APPENDIX.

(A.)

CATALOGUE OF DATED EXAMPLES OF SPANISH BUILDINGS, FROM THE TENTH TO THE SIXTEENTH CENTURY INCLUSIVE.

NOTE.—The dates of those Examples which are printed in Italics appear to me to be very uncertain, or are those of buildings which I have not visited.

Date.Place.Remarks.

914BARCELONAChurch of San Pablo del Campo, said to have been built.

983BARCELONASan Pedro de las Puellas consecrated.

1017GERONAChurch of Saint Daniel commenced.

1038GERONAConsecration of first Cathedral, of which remains exist.

1058ELNEConsecration of Church.

1063LEONThe Panteon, San Isidoro, appears to have been finished in this year.

1078SANTIAGOCathedral commenced.

1078SANTIAGOSouth transept doorways erected.

1085TOLEDOThe Church “Cristo de la Luz” existed before this date.

1090AVILATown walls commenced.

1091AVILACathedral commenced.

1109TOLEDOOuter circuit of walls.

1117GERONAChurch of San Pedro de los Galligans commenced.

1117GERONACloisters of Cathedral erected.

1108 to 1126TOLEDOPuerta de Visagra erected.

1120SALAMANCAOld Cathedral commenced.

1128SANTIAGOFabric of Cathedral so far finished as to be used.

1129LUGOCathedral commenced.

1131TARRAGONACathedral commenced.

1136SALAMANCASan Tomè de los Caballeros consecrated.

1146BARCELONACollegiata of Sta. Aña founded.

1146VERUELAAbbey commenced.

1149LEONChurch of San Isidoro consecrated in this year.

1156SALAMANCAChurch of San Adrian consecrated.

1171VERUELAAbbey first occupied, and probably completed in this year.

1173BARCELONARoyal Chapel of Sta. Agueda, attached to the palace of the Counts of Barcelona, conpleted.

1173SALAMANCAChurch of San Martin consecrated.

1174ZAMORACathedral completed.

1175SANTIAGOChapel beneath west front of Cathedral finished about this year.

1177LUGOCathedral finished.

1178SALAMANCACloister of old Cathedral in course of erection; Chapter-house probably erected at same time.

1179SALAMANCAChurch of S. Thomas of Canterbury consecrated.

1180BURGOSConvent of Las Huelgas commenced; inhabited in 1187; formally established as a Cistercian Convent in 1199.

1180POBLETBenedictine Monastery founded.

1188SANTIAGOWestern doors of Cathedral finished.

1188TUDELACathedral consecrated.

1203LÉRIDAFirst stone of Cathedral laid.

1208SEGOVIATemplars’ Church consecrated.

1212TOLEDOBridge of San Martin erected.

1219MONDOÑEDOCathedral commenced.

1221BURGOSFirst stone of Cathedral laid.

1221TOLEDOChurch of San Roman consecrated.

1227TOLEDOFirst stone of Cathedral laid.

1230BURGOSCathedral first used in this year.

1235TARAZONACathedral founded.

1239BARCELONAChapel of Sta. Lucia, and doorway from cloister into south transept of Cathedral.

1252-84AVILACentral Lantern of San Vicente built.

1258TOLEDOBridge of Alcantara rebuilt.

1262VALENCIAFirst stone of Cathedral laid. South transept and apse of this date.

1273LEONCathedral in progress.

1278LÉRIDACathedral consecrated.

1278TARRAGONANine of the statues of the Apostles in west front of Cathedral executed.

1287BARCELONANuestra Señora del Carmen founded.

1292AVILAConsiderable works in the Cathedral under Sancho II., Bishop of Avila, 1292-1353.

1298BARCELONANew Cathedral commenced.

1303LEONCathedral finished (save the towers) before this date.

1310-27LÉRIDAWestern side and entrance to cloister of Cathedral, and tower at S.W. angle of cloister, erected between these years.

1316-46GERONAChevet of Cathedral in course of building.

1318GERONAChoir of San Feliu completed before this date.

1321PALENCIAFirst stone of Cathedral laid.

1328BARCELONASta. Maria del Mar commenced, and completed in 1383.

1329BARCELONANorth transept of Cathedral.

1329BARCELONASta. Maria del Pi commenced, and consecrated in 1353.

1332GUADALAJARAChapel of Holy Trinity in the Church of Santiago.

1339BARCELONACrypt and Chapel of Sta. Eulalia in the Cathedral completed.

1345BARCELONASS. Just y Pastor commenced.

1346GERONARetablo of Altar and Baldachin erected.

1349VALENCIAPuerta de Serranos erected.

1350LUGOChurch of San Domingo consecrated.

1350ZARAGOZAEast wall decoration executed.

1351GERONAStalls in Choir of Cathedral executed.

1366TOLEDOSynagogue (now Church “del Transito”) completed.

1368-92GERONASteeple of San Feliu in course of building.

1369BARCELONACasa Consistorial commenced; finished in 1378.

1374LA CORUÑAChapel of the Visitation in Church of Sta. Maria.

1375TARRAGONACompletion of Statues in west front of Cathedral.

1380TOLEDOBridge of Alcantara repaired.

1381VALENCIAFirst stone of the Micalete (tower of the Cathedral) laid.

1383BARCELONASta. Maria del Mar completed.

1383BARCELONAThe Casa Lonja, or Exchange, founded.

1388BARCELONAWest doorway of San Jayme.

1389ALCALÁ DE HENARESTower of Archbishop’s Palace.

1389TOLEDOCloister and Chapel of San Blas completed.

1389TOLEDOBridge of San Martin built.

1391LÉRIDAWest doorway of Cloister completed.

1397LÉRIDASteeple of Cathedral in course of erection.

1397PAMPLONACathedral commenced.

1399BURGOSChancel and Aisles of San Gil founded.

1400HUESCACathedral commenced.

1404VALENCIALantern or Cimborio of Cathedral completed.

1405TOLEDOSynagogue (now Church of Sta. Maria la Blanca) converted into a Church, and much altered.

1410PALENCIAStalls in Choir of Cathedral executed.

1415BURGOSChurch of Convent of San Pablo erected.

1416BARCELONASan Jayme in progress.

1416LÉRIDASteeple of Cathedral completed.

1416MANRESAThe Collegiata in progress at this date.

1416PERPIÑANCathedral in progress.

1416TARRAGONAReredos of High Altar.

1417GERONANave of Cathedral commenced.

1418TOLEDOWest front of Cathedral commenced.

1424VALENCIATower of Cathedral completed.

1425TOLEDOThe N.W. Steeple of Cathedral commenced.

1431CerveraSteeple of Sta. Maria.

1435BURGOSConvent of San Pablo commenced.

1436BARCELONACasa de la Disputacion erected.

1438OLITEConsiderable works in progress.

1440AVILATower of San-Vicente completed.

1440MEDINA DEL CAMPOCastle “de la Mota.”

1412BURGOSSpires of Cathedral commenced.

1442TOLEDOChapel of Santiago (built by D. Alvaro de Luna) erected.

1442VALLADOLIDSan Pablo commenced.

1444BARCELONAThe Hala de Paños completed.

1444VALENCIAPuerta de Cuarte.

1448BARCELONACloister of Cathedral completed.

1453BARCELONASta. Maria del Pi consecrated.

1454BURGOSConvent of la Cartucca, Miraflores, commenced.

1458GERONASouth door of nave of Cathedral.

1459TOLEDOFaçade “de los Leones” (South transept).

1459 to 1482VALENCIAWest end of nave of the Cathedral erected, and (probably) the Chapter-house

1461GUADALAJARAPalace del Infantado.

1463VALLADOLIDSan Pablo completed.

1465AVILACanopy over the Shrine of San Vicente.

1471ASTORGAFirst stone of Cathedral laid.

1472SEGOVIACapilla Mayor of El Parral commenced.

1476TOLEDOSan Juan de los Reyes, Toledo, commenced.

1480BURGOSStalls in the Coro of Chapel at Miraflores.

1480-92VALLADOLIDCollege of Sta. Cruz.

1482VALENCIAThe Casa Lonja commenced.

1482-93AVILAConvent of San Tomás.

1483TOLEDODoorway of old Sacristy.

1484TOLEDOBridge of Alcantara fortified.

1485SEGOVIAVaulting of El Parral finished.

1487BURGOSChapel of the Constable.

1488-96VALLADOLIDCollege of San Gregorio.

1489TOLEDOMonument of Alvaro de Luna in Chapel of Santiago in Cathedral.

1489-93BURGOSMonument of Juan and Isabel in the Church at Miraflores.

1490LÉRIDASouth Porch.

1494SEGOVIATribune in Church of El Parral rebuilt.

1495TOLEDOLower range of Stalls in Coro of Cathedral.

1497ALCALÁ DE HENARESChurch of SS. Just y Pastor commenced.

1497-1512BURGOSStalls in Coro of Cathedral.

1498ALCALÁ DE HENARESCollege of San Ildefonso commenced.

1499VALLADOLIDChurch of San Benito.

1500TOLEDORetablo of High Altar.

1503MEDINA DEL CAMPOCapilla Mayor of Church of S. Antholin.

1504SANTIAGOHospital of Santiago.

1504TOLEDOEntrance to Winter Chapter-Room.

1504ZARAGOZAThe Torre Nueva in course of construction.

1504-10PALENCIACathedral completed.

1505ZARAGOZACimborio, or Lantern, of the Seu, commenced.

1507SAN SEBASTIANChurch of San Vicente commenced.

1507SIGÜENZACloister of Cathedral completed.

1508IRUNChurch commenced.

1509ALCALÁ DE HENARESChurch of SS. Just y Pastor completed.

1513LEONSan Isidoro, new Choir erected.

1513SALAMANCAFirst stone of new Cathedral laid.

1514PALENCIACathedral Chapter-house and Cloister.

1515HUESCACathedral completed.

1518AVILAMonument of Don Juan in the Church of San Tomás.

1520HUESCAThe Retablo of the Principal Altar commenced.

1520TARAZONACathedral Cloister.

1520ZARAGOZACimborio of the Seu completed.

1525SEGOVIACathedral commenced.

1531TOLEDOChapel de los Reyes Nuevos.

1533SANTIAGOCloisters.

1536ZARAGOZASta. Engracia, Cloister erected.

1543TOLEDOUpper range of Stalls in Coro of Cathedral.

1548TOLEDORejas of Capilla Mayor and Coro of Cathedral.

1550TARAZONACimborio of Cathedral.

1553ALCALÁ DE HENARESPatio of University.

1567BURGOSLantern or Cimborio completed.

1572-90MANRESASteeple of the Seu or Collegiata completed.

1576VALLADOLIDChurch of La Magdalena.

1579GERONAVault of Cathedral finished.

1586BURGOSCapilla Mayor in the Church of San Gil.

(B.)

CATALOGUE OF ARCHITECTS, SCULPTORS, AND BUILDERS OF THE CHURCHES, ETC., MENTIONED IN THIS VOLUME.

