INFLUENCES

(GEOGRAPHICAL, GEOLOGICAL, CLIMATE, RELIGION,

SOCIAL AND POLITICAL, HISTORICAL)

ARCHITECTURAL
ARCHITECTURE
CONTENTS
EXAMPLES OF
BUILDINGS
ELEMENTS
(PLAN, WALLS, OPENINGS, ROOFS, COLUMNS,
MOULDINGS, ORNAMENT)
 Spanish Gothic
architecture is the style of
architecture prevalent in Spain
in the Late Medieval period. The
Gothic style started in Spain as
a result of Central European
influence in the twelfth century
when late Romanesque
alternated with few expressions
of pure Gothic architecture.
 GEOGRAPHICAL
SPAIN

Spanish architecture cannot be

understood without a knowledge of the
geography of the country. The existence
of rival races and kingdoms within the
peninsula was rendered possible by the
mountainous character of some parts,
and the subdivision of the country by
sierras, or chains of low rocky hills. The
kingdom of Granada, where the Moors
held out until the close of the Gothic
period, was surrounded by mountains
which inclosed a fertile plain, the finest
in the country.
 GEOLOGICAL SPAIN

Stone was the material

generally employed, but granite
and some of the semi-marbles,
which the country throughout
possesses, were used in places.
Rubble-work, with brick bonding
courses and quoins, was used
under Moorish inf l u e n c e w i t h
much taste and success, as in the
towers and gates of the city of
Toledo.
SPAIN
CLIMATE
This varies with the
structure of the country, which
is that of a series of table-
lands of varying elevations,
divided by sierras. Burgos, in
the north, 3,000 feet above the
sea, is cold, and exposed to
keen winds even in the
summer, while in the south the
climate is sub-tropical.
 RELIGION SPAIN

Constant warfare with the

Moors gave a certain unity to Spain,
the struggle being a war of religions
as well as of races. Allegiance to
the Papacy has been a
characteristic of Spain, and
Santiago was a pilgrimage centre
of more than national importance.
The arrangement of the choirs and
the size and importance of the
chapels attached to the cathedrals
were due to the ritual.
 SOCIAL &
SPAIN POLITICAL
In the Spanish peninsula, the
Christian states of Castile, Leon,
Navarre, Aragon, and Portugal were
all growing up and gradually driving
the Mahometans into the southern
part called Andalusia. After many
intermittent successes, as the
capture of Toledo (1084) by Alfonso
VI., the battle of Tolosa (1212),
gained by the Christians, was the
turning point, after which Mahometan
influence gradually declined.
 SOCIAL &
SPAIN POLITICAL
It was during the reign of S.
Ferdinand (1217-1252), who united
Castile and Leon, and won back
Seville and Cordova, that Gothic art
took root, sown by the spirit of
conquest and aided by the wealth of
the conquered Moors. James, called
the Conqueror (1213-1276), King of
Aragon, pressed into the east of
Spain until the kingdom of Granada
was the only portion left to the
Mahometans.
 HISTORICAL SPAIN

The study of the history of a

country, always necessary in order to
properly understand the development
of its architecture, is specially
required in the case of Spain, which
has been occupied at different times
by peoples of various races. After the
Romans left Spam the Vandals and
Visigoths took possession, after
which, A.D. 710-713, the country was
invaded by the Moors from North
Africa, and for 800 years their
influence was continuous.
 HISTORICAL SPAIN
The evidence of this is to be
seen in the stronghold of their power
the south of Spain where the curious
construction, the richness of the
architecture, and the exuberance of
intricate, and lace-like, detail are
everywhere apparent. This influence
occasionally reached far into the north,
owing to the superior education and
ability of Moorish workmen, for
although Toledo was captured by the
Christians in 1085, the Spanish
conquests were gradual, and the final
expulsion of the Moors did not take
place till 1492.
In the south, there was • F r o m To l e d o , t h e M o o r i s h c a p i t a l , t h i s
always more or less of
Moorish Influence. influence made itself felt in Saracenic features,
such as the horseshoe arch and the pierced
stonework tracery of Moorish design. These
fretwork screens occupy the whole window,
and are rich in detail.

SPAIN
 • Elsewhere buildings, under Moorish influence, were
covered with intricate geometrical and flowing
patterns and rich surface decorations, for which the
Saracenic art is everywhere remarkable.

SPAIN
SPAIN
S. Isidore, Leon (completed 1149),
and old Salamanca Cathedral (A.D.
1120-1178), which has a dome over
the crossing of nave and transepts,
were both influenced by the
Southern French Romanesque
models of Aquitaine and Anjou.
, is an example of a
building with nave, transepts and a
complete chevet, due to the
influence of Northern French
Romanesque. In this church the
nave is covered with a barrel vault
and the side aisles with cross vaults.

