ANALYSIS OF BUILDINGS.
Plan.
The plans of Italian churches are simple, compared with those of the northern and western architects. As a rule they are also moderate in size, and they bear a close resemblance to those of the early basilica churches from which they are directly descended. Though the apse is all but universal, the French chevet, with its crown of clustering chapels, was not adopted in Italy. There is very much in common between the churches of Lombardy and those of Germany, but the German western apse and the apsidal ends to the transept do not occur. The spaces between the piers of the main arcade are greater than in French or English examples, so that there are fewer piers, and the vaults are of wider span. In the churches founded by the great preaching orders, the division into nave and aisle does not take place, and the church consists of nothing but a large hall for the congregation, with a chancel for the choir.
In monastic, secular, and domestic building a general squareness and simplicity of plan prevails, and where an internal arcaded quadrangle can be made use of (e.g. in the cloister of a monastery), it is almost always relied upon to add effect. The famous external arcade at the Ducal Palace, Venice, was nowhere repeated, though simpler external arcades occur frequently; but it is so splendid as to form, itself alone a feature in Italian planning.
The arrangements of the mansions and palaces found in the great cities were a good deal influenced by the circumstance that it was customary, in order to secure as much cool air as possible, to devote one of the upper floors to the purpose of a suite of reception rooms; to this was given the name of piano nobile.
Walls, Towers, Columns.
Walls are usually thick and stand unbuttressed, and rarely have such slopes and diminutions of apparent thickness towards their upper part as are not uncommon in England. Base mouldings are not universal. The cornice, on the other hand, is far more cared for, and is made much more conspicuous than with us. In the brick buildings especially it attains great development. Above the cornice a kind of ornamental parapet, bearing some resemblance to battlements, is common. The strikingly peculiar use of materials of different colours in alternate courses, or in panels, to decorate the wall surfaces, has already been referred to. It is very characteristic of the style.
The campanile or bell-tower of an Italian church is a feature very different from western towers. It is never placed over the crossing of nave and aisles and rarely forms an essential part of the church, often being quite detached and not seldom placed at an angle with the walls of the main building. Such towers are not unfrequently appended to palaces, and are sometimes (e.g. at Venice) erected alone. Some of the Italian cities were also remarkable for strong towers erected in the city itself as fortresses by the heads of influential families. Many of these are still standing in Bologna. The smaller towers in which northern architects took so much delight are almost unknown in Italy, though on a few of the great churches of the north (e.g. the Certosa at Pavia, and St. Antonio at Padua) they are to be found.
The use of constructive columns is general; piers are by no means unknown, but fine shafts of marble meet the eye frequently in Italian churches. The constant use of the column for decorative purposes is a marked characteristic. Not only is it employed where French and English architects used it, as in the jambs of doorways, but it constantly replaces the mullion in traceried windows. It is employed as an ornament at the angles of buildings to take off the harshness of a sharp corner, and it is introduced in many unexpected and often picturesque situations. Twisted, knotted, and otherwise carved and ornamental shafts are not unfrequently made use of in columns that serve purely decorative purposes.
Openings and Arches.
The constructive arches in Italian Gothic buildings are, as a rule, pointed, but it is remarkable that at every period round and pointed arches are indiscriminately employed for doors and windows, both being constantly met with in the same building.
The naves of Italian churches rarely show the division into three, common in the north. The triforium is almost invariably absent, and the clerestory is often reduced to a series of small round windows, sufficient to admit the moderate light which, in a very bright climate, is grateful in the interior of such a building as a church; but they are far less effective features than our own well-marked clerestory windows.
Fig. 54.—Ogival Window-head.
The doorways are often very beautiful, and are frequently sheltered by projecting porches of extreme elegance and lightness. The window openings are, as a rule, cusped. An ogee-shaped arch (Fig. [54]) is constantly in use in window-heads, especially at Venice, and much graceful design is lavished on the arched openings of domestic and secular buildings. A great deal of the tracery employed is plate tracery.[27] The tracery in terra-cotta has already been referred to. In the large windows of the principal apartments and other similar positions of the palaces in Venice and Vicenza, a sort of tracery not met with in other countries is freely employed. The openings are square-headed, and are divided into separate lights by small columns; the heads of these lights are ogee-shaped, and the spaces between them and the horizontal lintel are filled in with circles, richly quatrefoiled or otherwise cusped (Fig. [55]). The upper arcade of the Ducal Palace at Venice offers the best known and finest example of this class of tracery.