ABIELL [GUILLERMO]. One of the Junta of Architects consulted at Gerona. in A.D. 1416. At this time he was Master of the Works at Sta. Maria del Pi, San Jayme, and the Hospital of Santa Cruz in Barcelona.

ALAVA [Juan de]. One of the Architects summoned to the Junta at Salamanca in A.D. 1513. He was a native of Vitoria, and master of the works of the Cathedral at Placencia.

ALEMÁN [JUAN]. Sculptor. Wrought at the western and southern doorways of Toledo Cathedral, A.D. 1462-66.

ALFONSO [JUAN]. Sculptor. Wrought on the façade of Toledo Cathedral in A.D. 1418.

ALFONSO [RODRIGO].Maestro Mayor of Toledo Cathedral, probably the Architect of the Cloister and Chapel of San Blas, the first stone of which was laid August 14, 1389. He designed the Carthusian Convent of Paular, near Segovia, in A.D. 1390.

Andino [cristóbal De].Made the iron Screen of the Capilla Mayor in Palencia Cathedral in A.D. 1520; the screen of the Chapel of the Constable at Burgos in 1523; and in 1540 he competed unsuccessfully with other men for the erection of the Screens and Pulpits of Toledo Cathedral.

Antigoni [Antonio].Master of the Works in the town of Castellon de Empurias, and one of the Junta of Architects consulted at Gerona in A.D. 1416.

Arandia [Juan De].Probably a native of Biscay. Architect (?) and Builder of the Church of San Benito at Valladolid, which was commenced in A.D. 1499. He contracted for the first part of the work for 1,460,000 maravedis, and for the remainder for 500,000.

Arfe [Antonio De].Silversmith; a native of Leon. His work is thoroughly Renaissance, and, though much praised, really very uninteresting. Circa 1520-1577.

Arfe [Enrique De].A German; father of Antonio, born in 1470-80; dec. circa 1550. A famous Silversmith. Worked at Leon, Toledo, &c.

Argenta [Bartolomé].Master of the works, Gerona Cathedral, 1325 to 1346. He seems to have superintended the erection of most of the Choir now standing.

Badajoz [Juan De].Sculptor and Master of the Works of Leon Cathedral. Architect of Choir of San Isidoro, Leon. In A.D. 1512 he was one of the Junta of Architects consulted as to rebuilding Salamanca Cathedral. In 1513 he went to Seville to examine the fabric of the Cathedral, for which he received a fee of 100 ducats. In 1522 he went to Salamanca to see that the works at the Cathedral were being properly executed. In 1545 he was Architect of the Monastery at Exlonza near Leon, and calls himself “Architector” in an inscription on its wall.

Balaguer [Pedro].Architect of the Tower of Valencia Cathedral in A.D. 1414. He is called an “Arquitecto perito” in a contemporary document, and was paid for going to Lérida, Narbonne, and elsewhere, to examine their steeples with a view to his own work.

Bartolomé.Sculptor, Tarragona. Executed in A.D. 1278 nine of the Statues of the Western Doorway.

Bartolomé.Silversmith, who executed part of the Retablo of Gerona Cathedral in A.D. 1325.

Benes [Pedro].Made the Canopy over the Altar at Gerona Cathedral before A.D. 1340.

Bernardus [Frater].Magister Operis of Tarragona Cathedral in A.D. 1256.

Berruguete [Alonso].Architect, Sculptor, and Painter. Went to Italy in A.D. 1504, and studied at Rome and Florence: afterwards, in A.D. 1520, returned to Spain, and held the appointment of Maestro Mayor to Charles V. Executed the Stalls and Retablos of Sun Benito, Valladolid, in 1526-32, and the upper range of Stalls on the Epistle side of Toledo Cathedral in 1543. His works are numerous, and he was the great reviver of Pagan architecture in Spain.

Blay [Pedro].Architect of the Casa de la Disputacion, Barcelona, in 1436 according to Cean Bermudez. But this seems impossible, unless there were two of the same name, as one was Maestro Mayor of the Cathedral in 1584.

Boffiy [Guillermo].Architect of Nave of Gerona Cathedral in A.D. 1416. It was to discuss and advise upon his plan that a Junta of twelve Architects was summoned; their opinions are given in the Appendix [H], and in the end his plan was carried into execution.

Boncks [Arnau].A native of Ax (in the county of Foix). Directed the works at the Mole of Tarragona, for which he was also the contractor, in A.D. 1507.

Bonifacio [Martin Sanchez].Maestro Mayor of Toledo Cathedral from 1481 to 1494. He executed the doorway of the old Sacristy, circa 1484.

Bonifacio [Pedro].Painter on Glass. Executed some of the windows in the nave of Toledo Cathedral in A.D. 1439.

Bonife [Matias].Made the lower range of Stalls in the Coro of Barcelona Cathedral in A.D. 1457.

Borgoña [Felipe de].Sculptor of the upper range of Stalls on the Gospel side of Toledo Cathedral. He was consulted as to the design for the Cimborio or lantern of Burgos Cathedral, and executed the Sculptures under the arches of the apse in the same church. He is said to have been Maestro Mayor of Seville Cathedral (?), and was one of the Architects consulted as to Salamanca new Cathedral in A.D. 1512. He died in 1543.

Borgoña [Juan de].Painted in A.D. 1495 the Cloister of Toledo Cathedral. In 1508 painted five subjects for Avila Cathedral. He dec. circa 1533.

Bruxelas [Juan de].Executed the Retablo of the Chapel of San Ildefonso, Toledo, in A.D. 1500.

Campero [Juan].One of the Junta of Architects consulted at Salamanca in A.D. 1512, and afterwards appointed assistant to the Architect there. In 1529 he was engaged as builder at El Parral, Segovia. In 1530 he contracted with the Chapter of Segovia for the removal and re-erection of the old Cloisters. He had been employed by Cardinal Ximenes as Architect and Builder at Torrelunga.

Canet [Antonius].Sculptor of Barcelona. One of the Junta at Gerona in 1416, and Master of the Fabric of the Cathedral at Urgel.

Cantarell [Gibalt].Architect engaged on Steeple at Manresa from A.D. 1572 to 1590.

Carpintero [Macías].A native of Medina del Campo, and Architect and Sculptor of the College of San Gregorio, Valladolid, in A.D. 1488. He is said to have committed suicide in A.D. 1490.

Carreño [Fernando de].Master of the Works at the Castle, Medina del Campo, 1440.

Castañeda [Juan de].Architect at Burgos A.D. 1539. He was one of the Cathedral architects, and wrought under Felipe de Borgoña in the rebuilding of the Cimborio, which he completed in A.D. 1567. He is said to have designed the Gateway of Sta. Maria at Burgos.

Castayls [Maestro Jayme].Sculptor, Tarragona, in 1375. Executed by contract some of the Statues in the Western Doorway of the Cathedral, under the direction of Bernardo de Vallfogona, the Master of the Works. He executed three of the Apostles and all the Prophets, and bound himself to make them all life-size.

Cebrian [Pedro].Master of the Works, Leon Cathedral, A.D. 1175.

Centellas [el Maestro].Made the Stalls for the Choir of Palencia Cathedral in A.D. 1410. A native of Valencia.

Cervia [Berenguer].Made the terra-cotta Statues in the South Door of GERONA Cathedral in A.D. 1458. He also made a Statue of Sta. Eulalia and a Cross of terra-cotta for a doorway in Barcelona Cathedral.

Cespides [Domingo].Maker of the iron Reja, east of the Coro, Toledo Cathedral, in A.D. 1548.

Cipres [Pedro].Maestro Mayor of Gerona Cathedral in A.D. 1430.

Çolivella [Guillermo].Master of the Works at Lérida Cathedral, A.D. 1397. He had contracted in A.D. 1391 for the execution of some Statues for a doorway, and was evidently therefore a working Sculptor.

Colonia [Francisco de].Said to have been related to Juan and Simon de Colonia. He was an Architect of Burgos, and was employed in A.D. 1515, and again in 1522, by the Chapter of Salamanca Cathedral, to go there and examine the works to see that J. G. de Hontañon was executing them according to the plan.

Colonia [Juan de].Designed the upper part of the Western Steeples of Burgos Cathedral. They were commenced in A.D. 1442, and in 1456 one Spire was completed, and the other nearly so. San Pablo, Valladolid, is also said by some to be his work in 1463. He was Architect of the Chapel of the Constable at Burgos in 1487, and made the design for the Church at Miraflores, for which he was paid 3350 maravedis. He is said to have been a German by birth, and to have been brought to Spain by Bishop Alonso de Cartagena when he returned from the Council of Basel.

Colonia [Simon de].Completed the Church at Miraflores from A.D. 1488 to 1500. He was son of Juan de Colonia, and died before A.D. 1512.

Comas [Pedro].Maestro Mayor, San Feliu, Gerona, in A.D. 1385. He seems to have been Maestro Mayor of Gerona Cathedral from A.D. 1368 to 1397.

Compte [Pedro].Architect at Valencia, employed on the Cathedral, and one of the Architects consulted as to the rebuilding of the Cimborio of Zaragoza, and the Architect of the Lonja at Valencia. In 1486 he superintended the laying of a marble pavement in the Cathedral there. He is described in a contemporary MS. as being “Molt sabut en l’art de la pedra.” He was made perpetual “Alcaide” of the Lonja, or Exchange, in 1498, with a salary of 30 sueldos a year. He was “Maestro Mayor” of the city, and was employed on some engineering works for it: one of them was the bringing the waters of the river Cabriel to augment those of the Guadalaviar, and in A.D. 1500 he was engaged on another similar work.

Covarrubias [Alonso de].A native of Burgos. He was one of the Architects consulted as to the erection of Salamanca Cathedral in 1513. He competed with Diego de Siloe for the erection of the Chapel “de los Reyes Nuevos,” Toledo Cathedral, and succeeded, 1531-4. Was Maestro Mayor of Toledo from 1534 to 1566. Employed on the Archbishop’s Palace at Alcalá. Employed by the King on the Alcazars at Madrid and Toledo in 1537. He was paid 25,000 maravedis a year, and compelled to attend his work six months in the year, during which time he received four reals a day for maintenance. He married Maria de Egas, a daughter, it is thought, of Anequin de Egas; and his son was afterwards Bishop of Segovia. Various Royal writs in reference to his work and payment are given by Cean Bermudez, Arq. de Esp., i. 304-7.

Cruz [Diego de la].Assisted Gil de Siloe in his works in the church at Miraflores, Burgos, A.D. 1496 to 1499.

Cumba [Pedro de].“Magister et fabricator” of the Cathedral at Lérida in A.D. 1203.

Deo [Petrus de].Master of the Works at San Isidoro, Leon, in A.D. 1065. He also built a bridge called “de Deo tamben,” and seems to have had a great repute for sanctity.

Dolfin [el Maestro].Painter on Glass. Commenced painting the windows of Toledo Cathedral in A.D. 1418.

