remarked,
of which the factories of Sevilla, Toledo, Granada
and Valencia give evidence. The interesting differ*
ences in the fabrication of Spanish and Italian
velvet, have been explained by Pedro de Arntiano
in his excellent introduction to the catalogue "Ex*
hibition of Spanish Materials in Madrid" (1917).
At the time of the Baroque, but chiefly in the 18th
century, the French influence, issuing principally
from Lyons, was very strong in the decor. Since
the days of the Celtiberians, the activities of the
Spanish were uncommonly extensive in the ceramic pi.i
branch of art. Two large groups are to be disting*
uished. The one comprises principally vessels, i. e.,
dishes, plates of different sizes, vases, jugs, etc.,
and represents a "brush" decor, mostly in gold or
gold colour and in blue or green (Teruel). The sec*
ond group comprises the tiles, the so*called "Azu*
lejeria". In the Hispano*Moresque Ceramic of about
the middle of the 12th century, Calatayud played a
leading part, and in the 16th century it gained renewed
importance as a placeof manufacture. In the

'.141-&

XVII

14th century Malaga was a principal manufacturing
centre, and the ceramic art attained there, at the
end of the 14th century and the beginning of the
15th century, its highest point, as also at Granada.
In the 15th century the factory at Manises (Va*
lencia) was on the same level. The particular gloss,
the "Reflexo metalico", which was already to be
found on the floor tiles of the castle of Medina*
Azzahra at the end of the 10rh century, and also
later on the tiles of the 15th and 16th centuries, was
obtained by mixing red ochre, sulphur, very old
copper and silver. This Ceramic is known to have
been very often adulterated, but the adulteration is
easily detected by the colour. These articles
were fired three times,- first after the fabrication
of the raw shape, the second time after the pro*
duction of the white or blue glaze, and then after
the layer of the gloss decoration had been put on.
Large terra cotta jugs, called Tinajas, which served
as cruets for wine or oil, were often covered with
a green and white glaze, principally made in Talavera
where, since the beginning of the 13th century, a
certainly still older ceramic industry can be traced.
(White, unglazed earthern vessels are still made
i to the present day in Andujar). In the decor of
pottery at the end of the 14th century and at the
beginning of the 15th century, large ornament
constrasts with a small one principally consisting
of spiral ground ornamentation. At the beginning
of the 15th century the backs of the plates began to
be ornamented. Text, which was used everywhere
by the Moors as an ornamental motive, finds here,
too, an important place. Above all, the word
"Alafia"(pardon ormercy)is used. This word, written
on ribbons, is then replaced by a Latin one in Gothic
letters and becomes an important element of the
border ornamentation. Besides the Spiral motive,
the rowel motive gains extraordinary importance,
although chiefly on armorial plates. But the favor*
ite motive is the vine leaf. In the course of the
15th century the vine leaf is made smaller and
smaller, the garlands of vine leaves placed oppo*
site each other become more and more numerous
and everything becomes more delicate and dainty.
Finally the plates are divided into single compart*
ments by plastic radii, which are connected on the
PC152-154 border by bows. In connection with tile work,
"ge" the coloured roof tiles, especially the blue glazed
ones (hence the name Azulejos) are to be disting*

uished from the wall tiles, particularly as they were
used in the provinces of Valencia up to a late period.
These wall tiles serve as a covering for socles in
courts and rooms, as a covering for the altar
table — the Mensa — and, chiefly since the 15th
century, also as floor surface in Catalonia and
Aragon. Not so much attention is paid to the single
pattern in the tiling work, to the single tiles, but
more to the whole effect, to the harmony of the
socle tiling with the other decoration and with the
whole architecture. As far back as the 10th century
there is to be recognized the inclination to enliven
with colour the floor and walls, or at least the wall
socle, and to produce colour contrasts in geomet*
rical patterns. In the 14th century in Aragon and
Andalusia there were used for the decoration of
towers and facades as well as for floor tiling, glazed
coloured tiles (especially green, white and blue),
with metal reflex. Of this work, different towers in
Teruel and the Alcazar facade in Sevilla offer good pi.83,k/t
examples.
In the development of the wall tiling three dif*
ferent divisions are to be distinguished. In the earliest
times, tiling work was treated like mosaic.
Artistic star patterns and other geometrical orna*
ments were made out of small parts and of splin*
ters (Aliceres). The pattern became ever, richer
with time, more complicated, but in a certain degree
more orderly. The band work, above all, developed pi. 153
itself, and there followed the Laceria, a decor which
grew from tendrils and flat geometrical ornamen*
tation. The play of the white bands darting here and
there, and of the coloured parts of the pattern, is
incessantly varied. From the original flat pattern, as
out of one formed according to tone values and col*
ours often doubly rhythmized, there developed in
the 14th century a coherent network, and finally a
variation of plaited ribbons upon a white ground.
This is, as Osthaus has shown, the strange change of
the Moorish decor in the Alhambra from that of the
Court of Myrtles to that of the Court of Lions. The
mosaic=like combination is followed by the Azulejo,
containing only a part of the pattern and forming
with three other parts the whole design, or in small
patterns which give the. model a constant correspon*
dence to a piece of stuff. The character of the sur*
face of the late Gothic and Renaissance Azulejo, as
well as the formation of the pattern, is chiefly deter*
mined by the technical process. First the colours

XVIII

of the pattern are separated from each other by plas*
tic stripes which are, before being fired, cove*
red with a layer of grease. This technic is called
"Cuerda seca". Later in the Cuerda technic the
pc 154 parts of the pattern are deepened and a separating
stripe is no longer necessary. Besides the strictly
geometrical motive, that of the coat*of*arms appears
on the Sevillian and Zaragozan 13th century tiles,
pc 154 and in the 15th century the animal motive is much
employed. Plates were also made in this Cuerda seca
technic, many with male and female heads showing
no trace of the Italian influence.
The blending of the tile decoration with the mate*
rials is to be recognized in the pattern more than
once, as well as in the whole effect,- thus the cele*
brated Fortuny Azulejo in the Osma Collection
reveals the closest relation, not only to the Persian
work, but, above all, to the Spanish armorial carpets.
The Spanish tiling enjoyed in the 15th century an
international popularity. At the end of that een*
tury, Niculoso Pisano of Sevilla*Triana, an import*
ant manufacturing centre, where -fonts were also
constructed in rich glazed ceramic, brought about
a significant change in the method of decoration by
introducing Renaissance motives and Italian technic.
Whole altars were then built in the Azulejo style,
but the national character of the art suffered so much
by it that a decline soon took place in the manu*
facture, and Palavera replaced Sevilla to a certain
PC.147,148, ~ < T" i ' . . i . ft <
150,151 extent. 1 he 1 alavera ceramic is, chiefly as regards
pottery, that style which may rightly be designated
as the national Spanish style. It is characteristic and
individual, always masculine, and sometimes a little
rough, but always, of a strongly decorative effect.
In connection with the dishes of the 16th century
it is true that one. can distinguish at times resem*^
blance to the Mudejar style and distant reminis*
cences of Persian models, and there are undoubtedly
vases of this and the following centuries which be*
tray the acquaintance of the decorator with the Italian
models. These things are only interesting from the
art=history point of view and are, on the whole, un*
important. In this connection, however, it is to be
noted that the Spanish ceramic differs from the Ita*
lian in the same manner that the two languages differ.
The animals, which form the chief motive of the
16th century plates, are drawn, if not always cor*
rectly, with uncommon sureness and effectiveness by
the designer. The butterfly motive, which is found

