or mosque, than any other in Toledo, excepting the celebrated "Christo de la Luz." Its aspect is most picturesque as one descends from the city towards the Vega, or once rich and lovely plain. I could not help recognizing in it how good an effect might be produced in our ordinary street architecture by the use of common brick, provided that the ma.s.ses of the construction should be artistically disposed, and used without the appearance of pinching here and paring off there, which spoils many of our usually too ambitious efforts.

In all such work as this in Spain, one is reminded only of the "bottom of the purse" when the work remains unfinished. With us the aspect of the "fond-du-sac" begins generally with the beginning, with the first lines of the disposition of the plan, and ends only with the end of the whole. As far as appearances go in this structure, differences of style from those of the rest of the building shown in my sketch in the belfry, and in the apsidal end of the choir of the Church, and in one or two other parts, seemed to point to those features of the design as being of considerably later date than that of the rest of the building. If the primitive Moorish work may have been of the middle of the eleventh century, the Christiano-Moorish may have been of the end of the thirteenth.

[Ill.u.s.tration: PLATE 44

TOLEDO

HOSPITAL OF THE HOLY CROSS]

PLATE XLIV.

_TOLEDO_.

EXTERNAL VIEW OF THE HOSPITAL OF THE HOLY CROSS.

DESCENDING from the main Piazza of the city, through the gateway shown by the thirty-ninth sketch, the great "Hospedal de la Santa Cruz" is speedily reached. This is generally considered the finest example of Plateresque (literally silversmith's) Architecture left in Spain. Its founder was the all powerful Cardinal D. Pedro Gonzalez de Mendoza, "Tertius Rex," of Castile, Consolidator of the Monarchy, and Father of the absolute supremacy of the Catholic Church in Spain. The style of this building, and the circ.u.mstances of the birth and training of its architect, raise the important question of the extent to which the Plateresque style in Spain may, or may not, have been of national origin? It appears that in 1459, a certain Anequin de Egas de Bruselas (or Brussels) of the Cathedral of Toledo, in his capacity of "Maestro Mayor," with his a.s.sistant Juan Fernandez de Liena, executed the facade of the main southern transept of that Cathedral, and the entrance familiarly known as "de los Leones." In this work, the architecture is of florid Burgundian-Gothic, with scarcely a trace of Renaissance about its original design. Anequin died in 1494, and his son Henrique was appointed, by the Chapter of Toledo, to succeed his father as "Maestro Mayor," the duties of which office he performed until his death in 1534. Henrique was the favourite architect of the King D. Fernando, and of his son, the Archbishop D. Alonso, who actually disputed, in 1505, as to which of them should for awhile avail themselves of his exclusive services. He was called in to every important consultation of architects of his time, and was evidently "au courant" of the great changes of style which had been developed in Italy, and which were in course of development in France, and in and about his father's native place. His influence as a naturalizer of the exotic details of which models were furnished to artists by the prints and portable works of the "pet.i.ts maitres," is clearly manifested when we recognise the early dates at which his florid Renaissance buildings were executed. For instance, in those designed for Cardinal Mendoza, the dates of which are well known, we find Renaissance features well carried out with scarcely any admixture of Gothic. The earliest of these is the vast "Colegio Mayor"

de Sta. Cruz at Valladolid, which Henrique began in 1480 and completed in 1492, and the second the splendid Hospital for Foundlings at Toledo (1504 to 1514) from which the sketch, now under consideration, and the two which follow it have been taken. In describing the second of these sketches, we shall resume our consideration of the Plateresque style generally from the point at which it is now left. It may be well, however, with relation to this sketch, to state that it shows the princ.i.p.al portal or great entrance to the Hospital, and that the top story appears to be of later date and coa.r.s.er execution than the portal and the two elegant windows of the first floor. The carving in the lunette of the doorway represents, in very good style, the "invention of the Cross" with Sta. Helena and the Founder. The colour of the stone, and the quality of the workmanship leave nothing to be desired.

[Ill.u.s.tration: PLATE 45

TOLEDO

SANTA CRUZ

MDW 1869]

PLATE XLV.

_TOLEDO_.

CORTILE OF THE HOSPITAL OF THE HOLY CROSS.

IT is in the interior rather than on the exterior of the Toledo Foundling Hospital, that Henrique de Egas has best shown his command over the Plateresque style. It was no longer in designing the former a question of adding on ornament in fanciful door and window dressings, as it was in the latter, but a necessity to adapt from existing models, or originate essential parts of the structure, executing important functions of use and stability. The columns, arches, and inters.p.a.cing of the arcading of the Patios evidence by their proportions, quite as much as by their details, that Henrique's and his employer's backs had been turned upon Gothic, and that a new style had been inaugurated for Spanish architecture, as the successes of Ferdinand and Isabella, and the discovery of America, had laid the foundations of an entirely new era for Spain.

The construction of the building under notice was begun by Cardinal Mendoza, under Henrique, in 1504; the year in which those Sovereigns ascended the throne, and completed in the year 1514. Simultaneously with the commencement of the great Hospital for the "Tertius Rex," Henrique designed a still more extensive and magnificent Hospital which the "Reyes Catolicos" proposed to construct at Santiago, and entered upon many other great architectural works in other parts of Spain. Ford, who was no mean judge, says of the Hospedal de la Santa Cruz, that its "position overlooking the Tagus is glorious, and the building is one of the gems of the world; nor can any chasing of Cellini surpa.s.s the elegant Portal."