Egas [Anequin de].Of Brussels. Maestro Mayor of Toledo Cathedral in 1459, and erected the façade “de los Leones” about that year. He had an “aparejador” (or clerk of the works), Juan (or Alfonso?) Fernandez de Llena.

Egas [Anton].In 1509 was engaged at Toledo Cathedral, and received two writs from the King ordering him to go to Salamanca to assist other Architects in deciding on the plan of the new Cathedral. In A.D. 1510, conjointly with Alonso Rodriguez, he drew a plan for the Cathedral.

Egas [Enrique de].Succeeded his father as Maestro Mayor of Toledo in A.D. 1494, and held the office until his death in A.D. 1534. He was summoned with other Architects to decide what should be done after the fall of the Cimborio at Seville. He built the Hospital “de los Espiritos,” at Toledo, in 1504-1514, and the Royal Hospital at Santiago in 1519. Altered the Mozarabic Chapel at Toledo, and built the Hospital of Sta. Cruz, Valladolid; went in 1515 with two other Architects to examine J. G. de Hontañon’s work at Seville, for which he was paid 120 ducats of gold. He and Juan de Alava then made plans together for the Capilla Mayor at Seville. He was ordered by the King to go to Zaragoza to examine the Cathedral, but endeavoured to excuse himself on the ground that he had the Royal Hospital at Santiago in hand. In 1529 he appears to have gone again to Salamanca to see whether the work at the Cathedral was being done perfectly by J. G. de Hontañon. He went to Malaga on another occasion with the same object. In a Royal writ issued in his favour, in A.D. 1552, he is called “Maestro de Canteria”—Master of Masonry.

Escobedo [Fr. Juan de].A monk of the Convent of El Parral, Segovia. He repaired the Roman Aqueduct at Segovia in A.D. 1481.

Estacio.Native of Alexandria, Engineer, constructed the Mole at Barcelona, 1477.

Fabre, or Fabra [Jayme].Was Architect of the Dominican Convent at Palma, Mallorca, in A.D. 1317. This seems to have had a single nave of enormous width. He was ordered in 1307 to go to Barcelona to act as Architect at the Cathedral. In 1339 he assisted at the translation of the remains of Sta. Eulalia to the crypt under the high altar. He is said to have died circa 1388. He seems to have been the architect from whose work most of the later Catalan buildings were derived.

Favariis [Jacobo de].A native of Narbonne, and Architect of the Chevet of Gerona Cathedral in A.D. 1320.

Font [Carlos].Of Montearagon. Was consulted with others as to the rebuilding of the Cimborio of Zaragoza Cathedral in A.D. 1500.

Font [Juan].Architect engaged on Steeple at Manresa in A.D. 1572-90.

Forment [Damian].Executed the alabaster Reredos of Huesca Cathedral in 1520-1533.

Frances [Pedro].Painter on Glass. Executed some of the windows of Toledo Cathedral, circa 1459, in company with two Germans, Pablo and Cristóbal.

Franck [Juan].One of the Architects employed on the Tower of Valencia Cathedral, between A.D. 1381 and 1418. He was employed in 1389 at the Monastery of Guadalupe.

Gallego [Juan].Master of the Works at El Parral, Segovia, in A.D. 1459-1472.

Gallego [Pedro].“Gobernador de los Torres” at Leon Cathedral in A.D. 1175.

Garcia [Alvar].Architect of Avila Cathedral in A.D. 1091, a native of Navarre.

Gomar [Francisco].Executed the Porch in front of the South doorway of Lérida Cathedral, in A.D. 1490.

Gomez [Alvar].Maestro Mayor of Toledo Cathedral; in A.D. 1418 he designed the West Front and Tower of the Cathedral. The papers in the archives of the Cathedral speak of him as “aparejador de las canteras,” which seems to imply that he was a superintendent of masons. He was appointed to this office in A.D. 1425, and is the first recorded to have held it; from his time the names of the architects of Toledo Cathedral are all known.

Guadalupe [Pedro de].Made additional Stalls for Palencia Cathedral, and moved the old stalls from the choir into the nave, in A.D. 1518.

Gual [Bartolomé].One of the Architects summoned to the Junta at Gerona in A.D. 1416. At this date he was Maestro Mayor of Barcelona Cathedral, and calls himself “lapicida et magister operis.”

Guas [Juan].Architect of the Convent of San Juan de los Reyes, Toledo, commenced in A.D. 1476. His portrait (together with those of his wife and children) is preserved in a mural painting in the Convent.

Guinguamps [Joannes de].“Lapicida” of the town of Narbonne, and one of the Junta of Architects at Gerona in A.D. 1416.

Gumiel [Pedro].Architect of SS. Just y Pastor, at Alcalá de Henares, in A.D. 1497-1509. He was “Regidor” of the city in 1492, and Architect to Cardinal Ximenes, and both their names were inscribed on the first stone of the College of San Ildefonso at Alcalá, which was laid in 1497. He died circa 1516.

Gutierrez [Antonio].Executed the Entrance to the Summer Chapter-house, Toledo Cathedral, in A.D. 1504.

Henricus.“Magister operis” of Leon Cathedral; he deceased in A.D. 1277.

Holanda [Alberto de].Painter on Glass, of Burgos. Executed several windows in A.D. 1520 for Avila Cathedral at a charge of 82 maravedis the foot.

Hontañon [Juan Gil de].Was Maestro Mayor of Salamanca Cathedral when it was resolved to rebuild it. He made plans, which are still (it is said) preserved, with the signatures of four Architects who were called in to advise upon them. He seems, however, to have followed some plans prepared in A.D. 1510 by Alonso Rodriguez and Anton Egas, and to have been appointed Architect in 1513, after having given a joint report with nine other Architects on the mode of construction of the Cathedral. Subsequently other Architects, Martin de Palencia, Francisco de Colonia, Juan de Badajoz, and others, were summoned to Salamanca by the Chapter to certify that he was adhering to the plan originally agreed to. In one of their reports they speak of a plan made by Juan Gil, of which they approve. In 1513, after the fall of the Cimborio at Seville, he was summoned (after a Junta of four Architects had reported) to superintend the work, and before 1522 he made plans for the new Cathedral at Segovia, which was commenced in that year. He deceased in 1531.

Hontañon [Juan Gil de].Son of Juan Gil. Assisted his father in his work at Salamanca.

Hontañon [Rodrigo Gil de].Second son of Juan Gil. Continued his father’s works at Salamanca (with a salary of 30,000 maravedis and a house) and Segovia; he erected the Pagan façade of the College at Alcalá de Henares, and churches in various towns. In the paper appointing him “Maestro Mayor” of Salamanca Cathedral, he is called “Master of Masonry.” His will proves that he contracted for as well as designed some buildings, as he complains bitterly of the losses he has sustained in this way, especially in the Church of San Julian at Toro, for which he could not get paid. This will is dated May 27, 1577.

Juan [Pedro].Sculptor. Executed the Reredos of Tarragona Cathedral in 1426-36.

Lapi [Geri].Embroiderer, of Florence. He made an Altar-cloth for the Collegiate Church at Manresa, which still exists, and is inscribed with his name.

Llena [Juan Fernandez de].“Aparejador” or assistant to Anequin de Egas, Architect of Toledo Cathedral in A.D. 1459.

Llobet [Martin].Completed the Micalete at Valencia in A.D. 1424. He seems to have been a mason, and contracted for the execution of the work.

Loquer [Miguel].Made the Canopies of the Upper Stalls in the Coro of Barcelona Cathedral in A.D. 1483.

Luna [Hurtado de].Maestro Mayor of the Church at Irun in A.D. 1508.

Maeda [Juan de].Assistant to Diego de Siloe, who by his will, in A.D. 1563, left him all his plans and designs.

Manso [Pedro].Enlarged the Reredos in Palencia in A.D. 1518.

Matheus.Master of the Works of Santiago Cathedral, from A.D. 1168 to 1188.

Matienzo [G. Fernandez de].Architect of Church at Miraflores, from A.D. 1466 to 1488, after the death of Juan de Colonia.

Mota [Guillermus de la].“Socius magistri” of Tarragona Cathedral, and one of the Junta of Architects at Gerona in A.D. 1416. He completed the Retablo of Tarragona Cathedral (commenced by Pedro Juan in 1426).

Narbonne [Enrique of].Architect of Chevet of Gerona Cathedral in A.D. 1316.

Navarro [Miguel].Contracted for the erection of the Cloisters of San Francesco el Grande, Valencia, in A.D. 1421.

Nieto [Alonso].Appointed “Obrero Mayor” of the Works at the Castle “de la Mota,” Medina del Campo, in A.D. 1479.

Olotzaga [Juan de].Designed and commenced the Cathedral at Huesca in A.D. 1400. He is said to have carved the statues for the façade.

Orozco [Juan de].One of the Junta of Architects assembled at Salamanca in A.D. 1512.

Ortiz [Pablo].Executed the Monuments of the Constable Alvaro de Luna and his wife, in the Chapel of Santiago in Toledo Cathedral. He obtained this work in a competition, and contracted for its execution in A.D. 1489.

Paradiso [Mateo].Architect of the Tower on the Bridge of Alcantara, Toledo, in A.D. 1217.

Peñafreyta [Pedro de].Master of the Works of Lérida Cathedral, deceased in A.D. 1286.

Perez [Pedro]or “PETRUS PETRI.” Master of the Works of Toledo Cathedral. He deceased in A.D. 1290.

Pituenga [Florin de].Superintendent of Works in building the Walls of Avila in A.D. 1090. He is said to have been a Frenchman.

Plana [Francisco de].A Catalan, Maestro Mayor of Gerona Cathedral circa A.D. 1346-1368.

Raymundo.Master of the Works of Lugo Cathedral, which was commenced in A.D. 1129. The agreement for his payment is given at p. 131. He was evidently the Architect, and not the builder, of the Cathedral.

Rio [Francisco del].Built the Steeple of La Magdalena, Valladolid, under contract, and according to the plans of Rodrigo Gil de Hontañon, in 1570.

Roan [Guillen de].Maestro Mayor of Leon Cathedral; he deceased in A.D. 1431, and on his monument he is called “Maestro” of Leon and “aparejador” of a chapel at Tordesillas, in which he was buried.

Rodrigo.Sculptor of the lower range of Stalls in the Coro of Toledo Cathedral in A.D. 1495.

Rodriguez [Alonso].Maestro Mayor of Seville Cathedral in A.D. 1503. In 1510, at the command of the King, he went to Salamanca with Anton Egas, and prepared a plan for rebuilding the Cathedral, and afterwards went to the island of San Domingo to build a Church at Sanlucar.

Rodriguez [Gaspar.]Made the Iron Screen across the Coro of Palencia Cathedral in A.D. 1555.

Rodriguez [Juan].Built the Church of San Pablo, Burgos, between A.D. 1415 and 1435.

Romano [Casandro].Superintendent of Works in building the Walls of Avila in A.D. 1090.

Roque [el Maestro].Built the Cloister of Barcelona Cathedral, which was completed in A.D. 1448. He was appointed Master of the Works in A.D. 1388.