on the rims of the 16th century plates, was given up
later. The 16th century productions, by the way,
were not made in Palavera de la Reyna itself, but
in the neighbouring Puente del Arzobispo. In the
18th century the finer Alcora porcelain competed
strongly with the ceramic of Palavera, but the imi*
tation of the Alcora decor could not prevent its
decline.
Less interesting than the jugs and plates, shaving
basins and holy water basins, inkstands etc., is the
tile ceramic of Talavera, notwithstanding the
greater popularity it enjoyed in Spain and in the
colonies. Here were principally produced whole
pictures in the tiling, and these soon found applica*
tion in the form of altar pictures, friezes, ornamen*
tations of sacristies and other walls. The decor is
generally painted in blue on a milk*white ground, or
else has a stronger polychromic harmony of the co=
lours blue and yellow. The colour became very de*
licate and harmonious with time and thus offset the
frequently rude shapes and too free drawings.
The porcelain factories where crude and finished
porcelain were made arose in Spain, as in other
countries, in the 18th century. The factory of Al* pc.i4i-m
cor a, founded in 1727 by Count Bonaventura de'
Aranda, first produced a kind of fayence. The
founder had in mind the production of superior
goods, and therefore, based the whole manufacture
upon as large an export of serviceable articles as
possible. The chief workman of the first period was
the Frenchman Ollery, from Moustiers, who
brought the taste of the French factories into Spain.
Pyramids with children's figures, vases after Chin*
ese and Delft designs as well as tea things were
the principal productions. At the height of its
prosperity, three thousand workmen were employed
in this factory. Porcelain in the Saxon style had
been manufactured since the 60's of the 18 th century,
when the German Johann Knipfer worked as the
first decorator in Alcora. After 1780 there were,
besides the factory of Aranda, four rival institutions
in the neighbourhood. After Knipfer, the manu*
facture, under Cloostermans from Paris, experienced
a revival, (1787 to 1798), but in the 19th century
the decline took place. In 1858 the factory
went into other hands and the new owners carried
the business on in a throughly factory *like manner,
with English methods and English workmen. In
1759 the Buenretiro Manufactury in Madrid was

page XXI

XIX

founded as a branch business of Capo di Monte,
with Italian workmen, and for the first thirty years
made only decorative pieces for the royal family
after Chinese patterns. The most brilliant produc*
tions of this factory are two rooms wainscoted, so
to speak, with porcelain. One of these is in the
castle of Madrid and the other in that of the Aran*
juez (1763-1765).
Pt.175,176. Gfass was made in large quantities in Spain during
the Roman periods. The chief places of manufac*

ture were Castril de la Pena, where work similar
to that in Murano was carried on and, in the
18th century, La Granja, where the French taste
predominated. Pilgrim's flasks, oil and vinegar cruets,
and jugs often show bold and fantastic shapes. The
desire for ornamentation made itself felt everywhere,
as did the other favorite decorative forms. The
whole character of the. Spanish glass=art is thor*
oughly masculine, like the character of the whole
Spanish applied art.

After Putg and Catafalch
Ripoll, Sa. Maria. Roman Mosaic for Apsis. End of XI. century

LITERATURE

C. Justi:  Introduction to Baedeker's "Spanien" (Leipzig 1912)
M. Dieulafoy:  Geschidite der Kunst in Spanien und Portugal (in the series "Ars Una".
Stuttgart 1913)
I. Cave da:  ...Geschichte der Baukunst in Spanien, published by F. Kugler (German by Paul
Heyse. Stuttgart 1858)
O. Schubert:  Geschichte des Barook in Spanien (Esslingen 1908)
I. Braun:  Spaniens alte Jesuitenkirchen (Freiburg 1913)
K. E. Osthaus:  Grundziige der Stilentwiddung (Hagen 1918)
C. Uhde:   Baudenkmaler in Spanien und Portugal (Berlin 1889—92)
M. Junghaendel:  Die Baukunst Spaniens, mit Text von C. Gurlitt (Dresden 1889-92)
H.Wurz:  Von Spaniens alter Baukunst (Munich 1913)
Puig y Cadafalch:  Arquitectura romanica en Cataluna (Barcelona)
V. Lamperezy Romea: Historia de la Arquitectura
V. Lamperez y Romea: Las ciudades espanoles y su arquitectura municipal al finalizar la edad
media (Anuario de la Asoziacion de arquitectos de la Cataluna 1919)
I. Quadrado, M. Murguia, R. Amador de los Rios, et al. Espana, sus monumentos y artes
(Barcelona 1884-1903)
Berirhmte Kunst statten (Verlag E. A. Seemann, Leipzig): Sevilla. Granada und Cordoba.
Toledo. Avila, Segovia und der Escorial
El arte en Espana (edit. Thomas, Barcelona): La Catedral de Burgos. Guadalajara * Alcala de
Henares. Real Palacio de Madrid. La Casa del Greco. Sevilla. El
Escorial. Monasterio de Guadalupe. Poblet. Aranjuez. Ciudad Rodrigo
Monumentos arquitectonicos de Espana (Madrid 1859—76) (New Edition 1908 ff.)
Juan F. Riano:  The Industrial Arts in Spain (London 1890)
A. van de Put:  Hispano=Moresque ware of the XV. century (London 1890)
F. S arre '© F. R. Martin : Die Ausstellung von Meisterwerken Muhammedanischer Kunst in Miinchen
1910 (Munich 1912). Containing a list of further special literature
E. Bertaux:  L'exposition retrospective d'Art de Saragosse 1908 (Saragosse-Paris 1910)
Pedro M. deArtinaiio: Catalogo de la exposicion de tejidos espanoles anteriores a la introduccion
del Jacquard (Madrid 1917)
Pedro M. de Art in ano: Catalogo de le exposicion de Hierros antiguos espanoles (Madrid 1919)
Catalogo de Mobiliario Espanol de los siglos XV.*primera mitad del XVII.
(Madrid, 2. edicion, 1918)
J. Font y Guma:  Rajolas valencianes y catalanas (Villanueva y Geltru 1905)
D. Platon Paramo:  La ceramica antigua de Talavera (Madrid 1919)
El conde de Casal: . ...La ceramica de Alcora (Madrid 1919)
Numerous articles and illustrations in periodicals:
Arte Espanol (Madrid)
Museum (Barcelona)
La Esfera (Madrid)
Historia y Arte (Madrid,- will not appear further)
Boletin de la Sociedad Espanola de Excurciones (Madrid)
Boletin de la Sociedad Castellana de Excurciones (Valladolid)

