"through which the sun shines," _i.e._ in an external wall, is a
specimen of Mudejar work left as a "waif" in a part of Seville which,
with this exception, has been entirely modernised. It belongs to exactly
the house where one would least expect to find it, viz., one of the best
hotels, if not the best hotel, in Seville, the "Fonda de Madrid." All of
this pretty window is made of brickwork, once covered apparently in
Moorish fashion with thin plaster, excepting the column which is of
white marble. The room it lights is an ordinary nineteenth century inn
bedroom, with square casements, and not a vestige of the fifteenth
century left about it. I could learn nothing about this relic, or
perfect reproduction of the past, from any one in the hotel, so that all
I could do was to sketch it. While doing so, I could not but wonder how
with so sensible, and, at the same time, so pretty a window ready to
their hands as a model, the builders of the Fonda could have been
contented to execute the regular expressionless square-headed windows I
found everywhere else. After a few minutes moralising in this vein, I
began to ask myself whether, as an Englishman, I was not assiduously
"plucking the mote from my brother's eye," with a beam all the time in
my own?
[Illustration: PLATE 54
CASA DE PILATUS SEVILLE
MDW 1869]
PLATE LIV.
_SEVILLE._
VIEW IN THE UPPER STORY OF ONE OF THE PATIOS OF THE CASA DE PILATUS.
THE principal monument of Moorish magnificence still left in Seville,
is, of course, the "Royal Residence," the "Alcazar," commenced in 1181,
by Jalubi, the architect of Toledo. Next to it in importance is the
"Casa de Pilatus," as it is called, from which this sketch, and the
succeeding one have been taken. From the first named of these buildings
I did not sketch at all, feeling myself entirely baffled by the extreme
elaboration of all that was most interesting and admirable in the old
Moorish, Mudejar and Plateresque work. Such a building can be in no wise
now satisfactorily illustrated, excepting by one who may be in a
position to devote much time and study to the task. "Restoration," and
the adaptation of the structure to the necessities of nineteenth century
life have so mystified the work and intention of the original designers,
that although one may readily admire, it becomes exceedingly difficult
to analyse, all that meets the eye. I have, therefore, preferred giving
my attention, so far as this publication is concerned, to other,
although less noteworthy, specimens of the domestic architecture of
Seville.
The student of the Fine Arts, and even the ordinary traveller, are sure,
without any urging on my part, to visit and enjoy the Alcazar, as a
Royal Palace; but may possibly, and, indeed, unless advised on the
subject, probably, may overlook the great beauty and curiosity of the
old, and now sadly neglected, Moorish and cinque-cento garden which lies
in the rear of the building. How to make a garden a delight the
Mahommedans learnt from the Persians, and taught by example, if not by
precept, to the Christians. Throughout these antique, orange, lemon,
box, and myrtle, groves, the Moors carried their system of irrigation.
Fountains and fishponds, baths and open water channels, even in the
hottest summer, still cool the favourite haunts. Many of these, Pedro
"el Cruel" caused to be formed in 1364 by architects specially brought
from Granada to rebuild a large portion of the Palace, for his
accommodation and that of his celebrated and beautiful mistress, Maria
de Padilla. Much more modern, and far less beautiful, gardening was done
by Charles V, but it is to the Moors the spot owes all its great charm.
To return to the "Casa de Pilatus," so called from an old tradition,
that it was intended as a reproduction of the house of Pilate at
Jerusalem. It was built in 1533, by Fadrique Henriquez de Ribera, after
his return from a pilgrimage to Jerusalem in 1519. From him the Palace,
for such it was, has descended (and, oh, how much descended!) to its
present owner, who is said to rarely visit it, a Duke of Medina Coeli.
From the Señor Duque, it has again _descended_ to his Administrador, who
does his best to keep it (for Spain) clean, and in tolerable order. My
sketch has been taken in the upper gallery of the third Patio.
[Illustration: PLATE 55
SEVILLE HOUSE OF PILATUS
MDW 1869]
PLATE LV.
_SEVILLE._
DETAIL FROM A DOORWAY IN THE UPPER FLOOR OF ONE OF THE PATIOS OF THE
HOUSE OF PILATE.