Ruan [Carlos Galtes de].Master of the Works at Lérida Cathedral A.D. 1397 to 1416. He was employed on the Campanile.

Ruesga [Juan de].An inhabitant of Segovia. Was employed by the monks of El Parral to reconstruct the Gallery for the Coro in their Church in A.D. 1494; he also completed Palencia Cathedral A.D. 1506-1510, and seems to have been a builder rather than an architect.

Sagrera [Guillermo].Master of the Works of S. John, Perpiñan, in A.D. 1416. In the same year he served on the Junta of Architects at Gerona. In 1426 commenced the Lonja or Exchange at Palma in Mallorca, for which he was both Architect and Contractor, and carried it on until A.D. 1448 or 1450, when he quarrelled and went to law with his employers. He then went to Naples, and commenced the Castel Nuovo there in 1450, of which he is described as “Protomagister” in a Royal writ of that year.

Salórzano [Martin de].Contracted to complete Palencia Cathedral in A.D. 1504, and deceased in 1506.

Sanchez [Bonifacio].Was Maestro Mayor of Toledo Cathedral in A.D. 1481-94, and designed the Entrance to the old Sacristy.

Sanchez [Martin].Executed the Stalls in the Coro of the Church at Miraflores, near Burgos, in A.D. 1480.

Sanchez [Pedro].“Mayordomo” of the Castle at Burgos during its construction in A.D. 1295.

San Juan [Pedro de].A native of Picardy, and Maestro Mayor of Gerona Cathedral in A.D. 1397.

Santa Celay [Miguel de].Architect of the Church of San Vicente, San Sebastian, in A.D. 1507.

Santillana [Juan de].Executed the painted glass at Miraflores, Burgos, circa 1480.

Saravia [Rodrigo de].One of the Junta of Architects assembled at Salamanca in A.D. 1512.

Siloe [Diego de].Son of Gil de Siloe the Sculptor. One of the revivers of Pagan art in Spain. He executed various works in Granada, Seville, and Malaga, and deceased in A.D. 1563.

Siloe [Gil de].Sculptor of the Monuments of Juan and Isabel, and of Alfonso their son, in the Church at Miraflores, Burgos, and of the Retablo in the same Church, between A.D. 1486 and 1499.

Tornero [Juan].One of the Junta of Architects at Salamanca in A.D. 1512.

Tudelilla.Of Tarazona. Architect of the Cloister of Sta. Engracia, Zaragoza, in A.D. 1536.

Urrutia [Juan de].Architect of the Church of San Vicente, San Sebastian, A.D. 1507.

Valdevieso [Juan de].Executed Stained-glass in the Church at Miraflores in A.D. 1480.

Valdomar.Architect of West end of Nave of Valencia Cathedral in A.D. 1459.

Vallejo [Juan de].One of the Architects of Burgos Cathedral. He was consulted as to the rebuilding of Salamanca Cathedral in 1512, and wrought under Felipe de Borgoña in rebuilding the Cimborio of Burgos Cathedral, between A.D. 1539 and 1567. He built the Renaissance Gateway on the East side of the South Transept between 1514 and 1524.

Vall-llebrera [Pedro de].Architect of the Steeple of Sta. Maria Cervera, A.D. 1431.

Valleras [Arnaldus de].“Lapicida” and “Magister operis” of the Collegiata at Manresa. One of the Junta of Architects consulted at Gerona in A.D. 1416.

Vallfogona [Bernardo de].Maestro Mayor of Tarragona Cathedral in A.D. 1375.

Vallfogona [Pedro de].Executed Reredos of High Altar, Tarragona, and was one of the Junta of Architects at Gerona in A.D. 1416.

Valmeseda [Juan de].Executed the Statues in the Reredos, Palencia Cathedral, in A.D. 1518.

Vantier [Rollinus].Maestro Mayor of Gerona Cathedral in A.D. 1427.

Xulbe [Johannes de].One of the Junta of Architects assembled at Gerona in A.D. 1416. He describes himself as son of Paschasius de Xulbe and “Lapicida.”

Xulbe [Paschasius de].Master of the Works of Church at Tortosa, and one of the Junta of Architects at Gerona in A.D. 1416.

Zacoma [Pedro].Architect of the Tower of San Feliu, Gerona, in A.D. 1368.

(C.)

DOCUMENTS RELATING TO THE CONSTRUCTION OF THE NEW CATHEDRAL AT SALAMANCA.

Royal Order of Ferdinand the Catholic, requiring Alfonso Rodriguez to go to Salamanca to choose the site and to make a design for the Construction of the Cathedral.

The KING to the MASTER MAJOR of the Works of the Church of Seville.

Since it has now to be decided how the Church of Salamanca may be made, in order that the building and its design may be made as it ought, I agree that you may be present there. I charge and command you that, instantly leaving all other things, you may come to the said city of Salamanca, and, jointly with the other persons who are there, you may see the site where the said church has to be built, and may make a drawing for it, and in all things may give your judgment how it may be the most suited to the Divine worship and to the ornature of the said church; which, having come to pass, then your salary shall be paid; which I shall receive return for in this service.

Done in Valladolid, the 23rd day of the month of November, 1509, &c.[456]

Order of the Queen Doña Juana to the same.

Recites that the King, her Lord and Father, had given an order, which she repeats, quoting the document above given, and then proceeds:—“And now, on the part of the Church of the said city of Salamanca, relation has been made me, that, although the said order was notified to you, until now you have not come to do anything in the business of which mention is made therein, making various excuses and delays; and it has been demanded of me, as for this cause of your not having come there is much delay in the work of the said church, to order you at once to come to the said city of Salamanca to make yourself acquainted with the affairs contained in the said order, as was by it commanded, or as my will might be; which, being seen by those of my council, it was agreed that I should order this my letter to be given for the said reason; and I find it good, as I command you, that immediately that this my letter shall be made known to you, without making any excuse or delay, you shall go to the said city of Salamanca, according and as by the said order was commanded, in order that, conjointly with the other persons who have to make themselves acquainted with the before-said matter, thou mayest give a plan how the said church may be made, which done, the salary will be paid you for the said church, which you are entitled to have for the coming, and staying, and returning to your house; and thou mayest not fail in this, under pain of my displeasure, and of 50,000 maravedis for my treasury.

“Given in the most noble city of Valladolid, 26th day of the month of January, from the birth of our Saviour Jesus Christ 1510 years.”[457]

Writ of Ferdinand the Catholic to Anton Egas, ordering him to go to Salamanca to choose the site and make the plan for the Cathedral, November 23rd, 1509.

Anton Egas is ordered to go at once, and, jointly with the other architects there assembled, make a plan, &c.; which done, his salary, which he receives on service, shall be paid him there. This writ is endorsed as having been served on his two maids, Maria and Catalina, he and his wife being both away.

Declaration or Information which Alonso Rodriguez and Anton Egas made before the Chapter of Salamanca on the mode of constructing the Cathedral.

In Salamanca, the second day of the month of May, 1510, Señor Gonzalo de San Vicente, representative of S. A., being with the Chapter, present the Reverend Señors D. Alfonso Pereira, Dean of Salamanca, and other persons, dignitaries and beneficiaries, who were in Chapter, in order to acquaint themselves touching the order and plan of their church, oath being taken in the due form by the Señors Alonso Rodriguez, Maestro of Seville, and Anton Egas, Maestro of Toledo, persons deputed by his Highness for the ordering and planning of the said church, that all affection and passion, partiality and interest, or any other cause, being well and faithfully postponed, they determine and declare, according to God and their conscience, the most commodious plan and site that may be fitting for the adornment of the said church, and for the utility of it and of this city, without prejudice and wrong to the Schools of this University of Salamanca; both of whom made the said oath, and replied to its confession, and said, “So I swear, and Amen.”

And under the said oath they presented a plan and outline of the said church, drawn on parchment to the heights and widths of the naves, and thicknesses of the walls, and projections of the buttresses, the whole taken in writing by me the said notary; the which they affirmed by their names in my presence, and said that the site marked out by them for where the said church—our Lord permitting—ought to be, would not do any wrong or prejudice to the said Schools, rather they would be benefited and adorned, because the site of the said church commences ten feet further from the gate “del Apeadero” of the Schools, being set back from the street by the said Schools fifty feet, in front of the said church, from the line of the church as it now is. And because there was a diversity in the opinion of these Masters as to the proportion of length to breadth in the Capilla mayor, they agreed to meet in Toledo in ten days, and to select an umpire between them if it were necessary, so that the decision should be arrived at with more circumspection, and sent within fifteen days to the said Señor San Vicente, or to this Chapter.[458]

Declaration or Judgment which was pronounced in Salamanca in a Junta which was held Sept. 3rd, 1512, by the Masters of Architecture Anton Egas, Juan Gil de Hontañon, Juan de Badajos, Juan de Alava, Juan de Orozco, Alonzo de Covarrubias, Juan Tornero, Rodrigo de Saravia, and Juan Campero, as to the mode of constructing the Cathedral.

That which appears to the Masters who were called and assembled by the most reverend and most magnificent in Christ, Father and Lord Don Francisco de Bobadilla, by the grace of God, and of the Holy Church of Rome, Bishop of Salamanca, and of the Council of the Queen our Lady, and by the Reverend the Dean and Chapter of the Church of Salamanca, to give the plan of the site and building of this holy church and temple, which it has been unanimously decided by the said Lord Bishop and Chapter—our Lord helping—to make and begin, is as follows:—

Firstly, the said Masters decided that the site of the church should be in length as far as the church of San Cebrian, and in width as far as the Schools.

Item.—That the three clear naves should begin from the line of the tower unto the place of the Schools, so that all the three doors of the front may show themselves and be clear of the tower.

Item.—They determine that the church should be directed and turned as much as possible to the east; and it appears to them that it can turn directly to the said east.

Item.—They determine that the principal nave may have fifty feet in width in the clear, and a hundred and ten in height.

Item.—That the side naves shall have thirty-seven feet in clear width, and seventy feet in height, or seventy-five, not being of the height of the other.

Item.—They determine that the chapels opened in the side walls may have twenty-seven feet in clear width, and forty-three or forty-five in height.

Item.—That the three gable walls of the west front may have all three seven feet of thickness, and the side walls throughout the church six feet; but to some of the said Masters it appeared that the end walls should be eight feet in thickness.

Item.—That the buttresses of the end walls may project beyond the wall twelve feet, and in thickness may have seven feet in front.

Item.—That the buttresses of all the side walls of the church may be five feet thick in front, and project six feet beyond the wall outside.

Item.—That the divisions of the chapels in the walls may be seven feet thick.

Item.—That the four principal columns of the Cimborio may be eleven-and-a-half feet thick.

Item.—They determine that the head of the Trascoro may be octagonal.[459]

Item.—They determine that the Capilla mayor may have in length and breadth two chapels of the sides.

Item.—That the chapels in the walls of the Trascoro may be twenty-seven feet in depth from wall to wall, and that in the spaces of the walls and buttresses in the angles of the octagons, which are formed between the chapels on the outside, sacristies for each chapel may be made.