XXI

Barcelona, Don Carlos Vallin. Alcora Porcelain, Coffee Pot and Cup. End of XVIII. century

LIST OF ILLUSTRATIONS

Afcafd de Guadaira, Castillo 18
Afcafd de Henares, Cloister of S. Magdalen,
Door Lock 139
Courtyard 97
Magistral, Chapel Grating 131
Magistral, Grating 133
Oratorio de S. Felipe, Door Lock 139
Palacio Arzobispal, Staircase 9/
Universidad 64
Universidad, Portal 85
Avifa, Convento de S. Tomas, Choir
Pews lo8
Garnishment for Door 127
Grating 133
Patio del Convento de S. Tomas 96
Town Fortification 2o

Barcefona, La Audiencia 63
Audience Court, Staircase 9o
Casa Dalmases Calle de Moncada, Staircase 91
Casanovas, Dona de Torrus, Lace 165
Catedral,DecorativeFinishforvaultedCeilingJfP
Catedral, Grating 131
Catedral, Grating 132
Cementerio viejo 74
Coleccion Giiell, Dish 142
Maria, Sa. del Mar, Portal 8o
Museo, Chest 155
Museo, Church Vestments 17o
Museo, Door Knocker XII
Museo, Embroidery IX
Museo, Silk Material 171
Museo, Stuff 168

XXII

Museo, Woolen Material" /Z2
Pasco, Don Patricio, Lace 165
Plaza del Rey, Palace of Charles V 27
Tachard, M. Paul, Chemist's Pots 144
Vallin, Don Carlos, Candlestiok and Candala^
brum 138
Vallin, Don Carlos, Coffee Pot and Cup XXI
Vallin, Don Carlos, Eagle 137
Vallin, Don Carlos, Jug 163
Vallin, Don Carlos, Mortar 137
Vallin,DonCarlos,Porcelain Dishes and Plates/^c?
Burgos, Casa del Cordon, Portal 86
Catedral, Candelabrum 138
Catedral, Central Tower 43
Catedral, Chapel 5o
Catedral, Entrance to Chapel 51
Catedral, Furrier's Gate 35
Catedral, Portal 75
Catedral, Tomb 6o
Catedral, Towers 34
Hospital de S. Juan, Portal 81
Museo, Altar Front 161
Plaza Mayor 28
Town Gate 23
Cadiz, Plaza de Isabel with Townhall 3o
Cafatqyud, Sa. Maria, Portal 79
Cau ZFerrat, Brazier 138
CordoBa, Catedral, Gate 126
Mezquita, Ceiling lo3
Mezquita, Court of Oranges 97
Mezquita, Mihrab Cupola lo2
Mezquita, Mosque 14
Mezquita, Sanctuary //
Mezquita, Stucco Decoration 12
Torre de St. Nicolas 44
Cuenca, Town Buildings and Grounds 16
Escoriaf4o Granada, Alhambra, Ambassadors' Chamber
(Detail) 6
Alhambra, Court of Justice 6
Alhambra, Court of Lions 3
Alhambra, Court of Lions, Capitals J
Alhambra, Court of Lions, Hall 5
Alhambra, Court of Myrtles /
Alhambra,Courtof Myrtles and ComaresTower2
Alhambra, Court of Myrtles, Stucco Deco*
ration 8
Alhambra, Courtyard with Facade 4
Alhambra, Mosaic Tiling 153

Alhambra, Sisters' Chamber 9
Alhambra, The Red Towers 17
Alhambra, The Two Sisters' Chamber lo
Alhambra, Vaulted Ceiling lot
Alhambra, Windows loo
Alhambra, Wooden Ceiling lol
Cartuja 54
Court of an Arabian House 96
Moorish Market Hall 13
Graus, Plaza Mayor 73
Gu a da fajar <^Infantadopalace,CourtofLions99
Palacio de los Duques del Infantado 66
Hag en, Folkwang Museum, Azulejo and Floor
Tiling 154
Folkwang Museum, Floor Tiling 153
Hue sea, Capilla de Sa. Ana, Chapel Grating 132
Catedral, Chest 122
Leon, Catedral 26
Catedral, Antehall 77
Catedral, Choir Stalls lo7
Convento de S. Marcos, Ceiling lo4
Convento de S. Marcos, Choir Stalls ///
L ogrono, Palacio de Duque de laVictoria, Portal 87
London, formerly Art Shop, Crevecoeur Plate 145
formerly ArtShop,Crevecoeur Plate, Reversel46
South Kensington Museum, Dishes 146
South Kensington Museum, Glass Jug 175
South Kensington Museum, Glass Lamp 176
South Kensington Museum, Pilgrim's Flask 1-76
South Kensington Museum, Vinegar and Oil
Cruets 175
Spanish Art Galleries, Woolen Carpet 166 ,
Spanish Art Galleries, Woolen Carpet 167
Madrid, Almenas, Condede las, Alcora Ceramic
Chemist's Pot 142
Almenas, Conde de las, Alcora Dishes 143
Almenas, Conde de las, Chair 113
Almenas, Conde de las, Chest 118
Almenas, Conde de las, Secretary 119
Almenas, Conde de las, Silk Material 174
Asilo, Portal 89
Barcenas, Don Domingo de las, Vargueno 120
Barcent, Duquesa de, Damask 174
Belda, S., Secretary 115
Borondo, Sr., Buffet 118
Bois, Don Felix, Alcora Busts, Vases, etc. 143
Bois, Don Felix, Alcora Plaques and Saucers 141
Bois, Don Felix, Alcora Porcelain 142
Capilla del Obispo, Door lo9

XXIII

;.#--'.