Fig. 55.—Tracery, from Venice.
Roofs and Vaults.
The vaulting of Italian churches is always simple, and the bays, as has been pointed out, are usually wider than those of the northern Gothic churches. Frequently there are no ribs of any sort to the groins of the vaults. A characteristic feature of Italian Gothic is the central dome. It is rarely very large or overpowering, and in the one instance of a magnificent dome—the Cathedral at Florence, the feature, though intended from the first, was added after the Gothic period had closed. Still many churches have a modest dome, and it frequently forms a striking feature in the interior, while in some northern instances (e.g. at the Certosa at Pavia, or at Chiaravalle) it is treated like a many storeyed pyramid and becomes an external feature of importance. At Sant’ Antonio at Padua there are five domes.
The churches of the preaching orders are some of them covered by timber ceilings, not perfectly flat but having an outline made up of hollow curves of rather flat sweep. The great halls at Padua and Vicenza displayed a vast wooden curved ceiling resembling the hull of a ship turned upside down.
The ordinary church roof is of flat pitch and frequently concealed behind a parapet. Dormer windows, crestings, and other similar features, by the use of which northern architects enriched their roofs, are hardly ever employed by Italian architects.
Mouldings and Ornaments.
Ornament is almost instinctively understood by the Italians, and their mastery of it is well shown in their architecture. The carving of spandrels, capitals, and other ornaments, and the sculpture of the heads and statues introduced is full of power and beauty. The famous capitals of the lower arcade of the Ducal Palace may be quoted as illustrations.
The employment of coloured materials is carried so far as sometimes to startle an eye trained to the sombreness of English architecture, but a great deal of the beauty of this style is derived from colour, and much of the comparative simplicity and scarcity of mouldings is due to the desire to leave large unbroken surfaces for marble linings, mosaics or fresco painting. Mouldings, where they are introduced, differ from northern mouldings in being flatter and far less bold, their enrichments are chiefly confined to dentils, notches, and small and simple ornaments. Stained glass is not so often seen as in France, but is to be met with, as, for example, in the fine church of San Petronio at Bologna, and in Sta. Maria Novella, and in the Cathedral at Florence. At Florence the stained glass has a character of its own both in colour and style of treatment. It is not too much to say that every kind of decoration which can be employed to add beauty to a building may be found at its best in Italy. In the churches much of the finest furniture, such as stall-work, screens, altar frontals, will be found in profusion; and the church porches and the mural monuments should be especially studied on account of the singular elegance with which they are usually designed.
Construction and Design.
The material employed for the external and internal face of the walls in a very large proportion of the buildings mentioned in this chapter is marble. This is sometimes used in blocks as stone is with us, but more frequently in the form of thin slabs as a facing upon masonry or brickwork. In Lombardy, where brick is the natural building material, most of the walls are not only built but faced with brick; and the ornamental features, including tracery, are often executed in ornamental brickwork, or in what is known as terra-cotta (i.e. bricks or blocks of brick clay of fine quality, moulded or otherwise ornamented and burnt like bricks). Stone was less commonly employed as a building material in Italy during the Gothic period, than in other countries of Europe. The surfaces of the vaults, and the surfaces of the internal walls were often covered with mosaics, or with paintings in fresco. Vaulting is frequently met with, but it is generally simple in character, the flat external roof over it is commonly covered with tiles or metal, while the apparent gable frequently rises more sharply than the actual roof. The Italians seem never to have cordially welcomed the Gothic principle of resisting the thrust of vaults or arches by a counter-thrust, or by the weight of a buttress. The buttress is almost unknown in Italian Gothic, and as a rule an iron tie is introduced at the feet of such arches as would in France or Germany have been buttressed. This expedient is, of course, economical, but to northern eyes it appears strange and out of place. The Italians, however, take no pains to conceal it, and many of their lighter works, such as canopies over tombs, porches, &c., would fall to pieces at once were the iron ties removed.
Open timber roofs in the English fashion are unknown; but the wooden ceilings already alluded to are found in San Zeno at Verona, and the Eremitani at Padua. A kind of open roof of large span, carried by curved ribs and tied by iron ties, covers the great hall of the Basilica at Vicenza, and the very similar hall at Padua. The ribs of these roofs are built up of many thicknesses of material bolted together.