Item.—They declare that the feet of which in this their declaration and determination mention is made, are to be taken as the third of a yard; and (marking out the form of the said church) the said Masters declare that from the mark towards the door of the Schools to the first step there may be seven yards and a third, which is twenty-two feet.

Item.—They declare that the wall of the west front within the tower has to be begun forty-nine feet from the corner of the said tower on the inside, and should be in thickness from there forward so much as to leave forty-nine feet of the tower visible.

Item.—They declare that the wall of the side nave, from towards the old church, has to come with the side of the tower, and has to contract itself the thickness of the said wall in the said tower.

And inasmuch as some persons, as well members of the Chapter as out of it, have held certain opinions in regard to the site of the said building, and where it ought to stand, the said Lord Bishop and Chapter, desiring to avoid and escape such opinions as at present and in future may impede the order and form of the said building, command the said Masters to give the reasons and motives that may have moved them to direct and propose the site and position determined on by them, and not the other places, lines, or sites suggested; and that they should say specifically for their satisfaction why, with all quietness and willingness, the order, form, and site laid down by them may be followed. The which said Masters, in order to satisfy the persons who either held or might hold opinions contrary to their own, gave the following reasons:—

Firstly. That making or putting the church in another part or site than that determined on by them, it and its cloister would be separated from the view of the city, and would be concealed; that it could not be seen round about, only the end wall by itself, and the Chevet by itself, and there would be no entire view.

The second reason is, that the said church would be put behind the schools from the Crossing almost to the end, where the best view and the most frequented part of the church ought to be, because there the doors have to be placed.

The third reason is, that of the cloister—which already exists—the two parts are so placed that it would leave a narrow passage between the church and the Archbishop’s chapel, and the library and Chapter-house, and the said chapels would remain separated, and one would enter them from the narrow passage, and in a roundabout way; for though it might be desired to make a door from the Chevet, it could not be done, because the sacristy would prevent it.

The fourth reason which they give is, that if the said church has to be moved to another site opposed to that declared and determined on by them, the tower would have to be destroyed, which is a good and singular work, and could not be rebuilt without a great sum of maravedis, and the church could not be without a tower.

The fifth reason is, that if the said church has to be moved to another site, it will be necessary to take down the house of the said Lord Bishop, and to restore it opposite the front of the church; and in order to restore it, besides the great sum of maravedis it would cost, it would be necessary to destroy fourteen houses, the rent of which is of much value, and this would be costly to the church, and involve loss to the treasury of the Chapter.

The sixth reason is, that in order to make the cloister on another site contrary to their determination, many houses must be taken; and in order to make it on the south, it would be necessary to go into it by what is called the River-door, and afterwards to be more away from the city, and out of view; and it would be very costly to make the foundations of such great depth, and to raise the walls to the level of the church.

The seventh reason which they give is, that the Chevet of the church would cover the door of the chapel of the Archbishop and the library in order to join them.

The eighth reason which they give is, that the Crossing would not come in the line of any street, and there would be no way out by way of the cloister, because the new and old cloister would stop it; and supposing a remedy to be sought, by separating the new cloister, it would be so high when they had to go out, that it would have at least more than fifteen steps, and the entrance would be by a narrow passage; because on one part would be the new cloister, and on the other part of the old cloister the chapel of the Archbishop.

The ninth reason which they give is, that the church would encroach upon the principal street of the schools, which comes before the house of his Lordship, and the other street, “del Desafiadero;” so that if there was none at the apse of the church there would be no way out; and the height of the church, putting it so much between the sun and the schools on the south, would take away much of their light, and darken them much.

The which reasons they give against the opinions of them who say or desire to say that the site of the said church should be towards the house of the Lord Bishop, and towards the street “del Desafiadero;” and in order to answer the other opinion of some who argue that the site of the said church could go through the cloister, which is already built to the River bridge, because this would not be a convenient site for the church; and in order to oppose the opinion for it, they give the following reasons:—

Firstly. That it would be more separated from the city, and would not go well with the schools, and would lack the appearance which it would have going, as is agreed, towards the schools.

The second reason which they give is, that it would stand at an angle with the schools, and would be an ugly thing, and the façades of the church and the schools would not be harmonized together by the said arrangement of the plan.

The third reason which they give is, that the Plaza of the Lord Bishop’s house would be narrowed in great part, so that the Plaza would be a street; and the height of the church would shut out the sun from the said house of his Lordship, and would stifle it very much; and the doors of the church would be behind the tower in the view as one comes from the city through the Street of the Schools.

The fourth reason which they give is, that the west front of the church would have to join the wall of the Archbishop’s chapel, and through its inequality and depth it would be necessary to have many steps through that part, and towards the town not any, and this would be a defective and ugly thing.

The fifth reason which they give is, that, making the cloister towards the Schools, all the view of the church would be shut out, and the cloister would be gloomy, and it would be without the harmony and order of good churches, and without grace.

The sixth reason which they give is, that the church standing close to the chapel of the Archbishop and the library, its height would shut out the light from the small chapels in the walls, and there would be no exit for the water from the roof of the middle of the church at that part.

The seventh reason which they give is, that in order to make the new church it would be necessary to clear out immediately all the church and the cloister, and the chapel of the Doctor of Talavera, and of Sta. Barbara, and the Chapter-house; and in their opinion it would be a grand inconvenience to be so many years without having where to celebrate the Divine offices.

The eighth reason which they give is, that if the church is separated from above, and put as in a corner, part in the shade through the one part of the tower and the cloister, and through the other of the library and the chapel of the Archbishop, it could not have as much of its walls in light as is convenient.

The ninth reason which they give is, that the door of the transept would come out so high from the street, in their opinion, as more than ten or twelve steps, and would cut across the street “del Chantre” and would be bad in its arrangement, and a place where nuisance would be caused.

This opinion having been given, it is then pronounced by the deputies appointed by the Chapter to confer with the architects, that as they were all agreed both as to the site and as to the general form of the church, and as they are such learned and skilful men, and experienced in their art, their opinion ought certainly to be acted on. But for the more certainty it was thought well to make every one of the architects take an oath, “by God and St. Mary, under whose invocation the church is, and upon the sign of the cross, upon which they and each of them put their right hands bodily,” that they had spoken the entire truth, which each of them did, saying “So I swear, and amen.”[460]

The report of the architects having been received, the Chapter then say that the many singular and great Masters of the Art of Masonry (canteria) who had been consulted had agreed on a plan, but that it will be necessary to choose and elect a Master (Maestro) and an overseer (aparejador).[461] On the same day, Sept. 3rd, 1512, Juan Gil de Hontañon, “Master of Masonry,” was appointed principal master of the works (Maestro principal), and Juan Campero, mason, overseer, with a salary to the former of 40,000 maravedis a year, and 100 maravedis more for each day that he assisted at the works; and to the latter of 20,000 maravedis a year, and 2½ reals per day.[462] And on the 10th May, 1538, Roderigo Gil de Hontañon was appointed principal master of the works, with the salary of 30,000 maravedis a year. Alonso de Covarrubias seems to have been joined with Rodrigo Gil de Hontañon as master.[463] By R. G. de Hontañon’s will it seems that he also had a house rent free from the Chapter.[464]

(D.)

SANTIAGO CATHEDRAL.

Warrant of King Ferdinand II., issued in 1168, in favour of Mattheus, Master of the Works of Santiago Cathedral, copied from the Archives.

IN nomine Domini nostri Jesu Christi. Amen. Majestati regiæ convenit eis melius providere, qui sibi noscuntur fidele obsequium exhibere, et illis præcipue, qui Dei sanctuariis et locis indesinenter obsequium probantur impendere. Ea propter ego Fernandas Dei gratia Hispaniarum Rex ex amore Omnipotentis Dei, per quem regnant reges, et ob reverentiam sanctissimi Jacobi patroni nostri piissimi, pro munere dono, et concedo tibi magistro Matheo, qui operis præfati Apostoli primatum obtines et magisterium, in unoquoque anno in medietate mea de moneta Sancti Jacobi refectionem duarum marcharum singulis hebdomadibus, et quod defuerit in una hebdomada suppleatur in alia, ita quod hæc refectio valeat tibi centum maravotinos per unumquemque annum. Hoc munus, hoc donum do tibi omni tempore vitæ tuæ semper habendum quatenus et operi Sancti Jacobi, et tuæ inde personae melius sit, et qui viderint præfato operi studiosius invigilent et insistant.

Si quis vero contra hoc meum spontaneum donativum venerit, aut illud quoque modo tentaverit infringere, iram incurrat decunti pertinentis, et iram regiam, et mille aureos parti tuæ tamquam excomunicatus cogatur exolvere. Facta carta apud Sanctum Jacobum, viii. kalendas Marti, Era M. CC. VI. Regnante rege Dño Fernando Legione, Extremadura, Gallecia in Asturiis.

Ego Dñs F. Dei gratia Hispaniarum Rex hoc scriptum quod fieri jussi proprio robore confirmo.

[Signed also by various Bishops and Grandees.]

(E.)

SEGOVIA CATHEDRAL.

Memoir of the Canon of Segovia Juan Rodriguez, in which is related all that happened as to the Construction of the Cathedral from the year 1522, in which he began to exercise the government and administration of the fabric, until the year 1562, in which, through infirmity, he gave it up.—From the Archives of the Cathedral.

AFTER reciting his pious reasons for his undertaking, he continues his Memoir as follows; entering first of all into various particulars in reference to the subscriptions for the work and so forth, he then goes on:—

“We commence, in the name of God, to give an account of the form and order which prevailed in the work of the said church and cloister, Chapter-house, libraries, tower, sacristy, and place for relics,[465] and all the other necessary offices, which until this time have been paid for, and now belong to the said holy church, free from all interest or tax.

“Commencing at the beginning, which was in the said year of 1520, when the Chapter was driven out of the other church by reason of the alterations already mentioned, they had the divine offices in the Church of Sta. Clara, which the monks of the order of Sta. Clara had left, who at present reside in the monastery of San Antonio el Real; and beginning by having the divine office on the floor of the church on some benches or logs of wood, which were placed for it from the door of the church as far as the rooms of the keepers of the wardrobe of the convent which were there, afterwards they made a tribune on some pieces of timber or posts for the Coro, in order to have the holy office; and afterwards they put the altars right with Retablos and images, which they brought from the old church; and they put right the old cloister, which had some high battlements; and they overcame difficulties and put everything in order to be able to make use of it, and set right the chapel where the Crucifix and Sacrament were, and where the chaplains said their office. Then, likewise, was made a hall of the old corridors, in which the Chapter was held, where it was for some years, until that one was made below close to the chapel of the Crucifix. And then the tower was raised, and there they placed some of the bells of the other old church, and others they made new in the town of Olmedo; and they got a new clock from Medina del Campo, and put the whole in the old tower.