Convento de las Descalzas Reales, Staircase 93
Hospital de la Latina, Portal 81
Lafora, Beatriz Srta., Chest 116
Lafora, Don Juan, Chest 117
Lafora, Don Juan, Choir Stall 112
Lazaro, Don Jose, Box and Chest 129
Lazaro, Don Jose, Brazier 138
Lazaro, Don Jose, Bronze Censer and Bronze
Candlestick XIII
Lazaro, Don Jose, Custodia (Monstrance) 162
Lazaro, Don Jose, Door Knocker XII
Lazaro, Don Jose, Heads of Nails 129
Lazaro, Don Jose, Pastoral Staff 162
Lazaro, Don Jose, Secretary 122
Lazaro, Don Jose, Two Secretaries 123 -
Laiglesia, Don Eduardo de, Velvet 173
Medinaceli, Duke of, Wooden Bench 121
Ministerio de la Guerra 71
Montal, Don Pedro, Secretary 119
Palacio Real 71
Paramo, Don. Platon, Bowls 147
Paramo, Don Platon, Holy Water Pots 147
Ruiz, Don Pedro, Chest 116
Salamanca, Marques de, Bed 125
Santillana, Marques de, Chair 114
Santillana, Marques de, Choir Stall 112
Santillana, Marques de, Field Table 115
Sinobas, Don R., Snuffers 14o
Sinobas, Don R, Two Weights 137
Torrepalma, Conde de, Brazier 138
Viana, Marques de, Small Chest 12o
Weissberger, Don Jose, Armorial Carpet 168
Weissberger, Don Jose, Four Chairs 158
Weissberger, Don Jose, Holy Family, Leather
Work 156
Weissberger, Don Jose, Hope, Leather Work 156
Weissberger, Don Jose, Leather Wings of aLook*
ing Glass 157
Weissberger, Don Jose, Leather Work VII
Weissberger, Don Jose, Silk Material 169
Weissberger, Don Jose, Table 124
Weissberger, Don Jose, Talavera Plate and Ba=
sin 15o
Weissberger, Don Jose, Talavera Plate and Ba=
sin 151
Manzanares ef Reaf, Castillo 19
Sa. Maria de Gafdacano, Village Church 41
Munich, formerly: Dr. von Buerkel, Carpet 166
Pampfona, Catedral, Ivory Chest 159

Paris, Louvre, Dish 145
Pastrana, Ducal Castle, Coffered Ceiling lo5
Paufar, ef. Altars 5.3 : '
Cartuja, Iron Gate~/gto
Portal 80
Pfasencia, Catedral, Facade 38
PoBfet, Monasterio 2o
Ripoff, Sa. Maria, Roman Mosaic
Safamanca, Casa de las Conchas 67
Casa de las Conchas, Detail 67
Casa de Dona Maria la Brava, Portal 86
Catedral Vieja, Basilica 48
Catedral Vieja, Stuff 170
Catedral Vieja, Tombs 58
Escuelas Menores, Courtyard 82
Escuelas Menores, Portal 82
Esteban, S. 36
Esteban, S., Sacristy 52
Iglesia de S. Justo, Portal 126
Key Tower 25
Monterey Palace 69
Universidad 84
Universidad, Staircase 92
Way of the Cross 95
Santiago de Composteffa, Catedral, Way of
the Cross 47
Clara, Sa. 37
Hospital Real 68
Hospital Real, Courtyard 99
Hospital Real, Facade 78
Martin, S. Pinario, Facade 39
Martin, S. Pinario, Madonna 55
Plaza de Platerias 29
Santiffana, Colegiata, Way of the Cross 94
Segovia, Alcazar 19
Aquaducto XXIV
Clemente, S., Suburb 32
Millan, S., Lower Town 32
Seviffa, Alcazar, Facade 83
Alcazar, Patio de las Doncellas, Wall Tiling 152
Alcazar, Portal 83
Casa del Ayuntamiento 68
Casa de Pilatos, Courtyards 98
Casa de Pilatos, Grating 135
Palacio de las Duehas, Door lo 7
Palacio de S. Elmo, Portal 89
Plaza Nueva 3o
Sevres, Musee Ceramique, Dish 146
TZafavera, Ceramic 149

XXIV

Tarragona, Catedral 36
Catedral, Door 127
Catedral, High Altar Wall 57
Teruef, Catedral, Basin 164
Tofedo, Alcazar del Rey, Gate Arch 25
Castillo de S. Servando 18
Catedral, Choir Round 49
Catedral, Coro 56
Catedral, Pulpit 136
Catedral, West Facade 45
Chapel Apse 27
Convento de Sa. Isabel, Brick Sham Arcades 24
Cupola lo2
Hospital de S. Cruz 88
Juan, S. de la Penitentia, Grating XI
Maria, Sa., la Blanca 59
Puerta Nueva de Bisagra 22
Puerta del Sol 21
Street 31
Town View 15

Vafen cia, Audiencia, Salon de Cortes, Ceiling I06
Catedral, Central Tower 33
Lonja de Seda 61
Lonja de Seda 62
Miguelete 44
Palacio del Marques de dos Aguas, Facade 7o
Peasants' Houses 72
Torres de Cuarte 22
Torres de Cuarte 24
Zamora, Casa de los Momos 68
Catedral, South Portal 76
Zaragoza, Casa de Zaporta, Portal 8 7
Engracia, Sa. 37
Iglesia de la Magdalena 45
Lonja 63
Pablo, S„ Tankard 163
Seo, Ivory Box 159
Seo, Cupola lo3
Seo, Tower 33
Torre nueva 46

Segovia, Aquaducto. Late Roman Building

Granada, Alhambra
Myrtle Courtyard (South View), Renaissance Palace of Charles V. in Background

Phot. Ha user y Me net

Granada, Alhambra
Myrtle Courtyard and Comares Tower. XIV. century. Marble Floor, coloured Rooftiles, Stucco Ornamentation

After Wide

Granada, Alhambra
Lions' Court, begun 1377, built of Wood and Gypsum. Azulejos Roofs

Granada, Alhambra
Courtyard with Mosque Facade. Second half of XIV. century. Coloured Stucco, Glazed Tile
Socle, and Stone Floor

By Permission of Editor loffwang, Hagen

Granada, Alhambra
Hall near Lions' Court. Last quarter of XIV. century

Granada, Alhambra
Court of Justice, and Lions' Court. Second half of XIV. century

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Granada, Alhambra
Stucco Ornamentation of Ambassador's Chamber. Last quarter of XIV. century

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PHot. Hausery Menet

Granada, Alhambra
Capitals and Stucco Decoration iri Lions' Court. Last quarter of XIV. century

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Granada, Alhambra
Stucco Decoration of the Portal of the Myrtle Court. XIV. century

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Granada, Alhambra
Sisters' Chamber, Stalactites and Gypsum Decoration, XIV. century

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Granada, Alhambra
The Two Sisters' Chamber. Second half of XIV. century. Walls of coloured Stucco, Stalactite Ceiling
Glazed Tile Socle. Marble Floor

11

Cordoba, La Mezquita
Sanctuary <961— 76)

12

Cordoba, La Mezquita
Capilla Villaviciosa. Mudejare Stucco Decoration. Glazed Tile Socle. XIV. century

13

Granada
Remains of the Moorish Market Hall. Burnt down in 1843

Cordoba, La Mezquita
Mosque <785 — 990). Marble and Porphyry Columns. Horseshoe Ardies of white Keystones alternately with Tiles

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Cuenca
Typical Utilisation of rocky Slopes in Building

Phot. Laurent

Granada, Alhambra
The red Towers of the Moorish Fortifications on the Alhambra Hill. XL — XII. century
Restored XVI. century

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18

Phot. Ha user y Menet

Alcala de Guadaira (Province Sevilla), El Castillo
Hewn Stone. Principally built XIV. —XV. century

Toledo, Castillo de S. Servando
Citadel on the left Bank of the Tajo. Built for Defence of the Town lying on the right Bank, 'about 1100
Restored in XIII. century

