Some Account of Gothic Architecture in Spain Part 27

A fine late Romanesque door leads from the south aisle into the cloister, the whole of which is a good work of the early part of the fourteenth century, with well-traceried windows of four lights. The groining piers are cl.u.s.ters of shafts, and the b.u.t.tresses on the outside are finished with crocketed gables and a bold cornice carved with foliage. The traceries are now all filled in with very thin panels of alabaster, which do not obscure the light much, whilst they effectually keep out the sun; but this precaution against suns.h.i.+ne does not seem to have been much needed, if the men were right who raised a second stage upon the old cloister, the Renaissance arcades of which are all left perfectly open. On the southern alley of the cloister there is a very pretty hexagonal projecting chamber, in which no doubt--if we may judge by the a.n.a.logy of Clairvaux--was once the lavatory. The cloister has been built in front of, and without at all disturbing, the original Chapter-house, on its east side. The new groining shafts stand detached in front of the old arcade to the Chapter-house, and the combination of the two is managed very cleverly and picturesquely. This old arcade consists of the usual arrangement of a central doorway, with two openings on either side, all carried on cl.u.s.ters of detached shafts with capitals of foliage. The Chapter-house itself is divided into nine groining bays by four detached shafts; it is very low and small, and its three eastern windows are blocked up, but nevertheless its effect is admirable. One of its columns has been spoilt by the elaborate cutting in of the names of a party of Englishmen who ascended the Sierra de Moncayo to see the eclipse of the sun in 1860, and who recorded their not very hazardous or important achievement in this most barbarous fas.h.i.+on.

[Ill.u.s.tration: Entrance to Chapter-House, Veruela.]

It is a fact quite worth notice here, that none of the old windows are blocked up: the truth is that the churches from which this was derived were, in common with all Romanesque churches, taken straight from Italy, where the requirements of the climate were very similar to those of Spain. Yet it was only very gradually that the northern architects discovered their unfitness for a northern climate, and increased their dimensions. Here they give just enough and not too much light; but at a later day, when the northern churches were all window from end to end, the same fault was committed; and when their architects were employed to build in other climates, they followed their own traditions without reference to altered circ.u.mstances, as we see at Milan, at Leon, and elsewhere frequently.

The church at Veruela seems now to be but little frequented, the high altar alone being ever used. The stalls of the Coro are gone, and a shattered fragment of the old organ-case standing out from the wall serves only as a forlorn mark to show where it once stood. The buildings generally are sadly decayed and ruinous, and I have seldom seen a n.o.ble building less cared for or respected. It is sad to see this result of the suppression of religious orders, and one may be permitted to doubt whether it can be for the interest of religion that this n.o.ble foundation should now be nothing more than the private residence of a Spanish gentleman, instead of--as it was intended it should be by its pious founder--a perpetual refuge from the cares of the world of those in every age who aim to lead the holiest and most devoted lives.

I left Veruela with regret that I was unable to obtain more accurate notes of such portions of the monastic buildings as probably still remain overlaid with the poor additions of a too wealthy convent during the last three centuries. It is, however, easily accessible, and the plan which I give of the church will no doubt soon induce others to complete my examination wherever it has been defective.

On the ride back to Tarazona, we made a short _detour_ to look at what seemed to be an important church and village. Neither could well have been less so! The church was without anything worth remark save a band of tiles, set chevron fas.h.i.+on, in the cornice, and not harmonizing at all well with the walls. The village was wretched in the extreme.

At Tarazona I was much struck by the extremely good character of the common crockery in use in the inn and elsewhere. It is all painted by hand, never printed; and the result is that, even when simple diapers only are used, there is far greater life, variety, and vigour in the drawing than there ever is in our machine-made work. The colour seems generally to be used in such a way as that when burnt it varies charmingly in tint and texture. Every plate is different in pattern; and I fear that, uncivilized as we might think these good Spaniards in some things, they would be justly shocked were they to see the wretchedly inferior patterns with which, after many years of talking about art, we are still satisfied to decorate our earthenware. These people excel, too, just as much in form as in ornament. Their jugs are always quaint and good in outline, and made with the simplest regard to what is useful.

[Ill.u.s.tration: VERUELA ABBEY: Ground Plan of the Church &r: Plate XXIII.

W. West, Lithr.

Published by John Murray, Albemarle St. 1865.]

CHAPTER XIX.

TUDELA--OLITE--PAMPLONA.

FROM Zaragoza the railway to Pamplona pa.s.ses by Tudela. The line is carried all the way along the valley of the Ebro, the southern side of which is a fairly level open country, whilst on the north bold, barren hills, stream-worn and furrowed in all directions, rise immediately above the river. The broad valley through which the railway pa.s.ses is well covered with corn-land, which, when I first pa.s.sed, was rich with crops. To the south, as Tudela is approached, are seen the bold ranges of the Sierra de Moncayo, whilst in the opposite direction, far off to the north, soon after leaving Zaragoza the grand and snowy outlines of the Pyrenees come in sight.