“Then, in consequence of the narrowness of the church, they took some houses in which lived the wardrobe-keepers, and pulled them down, and made a wall of lime and stone in front, and placed there the Coro of the old church, and repaired it in the said place where the divine office was said, and placed the iron screens of the two Coros; the whole of which was done between the said year of 1520 and June 8th, 1522, when, by the consent and resolution of the Lord Bishop D. Diego de Rivera, and of the Dean and Chapter of the said church, it was agreed to commence the new work of the said church, to the glory of God, and in honour of the Virgin Mary and the glorious San Frutos and All Saints, taking for master of the said work Juan Gil de Hontañon, and for his clerk of the works (aparejador) Garcia de Cubillas.

“Thursday, the 8th of June, 1522, the Bishop ordered a general procession with the Dean and Chapter, and clergy, and all the religious orders. Solemn mass was said in the Plaza of San Miguel, before the doors of the said Church of Sta. Clara, and there was a sermon, and absolution, and general pardon to all who had erred; and they demolished the other church, and gave absolution for all the faults and sacrileges which might be committed in it, as is the case in all general pardon of sins. From there the Bishop, Dean and Chapter, clergy and religious, went in procession to the part where was the foundation of the principal wall of the foot of the holy church, and in that place where the principal door was to be, which is now called ‘del Pardon;’ and the Master of the works and the officials being there with stone and mortar, the Lord Bishop placed the foundation in the middle where the said door had to come, which is called ‘del Pardon.’ Giving first his benediction on the commencement of the work, he put a piece of silver with his face on it, and others of metal with certain letters, and upon them placed the stone and mortar. The workmen then raised the building.

“All this solemnity, as I have told, began to the glory of God our Lord, the Virgin Mary, and All Saints, for the promotion of the said work. This was settled and arranged between the Lord Bishop, the Dean and Chapter, to be executed in masonry of a rough description, by reason of the great poverty of the said church. And I then, feeling this, conferred on this matter with the said Juan Gil de Hontañon and Garcia de Cubillas, and it seemed to them to be a great pity to execute the work in such a way in so celebrated a city. And the Lord Bishop, the Dean and Chapter, having considered this, thought it well to give leave, confiding in the providence of our Lord, that it should be done as I had petitioned, for which many thanks be given to our Lord.”

“The building being commenced, as I have said, on Thursday, July 8th, 1522, was carried on according to the plan first of all given, beginning from the principal door at the foot of the church, which is called ‘del Pardon,’ corresponding to the principal nave, and going on in order, taking the chapel and the chapels in the walls, of which there are five on either side, ten in all, where at present the private masses and endowments which the said church has are said.

“After the same manner the principal pillars in the said church were built, which divide, and on which is raised the principal nave, and on either side one, in all five collateral naves; the principal, of 115 to 120 feet in height, and 54 in width, from line to line; the collaterals, 80 feet in height each one of them, and 38 in width, and the chapels between the buttresses, of which there are ten, 50 feet of height, and 26 in width, as, thanks to God, they have all been made and finished to perfection, as may be seen.

“The building, so far erected, reached only to the two principal pillars of the Crossing, which are twelve feet in width, because they are the two upon which the Cimborio will have to be built, and the other two pillars will embellish the work which has to be done presently, when the Capilla mayor and the Crossing are erected. The other round pillars of the body of the said church are ten feet in thickness, and are ten in all, and upon them were built the main nave and its collaterals.

“Likewise I may mention that these principal pillars, for fear there should be any misfortune or bursting in the work, were all compacted throughout their body, with shaped stones, in pieces of the same thickness as those which are in the face of the work; so that there is not the least thing omitted which could give strength.

“Likewise the walls were made, three extending past the said three principal pillars, which were made for the Cimborio and Crossing, where the high altar was placed, and the Blessed Sacrament kept, and the conventual masses said; and on one side, towards the Alumzára, a little sacristy was made, or a vestry for the ministers of the high altar, where they kept their boxes for the things necessary for the altar and choir.

“Likewise the walls were built, where the stalls of the Coro are placed for the divine offices, ornamented and made up with such additional seats as were required, in order that they might occupy the width of the principal nave; and at the sides they made offices with their furniture for holding the singing and reading books for the divine offices of the said church, with doors at the sides for going out by at the sermon-time.

“Likewise they made high galleries on either side of the Coro, in which they placed the organs, finished and adorned, as, at present appears, for the service of our Lord.

“Likewise the cloister was founded, which was that which stood in the old church, which Juan Campero, master of masonry, undertook by contract for the sum of 4000 ducats, according to the contract with which he took it; and in the said buildings it was impossible to foresee, at the first, every necessary thing, because time and the work itself showed many things which at first were not known; and so, beginning to feel the said cloister would be low, by agreement with the said John Campero, they gave him 400 ducats, in order that he should raise it a yard, which gave him grace enough; and 70,000 maravedis, in order that he should do the door of the said cloister, which was not in his contract; and likewise he made a condition that he should not be obliged to go more than five feet below the ground.

“In the same manner they made many other adornments in the said cloister beyond what was in the contract with the said Juan Campero, such as making many things of granite, and others of carpentry, which were to have been of common masonry; which was all of much cost, so that the expenses mounted beyond the contract of the said Juan Campero another 4000 ducats, which was in all 8000, a little more or less, as appears by the account-book which the said Juan Campero kept.

“Item.—To the glory of God and the honour of His Blessed Mother the building of the tower was commenced, which is at the lower end of the said church, and which is a very solemn edifice. Its bulk without the walls is thirty-three feet, and it is square. The walls are four from base to summit, and each one ten feet thick; and one of them which goes from the church is fifteen feet at the bottom.

“Item.—This tower is more lofty than that of the cathedral at Seville, measured by a line, more than once brought from thence. It is wider than that of Toledo by one third part, as will be seen by those who like to measure it. This measures, as I say, 33 feet inside, and that of Toledo 22 feet. I say this in order that the goodness of this tower may be known. Outside the chapel and above it is another very good chapel for the service of the church, in which necessary things can be kept; and over this chapel, and in the said tower, is another chamber, where is placed the man who attends to the bells, with all his family, and with all the offices necessary for his living; and above this, in the said tower, is another chamber, which is where the bells are hung in their frames in their order. And above this chamber, at the four sides or corners of the said tower, there are four pillars, from which rise four flying buttresses, which support another building, after the fashion of a censer with its windows. The clock is here, &c.” “I hold this building of the tower to be noble and important, just as I hold it to be certain that it would be difficult to build it now for 50,000 ducats.”

“Likewise there are three principal chambers which abut against one wall of the tower, and go as far as the Calle Mayor of Barrionuevo, which measure 80 feet or more. One of them below is all made with a vault of good mason’s work for the workmen’s tools, timber, scaffolding, ropes, and other instruments required for the prosecution of the works; and when the said church is finished it will be kept for precious things of various kinds of which the church has need, for autos, &c., which take place in such churches, so as not to have to make them anew each time. This chamber has a very good door for entrance, and sufficient lights to enable them to keep everything that is required to be put there.

“Over this room, on the level of the cloister, is the cloister Chapter-room, which is 53 feet long, a little more or less, and 33 wide, with very good windows, and glazing, and wooden ceiling made with fretwork, admirably executed by the hands of good workmen; quite an important room. It is of the height proper for a good room. There is no other painting in it than an inscription all round. The pavement is of white and black stone, the black from Aillon, and the white Otero de Herreros. The seats are temporary; but a large quantity of walnut has been bought for them. The doors of the Chapter-room are all of walnut, made by very good workmen, and with frames of black elm.

“Before entering into the Chapter-house there is a staircase which has three landings for going to the library, with its steps of hard stone, and its breast-wall with the four Evangelists placed against the columns; and in the four windows which light the staircase are the four principal doctors of the Church; and below the said staircase is a room in a vacant space, whose windows look into the Calle de Barrionuevo, which is for the Secretary of the church to keep all the writings, and books, and bills of the said church, and is placed close to the Chapter-house, of which the said Secretary keeps the keys. This room is of the width of the staircase, and its size from the wall of the Chapter-house is 27 feet, which are what remain of the 80 over and above the 53 which the Chapter-house measures. The third part, and last in order of the abovementioned rooms, which is called the library, is the same width and length. It has four windows, two towards the street, and two towards the cloister, and in them medallions of SS. Peter and Paul, John Baptist, and John the Evangelist.

“And in order to answer satisfactorily any complaints of the Señores of the city, we may make a comparison with the Church of Salamanca, which is the same kind as this church, and commenced by the same Master, though this church is 100 feet broader than Salamanca, which was begun by the same Master a long time before that of Segovia was commenced anew. The said work at Salamanca had all the ground on which it was built, so that the site cost nothing, whereas at Segovia the whole site required was bought, and redeemed of rents which were heavy,” &c. &c.

(F.)

LIST OF SUBJECTS CARVED ON THE SCREENS ROUND THE CORO OF TOLEDO CATHEDRAL.

THESE screens extend across the west end of the Coro and along its northern and southern sides. The central subject over the western doorway, and two subjects on either side of it, have been destroyed in order to make space for a more modern sculpture. The side screens appear to have been cut off abruptly at the eastern end, so that possibly some subjects may have been removed from this part. The subjects are arranged as follows: Nos. 1 to 9, counting from the north-west angle of the screen to the western doorway; Nos. 12 to 19, from the central doorway to the south-west angle of the screen; Nos. 20 to 40 along the southern screen, going from west to east; and Nos. 41 to 61 along the northern screen, going from east to west. Some of the subjects are doubtful, and some unintelligible to me; and I have marked all such in this list with a note of interrogation. The whole of the subjects illustrate the earlier passages in the Old Testament in chronological order.

1. Chaos.

GOD looking at a broken ark, and fragments of rock on the ground.

2. Creation of the firmament.

GOD standing with sea behind, and supporting an arc over His head.

3. Creation of fowls and fishes.

Central figure of GOD, birds flying above, fishes and birds swimming below.

4. The creation of sun, moon, and stars.

GOD with His hands extended. In the two upper corners (dexter side) the sun and four stars; (sinister side) the moon and four other stars. There are clouds round the feet of GOD.

5. GOD reverenced by angels.

A standing figure of much majesty, with four angels on either side, some kneeling, some standing.[466]

6. Fall of Lucifer.[467]

In the centre GOD, and on either side, above, angels; and below, figures falling headlong.

7. The Creation of Adam.

GOD moulding a figure into the shape of a man.

Nos. 8 and 9, the central subject over the doorway into the Coro, and 10 and 11 are destroyed.

Nos. 12 and 13 are transposed.

13. GOD meeting Adam and Eve, and showing them the tree in the garden.

12. GOD meeting Adam and Eve in the garden after the Fall.

They hold leaves in their hands.

14. The expulsion of Adam and Eve.

On the left a tree, in front of it a battlemented tower or gate, before which is an angel. Adam and Eve going away.

15. Adam tilling the ground, Eve with a child in her arms looking at him.

16. Cain killing Abel (?), or Adam finding the dead body of Abel. (?)

A man half supporting a dead body of a younger man.

17. Adam digging a grave for Abel.

A man digging in the ground.