THIS sketch represents, to a larger scale, a portion of the doorway
shown upon a small scale in the preceding sketch. It illustrates two of
the special points of architectural value in this fine old Palace, viz.,
the entirely Moresque character of the stucco-work at a comparatively
late date, and the profuse use of "Azulejos" or coloured tiles. Some of
these may be recognized, although in a sketch in black and white, it is
not easy to make them apparent, in the coverings of the lower part of
the door jamb. It is, however, in and about the splendid staircase, that
this charming tile lining, of the use of which we have here of late
years commenced a very satisfactory revival, asserts its value as a
beautiful mode of introducing clean and permanent polychromatic
decoration--the only mode, indeed, as I believe, suitable for our
changeful climate, and smoky ways.
I regret that my sketch is not sufficiently minute to show a favourite
habit of the Moors of Granada and Seville, in the technical working of
their stucco, by the use of which they give an appearance of
extraordinary elaboration to their decorations. It consists in working
different patterns on different planes of the same piece of stucco-work.
At a distance the dominant lines of the pattern only are apparent, on a
nearer approach the pattern comes into sight which fills up the bold
openings left between the dominant lines of the top pattern; and on a
still closer inspection, a third series of forms running counter to the
main lines of the pattern on the second plane and filling up the
interstices of it may be traced. I am inclined to believe, from their
peculiar sharpness, that few, or none, of the repeats of these patterns
were done from moulds by the operation of casting, but that wire, or cut
metal stencils, were used as guides for the pointed tools and knives, by
which superfluous plaster was removed, whilst the whole was yet in a
plastic state.
This method of shaping semi-plastic stucco with sharp tools, was, I have
no doubt, derived by the Arabs from Roman tradition, as I have seen many
examples of a similar mode of working at Rome, Pompeii, Naples, and
elsewhere in Italy.
[Illustration: PLATE 56
SEVILLE CASA ALBA
MDW 1869]
PLATE LVI.
_SEVILLE._
ONE OF THE ARCHES OF THE PATIO OF THE CASA ALBA.
"HOW are the Mighty fallen," is the predominant sensation, as one
wanders through these "banquet halls deserted." One may fairly
paraphrase Byron, and declare that "in Seville Alba's echoes are no
more." Ford and O'Shea, whose notes on the relics of domestic edifices
in Spain are invaluable, both tell us that this still beautiful, though
sadly destroyed, whitewashed, and dilapidated, old Palace, once
"contained eleven patios, nine fountains, and one hundred marble
columns." Of the elaboration of its workmanship, my sketch may serve to
give some idea. It was probably next to the Alcazar, the most important
residence in the City, far surpassing in extent the "Casa de Pilatus."
This house presents one of the rare instances in Spain, in which the
Moorish stucco-workers have lent themselves to the rendering of
Renaissance details. For these, no doubt, they were furnished with
drawings or models, since in other parts of the same building, and
especially in many beautiful rooms in the interior, where they have
apparently been left to themselves, they have reverted partly to Mudejar
work, and partly to the old types of geometrical enrichment, which may
be regarded as specifically their own. Much of this is almost reduced to
a flat surface by repeated coats of whitewash. I was very much pleased,
however, to meet with one Spanish gentleman, occupying a suite of rooms
in the house, who was fully alive to the beauty of the Palace he lived
in; and who had, with his own hands, cleared off some of the whitewash,
and restored much of the fine ornamental detail of his rooms to its
original sharpness. Would that there were more like him in Spain!
[Illustration: PLATE 57
SEVILLE
MDW 1869
CASA ALBA]
PLATE LVII.
_SEVILLE._
DETAIL FROM THE PATIO OF THE CASA ALBA.