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19

Manzanares el Real, Castillo
Built by Juan Guas. Second half of XV. century

Phot. Hausery Menet

Segovia, Alcazar
XI. century. Almost entirely restored in 1352—58

Phot. Beer, Ktagenfurt

20



Avila
Town Fortification, Granite. End of XVI. century

Phot. Beer, Klagenfurt

Poblet (Province Tarragona), El Monasterio
Gothic Fortification Gate (1367—82), The Cloister was fortified for the Defence of the Kings' Tombs

21

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• Toledo, La Puerta del Sol
About 1100 <?). Mudejare Style. Brick Decoration

22

Valencia, Torre de Cuarte
Town Gate <1444-90>

Toledo, Puerta Nueva de Bisagra
Double Town Gate. Exterior Side, built 1550, restored 1575

23

Burgos

Town Gate (1536-52)

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Valencia, Torre de Cuarte
Gothic Town Gate. 1444—90

Toledo, Convento de Sa. Isabel
Mudejare Brick Sham Arcades . 1477

Toledo, Arco mudejar del Alcazar del Rey
D. Pedro el Cruel
Brick and Stucco Ornamentation

Salamanca
The Key Tower (1480)

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Mudejare Chapel Choir Corner, with Brick blind Arcades

Barcelona, Plaza del Rey
Late Gothic Palace of Charles V with high Belvedere. XVI. century

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Phot. Laurent

Burgos, Plaza Mayor
Classicistic Plarf with Arcades, Gothic Cathedral in Background

Phot. Lacoste

Santiago de Compostela,, Plaza de Platerias
Late Baroque Casa del Cabildo, completed by Sarela in 1758

30

Cadiz, Plaza de Isabel II
Classicistic Townhall

Phot. Hauser y Menet

Sevilla, La Plaza Nueva (S. Fernando)
On the Right Townhall (1527-64, restored 1891)

Phot. Hauser y Menet

31

Phot. Lacoste

Toledo
Alley. Tower of Cathedral in Background

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32

Segovia
Lower Part of the Town near St. Millan. Walls of Fortification on Iberian Fundament (XL — XII. century)

Segovia
St. Clement's Suburb. Typical Castilian Houses

Phot. Beer, Klagenfurt

Zaragoza, La Seo
Originally, Mosque, afterwards Gothic Churdi
Tower after H. B. Contini's Design (Rome 1683)

Valencia, Catedral
Cimborio. End of XIV. century.' Apostle Gate afld Belfry (1381
In Front a Renaissance Building with Arcades

-1418)

41

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Burgos, Catedral
1221 - 1567. Towers by Hans of Cologne (1442 and following years)

35

Burgos, Catedral
Part of the Furrier's Gate (Built in 1516 by Francis of Cologne, Renaissance Style)

Phot. Hauser y Menet
Tarragona, La Catedral
Roman and early -Gothic Building. The Window Rosette was
begun in 1278

Salamanca, S. Esteban
Plateresque Dominican Monastery Church by Juan de Alava
1542-1610

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Plasencia, Catedral
Plateresque North Facade. First half of XVI. century

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39

PBoi. Lacoste

Santiago de Compostela, S, Martin Pinario
Late Plateresque Church Facade (completed 1652. Outside Staircase with Church Alteration completed 1740)

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El Escorial
Built by Juan de Herrera in the ornamentless Renaissance Style which was named after him (1563—84)

Phot. Casa Lux

Sa. Maria de Galdacano (Province Biscaya)
Gothic Village Church

42

Sevilla, Catedral
On the Site of the Main Mosque 1402 - 1506. Additional Building 1530—75. Belfry (Giralda) originally Minaret

Zaragoza, Iglesia de la Virgen del Pilar
Begun by Francis Herrera, Jr., in 1681,- altered and continued 1753. Coloured (Azulejos) Cupolas

43

Burgos, Catedral
Late Gothic Central Tower with Plateresque Ornamentation (1540—67)

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Cordoba, Torre de S. Nicolas
Gothic Belfry, XV. century, originally Minaret

Valencia, El Miguelete
Gothic Belfry. Chapel Cupolas in Front, covered with Azulejos

Toledo, Catedral
West Facade with Gothic Portal and North Tower (1380—1440),-
the South Tower crowned with a Late Renaissance Cupola

Zaragoza, Iglesia de la Magdalena
Late Mudejare Building
(Brick Decoration and Baroque Portal)

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Phot. Laurent

Zaragoza, La Torre nueva
Leaning Mudejare Belfry Tower, no longer existing

Phot. Hauser y Menet
Zaragoza, La Torre nueva
Mudejare Brick Tower 1504. (Foreground Baroque Belfry)

After Uhcfe
Santiago de Compostela, Catedral
Early Plateresque Way of the Cross (1521—46) with the Baroque
Belfry Tower (completed 1680)

Valencia, Torre de Sa. Catalina
Baroque Belfry (1688-1705)

S

48

Phot. Lacoste

Salamanca, Catedral Vieja
Late Roman Column Basilica. XII. century

49

Phot. Moreno

Toledo, Catedral
Choif Round with double Passage. The Cathedral of five Naves in the early Gothic Isle de France Style
(1227-1493)

50

Burgos, Catedral, Capilla del Condestable
Late Gothic Chapel erected 1482 (Plateresque High Altar)

51

Phot. Moreno

Burgos, Catedral
Entrance to the late Gothic Chapel of St. Ann (1477—88). Tomb of Archdeacon Diaz (died 1492) on the Right

52

Salamanca, S, Esteban
Baroque Sacristy of the Dominican Church. XVII. century

53

— -.
-

Paular
Churrigueresque Altars (carved Wood, gilded and painted) of the Cloister Church

Phot. Lacoste

54

V

Phot. Garzon

Granada, Cartuja
Sacristy in Churrigueresque Style (Marble and Stucco, 1727-64). The Cases are of Cedar Wood
inlaid with Ivory, Mother=of=pearl and Silver (1730-64)

55

Phot. Lacoste

Santiago de Compostela, S. Martin Pinario
Gothic Madonna in late Baroque polychromic Altar Work,- Wood Carvings

56

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V- ¦'¦'¦"¦' Taragona, Catedral ''¦¦¦-,. 1 ?
Party of the High Altar. First half of XV. century, Altar Reliefs in Alabaster,- Socle of Marble

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The former principal Synagogue (XIII. century). Mudejare Style

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Burgos, Catedral
Late Gothic Tomb of Archdeacon Villegas (died 1536)

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61

Valencia, La Lonja de Seda
Gothic Bourse with Passage for Defence

Phot. Hauser y Menet

Valencia
Gothic Silk Bourse (1483—98). Battlements with Tops like King's Crowns

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Zaragoza, La Lonja
Completed 1551
Transition from the Gothic to the Renaissance Style

