Sculpture in Spain

by Albert Frederick Calvert

These Northern artists, widely distributed over Spain, brought about the transformation of art of which we have spoken. The native artists readily absorbed their influence. We now meet a marked change in the direction of realism. The Christs are long, lean, and emaciated, the Virgins are older; we have sharply defined outlines, and the religious scenes and legends are depicted with a stronger and more passionate understanding.

The altar-screens were still the most important works that were executed. An interesting example, which shows very clearly this new expression of realism, is an altar-screen in the Museum of Valladolid, which came from the Convent of San Francisco (Plates 60 and 61). It is carved in walnut wood, and there are traces of painting. The figure of Christ is strangely emaciated, the Virgin is older, while all the figures are strongly characterised; there is a very considerable amount of creative thought and power in the presentment of the scene. The author of the work is unknown.

Among many other important examples of this over-accentuated realistic type may be mentioned an anonymous Pietà from Salamanca, in which we see the new tendencies expressed at their strongest point of accentuation. An altar-screen in one of the chapels of Palencia Cathedral, the bas-reliefs which ornament the spandril of the Puerta de la Piedad, the south entrance of Barcelona Cathedral, and also the figures which crown the door of the Hospice of Huesca, are further, though less striking, examples. The altar of Santa Ana in Burgos Cathedral belongs to the same period; but in this very charming example we have a work of a different character. The figures, carved in wood and coloured, especially the youthful and beautiful Virgin, have a grace and freedom of movement absent from the more realistic works which were the outcome of the Northern influences.

The greatest artist of this period was Gil de Siloe, whose works rank among the most important sculptures in Spain. He was a native of Burgos, and was born at the end of the fifteenth century. His masterpiece is the monument of Don Juan II. and Doña Isabel, known as the Sepulcros de los Reyes, in the Cartuja of Miraflores, Burgos (Plate 64). It was erected by Isabella the Catholic, daughter of Juan II., and was begun in the year 1489, when Gil de Siloe received 1340 maravedis for the design. It was finished four years later, and a further sum of 442,667 maravedis for the sculpture and 158,252 for the alabaster were paid. It is perhaps the finest monument of its kind in Spain, perfect both in design and execution.

The monument, which stands in the centre of the church, is of a curious shape, being octagonal, or rather sixteen-sided, a form very uncommon, and Oriental in its origin. The recumbent figures of the King and Queen lie side by side on a sumptuous bed, and between them is a low marble railing. The King has a ring on the right hand and holds a sceptre, in the Queen’s hand is a prayer-book and rosary. The sides are ornamented with statues, placed under delicate canopies, of which some represent the Cardinal Virtues, and each is a masterpiece of carving. There are besides sixteen lions bearing escutcheons, and bas-reliefs of scenes from the New Testament. Then around the top is a double cornice of foliage—branches of vines and laurels—with birds and animals splendidly carved (Plates 65 and 66).

Above the tomb, inlaid upon the wall, is the monument of their son, Alfonso (Plate 67), whose death in 1470, at the age of sixteen, brought Isabella the Catholic to the throne. This work is elaborately adorned with carvings. Placed in a small elliptic arch, the Prince kneels before a prie-dieu. He wears a mantle similar to the King. Above him are the Virgin and the Angel Gabriel, bearing a vase in which blooms a lily as the emblem of Purity, while St. Michael with the Dragon, the emblem of Victory, is placed on the spandril between the flying-arch and the accolade. Below on the sub-basement a charming group of angels hold the battle-shield of the young Prince.

The tomb, now in the Museum of Burgos, of Juan de Padella (Plate 68) is so similar to the monument of Prince Alfonso, not only in the general design and style, but in the actual carrying out of the details, that it seems right to attribute it to Gil de Siloe. Juan de Padella was a royal page, killed in the siege of Granada; he is known to have been a great favourite of Queen Isabella, who called him mi loco (my fool), and it is therefore quite probable that de Siloe, the royal artist, would be employed to design and execute his tomb.

The retablo of the high altar at Miraflores (Plates 69-71) is also by Gil de Siloe, but in this work he was aided by Diego de la Cruz. It was begun in the year 1490; the date at which it was completed is not known. It has numerous statues. In the centre is a Crucifixion, with a realistic Christ. The Virgin and St. John, figures of great merit, wait beside the Cross, and a band of angels press forward to receive the drops of the Divine Blood. Above flies the symbolical pelican, feeding its young with its own blood; below are the kneeling figures of Juan II. and Isabella his wife, he being guarded by Santiago, Spain’s patron hero, while she is protected by a saint. At either side of this central composition are bas-reliefs representing scenes from the life of Christ, and figures of the Apostles and Evangelists. Perhaps the best of the carvings is the one of a female saint with a figure asleep at her feet. The saint’s figure is exquisitely coloured—a perfect example of polychrome. There are also interesting carvings in the choir-stalls (Plate 72). With the Miraflores altar-screen we may compare the retablo of the Church of Santa Gadea del Cid, also at Burgos (Plate 73). The author of this important carving is unknown.

Among numerous works which deserve to take rank with the polychromes of Gil de Siloe a few must be mentioned. One of the best is the funeral monument of Doña Beatrice de Pacheco, Comtesse of Medellin, in the monastery church of the Hyeronymites del Parral, near Segovia, which M. Marcel Dieulafoy suggests is the work of Juan Eqas or his brother. Unfortunately the barbarous treatment this monument has suffered prevents its enjoying the reputation it deserves. Then there are the bas-reliefs of Christ entering Jerusalem and Christ in Hades on the door which leads from the nave to the cloisters of Burgos Cathedral, fine specimens of Gothic carving; and other examples may be seen in the cathedrals of Vittoria, Pampeluna, Avila, Valencia, Leon, and Toledo.

We have now examined the most important polychromes that were executed up to the close of the fifteenth century. They present us with works of great vigour, especially those later pieces, which show the influences from the North. They were wrought at a time when the vitality of Spain was at its highest and its growth in the art of carving was in full development.