There were at this time, in Castile and Aragon, a number of really capable native artists; without doubt they learnt their art from the French sculptors who had settled in Spain. The most skilful native worker was Juan de la Huarte, of whose exquisite Virgin we shall speak directly. But besides Juan de la Huarte, we know of Pedro de Vallfongona, called Father Johan, who has left many fine carvings; and Jordi Johan, doubtless his brother, commonly known as Maestro Jordi, maker of images, the author, among other works, of the Sepulchre of Juana, Countess of Asturias (1386), and of the Archangel Raphael, which crowns the beautiful doorway of Barcelona Town Hall. Then there was Pedro Oller, who carved, in 1450, the screen of the grand altar of Vich, and, in 1442, the tomb of Ferdinand I. of Aragon. There were also skilled goldsmiths such as Marcos Canzes and Francisco Vilardell; nor must we forget the unknown author of the incomparable Custodia of Vich Cathedral, a splendid example of the silver-work of the period.
Before closing this chapter it is left to notice a few isolated works that are treasured in the different cities of the Peninsula. And first must come the perfect statues and statuettes of the Virgin, which, as we might expect in religious Spain, are to be found in almost all the great churches. That known as the Virgin of Huarte, which was carved by Juan de la Huarte, was brought to Pampeluna in 1349. The statue is of white marble, and the face and vestments still bear traces of colour. Of a noble simplicity, it is one of the most exquisite productions of art in the fourteenth century. Of less ideal beauty, but more Spanish in its sentiment, being without the French influence, is St. Ferdinand’s small ivory statuette of the Virgen de las Batallas in the Capilla Real of Seville Cathedral. This is one of the earliest works of the kind in Spain. The Cathedral of Plasencia has several images of the Virgin. Good examples—one in silver and richly jewelled—are found at Burgos and Salamanca (Plates 51 and 52), besides figures carved in wood and coloured, and also at Toledo, Sigüenza, Gandía, Segunto, and the churches in many other cities. The Santo Cristo of Burgos Cathedral may also be mentioned. Madonnas are to be seen over the altars of chapels, in gateways, or in the great retablos, as for instance at Leon (Plate 53), or again at Tortosa and Palma, where, in the last church, a really beautiful statue is hidden by a modern altar. Among these Madonnas are works full of dignity and sweetness, of genuine beauty, and carved without stiffness or looseness. They give a convincing defiance to those who decry ancient polychrome.
Very different in character, but of equal merit, is the small statue, silver painted, of St. George in the Audiencia Chapel at Barcelona. M. Marcel Dieulafoy believes that we owe this fine work to a native artist. The figure, standing fully armed, is carved with youthful energy; the face, seen under the gilt visor, has lost none of its freshness, and the original tints of colouring remain. The armour is of oxidised silver, while the hinges, nails, belt, dragon, and pedestal are of burnished gilt. Of this statue M. Marcel Dieulafoy writes: “Had Meissonier painted the figure he could not have done it otherwise.” Again we have a triumph of polychrome.
Other statues worthy of special mention are the busts, executed in enamelled silver, of S. Valerius, S. Vincent, and S. Laurent, in the Treasury of Zaragoza Cathedral; the figures of Don Gutierre de Cardenas, Duke of Magueda, and of his wife, Doña Teresa Enriquez, each offering respectively their son and daughter to the Virgin, and the finer praying figure of Juan II. of Castile, who ruled from 1406 to 1454, and was the father of Isabella the Catholic. These statues are in Burgos Cathedral. Gems among smaller works of art are the plates in silver, showing scenes in the life of the Virgin, which cover the high altar in the Cathedral of Gerona. Their date is 1348.
CHAPTER V
THE ALTAR-SCREENS OR RETABLOS OF THE ROMANESQUE AND GOTHIC PERIODS
The altar-screens, of great size, and known in Spain as retablos, which meet us in every church may be considered as the most entirely characteristic expression of the country’s art. Nowhere has the development of the altar-screen assumed such importance. The huge retablos of Spain stand alone both in their dimensions and in their magnificence. In these works were joined the common efforts of the architect, the sculptor, and the painter. Of a size and with a wealth of decoration so great that often an examination of their detail is fatiguing, they represent the most exhaustive examples of the creative thought and power of representation of the native artists.
Their evolution is interesting and curious. At first we find them as screens of pagan and Roman origin, and dating back to the middle of the twelfth century. But the pagan screens were adapted by Christians, who gave to them the name diptycha of the Apostles, of the Martyrs, and of the Saints, and used them as portable altars, and also largely as votive gifts, their richness being in proportion to the wealth of the giver and the importance of the subject depicted. We have several examples in the Camara Santa of Oviedo Cathedral and in the Camarin of Santa Teresa, Escorial (Plate 55). The Tablas Alfonsinas in the Sacristia Mayor of the Cathedral of Seville is another and more important example. This treasure is specially interesting, as it shows the actual use made of these folding tablets. It was the altar of Alfonso the Learned, and was presented by him to the cathedral in 1274 after he had used it in battle; for in Spain these altar-screens were carried by Christian generals travelling in the campaigns against the Moors. As the Reconquest progressed their importance increased, and we have triptycha and pentaptycha as well as diptycha; their number multiplied as they became richer and grander in ornament. They were connected with the deepest religious feelings of Christian Spain, being used by the Paladins to pray to before plunging into battle. Later, from portable altars they became fixed altars in churches. From this time their size and magnificence increased, the religious sentiment associated with them explaining, as we believe, both their frequency and their importance in the art of the period.
A selection of the most admirable altar-screens alone would make a long list. Almost every church and all the great cathedrals furnish examples; they are especially numerous in the churches of Catalonia and Navarre.
The altar-screen in the Romanesque church of San Feliú, though less known than those of Zaragoza, Barcelona, Tarragona, Pampeluna, and Burgos, is important as a very beautiful and early example of these retablos. It is in two distinct sections, which stand upon a widely spreading base. The first or central part is in three storeys, which are supported by Gothic pillars, and in the nine niches stand statues of the saints. These, as well as the bas-reliefs and carvings on the pillars, are of great vigour, and the effect is strengthened by the admirable painting and gilding. The second part of the screen is composed of two wings, on which are carved the figures of the prophets, surrounded by rich foliage. These too are painted and gilded.
The creative power displayed in these retablos is often surprising. But it must be admitted that their general effect is less satisfactory than an examination of the parts in detail would lead us to expect. The artists would often seem to have been hampered by the huge size they had to ornament. Continuing the accustomed forms, evolved for use in screens of more modest dimensions, they have gained the desired amplitude of ornament by a multiplication of the same forms that is often wearying. But granting this, it is among these works that many important and beautiful statues will be found. For this reason they cannot be overlooked by the student of Spanish polychromes.