The invasion of the Arabs in 711 caused their architecture to extend itself in the Peninsula. Its adaptation to churches and other buildings of the Christians created a new style, known as Mudejar. The finest specimen of Oriental architecture in Spain is the mosque at Cordova (ninth century). Byzantine models were copied there in the same manner as at Jerusalem, Damascus, and Cairo. The small mosque at Toledo (Cristo de la Luz) is of the same period, and part of the church of Santiago de Peñalva (Vierzo), the only example which is known of a Christian church built in the Moorish style.
During the eleventh and twelfth centuries this architecture underwent radical modifications in Spain, in the same manner as in the East, and a new style arose which is very different to the earlier one. No writers on this subject have explained this transformation in the East in a satisfactory manner: it is not easy to study this transition in Spain, for it coincides with the time in which the Spanish Moors were not rich or powerful enough to build large constructions, as they did in the thirteenth century, after the kings of Granada had settled there. At this period of their art the forms of capitals, which partook of a Byzantine and classical form, changed. Tiles are used to decorate the walls, which are covered with an ornamentation in relief in stucco, in which are introduced inscriptions in Cufic and African characters; the ceilings are decorated with inlaid woodwork and stalactical pendentives in stucco. This style ends with the conquest of Granada, 1492. The Alhambra is the most important example of this architecture, and following it the Alcazar of Seville.
Owing to the gradual conquests by the Christians of towns belonging to the Muhammadans, several of them continued to be inhabited by Moors, who kept their customs and religion. They were called Moriscos or Mudejares. The chief industries of the country were in their hands, and several churches and other buildings of importance were built by them. They accommodated their architecture to European or Christian necessities, and created a new style (Mudejar), a mixture of Christian and Moorish art, which is only to be found in the Spanish Peninsula. The finest specimens are of the fourteenth century. The religious constructions of this period are remarkable for their brickwork in towers and apses, and fine wooden ceilings, artesonados. Examples exist at Toledo, Seville, and Granada. The interesting synagogues built by Moriscos are at Toledo and Segovia. As specimens of civil architecture, the finest are Casa de Pilatos (Seville), Palace of Mendoza (Guadalajara), Archbishop’s Palace (Alcalá), Casa de Mesa (Toledo). This style continued in vogue during the greater part of the sixteenth century, although late Gothic was everywhere predominant. A most striking example in which the three styles—Moorish, Flamboyant, and Renaissance—are combined, is to be found in a chapel of the cathedral of Sigüenza.
The Romanesque style of architecture was imported in the eleventh and twelfth centuries from France, even more directly than in other countries, owing to the immense influence exercised by a large number of prelates and priests, who came from Cluny and Cister, and the French princes and families who settled in Spain. The general features of this architecture are similar to those of France: the differences exist chiefly in the general plan of the churches rather than in their construction and ornamentation. The choirs in Spanish cathedrals are placed in the central nave, a traditional remembrance of the early basilica. In some localities, Segovia, Avila, and Valladolid, some of these churches have external cloisters, an Oriental or Italian modification, which never occurs in France or the north of Europe. Romanesque examples are very numerous in Spain. Some, such as the doorway of the Cathedral of Santiago (Galicia), and the Old Cathedral (Salamanca), are not surpassed by any similar buildings in Europe. Specimens are only found in the northern provinces, as the south was not conquered from the Moors until the thirteenth century. Interesting examples exist in Asturias, Galicia, Castile, Aragon, and Cataluña. The cloisters of Gerona and Tarragona are unrivaled. Of the many striking examples of Transition from Romanesque to Early Pointed, the finest are the old cathedral of Lerida, the cathedrals of Tarragona and Santiago, and the collegiate church of Tudela.
The specimens of Pointed style in Spain present no other variety than the choirs in the centers of the cathedrals. Although this style was imported from France early in the thirteenth century, in the same manner as in Germany, Romanesque churches continued to be built, and Pointed architecture was only finally adopted at the end of the century. The finest cathedrals in Spain of this architecture are those of Toledo, Leon, and Burgos. A great number of civil and religious buildings of this style are to be met with in Spain, in which the art-student will find constant elements of study: it underwent the same modifications in Spain as in other countries, until it reached, in the fifteenth century, its latest period, the Flamboyant style. This style lasts longer in Spain than in other countries, and acquires great importance. The cathedrals of Salamanca (la nueva) and Segovia, both built in late Gothic, were begun in the sixteenth century, when in other parts of Europe and even in Spain itself Italian Renaissance models were largely imported. Spanish cathedrals are undoubtedly, with the exception of Italy, the most interesting in Europe; for although they cannot compete in architectural details with those of France, they are vastly superior in regard to the objects they contain of ecclesiastical furniture of every kind—iron railings, carved stalls, monstrances, church-plate, vestments, pictures, and sepulchers. Toledo and Seville cathedrals are museums in their way.
Italian models were copied in Spain from the end of the fifteenth century. The portals of Santa Cruz at Valladolid and Toledo are of this period. Gothic architecture continued, however, for several years to alternate with this style. The combination of these styles produced an important series of models known in Spain by the name of Plateresco.
The revival of the fine arts coincided in Spain with the greatest power and richness of the country. The marriage of Ferdinand and Isabella united Castile, Aragon, and the kingdom of Naples. The conquest of Granada completed the political unity of the country: the discoveries of Columbus, Cortes, and Pizarro brought riches from a new world, and the union with the House of Austria, the Flemish States, an immense power, which it enjoyed during the reign of the Emperor Charles V. Renaissance architecture is better represented in Spain than in any other country except Italy. In almost all towns of importance admirable examples of this style will be found. The finest are at Salamanca: the University, Santo Domingo, Casa de las Conchas, and Salinas, San Marcos (Leon), Casa de Ayuntamiento (Seville), Valladolid, Saragossa, Burgos, etc.
The cathedral and palace of Charles V. (Granada) may be quoted as an example of pure Græco-Roman style. Part of the Alcazar at Toledo belongs to this same period. The tendency to copy classical models increased daily. The Monastery of the Escorial may be considered the most important specimen of this school. In the seventeenth century the Borromenisco style was imported from Italy. The Pantheon at the Escorial is a good example. This architectural decay increased in Spain with great rapidity, and in no country did it reach to such an extravagant point. It lasted during the seventeenth and part of the eighteenth centuries. In Spain this style is called Churrigueresque, after the architect Churriguera. Examples will be found everywhere. The Transparente (Cathedral of Toledo), retablos of San Esteban (Salamanca), Cartuja (Granada), and façade of Hospicio (Madrid), may be considered the most remarkable.
The creation of the Academy of San Fernando, the French architects who accompanied Philip V., and the efforts of Charles III. to favor classical studies, produced the same pretentious and classical reaction as in the rest of Europe. The Palace and Convent of Salesas (Madrid) are specimens of the first movement. The Museo and Observatory of Madrid belong to the end of the last and beginning of the present century.