18. GOD meeting Cain.

19. Two figures in a niche at the angle of the western and southern screens, both looking up as if in prayer.

“Then began men to call upon the name of the Lord.”

South side.

20. (?)

A figure speaking to a boy; behind, and half-concealed among trees, another figure of a man naked.

21. (?)

A man with an axe which he has let fall. He has been cutting branches from a tree, and lifts up his hands in prayer: behind him stands a woman.

22. (?)

A man with a long axe resting from his labour; a woman stands behind him, and they both look towards a young man who speaks to them.

23. (?)

The end of a building. On the left of it an angel and a young man who looks out from it to the right, where are trees, and below them the mouth of a whale swallowing a man.

24. The burial of Methuselah. (?)

Five figures surrounding a tomb in which they bury a sixth.

25. Noah finds grace in the sight of the Lord. (?)

Two figures in supplication, apparently, before the third.

26. Noah and one of his sons before the ark.

Noah turns his head towards GOD, who speaks from a cloud and desires him to go into the ark.

27. The ark on the waters.

On one side of the roof a dove, and on the other one with a twig of a tree. The ark has three tiers of openings: beasts look out of the lowest, men and women from the next, and birds from the highest.

28. The ark resting on the land, and the drunkenness of Noah.

Above, Noah prays by a tree. Below, Ham lifts up the garment of Noah, who is lying on the ground, and Shem and Japheth, kneeling, cover their faces with their hands.

29. Probably the promise to Abraham that he should be the father of many nations. (?)

On the left, two figures conversing; on the right, three tiers of figures. Dead bodies below, two seated figures above them, and one seated figure above again.

30. Lot and the Angels.

Lot kneels before two angels.

31. Abraham’s sacrifice.

Isaac bound and lying on the ground. Abraham behind him looks back to an angel, who speaks and points to the ram in a thicket.

32. Abraham and Isaac.

Abraham binding the ram, Isaac standing looking on, with his hands in prayer.

33. Rebekah and Jacob.

Rebekah speaking to Jacob, who shows her that his arms have no hair on them.

34. Isaac blessing Jacob.

Isaac sits up in bed, turns his face away from Jacob, and feels his arms. The expression of blindness is extremely well conveyed.

35. Esau’s distress.

Isaac supports himself on one arm on his couch; with the other he gesticulates to Esau, who stands before him with his hand before his face, and evidently in grief.

36. Jacob’s dream. (?)

A man seated before a tree with his hand up to his face.

37. Jacob wrestling with the Angel.

38. Joseph sold to the Ishmaelites.

39. Joseph’s brethren return to Jacob with his coat.

40. Joseph’s brethren bowing down before him.

This is the last subject on the south side of the Coro. It is possible that it may have been returned on the eastern side of the columns at this point, so as to allow of two more subjects being introduced on either side; but if so, these subjects have been destroyed. The first six subjects on the screen on the north side, Nos. 41 to 46, are all very similar—a king seated, with generally many persons in various attitudes around him; possibly these subjects, with the four which may have been destroyed, represented the ten plagues of Egypt. I cannot discover any other explanation for them.

47. The institution of the Passover.

Figures marking the lintels and side posts of a house.

48. The institution of the Passover.

The sacrifice of the lamb, several figures standing round an altar.

49. The smiting of the first-born of the Egyptians. (?)

Two subjects, one above the other; in each a dead body laid out, and people looking on.

50. The passage of the Red Sea.

The people are walking on the water.

51. The drowning of the Egyptians.

52. Moses stretching his hand out over the water.

Moses stoops down and touches the water with his hand.

53. Exodus xvi. 10-12. “The glory of the Lord in the cloud.”

GOD speaking to a crowd of kneeling figures.

54. Exodus xvii. 45-6. Moses at the rock in Horeb. (?)

GOD (with a cruciform nimbus) speaking out of the clouds to Moses, who speaks to a group seated before him (probably the elders of Israel, v. 6).

55. Jethro, Zipporah, Gershom, and Eliezer coming to Moses. (?) Exodus xviii.

Moses kneeling on the right, three figures seated on the left, and another speaking from out of foliage above. I can think of no other subject which this sculpture can represent.

56. (?) The people giving their ear-rings to Aaron to make the molten calf. Exodus xxxii. 24.

Three figures on either side of one who stands in the centre. They seem to be throwing things into the flames, in the midst of which is a serpent.

57. Moses’ hands stayed up. Exodus xvii. 12. (?)

Three figures, two holding a book (apparently) under the hands of the fourth, who appears to be much fatigued. There are flames in the foreground, in the midst of which is a small head.

58. Exodus xix. 10. (?) The people washing their clothes at Moses’ order.

A central figure pointing to a sort of well in the centre.

59. Massacre of the worshippers of the molten calf.

60. Exodus xxiv. 29.

Moses holds the two tables of the Law, and is surrounded by other figures all touching the tables.

61. Exodus xxiv. 32, 33.

The two tables held by two figures above a draped altar; four figures kneeling before them.

With this subject the series concludes.

I have thought it quite worth while to give this short account of the work because it is rather rare to find so large a number of Old Testament subjects treated in this way. On the whole, too, I think that this is the most important work of the age in Spain. The sculptured works of this period (the fourteenth century) are comparatively rare. The most important of those which I have mentioned in this book are the north doorway of Toledo, which has a series of subjects in all of which the Blessed Virgin appears; at Burgos the three western doors, which have—(1) the birth of the Blessed Virgin, (2) the Assumption, and (3) the Coronation; in the south door, our Lord with the evangelists, saints, and prophets; and in the north door, the Last Judgment. At Leon, the three western doors, which have—(1) subjects from our Lord’s life, introducing the Blessed Virgin, (2) the Last Judgment, and (3) the Coronation of the Blessed Virgin Mary; the south transept, on one door our Lord, the evangelists and apostles, and on another the death of the Blessed Virgin Mary; the north transept, our Lord surrounded by saints. Avila cathedral has, over its north door, our Lord in the centre, the Betrayal, Last Supper, and Coronation of the Blessed Virgin Mary; and the Resurrection of the Dead in the archivolt; and there are various other smaller works, which will be found by reference to the Catalogue of Sculptures in the index to this volume. I know no other example of the introduction of Old Testament subjects.

In all these examples the character of the sculpture is very similar; the architectural framing of niches and canopies is of the best kind of Middle Pointed; and the draperies, faces, and pose of the figures are very much the same as one sees in work of the first half of the fourteenth century at Bourges and elsewhere in France. The subjects round the Coro at Toledo are superior to the others in the facility which the regularity of the openings gave for the free treatment of the sculptures, and in the variety of treatment which the subjects naturally involve. But on the other hand, the artistic skill of the sculptors who were employed at Leon cathedral seems to me to have been greater than that of the sculptors of any other Spanish work of the same age. And though the character, mode of design, and manner of execution are all extremely French, I do not know why we should have any doubt about the ability of Spaniards to execute such work, when we consider how exceedingly skilful they were in the succeeding age, when they perhaps excelled any other sculptors of the same period.

The French work to which this Spanish sculpture has most similarity, appears to me to be that of the three western doors of Bourges cathedral. In some respects, indeed, there is so much likeness between the two that one can hardly avoid supposing that the sculptor at Leon had himself been at Bourges. And it is interesting therefore to observe that one of the most remarkable series of sculptures illustrating the early portion of the Old Testament is that which is carved in the spandrels of the arcade which is carried all round the lower part of the jambs of the Bourges doorways. I have, in the earlier part of this work, observed that there is evidence of the same men having wrought at Burgos, Leon, Avila, and Toledo.

(G.)

AGREEMENT BETWEEN JAYME FABRE AND THE SUB-PRIOR AND BRETHREN OF THE CONVENT OF SAN DOMINGO, AT PALMA IN MALLORCA.

SIT omnibus notum, quod ego magister Jacobus Fabre lapicida, civis Majoricarum, præsenti stipulatione convenio vobis fratri Petro Alegre, gerenti Vices-Prioris conventus fratrum Prædicatorum Majoricarum antedicti et Notarij infra scripti stipulantis, vice et nomine dicti conventus; quod quando Prior dictæ domus fratrum Prædicatorum Majoricarum, vel ejus locum tenens, voluerit, et requisiverit me, quod redeam ad hanc civitatem Majoricarum ex Barchinona, quo iturus sum in præsenti, causa faciendi illuc aliqua opera, vel ea dirigendi cum licencia vestra, et fratrum dictæ domus, ad præces Illustrissimi Domini Regis Aragonum, et venerabilis Domini Barchinonensis Episcopi: ego illico recepta monitione vel requisitione vestra vel Prioris dictæ domus, seu ejus locum tenentis, omnibus operibus et negotiis postpositis, redeam ad hanc civitatem Majoricarum, salvo justo impedimento et quod vobis et fratribus vestri conventus faciam, et consumabo opera vestri monasterij, et alia opera faciam prout pactus sum, et facere teneor, ut continetur in quodam publico instrumento, facto inter me et venerabilem Fr. Arnaldum Burgeti, dudum Priorem dictæ domus; quod instrumentum sit validum, et nihil pro prædictis ille videatur innovatum, aut mutatum. Quod si per me steterit quod non redeam, cum citatus fuero, et non compleverim prædicta cum ea complere possim, tenear dare, et per validam, et solemnem stipulationem dare promitto operi vestri dicti monasterij in manu et posse Notarij infrascripti, vice et nomine dicti operis stipulantis, pro pena, et nomine penæ, quinquaginta libras regalium Majoricensium monetæ perpetæ minutorum, quæ pro damnis, et interesse computtantur, qua pena soluta, vel non, nihilominus rata maneant hæc prædicta, et cetera contenta in instrumento inter me et dictum fratrem Arnaldum Burgeti facto, et pro prædictis attendendis, et non contraveniendis, obligo vobis, et vestro conventui supradicto, et nomine infrascripti stipulantis, vice et nomine ejusdem monasterij me, et omnia bona mea, ubique habita, et habenda. Ad hæc ego Maymonus Peris civis Majoricarum,” &c. &c. “Actum est hoc Majoricis octavo idus Junii, anno Domini millessimo trecentessimo septimo decimo sig✠num Magistri Jacobi Fabre,” &c. &c.

(H.)

REPORTS OF ARCHITECTS ON THE PLAN FOR THE COMPLETION OF THE CATHEDRAL AT GERONA—A.D. 1417.

Junta of Twelve Architects, upon the mode which ought to be followed in the construction of the Cathedral of Gerona, with the Reports of each of them, as they appear in the archives of the said Church.

I.

In nomine Sanctæ ac individuæ Trinitatis, Patris, et Filii, et Spiritus Sancti. Amen.