TURNING from a consideration of the grand scale upon which the houses of
the old Spanish nobility have been usually constructed, and the
elaboration with which, as in the present sketch, the profuse ornamental
detail has been combined with heraldic insignia to set forth the
splendour and dignity of the family and its alliances, to the ruin and
dilapidation which seem to have fallen alike upon the architecture and
the families, one naturally wonders at the causes of the almost total
wreck. Some may, no doubt, be found in active assailment from without,
invasion, revolution, "y otras cosas de España;" but it is from within
that the real main enemy--pride--has undermined all. During the latter
part of the sixteenth, and early part of the seventeenth century, this
national infirmity reached its acme. Witness emphatically the sketch
given by an eye-witness towards the close of the last named century.
"It would grieve a body to see the ill-management of some great lords;
there are divers who will never go to their estates (for so they call
their lands, their towns, and castles) but pass all their lives at
Madrid, and trust all to a steward, who makes them believe what he
judges most for his own interest. They will not so much as vouchsafe to
inquire whether he speaks true or false; this would be too exact, and by
consequence below them. This, methinks, is one considerable fault; the
strange profusion of vessels only for an egg and a pigeon is another.
But it is not only in these things which they fail, but it is also in
the daily expences of their houses. They know not what it is to lay up
stores, or make provision of anything; but every day they fetch in what
they want, and all upon trust, at the bakers, cooks, butchers, and all
other trades; they are even ignorant what they set down in their books,
and they put down what price they will for every thing they sell; this
matter is neither examined into nor contradicted. There are often fifty
horses in a stable, without either corn or straw, and they perish with
hunger. And when the master is in bed, if he should be taken ill in the
night, he would be at a great loss, for they let nothing remain in his
house, neither wine nor water, charcoal nor wax-candle, and in a word
nothing at all; for though they do not take in provisions so near that
there is nothing left, yet his servants have a custom of carrying the
overplus away to their own lodgings, and the next day they furnish
themselves with the same things again. They observe no better rules with
the tradesmen. A man or woman of quality had rather die than to haggle
for, or ask the price of a stuff, or lace, or any other thing, or to
take the remainder of a piece of gold; they rather chuse to give it the
tradesman, for his pains of having sold them for ten pistoles that which
was not worth five. If there is a reasonable price made, he that sells
to them is so honest not to take the advantage of their easiness to give
whatever is asked them; and as they have credit given them for ten years
together, without even thinking of paying, so at last they find
themselves under great difficulties with their debts."
[Illustration: PLATE 58
SEVILLE CASA DE LOS ABADES
MDW 1869]
PLATE LVIII.
_SEVILLE._
ARCHES FROM THE CASA DE LOS ABADES.
THE architectural style of this very pretty house, No. 9, in the Calle
de los Abades, is much purer, that is more Italian in its Plateresque,
than is usual in other houses in Seville in which the hand of the
skilful Moorish operative is to be distinctly perceived. This is to be
accounted for by the fact, that although the mansion existed as a house
of importance at the commencement of the fifteenth century,[27] the
architectural features which now meet the eye were all executed for the
rich Genoese family of the Pinedos about 1533. If it were not for the
peculiar engrailed double edging to the arches, the thinness of the
marble central window shaft, and a few oriental turns here and there
given to the foliage, and enrichments of the mouldings, one could almost
believe that this architecture was regular Genoese cinque-cento. It is
possible however, that although here in the midst of ordinary Spanish
Plateresque one is tempted to cry out "Oh! how Italian this is!" if one
could only meet with a precisely similar building in Genoa; one would be
quite as much tempted to exclaim, "Oh! how Spanish this is!" The fact
of course is, that it exhibits a mixture of the two styles, produced
under the exceptional circumstances to which I have alluded.
After passing from its Genoese owners, it was inhabited by certain
Abades, rich members of the Cathedral Staff, who left behind them their
name, but no very popular odour of sanctity,
"En la calle de los Abades,
Todos han Tíos, y ningunos Padres."[28]
So runs the jingle Ford quotes, with manifest glee, adding as a sequel
to bring the matter home to the right offenders,
"Los Canonigos, Madre, no tienen hijos;
Los que tienen en casa, son sobrinicos."[29]
Possibly it may have been some of these very "sobrinicos" who hindered
my sketching by many small practical "chistes," for as the Patio served
as a play-ground to a tumultuous little boys' school, I found it by no
means conducive to that state of mind which facilitates elaborate
sketching. I fear also that such an occupation of its graceful galleries
may not prove conducive to the preservation of the noses, and possibly
even of the heads, of the "Caballeros de mucha consideracion," who fill
the medallions of the spandrels of the principal arches of the Patio.