There is little doubt that Egas was stimulated to great exertion by the rivalry of many compet.i.tors, few of whom, however, designed in exactly his style. The work which most resembles his, I believe, will be found in the detail of the wonderful Plateresque Town Hall at Seville, and that of the Cathedral at Plasencia.

That so magnificent a Palace (for such it is) should have been thought necessary, or at any rate should have been indulged in, for the reception of foundlings, is to be partially accounted for by an old a.s.sertion I have met with, that the Spaniards, not knowing the parentage of the "ninos perdidos," gave them "the benefit of the doubt," and considered them all as children of Hidalgos, a questionable compliment to the boasted morality, or at any rate austerity, of the upper cla.s.ses.

[Ill.u.s.tration: PLATE 46

TOLEDO

HOSPITAL OF THE HOLY CROSS.

MDW 1869]

PLATE XLVI.

_TOLEDO._

DOORWAY FROM THE HOSPITAL OF THE HOLY CROSS.

THE facts that Moorish workmen should have been found in Toledo, Segovia, and elsewhere in Spain, to modify their national style, in their Mudejar work, and to incorporate freely in it many features of late mediaeval work; while they scarcely ever lent themselves to any expression of Renaissance form, although they occasionally laboured in buildings of that style, have been supposed to imply a greater affinity between Arabian and Gothic modes of design, than between the Arabian style and Plateresque. This may, to some extent, account for the presence of this Mudejar work, a.s.similating in no way with the last-mentioned style, in a building of so distinctly a Renaissance character as this one possesses. The fact is, however, rather thus--that after the expulsion of the Moors, and the inst.i.tution of the Inquisition (the period of the construction of this Hospital), the Moorish artificers diminished very rapidly in number, and lost their individuality almost entirely in Northern and Central Spain; and that, whereas, during several centuries they had lived there in cities in which Gothic architecture was practised by Christians, and had thus made themselves partially acquainted with its details, they had but a short term of scarcely tolerated national existence wherein to learn the novelties which were beginning to be taken up by the Spaniards, at the commencement of the sixteenth century.

My sketch, while it indicates the elaboration of this late specimen of Mudejar stucco-work, shows by the figures I have introduced (from life) the cla.s.s to whose tender mercies this gem is now confided. Let it be hoped that the "Genius loci," may protect it, for the respectable Spanish soldier of the nineteenth century can scarcely be regarded as a satisfactory Conservative element.

[Ill.u.s.tration: PLATE 47

TOLEDO GREAT DOORWAY OF THE ALCAZAR

MDW 1869]

PLATE XLVII.

_TOLEDO._

ENTRANCE GATEWAY TO THE ALCAZAR.

THE Royal residence, for such is the meaning of the word "Alcazar," of Toledo, is one of the two great Palaces which Charles V. caused to be constructed in order that Spain might, for the first time, have "Royal Residences" commensurate with her grandeur and wealth. He appears to have chosen the same architect for both in the person of Alonso de Covarrubbias. This distinguished artist was born in the locality, in the diocese of Burgos, from whence he derived his name. At an early age he allied himself with the family of the Flemish Egas, distinguished in the highest degree as architects in the persons of Anequin and his son Henrique. The wife of Alonso de Covarrubbias was a certain Maria Gutierrez de Egas, and by her he became the father of several sons, who in different ways (not in architecture) achieved great distinction and consideration. To return to the architectural career of Covarrubbias.

Through the interest of Henrique de Egas, and probably in succession to him, Alonso Covarrubbias was appointed "Maestro Mayor" of the Cathedral of Toledo, whereupon he settled himself altogether in that city with his brother Marcos. His great work in Toledo Cathedral was the famous Chapel "de los Reyes nuevos," which he completed in the year 1534. He is then said to have given some plans to Cardinal D. Alonso de Fonseca, for the improvement of the Archbishop's Palace at Alcala de Henares (see my notes on that structure, Sketches, Nos. 33 and 34). He subsequently occupied himself, until 1537, in designing and carrying out the splendid entry to the Colegio Mayor (known as that of the Archbishop) in Salamanca, and other works.

In the last mentioned year he was appointed, by Charles V., with another architect, Luis de Vega, to make plans for rebuilding the Royal Palaces of Toledo and Madrid. This commission was subsequently modified, giving to Covarrubbias the works of Toledo, and to de Vega those at Madrid. The Alcazar of Toledo had been originally built by King Alonso VI., on the highest point of the city, when he took it from the Moors in 1085. It had been added to at various dates, chiefly by the powerful Alvaro de Luna, and lastly by the Reyes Catolicos. What Charles V. caused to be built, consisted of a facade of great extent, a magnificent vestibule, court-yard and staircase, on all of which he placed his insignia. The Portal I have sketched, is stated by Cean Bermudez, from whom most of the above mentioned facts have been derived, to have been constructed by Henrique de Egas,[26] under the direction of Covarrubbias who closed an honourable life, much favoured by his Sovereign, in 1570.

The Spaniards are justly proud of the n.o.ble simplicity and grand style of Covarrubbias, which has none of the coldness and heaviness of Herrera's; and this is one of the rare cases in which they have made, of late years, a really splendid and not over-loaded restoration. Upon the whole, the Alcazar at Toledo is one of the few buildings existing in Spain which reflects, particularly in its grand Cortile, the "magnificenze" of the Italian Renaissance, in their completest form.

[Ill.u.s.tration: PLATE 48

TOLEDO HOSPEDAL DE TAVERA PATIO

MDW 1869]