ETSI mansiunculas et domos profanas mundanorum usibus dicatas fideles Domini erigunt et fabricant opere polimento, quanto magis ipsi fideles verique zelatores fidei orthodoxæ circa templi Domini fabricam construendam devotius accelerare deberent? Numquid prisci patres pro archa Domini tabernaculum opere deaurato mirifice fabricaverunt? Hodie namque archa illa verissima, et sanctissimum illud Mamuá in templo Domini a catholicis præseservantur. Dignum quin imo et congruum potest et debet a quolibet reputari ut domus illa quam orationis veritas nominavit, in qua etiam illud sacrum Christi fidelibus pignus datum reconditur et tenetur, artificioso ex politis lapidibus opere construatur. Hæc enim domus rite noscitur pastori verissime dedicata, in illa nempe populus Domini et oves ejus Paschuæ cibum dulzoris assumunt. Sane in domo ista latices sacrosancti noxas perimunt, culpas diluunt et veternas cuilibet occurrenti. Heu igitur, quam dolendum sacrum Domini templum ecclesiam Sedis clarissimæ Gerundensis imperfectum opere minorari! Idcirco cunctis pateat, quod reverendus in Christo Pater et dominus dominus Dalmacius, Dei gratia episcopus Gerundensis, ipsius ecclesiæ tunc electus, et honorabile capitulum ecclesiæ Gerundensis prædictæ præmissa omnia pio sidere aspectantes, considerantesque a quantis citra temporibus fabrica dictæ Sedis cessavit ex diversorum controversia juxta opiniones varias artificum subsequentes, nonnulli enim asserebant opus dictæ fabricæ sub navi una debere congruentius consummari, affirmantes illud fore nobilius, quam si sub tribus navibus opus hujusmodi subsequatur. Alii autem a contrario asserebant dictum opus sub prosecutione trium navium continuari debere, dicentesque, quod firmius et proportionabilius esset capiti jamque cœpto, quam si cum navi una ipsa fabrica prosequatur, quoniam opus navis unius multum reddunt debile distantia parietum, ac etiam testudinis altitudo; et quod terræmotus, tonitrua, ventosque vagantes timebit apetentes etiam circa directionem operis dictæ fabricæ consummandæ solertius vacare, ac de opinione prædictorum veridica informari: et adeo ut controversia et opiniones hujusmodi clarius tollerentur, convocaverunt artifices peritissimos, lapiscidas de diversis partibus regni hujus, et etiam aliunde ad hanc civitatem Gerundæ, quorum nomina inferius annotantur, indeque habitis collationibus plurimis, tam coram dictis reverendo domino Episcopo, tunc electo, et honorabili capitulo dictæ ecclesiæ Gerundensis, quam alias inter ipsos artifices opere præmisso subjecto primitus oculis cujuslibet eorundem cernentium opus, quod cœptum fuerat, et qualiter hucusque fuerat; prosecutum in illo, et formatis super hujusmodi opere prosequendo articulis infrascriptis.

II. Inquiry.[468]

In the name of God Our Lord, and the Virgin our Lady Saint Mary, the “Maestros” Superintendents and masons summoned for the direction of the works of the cathedral of Gerona, must be asked the following questions:—

1. If the work of one nave of the said cathedral church, commenced of old, could be continued, with the certainty of remaining secure and without risk.

2. Supposing that it is not possible to continue the said work of one nave with safety, or that it will not be lasting, whether the work of three naves, continued on, would be congruous, sufficient, and such as would deserve to be prosecuted; or, on the contrary, if it ought to be given up or changed; and in that case unto what height it would be right to continue what is begun, and to specify the whole, in such sort as to prevent mistake?

3. What form or continuation of the said works will be the most compatible and the best proportioned to the Chevet of the said church which is already begun, made, and finished?

The “maestros” and masons, before being asked these questions, must take their oath; and after having given their declarations, the Lord Bishop of Gerona and the honourable Chapter shall elect two of the said masters, in order that they may form a plan or design, by which the work will have to be continued. All which the secretary of the Chapter will put in due form in a public writing.

III.

Successive dicti artifices, lapiscidæ sigillatim, ad partem medio a se corporaliter præstito juramento deposuerunt, et suam intentionem dixerunt in et super opere prelibato diebus, mensibus et annis inferius designatis et sub forma sequenti. Die jovis vicessima tertia mensis Januarii anno nativitatis Domini millesimo CCCC. sexto decimo magistri et lapiscidæ sequentes juraverunt et deposuerunt apud civitatem Gerundæ infrascripti, præsentibus et interrogantibus venerabilibus viris dominis Arnaldo de Gurbo, et Joanne de Pontonibus canonicis, et Petro de Boscho præsbitero de capitulo dictæ ecclesiæ Gerundensis ad hoc per dictos reverendum dominum electum in Episcopum et capitulum Gerundense deputatis super articulis præinsertis et contentis in eisdem ut sequitur.

IV.

Paschasius de Xulbe lapiscida et magister operis sive fabricæ ecclesiæ sedis Dertusensis super primo dictorum articulorum sibi lecto medio juramento interrogatus, dixit:—

1. That according to his knowledge and belief it is certain that the work of one nave of the cathedral of Gerona already commenced is secure, good, and firm; and that the foundations or bases of the old work already made are also so, and that the rest will be so if they are constructed in the same manner, and that they will be sufficient to sustain the vault of the said work of one nave.

2. Supposing that the work of one nave is not carried out, it is certain that the one of three naves, already commenced in the said church, is good and firm. But in the event of the plan of three naves being adopted, he says, that it would be necessary that the vault which is over the Coro, towards the altar of the same church, should be pulled down, and that it should be unroofed, in order that it may be raised eight palms—a little more or less—above what it is now, so that it may correspond to its third in its measurements.

3. That the plan of three naves is more compatible and better proportioned to the Chevet of the church than that of one nave.

Interrogatus.—Whether, in joining the lower voussoirs on the capital of the pillar over the pulpit, which corresponds to the other of the Coro, in case the work of three naves is carried out, there will be any risk of causing a settlement in the said pillar?—I answer, that there will be none, and that it can be done with safety.

V.

Joannes de Xulbe, lapiscida, filius dicti Paschasij de Xulbe, regens pro dicto patre suo fabricam prædictam, sive opus dictæ Ecclesiæ Dertusensis, simili juramento à se corporaliter præscripto, interrogatus super prædictis articulis deposuit ut infra. Et primo super primo articulo interrogatus, dixit:—

1. That the work of the nave already commenced can be continued, and that it will be good, firm, and without danger; but that the arches must be made to the tierce point, and that the principal arch must be shored up. That the first abutments of the old work, situated on the south, are good and firm, and that, making the others like them, they will be so also, and sufficient to sustain the vault which has to be executed in the said church.

2. That if the plan of one nave is not to be followed, it is possible to continue that of three; and that it will be more beautiful, stronger, and better than the other. But that the three naves ought to be carried on according to those in the choir of the church; and then it will be more beautiful and admirable. And that the new vault which is contiguous to the Chevet ought to be taken down, because it is bastard, and because it does not correspond with the said Chevet.

3. That the work of three naves in the form which has just been explained is the most compatible and the best proportioned to the Chevet of the church.

Interrogatus.—Whether in joining the lower voussoirs of the arch above the capital of the pillar which is above the pulpit, corresponding to the other of the choir, in case the work of three naves is carried out, there will be any risk of causing a settlement in the said pillar?—I say no, provided that the arches are well shored, so that they can have no thrust.

VI.

Petrus de Vallfogona, lapiscida et magister fabricaæ Ecclesiæ Terraconensis juramento prædicto medio super dictis articulis interrogatus deposuit. Et primo super primo articulo interrogatus dixit:—

1. That the work of the said church, already commenced, of one nave can be continued, and that it will be good, safe, firm, and without risk. That the abutments and foundations of the old work are so, and that those which have to be made will be so if constructed in the same way, and that they are sufficient to support the vault which such a work ought to have. But that the abutments made towards the campanile require to be strengthened more than those constructed on the south side.

2. That if the plan of one nave is not carried out, that of three is congruous and worthy to be continued, provided that the second bay of vaulting, as far as the capitals and lowest voussoirs inclusive, is taken down; yet if above the principal arch a discharging arch is erected, it will not be necessary to move the lower voussoirs or the capitals, and it would be possible to raise the Crossing of that vault all its width as much as is required; and it could have a light in the gable, which could have a clear opening of fifteen or sixteen palms, which would be a notable work. He says further: that the lower voussoirs which are in the northern and southern angles ought to be altered, and that they ought to be reconstructed in accordance with the plan of three naves.

3. That without comparison the plan of three naves, in the form which has just been explained, is more compatible and more proportioned to the Chevet of the church than the plan of one nave.

Interrogatus.—Whether, in case the plan of three naves is carried out, there will be any danger in opening a hole in the pillar over the pulpit corresponding to the other of the Coro at the time of joining the voussoirs above the capital?—He said, that there would not; and that it could be done with safety.

VII.

Postmodum die veneris vicessima quarta dictorum mensis et anni in manu et posse mei ejusdem Bernardi de Solerio, notarii subscripti, præsentibus et interrogantibus dictis dominis Arnaldo de Gurbo, Joanne de Pontonibus, et Petro de Boscho, magistri et lapiscidæ sequentes super prædictis, medio simili juramento, deposuerunt ut sequitur.

VIII.

Guillermus de la Mota, lapiscida, socius magistri in opere fabricæ Ecclesiæ Terraconæ super prædictis articulis, medio juramento, ut supra interrogatus deposuit. Et primo super primo articulo interrogatus, dixit:—

1. That he considers that the plan of the church commenced with one nave could be well executed, and that the Crossing will be firm; but that it is observed in old works, that bulky buildings, as that of one nave would be, sink with earthquakes or with great hurricanes, and for these causes he fears that the work of one nave might not be permanent.

2. That the plan of three naves is good, congruous, and one that deserves to be followed, provided that the second Crossing may be new to the lowest voussoirs; and that its principals be demolished as far as the capitals, and that horizontal courses of stones be carried up to the height of fourteen or fifteen palms. That the springers which are towards the north and the south ought also to be taken down, and that they ought to be reconstructed in proper proportion to the plan of three naves.

3. That without comparison the plan of three naves is more compatible and more proportioned to the Chevet of the church than that of one nave.

Interrogatus.—If there will be danger in opening a hole in the pillar near the pulpit, to place the springers?—He said that there would not be any risk.

IX.

BARTOLOMEUS GUAL, lapiscida et magister operis sedis Barchinonensis super prædictis articulis, ut supra dicitur, interrogatus, medio juramento prædicto deposuit. Et primo super primo articulo interrogatus dixit:—

1. That the bases and abutments of the old work of one nave are sufficiently strong, making a wall over the capitals between the abutments, which may rise a “cana”[469] from the windows, and that from that wall a vault may spring, which will abut against each of the abutments, and in this way they would remain safe. No doubt the vault may remain firm over one nave, so that it may resist earthquakes, violent winds, and other mishaps which may occur.

2. That the plan of three naves is good, congruous, and such as deserves to be carried out; but that the new vault of the second arch, the last done, ought to be taken down to the springing, and ought to be raised until there is room in that place for a circle (“una O”) of fourteen palms of opening; and in that way there will be beautiful and notable work, and it will not be necessary to undo the whole to the springing line.