The design of Italian Gothic buildings presents many peculiarities, some of which are due to the materials made use of. For example, where brick and terra-cotta are alone employed, wide moulded cornices of no great projection, and broad masses of enriched moulding encircling arches are easily executed, and they are accordingly constantly to be found; but bold mouldings, with deep hollows, similar to those of Early English arches, could not be constructed of these materials, and are not attempted. These peculiarities will be found in the Town Hall at Cremona, of which an illustration (Fig. [50]) has already been given.
Fig. 56.—Window from Tivoli.
Where marble is used, the peculiar fineness of its surface, upon which the bright Italian sun makes the smallest moulding effective, combined with the fact that the material, being costly, is often used in thin slabs, has given occasion to extreme flatness of treatment, and to the use of modes of enrichment which do not require much depth of material. Our illustration of a window from the Piazza S. Croce at Tivoli, shows these peculiarities extremely well (Fig. [56]), and also illustrates the strong predilection which the Italian architects retained throughout the Gothic period for squareness and for horizontal lines. The whole ornamental treatment is here square; the window rests on a strongly-moulded horizontal sill, and is surrounded by flatly-carved enrichment, making a square panel of the entire feature. Even in the richly-decorated window (Fig. [57]), which is in its pointed outline more truly Gothic than the Tivoli example, much of the same quality can be traced. The arch and jamb are richly moulded, but the whole mass of mouldings is flat, and the flat cuspings of the tracery, elaborately carved though it be, more resemble the cusps of early Western Gothic, executed at a time when tracery was beginning its career, than work belonging to the period of full maturity to which this feature, as a whole, undoubtedly belongs.
Where marbles were plentiful enough to be built into the fabric, the national love of colour gave rise to the use of black and white—or sometimes red and white—alternate courses, already mentioned. The effect of this striped masonry may be partly judged of from the illustration of the cathedral at Siena (Fig. [52]), where it is employed to a considerable extent. A finer method of surface decoration, less simple, however, and perhaps less frequently practised, was open to the Italian architect, in the use of panels of various coloured marbles. A beautiful example of the employment of this expedient exists in Giotto’s campanile at Florence (Fig. [51]).
Fig. 57.—Italian Gothic Window, with Tracery in the Head. (13th Century.)
The flatness of the roofs, which the Italians never abandoned, was always found difficult to reconcile with the Gothic tendency to height and steepness. In many cases, the sharp pitched gables which the buildings display, are only masks, and do not truly denote the pitch of the roofs behind them. In other instances the walls finish with a horizontal parapet, plain or ornamental, quite concealing the roof. In the roofs of their campaniles, however, the Gothic architects of Italy were usually happy; they almost always adopted a steep conical terminal, with or without pinnacles, which is very telling against the sky; even if its junction with the tower is at times clumsy.
The brightness of southern suns prevented the adoption of the great windows, adapted to masses of stained glass, which were the ambition of northern architects in the fourteenth century; and the tenacity with which a love for squareness of effect and for strongly-marked horizontal lines of various sorts retained its hold, tended to keep Italian Gothic buildings essentially different from those of northern nations; but the love of colour, the command of precious materials, and of fine sculpture, the passion for beauty and for a decorative richness, and the artistic taste of the Italians, display themselves in these buildings in a hundred ways: all this lends to them a charm such as few works of the middle ages existing elsewhere can surpass.
SPAIN.—CHRONOLOGICAL SKETCH.
An early, middle, and late period can be distinguished in dealing with Spanish Gothic. The first period reaches to the first quarter of the thirteenth century, the second occupies the remainder of the thirteenth and the fourteenth centuries, the third completes the fifteenth and runs on into part of the sixteenth.
The early style is one of much purity and dignity, and is developed directly from the Romanesque of the country. The cathedral of St. Iago di Compostella, a fine cruciform church of round-arched Gothic, with a magnificent western portal,[28] recalling the great lateral porches at Chartres, is an early and fine example. Like other churches of the type in Spain, it is far plainer inside than out, but it is vaulted throughout.