After Uhde

Barcelona, La Audiencia
Gothic Court of Justice. XV. century
Court Side with Passage of Defence and Tromb Gargoyles

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Alcala de Henares, La Universidad
Plateresque Facade of the former University by R. Gil de Ontanon 1538

Phot. Lacoste

Salamartca
Baroque Townhall. First half of XVIII. century

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Guadalajara, Palacio de los Duques del Infantado
Late Gothic Palace with Mudejare Elements, begun 1461.' (The large Windows are Renaissance Alterations)

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Early Renaissance Building with Churrigueresque Additions

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Sevilla, Casa del Ayuntamiento
Townhall. Plateresque Style (1527—64)

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Zamora, La Casa de los Momos
Nobleman's House/ late Gothic

Phot. Lacoste

Salamanca
Corner Tower of the Plateresque Monterey Palace

70

Phot. Hauser y Menet

Valencia, Palacio del Marques de dos Aguas
Begun 1740. Originally painted al fresco, afterwards ornamented in coloured Marble Stucco. Portal of Alabaster

71

Madrid, Palacio Real
Classicistic Baroque Building (1738 - 64)
Granite and Limestone

Madrid, Ministerio de la Guerra
Classicistic Palace Building (1782)

Phot. Hauser y Menet

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Graus (Province Huesca), Plaza Mayor
Arragon Houses' of XVI. -XVIII. century. Arcades on the Groundfloor

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Barcelona, Cementerio viejo
Cemetery. Classicistic Style

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Burgos, Catedral
Gothic Portal to the Way of the Cross, Doors of carved Wood

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Leon, Catedral
Gothic Antehall with the three Portals of the West Facade (yellowish Limestone) XIV. century. Carved wooden
• Doors, late Gothic

78

Phot. Lacoste

Santiago de Compostela, Hospital Real
Plateresque Facade by Enrique de Egas (1501 — 10)

79

Phot. Lacoste

Calatayud, Sa, Maria
Plateresque Portal (1528), Pillar to the Left with late Mudejare Brick Decoration

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Phot. Hauser y Menet

Phot. Lacoste

Barcelona, Sa. Maria del Mar
Gothic Portal (1328-83)

El Paular
Late Gothic Portal near Altar

Madrid, Hospital de la Latina

, . Gothic Portal

Burgos, Hospital de S.Juan
Gothic Portal. XV. century

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Phot. Laurent

Salamanca, Escuelas Menores
Early Plateresque Portal. Beginning of XVI. century

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Salamanca, Escuelas Menores
Interior Plateresque Portal and Courtyard

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Originally simple Gothic Building (1415 — 33). Alteration in Plateresque Style. West Facade

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Alcala de Henares, Universidad
Plateresque Main Portal (153&Z

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Salamanca, Casa de Dona Maria la Brava
Portal of a Nobleman's House. Late Gothic Style

Burgos, Casa del Cordon
Portal of a Nobleman's House
Girdle of Franciscan Monks as a Decorative Motive (before 1492)

Phot. Laurent

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Zaragoza, Casa de Zaporta o de la Infanta
Plateresque Portal and Courtyard of 1550 (Decoration of Balcony later)
House pulled down 1903, and sold in Paris

Logrono, Palacio de Duque del fa. Victoria
Churrigueresque Portal. XVIII. century

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Toledo, Hospital de S. Cruz
Early Plateresque Portal (Hospital erected 1494—151*4)

Phot. Hauser y Menet

Phot. Hauser y Menet

Madrid, Asilo (Hospicio Provincial)
Churrigueresque Portal (Hospital erected 1722—99)

Sevilla, Palacio de S. Elmo
Churrigueresque Main Portal (Palace erected 1682—1796)

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Barcelona, Patio de la Audiencia
Late Gothic Staircase in the Audience Court

After Uhde

Phot. Laurent

Alcala de Henares, Palacio Arzobispal
Staircase in full Plateresque Style ("about 1535)

Barcelona, Casa Dalmases Calle de Moncada
Baroque Stairs (about 1700?)

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Salamanca, Universidad
Plateresque Staircase. (Among other Decorations Representation of a Bull Fight)

93

Phot. Moreno

Madrid, Convento de las Descalzas Reales
Baroque Staircase with Painting (about 1660)

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Santillana <Santander>, La Colegiata
Roman Way of the Cross

Salamanca
Upper Way of the Cross of a Nuns' Cloister in Churrigueresque Style

Phot. Hauser y Menet

Granada
Courtyard of- an Arabian House

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Avila, Convento de So. Tomas
Transition from the Gothic Style to the Plateresque. XVI. century

Cordoba, La Mezquita
The Orange Court and Baroque Belfry Tower
(1593-1664)

Alcala de Henares
Renaissance Court of the former Ardiiepiscopal Palace
First half of XVI. century ;

55

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Phot: Hauser y Menet

Sevilla, Casa de Pilatos

Phot. Hauser y Menet

Sevilla, Casa de Pilatos

Late Mudejare Court with Renaissance Elements. First half of
XVI. century. Stucco Decoration and Tiled Walls

Late Mudejare Court with a Mixture of Moorish, Gothic,
and Renaissance Models

99

Guadalajara, Infantado Palace
Late Gothic Lions' Court with Mudejare and Renaissance Elements

After Uhde

Santiago de Compostela, Hospital Real
Late Baroque Court. „PIate Style" with classicistic Addition. Begun before 1769. Completed 1798

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Granada, Alhambra
Moorish Double Window with wooden Grate. XIV. century
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Granada, Alhambra
Moorish Window with wooden Grate. XIV. century
By Permission of Editor Toffiwang, Hagen

Granada, Alhambra
Perforated wooden Ceiling. XIV. century

By Permission of Editor Totkwang, Hagen

Granada, Alhambra
Moorish Brick vaulted Roof in the Infanta's Tower. End of XIV. century

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Cordoba,, La Mezquita Z.
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Ceiling in the Mudejare Chapel of St. Fernando (Villaviciosa)
XIV. century

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Zaragoza, La Seo

O ctoganal oblong Gothic Stone Cupola. Built at the Beginning of
XV. century. Restored 1502-20

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Phot; Moreno

Leon, Convento de S. Marcos, Sala Capitular
Coffered Renaissance wooden Ceiling with Mudejare Reminiscences, First half of XVI. century

105

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Pastrana,- Castle of the Dukes
Cofifered-Renaissance Ceiling. XVI. century

Phot. Hauser y Menet

Pastrana, Castle of the Dukes
Coffered Ceiling. XVI. century

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Phot. Hauser y Menet

Valencia, Audiencia. Salon de Cortes
Carved Wood Plateresque coffered Ceiling, Gallery and Consoles. Completed 1561

Phot. Laurent

Leon, Catedral
Late Gothic Choir Pew

Sevilla,. Palacio de las Duenas
Late Mudejare Door of Wood. (Frame with Plaster Ornametjtation)