Alagon is the only considerable town pa.s.sed on the road, and there seems to be here an old brick belfry of the same character as the great steeple of Zaragoza, and, like it also, very much out of the perpendicular.

The cathedral dedicated to Sta. Maria at Tudela is one of the same n.o.ble cla.s.s of church as those of Tarragona and Lerida, and quite worthy in itself of a long pilgrimage. It is said by Madoz to have been commenced in A.D. 1135, and consecrated in 1188, and was at first served by Regular clergy, but Secularized in 1238. It is slightly earlier in date than the churches just mentioned, yet some of its sculpture, as will be seen, has, perhaps, more affinity to the best French work, and is indeed more advanced in style, than that with which the other two churches are decorated. This may be accounted for, most probably, by its more immediate neighbourhood to France. Its scale is fairly good without approaching to being grand, and thus it affords a good ill.u.s.tration of the great power which the mediaeval architects undoubtedly possessed, of giving an impression of vastness even with very moderate dimensions, and of securing a thoroughly cathedral-like effect in a building much smaller in all its dimensions than the ordinary cathedral of the middle ages. No power is more to be desired by an architect; none marks more distinctly the abyss between the artist and the mere mechanical builder; and none has been more lost sight of during the three centuries which have elapsed since the eclipse of the Pointed style in the sixteenth century. We see here the usual subdivisions of parts, all well-proportioned and balanced. The nave[392] is of four bays only in length, and this is now, and perhaps was always in great part, occupied by the Coro: but, on the other hand, the proportions of the transept are very fine, and its internal perspective compensates in great degree for the loss of that of the nave. Out of this transept five arches in the east wall open to the choir and to four chapels, two on either side: and it is remarkable that two of these have square east ends, whilst all the rest have circular apses.

The plan of the columns is almost identical with that seen at Tarragona and Lerida: but it is one of which the eye is never satiated, inasmuch as it is well defined in its outlines, strong and ma.s.sive-looking, and evidently equal to all that it has to perform. The vaulting is all quadripart.i.te, except in the two eastern chapels on each side of the centre apse, or Capilla mayor, which are roofed with semi-domes, the Capilla mayor having its apse groined in five bays, with very bold groining ribs.

The arches are all pointed, very simply moulded with bold, broad, flat soffeits, generally of only one order, and with labels adorned with dog-tooth. The bases and abaci of the capitals are all square. The former have the transition from the circular members to the square managed with admirable skill, tufts of foliage occupying the angles. The latter throughout the church are deep and boldly carved, as also are the capitals themselves. These seem to be of different dates: all those on the eastern side of the transept, and all the lower capitals of the nave, save the west end and first column, being very cla.s.sical in their design, and probably dating from early in the thirteenth century, whilst the remainder appear to be generally of the latter part of the same century. In the earlier capitals the abaci are all set square with the walls, whereas in the later work they are set at right angles to the arch which they have to carry, and often, therefore, at an angle of 45 to the walls.

[Ill.u.s.tration: No 50.

TUDELA CATHEDRAL.

INTERIOR OF CHOIR]

The groining ribs are very bold, and well moulded. There is no triforium, and the clerestory windows come down to a string-course just above the points of the main arches. They are of two lights, with a circle in the arched head, and their rear arches are moulded and carried on engaged jamb-shafts. The transepts have rose-windows in the bays next the choir, and lancet-windows in the north and south bays, and the carved abacus is carried over these as a label. There seem to have been rose windows round the princ.i.p.al apse at a lower level than the other clerestory windows; but only one of these is visible on either side, owing to the reredos: and I found it impossible to get any near exterior view of the east end, owing to the way in which it is built against by houses.

The west front had a large rose-window, which has been blocked up, and it still retains a n.o.ble doorway, of which I shall have to speak more in detail presently.

The north transept is now the least altered part of the church, and in the extreme simplicity of its bold b.u.t.tresses, the refined beauty of its sculptured doorway, and the well-proportioned triplet which fills the upper part of the wall, it recalls to mind an English building of the thirteenth century. Unfortunately the gable has been destroyed, and the walls and b.u.t.tresses are now finished with the straight line of the eaves. Almost the only peculiarity in the detail here is the wide, external splay of the windows between the gla.s.s and the jamb-shafts in the centre of the monials. The south transept has a triplet similar to that in the north transept, and has also lost its gable, and, being more shut in than the other, is perhaps the most picturesque in effect. A narrow lane leads up to it along the east wall of the cloister, and this, turning abruptly when it reaches the church, pa.s.ses under a broad archway, which forms the south front of a porch, and then, out of an eastern archway, the street goes on again, twisting and turning in a fas.h.i.+on which is not a little eccentric. The exterior of the eastern apse retains its b.u.t.tresses of slight projection, which run up to, and finish under, the eaves-cornice, which is carried, as all the cornices throughout the church are, upon boldly-moulded corbels.