The cathedral of Zamora, and those of Tarragona and Salamanca must also be referred to. In each of these, the most thoroughly Spanish feature is a dome, occupying the crossing of the nave and transepts, and apparently better developed than those in early German churches or in Italian ones. It is called in Spanish the cimborio. This feature was constructed so as to consist of an inner dome, decorated by ribs thrown over the central space, and carried by pendentives; having above it a separate outer dome somewhat higher and often richly decorated. This feature unfortunately disappeared when the French designs of the thirteenth century began to be the rage. A peculiarity of plan, however, which was retained throughout the whole Gothic period in Spain, is to be found in the early churches; it consists of an inclosure for the choir quite in the body of the church, and often west of the transepts,—in such a position, in fact, as the choir at Westminster Abbey occupies. A third peculiarity is the addition of an outer aisle, not unlike the arcade of a cloister, to the side walls of the churches, possibly with a view of protecting them from heat.
With the thirteenth century a strong passion for churches, closely resembling those being erected in France at the same time, set in, as has just been remarked. Accordingly the cathedrals of Toledo, Burgos, and Leon, approach very closely to French types. Toledo is very large, five aisled, and with a vast chevet. Its exterior is unfinished, but the dignity of its fine interior may be well understood from the illustration (Fig. [58]) here given. Burgos is not so ambitious in size as Toledo, but has a florid exterior of late architecture with two lofty, open-traceried spires, like Strasburg and other German examples. Leon is remarkable for its lofty clerestory. Spanish Gothic may be said to have [!-- original location of Fig. 58 --] culminated in the vast cathedral at Seville (begun 1401), claiming to be of greater extent than any Gothic cathedral in the world, larger, therefore, than Milan or Cologne. It stands on the site of a mosque, and has never been completed externally. The interior is very imposing and rich, but when it is stated that it was not completed till 1520, it may be readily understood that many of the details are very late, and far from the purity of earlier examples.
Fig. 58.—The Cathedral at Toledo. Interior. (Begun 1227.)
In the fourteenth century an innovation, of which French architects immediately north of the Pyrenees were also availing themselves, found favour in Barcelona. The great buttresses by which the thrust of the vaults was met were brought inside the boundary walls of the church, and were made to serve as division walls between a series of side chapels. Both here and at Manresa and Gerona, cathedrals were built, resembling in construction that at Alby, in Southern France; in these this arrangement was carried a step further, and the side aisles were suppressed, leaving the whole nave to consist of a very bold vaulted hall, fringed by a series of side chapels, which were separated from each other by the buttresses which supported the main vault. These large vaults, however, when bare of decoration, as most of the Spanish vaults are, appear bald and poor in effect, though they are grand objects structurally.
The Gothic work of the latest period in Spain became extraordinarily florid in its details, especially in the variety introduced into the ribs of the vaulting and the enrichments generally. The great cathedrals of Segovia and Salamanca were neither of them begun till the sixteenth century had already well set in. They are the two principal examples of this florid Gothic.
Fig. 59.—The Giralda at Seville. (Begun in 1196. Finished in 1538).
It will not be forgotten that the country we are now considering was fully occupied by the Moors, and that they [!-- original location of Fig. 59 --] left in Southern Spain buildings of great merit. A certain number of Christian churches exist built in a style which has been called Moresco, as being a kind of fusion of Moorish and Gothic. The towers of these churches bear a close resemblance to the Saracenic towers of which the beautiful bell-tower, called the Giralda, at Seville (Fig. [59]) is the type; with this and similar examples in the country it is not surprising that at Toledo, Saragoza, and other places, towers of the same character should be erected as parts of churches in which the architecture throughout is as much Saracenic as Christian.
To many of these great churches, cloisters, and monastic buildings, which are often both extensive and of a high order of architectural excellence, are attached. The secular buildings, of Spain in the Gothic period are, on the other hand, neither numerous nor remarkable.
PORTUGAL.
The architecture of Portugal has been very little investigated. The great church at Batalha[29] is probably the most important in the country. This building, though interesting in plan, is more remarkable for a lavish amount of florid ornament, of which our illustration (Fig. [60]) may furnish some idea, than for really fine architecture. The conventual church at Belem, near Lisbon, a work of the beginning of the sixteenth century, and equally florid, is another of the small number of specimens of Portuguese Gothic of which descriptions or illustrations have been published.