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108

Avila, Convento de S. Tomas
Late Gothic Choir Pews. End of XV. century

109

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Madrid, Capilla del Obispo
Renaissance Door, probably after a Design of Giralte (about 1550 - 60)

110

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Madrid, Don Juan Lafora
Renaissance Choir Pew
XVI. century

Madrid, Marques de Santillana
Early Plateresque Choir Pew
Beginning of XVI. century

113

Madrid, Conde de las Almenas
Chair. XVI. century

Madrid^ Private Collection
Renaissance Secretary. About 1600

Madrid, B. Peryonton
Chair. XVI. century. (Velvet Seat and Badt)

Madrid, Conde de Sclafani
Chair. Leather Covering. End of XVI. century

114

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Madrid, Conde de las Almenas
Chair. VelvetCovering.RenaissanceEmbroidery
Madrid, Marques de Santillana
Chair. XVI. century
Madrid, Conde de las Almenas
Chair. Beginning of XVI. century
Madrid, B. Peryonton
Chair, inlaid with Mudejare Decoration. XVI. century
115

Madrid, Marques de Santillana
Field Table. XVII. century. Inlaid Work with engraved and gilded

Phot. Hauser y Menet
Bronze

Madrid, B. Peryonton
Renaissance Double Chest/ upon it, Gothic Case
covered with Leather and wrought Iron Garnishments

Madrid, S. Belda
Secretary. XVI. century
Silver Reliefs. Covered with Velvet

116

Madrid, Don Pedro Ruiz
Gothic Chest covered with Leather, ornamented with wrought Iron. XV. century

Phot. Hauser y Menet

Madrid, formerly Srta. Beatriz Lafora
Gothic carved Chest, partly gilded. XV. century

117

Madrid, Don Bernardo Peryonton
Gothic carved Chest. XV, century

Phot, Hauser y Menet

Madrid, Don Juan Lafora
Gothic Chest covered with Velvet and wrought Iron Garnishments. End of XV. century

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Madrid, Sr. Borondo
Buffet in three Parts with carved Mudejare Decoration, painted inside
XV. century

Madrid, Conde de las Almenas
Wooden Chest with late Mudejare inlaid Decoration and perforated
Iron Work. XVI. century

Phot. Hauser y Menet

Madrid, Conde de las Almenas
Carved Wood Secretary. Plateresque Style

Madrid, Don Pedro Montal
Carved Wood Secretary. XVI. century. Plateresque Style

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Madrid, Duke of Medinaceli
Carved Wood Bench. XVI. century

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122

Madrid, Don Jose Lazaro
Plateresque wooden Secretary, made for Charles V. XVI. century

Phot. Oftra

Huesca, Catedral
Plateresque Chest for Sacristy (Wood. 1556)

123

Madrid, Don Jose Lazaro
Renaissance Secretary, XVI, century

Madrid, Don Jose Lazaro
Small Baroque Secretary. XVII. century

124

Madrid, Don Jose Lazaro
Early Plateresque Secretary with late Gothic, Mudejare and Renaissance Elements. Beginning of XVI. century

Madrid, Don Jose Weissberger
Carved Wood Renaissance Table with armorial Motive. XVI. century

Phot. Moreno

125

Phot. Roig

Formerly Madrid, Marques de Salamanca
Front Part of a Bed. Wood and Bronze. XVII. century

126

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~ Tarragona, La, Catedral
Late Gothic wrought Iron garnished Double Door with Copper Nails and Kno&ers

Avila
Gothic Door Garnishments

128

Phot. Moreno

Toledo, Catedral
Renaissance Door with Knockers (Bronze)

129

-Heads of Nails (wrought Ifon) for Door Garnishments, late XV. and XVI, century

(Left) Late Gothic.enamelled copper-gilded Box. About 1500 — (Right) Roman enamelled Chest. XIII, century
Madrid, Don Jose Lazaro

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Phot. Lacoste

Kl Paular, Cartuja
Late Gothic wrought Iron Gate of the Monastery Church

Phot. Laurent

Phot. Moreno

Barcelona, Catedral
Gothic Chapel Grating (wrought Iron)

Alcala de Henares, La Magistral
Plateresque Chapel Grating

132

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Phot. Llado

Alcala de Henares, La Magistral
Late Gothic wrought Iron Altar Grating

Avila "
Late Gothib wrought Iron Window Grating

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134

Sevilla, Catedral
Plateresque wrought Iron Altar Grating

135

Phot. Moreno

Sevilla, Casa de Pilatos
Plateresque wrought Iron Window Grating. First half of XVI. century

136

Phot. Moreno

Toledo, Catedral
Renaissance Pulpit. Iron and Bronze (1543-

-52)

137

Barcelona, Don Carlos Vallin
Gothic Eagle, wrought Iron. XV. century

Barcelona, Don Carlos Vallin
Bronze Mortar (1790)

Phot. Hauser y Menet
Madrid, Don R, Sinobas
Late Gothic Bronze Weight (1492)

Phot. Hauser y Menet
Madrid, Don R. Sinobas
Bronze Weight (1609), after Gothic Model

Barcelona, Don Carlos Vallin
Gothic wrought Iron Candlestick

Cau Ferrat, Don Santiago Rusinol
Late Roman wrought Iron Brazier

Madrid, Conde de Torrepalma
Late Gothic Brazier with Shell Decoration
About 1500

Burgos, Catedral
Plateresque Bronze Candelabrum
XVI. century

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Barcelona, Don Carlos Vallin
Gothic wrought Iron Candelabrum

Madrid, Don Jose Lazaro
Brazier. XVI. century

Phot. Moreno

Alcala de Henares, Oratorio de S. Felipe
Wrought Iron Baroque Lode. XVII. century

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Alcala de Henares, Cloister of S. Magdalen
Baroque Lodt (1672)

140

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Phot. Hauser y Menet

Madrid, Collection of Don R. Sinobas
Snuffers (1800—30)

141

Phot. Roig

Phot. Roig

Alcora Porcelain. Polydiromic Plaquette and Saucer
XVIII, century

Alcora Porcelain. Polydiromic Washing Set
XVIII. century

Madrid, Don Felix Bois

142

Alcora Porcelain. Pyramid as Table Decoration Madrid, Don Felix Bois

Phot. Roig
Alcora Flower Vase with Silver Reflex

Phot. Roig
Madrid, Conde de las Almenas
Alcora Ceramic. Chemist's Pot. Blue Decoration

Phot. Roig
Barcelona, Coleccion Giiell
Alcora Dish with coloured Decoration

143

Madrid, Conde de las Almenas
Alcora Porcelain. Group in White,- polydiromic Dishes

Phot. Roig

Madrid, Don Felix Bois
Alcora Porcelain. Busts and polydiromic Vases

Phot. Roig

Madrid, Don Felix Bois
Alcora Porcelain. Basins and Flower Pots

Phot. Roig

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Formerly Barcelona, M. Paul Tachard
Hispano-Moresque Chemist's Pots with blue Decpration and metallic Gloss. Manises. First half of XV. century

