COURTYARD.
THE GRIEGO-ROMANO. The more classic treatment of architectural designs by the use of the orders was introduced by Alonzo Berruguete (1480–1560?), who studied in Italy after 1503. The Archbishop’s Palace and the Doric Gate of San Martino, both at Toledo, were his work, as well as the first palace at Madrid. The Palladio of Spain was, however, by Juan de Herrera (died 1597), the architect of Valladolid Cathedral, built under Philip V. This vast edifice follows the general lines of the earlier cathedrals of Jaen and Granada, but in a style of classical correctness almost severe in aspect, but well suited to the grand scale of the church. The masterpiece of this period was the monastery of the Escurial, begun by Juan Battista of Toledo, in 1563, but not completed until nearly one hundred and fifty years later. Its final architectural aspect was largely due to Herrera. It is a vast rectangle of 740 × 580 feet, comprising a complex of courts, halls, and cells, dominated by the huge mass of the chapel. This last is an imposing domical church covering 70,000 square feet, treated throughout with the Doric order, and showing externally a lofty dome and campaniles with domical lanterns, which serve to diversify the otherwise monotonous mass of the monastery. What the Escurial lacks in grace or splendor is at least in a measure redeemed by its majestic scale and varied sky-lines. The Palace of Charles V. (Fig. 197), adjoining the Alhambra at Granada, though begun as early as 1527 by Machuca, was mainly due to Berruguete, and is an excellent example of the Spanish Palladian style. With its circular court, admirable proportions and well-studied details, this often maligned edifice deserves to be ranked among the most successful examples of the style. During this period the cathedral of Seville received many alterations, and the upper part of the adjoining Moorish tower of the Giralda, burned in 1395, was rebuilt by Fernando Ruiz in the prevalent style, and with considerable elegance and appropriateness of design.
FIG. 197.—PALACE OF CHARLES V., GRANADA.
Of the Palace at Madrid, rebuilt by Philip V. after the burning of the earlier palace in 1734, and mainly the work of an Italian, Ivara; the Aranjuez palace (1739, by Francisco Herrera), and the Palace at San Ildefonso, it need only be said that their chief merit lies in their size and the absence of those glaring violations of good taste which generally characterized the successors of Churriguera. In ecclesiastical design these violations of taste were particularly abundant and excessive, especially in the façades and in the sanctuary—huge aggregations of misplaced and vulgar detail, with hardly an unbroken pediment, column, or arch in the whole. Some extreme examples of this abominable style are to be found in the Spanish-American churches of the 17th and 18th centuries, as at Chihuahua (Mexico), Tucson (Arizona), and other places. The least offensive features of the churches of this period were the towers, usually in pairs at the west end, some of them showing excellent proportions and good composition in spite of their execrable details.
Minor architectural works, such as the rood screens in the churches of Astorga and Medina de Rio Seco, and many tombs at Granada, Avila, Alcala, etc., give evidence of superior skill in decorative design, where constructive considerations did not limit the exercise of the imagination.
PORTUGAL. The Renaissance appears to have produced few notable works in Portugal. Among the chief of these are the Tower, the church, and the Cloister, at Belem. These display a riotous profusion of minute carved ornament, with a free commingling of late Gothic details, wearisome in the end in spite of the beauty of its execution (1500–40?). The church of Santa Cruz at Coimbra, and that of Luz, near Lisbon, are among the most noted of the religious monuments of the Renaissance, while in secular architecture the royal palace at Mafra is worthy of mention.
MONUMENTS. (Mainly supplementary to preceding text.) Austria, Bohemia, etc.: At Prague, Schloss Stern, 1459–1565; Schwarzenburg Palace, 1544; Waldstein Palace, 1629; Salvator Chapel, Vienna, 1515; Schloss Schalaburg, near Mölk, 1530–1601; Standehaus, Gratz, 1625. At Vienna: Imperial palace, various dates; Schwarzenburg and Lichtenstein palaces, 18th century.
Germany, First Period: Schloss Baden, 1510–29 and part 1569–82; Schloss Merseburg, 1514, with late 16th-century portals; Fuggerhaus at Augsburg, 1516; castles of Neuenstein, 1530–64; Celle, 1532–46 (and enlarged, 1665–70); Dessau, 1533; Leignitz, portal, 1533; Plagnitz, 1550; Schloss Gottesau, 1553–88; castle of Güstrow, 1555–65; of Oels, 1559–1616; of Bernburg, 1565; of Heiligenburg, 1569–87; Münzhof at Munich, 1575; Lusthaus (demolished) at Stuttgart, 1575; Wilhelmsburg Castle at Schmalkald, 1584–90; castle of Hämelschenburg, 1588–1612.—Second Period: Zunfthaus at Basle, 1578, in advanced style; so also Juleum at Helmstädt, 1593–1612; gymnasium at Brunswick, 1592–1613; Spiesshof at Basle, 1600; castle at Berlin, 1600–1616, demolished in great part; castle Bevern, 1603; Dantzic, Zeughaus, 1605; Wallfahrtskirche at Dettelbach, 1613; castle Aschaffenburg, 1605–13; Schloss Weikersheim, 1600–83.—Third Period: Zeughaus at Berlin, 1695; palace at Berlin by Schlüter, 1699–1706; Catholic church, Dresden. (For Classic Revival, see next chapter.)—Town Halls: At Heilbronn, 1535; Görlitz, 1537; Posen, 1550; Mülhausen, 1552; Cologne, porch with Corinthian columns and Gothic arches, 1569; Lübeck (Rathhaushalle), 1570; Schweinfurt, 1570; Gotha, 1574; Emden, 1574–76; Lemgo, 1589; Neisse, 1604; Nordhausen, 1610; Paderborn, 1612–16; Gernsbach, 1617.