[Illustration: PLATE 59
CASA DE LOS ABADES
SEVILLE.
MDW 1869]
PLATE LIX.
_SEVILLE._
VIEW IN THE PATIO OF THE CASA DE LOS ABADES.
IN spite of all the habits of reckless extravagance, in the days when
America poured its countless riches into the mother-country, described
by travellers; and in spite of the quantity of money which must have
been lavished on building by nobles and superior ecclesiastics, (as in
the case of the extremely elegant Renaissance "Casa de los Abades" which
forms the subject of our fifty-eighth sketch,) the home-life of Spain
never approached the contemporary plenty and comfort which obtained in
Italy, France, and England. In spite of the occasional prodigality of
wedding feasts, such as that of Camacho in Don Quixotte, and in spite,
perhaps, of a little occasional "gourmanderie" on the part of the
"Señores Abades" of this Calle, neither cooking nor service appear to
have been carried to much perfection. It is in fact very curious, in
wandering over any fine old Spanish house, to observe how little
provision appears to have been made in them architecturally for the
kitchen and its service. Ornament appears to have been much more general
in the public parts of the richest houses than good fare in the interior
and private parts. Nor was there any such movement towards excess in
this particular, as usually accompanies the passage of a wealthy and
powerful people from wealth and power, through laziness, to poverty and
weakness.
So late as 1775, the year in which Philip Thicknesse[30] travelled
through part of Spain, and whilst it was yet a comparatively unbroken-up
country, domestic luxury had reached but a little way beyond the
satisfaction of the simplest wants of nature in the simplest way. "The
people of fashion in general," he says, "have no idea of serving their
tables with elegance, or eating delicately; but rather, in the style of
our forefathers, without spoon or fork, they use their own fingers, and
give drink from the glass of others; foul their napkins and cloaths
exceedingly, and are served at table by servants who are dirty, and
often very offensive. I was admitted, by accident, to a gentleman's
house, of large fortune, while they were at dinner; there were seven
persons at a round table, too small for five; two of the company were
visitors; yet neither their dinner was so good, nor their manner of
eating it so delicate, as may be seen in the kitchen of a London
tradesman. The dessert (in a country where fruit is so fine and so
plenty) was only a large dish of the seeds of pomegranates, which they
eat with wine and sugar. In truth, Sir, an Englishman who has been the
least accustomed to eat at genteel tables, is, of all other men, least
qualified to travel into other kingdoms, and particularly into Spain."
[Illustration: PLATE 60
SEVILLE
MDW 1869 A PEEP INTO AN ORDINARY PATIO]
PLATE LX.
_SEVILLE._
A PEEP INTO AN ORDINARY PATIO.
IN several previous notices, I have described the uses of the Patios in
olden times, and on a large scale, and the degree to which they have
been made, as architectural contrivances, to fall in with popular
manners and customs. It remains to notice the extent to which the
Spaniards of to-day sympathise in this respect with their forefathers,
and how essential the Patio still is to the happiness of domestic life.
It is at once cool and airy, and may be made quite private or
semi-public at pleasure. With its iron gate to the street closed, and a
screen drawn across it, it becomes private, and with its door opened it
occupies in modern life exactly the position which the "Atrium" used to
occupy in ancient classical life. An awning, drawn across from side to
side of the Patio, answers to the Roman Velarium, closing the Impluvium,
and gives shade and softened light during the glare of mid-day, allowing
the court of the house to be used as the ordinary sitting-room of the
family. Theophile Gautier[31] gives a pretty picture of the facility
with which the Patio may be converted at night into the "Salon," in
which what answers to the Soirée of the French is usually given by the
Spaniards. "The Tertullia," he says, "is held in the Patio which is
surrounded by columns of alabaster, and ornamented with a fountain, the
basin of which is encircled with flowers and masses of foliage, on the
leaves of which the trickling drops fall in small showers. Six or eight
lights are suspended against the walls, chairs and sofas of straw or
cane furnish the arcades; guitars are laid about here and there, and the
piano occupies one angle and a whist-table another. The guests, on
entering, salute the master and mistress of the house, who never fail,
after the usual compliments, to offer a cup of chocolate, which may or
may not be refused, and a cigarette which is generally accepted. These
duties fulfilled, the visitor may attach himself to whichever group in
the corners of the Patio he may consider most attractive. The family and
the elderly guests play cards. The young gentlemen talk to the young
ladies, and in fact, if they are so minded while away the time in
innocent flirtation, or perhaps less innocent gossip and tittle-tattle."