It is only at some distance from the cathedral that anything is well seen of the turrets and tower, which give it most of the character it possesses. The west end had, I think, two small square towers, finished with octagonal turrets of smaller diameter than the towers. Of these the south-western still remains, but on the north side a lofty brick steeple was erected in the eighteenth century. Another turret is strangely placed over the centre of the princ.i.p.al apse. This is octangular in plan, with lancet-windows in the cardinal sides, and the sides of its spire pierced with two rows of small lights. The tile-roof of the apse slopes up on all sides from the eaves to the base of this turret; and, novel as its position is, it seemed to me to be well chosen and effective.[393] Other turrets rise out of the chapels which have sprung up round the church, and these, with the altered form of almost all the roofs, give a strange, informal, and disjointed look to the whole cathedral, which is eminently the reverse of attractive. Nevertheless the old work is there, and only requires a moderate amount of attention in order to understand the whole general character of the original scheme.

There are three grand doorways, one to each transept, and one at the west end. The former are not placed in the centre of the gable, but close to the western side of the transept, either, as is most probable, from a proper desire to leave s.p.a.ce in front of the altars of the small transept chapels, or because then, as now, the ground was covered with houses, which made it impossible to place them centrally.

The finest of the three doorways is in the centre of the west front of the church, and its opening is more than nine feet in the clear, each of the jambs having eight shafts in square recesses. Two corbels support the tympanum, which has now no sculpture, nor any signs of ever having had any, and the arch has eight orders of sculptured moulding. The capitals of the columns in the jambs are all sculptured with subjects in a very exquisite fas.h.i.+on. There is here no grotesqueness or intentional awkwardness, but extreme beauty of design, simplicity of story, and fitness for the position chosen. The abaci are carved throughout with conventional foliage, well arranged and delicately cut. I know little even of French carving of the thirteenth century which surpa.s.ses this beautiful work, and none anywhere which more entirely deserves our admiration, or which may more worthily kindle our emulation. It is true, indeed, that here as elsewhere the cold formal critic may come and prove to his own satisfaction that some portions of the work are not academically correct: on the other hand, it is equally true that it is not academically cold and soulless, for the men who wrought here wrought of their love and enthusiasm, and not merely because they were drilled and paid, and they afford us, therefore, an example not to be despised of the truths, that in art enthusiasm is worth more than skill, and feeling more than knowledge; truths specially valuable in these days, when men fancy they can convert all who call themselves architects into artists, not by making them rejoice in their work, but simply by teaching them how to draw.

The subjects in the capitals are arranged in the following order:--Nos.

1 to 8 are those in the left or northern jamb, and Nos. 9 to 16 those in the right or southern jamb. Nos. 1 and 9 are next the opening, and Nos.

8 and 16 the extreme capitals right and left of the centre.

1. The Creation of Angels.

2. Do. of Earth, Stars, &c.

3. Do. of Trees.

4. Do. of Birds and Beasts.

5. Do. of Adam.

6. Do. of Eve.

7. The Fall.

8. Eve sleeping with a fig-leaf in her hand, and the Serpent mocking her.

9. Expulsion from Paradise.

10. Adam tilling, Eve spinning.

11. Cain and Abel sacrificing.

12. Cain killing Abel.

13. G.o.d cursing Cain.

14. Cain, a fugitive.

15. Entry into the Ark.

16. The Sacrifice of Abraham.

The two corbels which support the tympanum have on their face angels blowing trumpets, and under them two lions, eating, one of them two wyverns, the other a man. The archivolt has a series of eight figures carved on key-stones at its intersection. These are--beginning with the lowest--(1) the Agnus Dei, (2) the Blessed Virgin, (3) an angel, (4) a martyr, (5) a king, (6) a bishop, and (7) another king. On the sides the archivolt has on the left the Resurrection, and the happiness of the blessed, who are all represented in pairs; and on the right, the tortures of the d.a.m.ned, full of terror and horror of every kind. In the first rank of these unhappy ones are two bishops and an abbat learning the truth of our Lord's aweful saying, "Where their worm dieth not, and their fire is not quenched"--a saying practically ignored by our sculptors and carvers at the present day, who seem to believe in no Last Judgment, no masculine saints, and nothing but female angels; so far, at least, as one can judge by the figures with which they cover so profusely the walls of some of our new churches. The outer order of the archivolt has angels all round it, with crowns and sceptres in their hands. There can be little doubt, I suppose, that the tympanum was intended to have a sculpture, or, perhaps, had a painting of a sitting figure of our Lord in Judgment; without this figure the whole scheme wants the key-note, to give tone and significance to all its varied story. With it there would be few doorways which would be altogether finer or more wors.h.i.+pful than this.

