Some Account of Gothic Architecture in Spain

by George Edmund Street

A very small portion—if indeed any—of the work of the first bishop now remains. There is one fragment of early Romanesque work to the east of the cloister, which no doubt formed part of it; and it is just possible that the three enormous cylindrical columns, which still remain in the nave, are of the same age. If this be so, I should be inclined to assume that the choir only was consecrated in A.D. 1123, and that the nave was commenced and carried on very slowly, until, as the style developed, the simple cylindrical columns were abandoned for the fine groups of clustered shafts which are elsewhere used. The general style of the church is a very grand and vigorous first-pointed, early in the style, but still not at all Romanesque in character; and I know few interiors which have impressed me more with their extreme grandeur and stability than this. The truth is, that the somewhat excessive solidity of the work—as heavy and ponderous in substance as the grandest Romanesque—is singularly noble when combined as it is here with very considerable height in the columns and walls, and with fine pointed arches, early traceried windows, and good sculpture. Unfortunately this massive grandeur is only a matter of envy to a wretched architect in the nineteenth century, whose main triumph, if he would prosper, must be to use as few bricks and as small fragments of stone as he can, to the intent that his work should certainly be cheap, and in forgetfulness, if possible, that it will also certainly be bad! Here, however, the architect wrought for eternity as far as was possible, and with a success which admits of no doubt and no cavil. He has been singularly fortunate, too, in the comparative freedom from subsequent alterations which his work has enjoyed. The Renaissance procession-path round the choir, which is the most important addition, certainly spoils the external effect; but it is hardly noticed in the interior, until you find yourself under its heavy and tame panelled roof, and outside the solid wall which still encircles the ancient apse.

The groining of the choir and transepts is sexpartite, but everywhere else it is quadripartite; and the ribs, which are very bold in their dimensions, are generally moulded, but over the crossing are enriched with the dog-tooth ornament. The same decoration is also carved on the clerestory windows of the choir and transepts.

The original windows generally still remain. Those in the aisles are single round-headed lights of grand size, with double engaged shafts, both inside and outside: those in the clerestory are of more advanced character, some being of two and some of four lights, of the best early plate tracery, with pointed enclosing arches. The western bay of the choir has lancet clerestory windows, and the apse of seven sides has also a lancet in each face, with a sort of triforium below, which is now closed, but which before the addition of the procession-path was probably pierced. Below this quasi-triforium the wall of the apse is circular in plan, whilst above it is polygonal, and the difference shows the very gradual way in which the building was erected, one of the most usual points of distinction between the Romanesque and the early-pointed planning of an apse being that in the former it is circular, and in the latter polygonal.

In speaking of the windows, I have omitted to mention the finest, which are undoubtedly the roses in the principal gables. That in the south transept is one of the finest I know;[198] and whilst it is remarkable for the vigorous character of its design it is also to be noted for a peculiarity which I have before observed in early Spanish traceries. This is the mode in which the traceries are, as it were, packed against each other. It is especially noticeable in the outer line of circles which are inserted like so many wheels abutting against each other, and without the continuous central moulding to which we are generally accustomed. Here, as well as in the interior, the dog-tooth ornament is freely used; and the outer mouldings of the circle are of good character.

The exterior of this church is of as great interest as the interior. The two western steeples are of the very plainest possible character, pierced merely with narrow slits, which light the small chambers in the interior of the tower.

The buttresses are of enormous size; and in the angles between them and the walls are set engaged shafts, which run up to and finish under the arcaded eaves-cornices with which the walls are finished under the roof. At the west end these shafts are carried up to a greater height, and support three bold arches, one in each division of the façade, corresponding in height pretty nearly with the groining inside. I find, on looking at my notes on this church, that I observed upon this as a feature which I recollected at Notre Dame, Poitiers; and there is some significance, therefore, in the record of the fact that the second bishop, in whose time probably this part of the church was built, was a native of that city.

The western door is round-arched, but the cornice over it has been destroyed; and the finish of the buttresses and whole upper part of the west front have been modernized. The transept doors are not old, but seem to be in their old places, placed close to the western side, so as not to interfere with the placing of an altar against the eastern wall. At Tudela cathedral the old doorways still remain just in the same place; and viewed in regard to convenience, and not with a view to making the most important and regular architectural elevation, there is no doubt as to the advantage of the plan.

In addition to the two western steeples there is also one of more modern erection and smaller dimensions on the east side of the south transept. The other late additions to the church are some chapels on the south side of the choir, a grand sacristy on its north side, some small chapels between the buttresses on the north side, and the Parroquia of San Pedro, running north and south, near the west end. This and the chapel on the south side of the choir are of late Gothic date, and of very uninteresting character. Indeed it is remarkable how little the work of the later Spanish architects ordinarily has in it that is of much real value. The early works always have something of that air of mystery and sublimity which is the true mark of all good architecture, whilst the later have generally too much evidence of being mere professional cut-and-dried works, lifeless and tame, like the large majority of the works to which a vicious system of practice has reduced us at the present day.

The cloister, to which also the same remark will apply, was finished in A.D. 1507 by Cardinal Mendoza, as we learn from an inscription in Roman letters with a Renaissance frame round them, which is let into the wall on the south side;[199] and I noticed that the very florid early Renaissance altar-tomb and door to the cloister, which fills a great part of the inside of the north transept, is inscribed to the memory of the same cardinal.[200]