145

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146

After van de Put
Formerly London, Art Trade
Back of the Crevecceur Plate (see Page 145)

After van de Put

London, South Kensington Museum
Hispano=Moresque Plate. Beginning of XVI. century

After van de Put

Sevres, Musee Ceramique
Hispano-Moresque Plate. Decorations of Spirals and Lines of Writing

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After van de Put

London, South Kensington Museum
Hispano=Moresque Plate. Small Leaf Decoration. XV. century

147

Talavera Ceramic. XVIII. century. Polydiromic Shaving Basins

Talavera Ceramic. XVIII. century. Holy Water Pots with Arms of different ecclesiastical Orders
Madrid, Don Platon Paramo

4*-Oo

Two Alcora Dishes
XVIII. century

Barcelona, Don Carlos Vallin

Two Talavera Plates
XVI. century

Ceramica de Talavera. Siglo XVII.
Upper Row; Vessels from the Eskorial Drugstore, the blue Ground treated with the Sponge. — Blue adorned Vase with Lid (Madrid, Conde de
Casal). — Polydiromic Jug of XVI. century (Barcelona, Don Luis Plandiura). — Lower Row; Wine Jug with Hunting Scenes. —
Two double^handled Vases (Madrid, Don Felix Bois)

4*.

150

Talavera Ceramic. Small Dish. End of XVII. century

Talavera Ceramic. Plate. XVII. century
Madrid, Collection J. Weissberger

151

Talavera Ceramic. Bowl. About 1700

Talavera Ceramic, Plate, XVII. century
Madrid, Collection J. Weissberger

152

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P/io/. Lacoste

Sevilla, Alcazar, Patio de las Doncellas
Wall Tiling. Moorish Star Pattern

153

Phot. Hauser y Menet
Granada, Alhambra
Moorish Floor Tiling Work With white Band Work
XIV. century

&8$B

Phot. G. Osthaus

Granada, Alhambra
Moorish Floor Tiling. Star Pattern. XIV. century

Phot. G. Osthaus
Hagen, Folkwang Museum
Sevillian Floor Tiling. Pomegranate Pattern
XVI. century

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Phot. G. Osthaus
Granada, Alhambra
Tiling Socle. Star Pattern and Band Work. XIV. century

154

Gothic Azulejo with Animal Motive
Third quarter of XV. century

Floor Tiling with the Family Coat of Arms of Fernandez de Cordoba and Zuniga
Last quarter of XV. century

1 'lfiiPP

Madrid, Coleccion Osma
Star Pattern, Azulejo in
Cuerdaseca Tedinic. XV. century

Phot. G. Osthaus
Hagen, Folkwang Museum
Sevillian Renaissance Armorial Stone

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/-to/. (3. Osthaus
Hagen, Folkwang Museum
Azulejo with Cock's Foot Pattern
XV. century

Sevilla, Museo Provincial
Sevillian Renaissance Floor Tiling Altar Front. XVI. century

155

Phot. Arxiu Mas

Barcelona, Museo
Gothic Chest covered with Leather. XV. century

Holy Family. Leather Work. End of XVII. century Hope. Leather Work in Plateresque Style, Figure in Bronze
Madrid, Don Jose Weissberger

Madrid, Don Jose Weissberger
Polydiromic Leather Wings of a Baroque Looking Glass. XVII. century. Relief. Left: Outside View-
Right: Inside View

-J

158

Chair. Leather Covering
XVI. century

Baroque Chair covered with Leather
XVII. century

Chair covered with Leather. XVI. century Chair covered with Leather. XVI. century
Madrid, Don Jose Weissberger

159

After Bertaux

After Bertaux

Zaragoza, La Sto
Moorish Ivory Box with gilded Silver Mountings ornamented with Filigree. XIV. century

After Bertaux

.Pamplona, Catedral
Moorish Ivory Chest with the Name of Abdelmelics, Son of Almansor (1005), with secular Scenes
Cordovan Work under Sassanian Influence

160

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Burgos, Museo
Altar Front in Limoges Work. F^rom the Cloister of St. Domingo de Silos
End of XII. century

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Early Plateresque Pastoral Staff
Beginning of XVI. century

Late Gothic Monstrance. Gold-plated Silver
XVI, century

Enamelled early Gothic Pastoral Staff showing
late Roman Influence. About 1300

Madrid, Don Jose Lazaro

After Bertaux

Zaragoza, S. Pablo
Renaissance Tankard. Gold=plated Silver. With Saragossan Stamp

Barcelona, Don Carlos Vallin
Copper Jug with the Spanish Coat of Arms. XVII. century

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164

After Bertaux

Teruel, Catedral
Basin, wrought in Silver. Plateresque Style with Mudejare Reminiscences. First half of XVI. century

165 >5

Barcelona, Collection Don Patricio Pasco
Guipure Lace

Barcelona, Collection Don Patricio Pasco
Catalan Lace after Russian Style

Barcelona, Dona M, Casanovas de Torrus
Catalan Altar Cover with Guipure Lace

166

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London, Spanish Art Galleries
Woolen Carpet. With geometrical Pattern and white
ornamental Letters. XV. —XVI. century

Formerly Munich, Dr. v. Buerkel
Woolen Carpet. Knotting similar to Linen Lattice Work
Geometrical Pattern on interlaced Ground. XV. century

167

London, Spanish Art Galleries
Woolen Carpet with Armorial Shields
Middle of XV. century

London, Spanish Art Galleries
Woolen Carpet, Last quarter of XV. century. With armorial
Bearings and figural Scenes along the Edges

168

Madrid, Don Jose Weissberger
Carpefwith Coat of Arms. XVII. century

Phot. Mateu
Barcelona, Museo
Hispano^Arabic Stuff. Sassanian Influence. X.— XI. century. Green on Red

169

Phot. Mateu

Madrid, Don Jose Weissberger
Silk Stuff. (Red Ground. Animals yellow. Ornamentation black.) Granada. XVI. century

170

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171

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172

Phot. Mateu

Phot. Mateu

Phot. Mateu

Phot Mateu

Barcelona, Museo
Catalan-Aragonian woolen Stuffs. XVI.— XVII. century

173

Phot. Mateu i

Madrid, Don Eduardo de Laiglesia
Coloured printed Velvet with the Virgin de las Angustias. (Valencia. 1740)

Phot. Mateu

Madrid, Duquesa de Barcent
Damask. (Red and White)
XVI. century

4^

Phot. Mateu

Madrid, Conde de las Almenas

Blue Silk Stuff with conventionalized Flower Pattern in Gold
and Silver. XVII. century

Glass Jug. XVI. century

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London, South Kensington Museum

Cruetstand for Oil and Vinegar. Glass. XVIII. century

^

Pilgrim's Bottle. Glass. XVII. century London, South Kensington Museum

Glass Lamp. XVII. century

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