Burgos Cathedral (A.D. 1230) is
irregular in plan . It has two towers
to the western facade, which, with
their open- work spires , recall
Cologne, and a richly-treated
lantern over the crossing which was
completed in 1567.
Toledo Cathedral (A.D. 1227) , is a five-
aisled church and resembles Bourges in
general idea. It is about the same length,
but nearly 50 feet wider, and has the choir
inclosure west of the crossing, with a
singularly shallow apsidal sanctuary, in
which is placed an immense retablo or
reredos of wood, f l a n k e d b y t i e r s o f
arcaded statuary upon the sanctuary piers.
S. Gregorio, Valladolid shows
the lace-like character of
detail derived from Moorish
influence.
Barcelona Cathedral (A.D. 1298) ,
is remarkable in that the thrust
of the vaults is taken by
buttresses, which are int ernal
features, as at Albi in the south
of France, the space between
being used as chapels.
Gerona Cathedral is a further
development , but there are no
aisles, the nave being one vaulted
hall, 73 feet in width, in four
compartments. The Central Hall of
the Law Courts, although only 48
feet in width, will give an idea of
this interior.
S. Juan de los Reyes, Toledo, A.D.
1476, is a rich example of a
sepulchral chapel, erected by
Ferdinand and Isabella,
comparing in its intended
purpose with Henry VII's Chapel
at Westminster.
In regard to the plan of the cathedrals, the
great width and comparative shortness of
many of the naves is a prominent
characteristic. The position of the choir is
generally to the west of the crossing of
nave and transepts, as at Burgos, an
arrangement probably derived from the
Early Christian basilicas, as S. Clemente,
Rome, and also seen at Westminster
Abbey, and Norwich Cathedral. Chapels
are numerous and large, and the parish
church is often included in the area of the
cathedral, as at Seville.
In design French models were
favoured, the Later work being
characterized by extreme, and even
wild, ornamentation. There is much
flatness and absence of sky-line in
the exteriors, Burgos having in place
of gables effective horizontal
arcades, on the lines of the facade of
Notre Dame at Paris. Traceried open-
work spires, as in Germany, were
favoured, those at Burgos being
worthy of attention.
These were carried to excess
in Leon Cathedral, which has
not only a glazed triforium,
but also a large part of the
wall surface of the clerestory
glazed as well. Even in the
south, as at Seville, openings
are of large size, stained
glass being much used.
Vaulting was used freely, but
developed in decoration,
rather than in construction,
s u c h f e a t u r e s a s t r a c e r y,
bosses, nd ribs producing a
rich effect, although the lines
are not always good, and
nothing to compare in interest
with English vaulting was
accomplished.
 The favourite feature of a
lantern at the crossing gives
importance to the central piers,
which at Burgos are circular in
plan (rebuilt 1567), and contrast
with The great octagonal piers at S.
Sernin, Toulouse.
In Seville Cathedral great
column-like piers are employed for
all the arcades, similar in effect to
those of Milan, but without the
tabernacle capitals.
Refinement is not the usual
characteristic of Spanish art.
Original and arbitrary forms were
mingled with features borrowed from
France. In Catalonia the best and
most artistic work was produced in a
restrained manner. In S. Maria del
Mar, Barcelona, every moulding has
its purpose and expression, but this
is far from being the character of
other more numerous examples in
Spain.
The most decorative feature in Spanish churches is the vast retablo
(reredos), which is often as wide as the nave, and reaches up to the
vaulting. This feature is usually constructed of wood, stone, or alabaster,
and is crowded with niches, figures, canopies and panelling.

Sculpture in stone or marble is often life-size, naturalistic, and expressive,

and however deficient in other qualities, it combines in producing the
notoriously impressive, if sensational, interiors of Spanish churches.

Stained glass was used, as at Seville, Oviedo, and elsewhere, being

usually Flemish in style, heavy in outline, and strong to gaudiness in
coloring.

'Rejas,' or rich and lofty grilles, in hammered and chiselled iron, are also
characteristic, the formality of the long and vertical bars being relieved by
figures beaten in repousse, or in duplicates attached back to back, and by
freely employed crestings and traceries adapted to the material. Few
things in Spain are more original and artistic than these Rejas.

Magnificent stalls, each provided with a separate canopy and crowned

with a tall spire, are common, Barcelona Cathedral having some
resembling those at Chester, while bishops' thrones, pulpits, lecterns and
choir desks were also elaborately treated.
Add your title here

S. Gregorio, Valladolid
It is a building that shows the lace-like
character of detail derived from Moorish
influence.