The transept-doors are rightly much more simple than the western door, and the character of their sculpture has so much Byzantine feeling that there can he no doubt they are of somewhat earlier date.

The north transept doorway has on its eastern capitals: 1, The Baptism of our Lord by St. John; 2, Herod's Feast; 3, The head of St. John brought in a charger;--and on its western capitals: 4, St. Martin giving his cloak to a beggar; 5, Our Lord holding a cloth (?). and two angels wors.h.i.+pping; 6, St. Nicolas restoring the two children to life. The door-arch is pointed, and all its orders and the label are very richly carved, but with foliage only. The south transept door is round-arched, and its tympanum is not filled in. On the capitals of the western jamb are: 1, St. Peter walking on the Sea; 2, The Last Supper; 3, The Charge to St. Peter;--and on the eastern jamb: 4, The Incredulity of St.

Thomas; 5, The Walk to Emmaus; 6, The Supper at Emmaus.

The west front has two large square turrets, one of which only is carried up above the line of the roof. Its highest stage is octagonal, with a lancet opening on each face, and is finished with a low spire. A bold row of corbels is carried round the turret between the octagonal and square stages, as if for the support of a projecting parapet which no longer exists. The western rose-window was inserted under a broadly-soffeited and bold pointed arch, which spans the whole s.p.a.ce between the turrets and rises nearly to the top of the walls.

The internal furniture of this church is not interesting. The metal screens are of the sixteenth and seventeenth centuries. The Coro occupies the second and third bays of the nave, and iron rails are placed from its eastern door to the doorway in the Reja or screen of the Capilla mayor, so as to preserve a pa.s.sage for the clergy. The reredos of the high altar contains sixteen paintings, enclosed within a complicated architectural framework of b.u.t.tresses, pinnacles, and canopies. In the centre is an enormous canopy and niche, in which is a modern effigy of the Blessed Virgin. This combination of rich architectural detail with paintings is not satisfactory to the eye; and it is evident that sculptured subjects would have been much more in harmony with the framework.

In the south-east chapel of the south transept there is a magnificent monument to the "Muy Honorable Senor Mosen Francis de Villia Espepa, Doctor, Cabalero, et Chanceller de Navarre," and his "Muy Honorable Duenya Dona Ysabel," who died in 1423. The two effigies lie under a deeply-recessed arch filled in with tracery, the recess being adorned with sculptured subjects on its three sides. There are eight Weepers in the arcade on the side of the tomb. It was too dark to see what all the subjects were; but at the back our Lord is seated and censed by angels; and below this He is represented in His tomb, with His arms bound, with a weeping angel on either side.

I have left to the last all notice of the beautiful cloister on the south side of the nave. The arcades, which open into the cloister-court, are carried on columns, which are alternately coupled and tripled or quadrupled; larger piers are introduced in the centre of each side, in order to give additional strength. The arches are generally simple and pointed, but on the north and south sides they are chevroned on the inside. The engraving which I give of the south-east angle of this cloister will show how elaborate the whole of the work is. The capitals throughout are carved with subjects and foliage, and most of the latter is of extremely delicate character. The acanthus-leaf is largely introduced. I had not time to catalogue the subjects carved in the capitals; but so many of them are concealed and so many damaged, that I fear it would be almost impossible at present to do so at all completely.

[Ill.u.s.tration: Angle of Cloister, Tudela.]

I may with safety cla.s.s this small church at Tudela among the very best it has been my good fortune to visit in any part of Europe; and there is much in its Iconography and in its sculptured detail which would reward a much more lengthened examination than I was able to afford.

I saw but one other old church here--that of la Magdalena, in the Calle de Sta. Cruz. It consists of a nave and choir, vaulted with a pointed waggon roof, with bold transverse ribs carried on carved capitals built in the side-walls. The chancel makes a very decided bend to the north.

There is a simple tower on the north side, with a round-arched window of two lights in the belfry stage, and a window of one light in the stage below it. The west doorway is very fine: it is round-arched, and has in the tympanum our Lord seated in a quatrefoil, surrounded by the emblems of the four Evangelists. The label is carved, and the orders of the arch are in part carved with acanthus, and in part with figures. Among the latter are the twelve Apostles and (apparently) the Descent of the Holy Ghost. The capitals are also storied.[394]