The Patio thus becomes the stage on which the elegant señoritas display
their most winning fascinations, and "spin cobwebs to catch flies" in
the shape of "novios."
It is principally in those cities in which classical and oriental
tradition is still strongest, such as Segovia, Toledo, Granada, and
Seville, that the use of the Patio, as the Romans and Moors used their
open air Cortiles, is chiefly affected. Our sketch was taken in Seville,
but hundreds of similar sketches might readily be taken there, or
elsewhere. There is nevertheless a special charm about these Seville
houses, in spite of their remorseless whitewash, which makes life in
them most pleasant. This has no doubt justified the old proverb, quoted
in German, Latin and Italian by Berckenmeyern[32] "Wen Gott lieb hat,
dem giebt er ein Haus in Sevilia." (To whom God loves he gives a house
in Seville).
[Illustration: PLATE 61
CADIZ CATHEDRAL
MDW 1869]
PLATE LXI.
_CADIZ._
INTERNAL VIEW OF THE CATHEDRAL.
SWINBURNE,[33] who visited Cadiz in January, 1775, and who certainly
possesses the merit (so far as I can find out) of being the first
Englishman who made any drawings from the remains of ancient
architecture in Spain, found the Cathedral of that city, "la nueva,"
(intended to supersede the mean "la vieja," built in 1597,) in course of
construction, and the following is his description of what he then saw.
"On the shore stands the Cathedral, a work of great expense, but carried
on with so little vigour, that it is difficult to guess at the term of
years it will require to bring it to perfection; I think fifty have
already elapsed since the first stone was laid, and the roof is not yet
half finished. The vaults are executed with great solidity. The arches
that spring from the clustered pilasters to support the roof of the
church are very bold; the minute sculpture bestowed upon them seems
superfluous, as all the effect will be lost from their great height, and
from the shade that will be thrown upon them by the filling up of the
interstices. From the sea, the present top of the church resembles the
carcase of some huge monster cast upon its side, rearing its gigantic
blanched ribs high above the buildings of the city. The outward casings
are to be of white marble, the bars of the windows of bronze; but I fear
the work will be coarsely done, if one may draw inference from the
sample of a small chapel, where the squares are so loosely jointed and
ill fitted, that in a few years the facing will be quite spoilt. It is
unfair to prejudge a piece of architecture in such an imperfect state,
but I apprehend the style of this will be crowded and heavy."
In spite of all Swinburne's forebodings the real effect of this
Cathedral is now, internally at least, vast and stately, although in too
florid a style as to detail to be quite satisfactory. The true cause of
much of the delay, culminating in total stoppage in 1769, of which
Swinburne complains, was the cupidity of certain Commissioners who
appropriated to themselves the funds (a tax on American imports)
allotted by the government for the work. To give a cover to their gross
dishonesty, they laid blame on the designs of the architect, Vicente
Acero,[34] which could not, as they averred, be completed. At last, in
1832, the scandal was wiped out by the zeal and liberality of Bishop
Domingo de Silos Moreus who caused the interior to be completed, and the
exterior partially so, mainly out of his privy purse.
[Illustration: PLATE 62
MALAGA
THE FOUNTAIN OF THE ALAMEDA
MDW 1869]
PLATE LXII.
_MALAGA._
THE FOUNTAIN OF THE ALAMEDA.
IN almost every Spanish town there exists a feature, too often wanting,
under similar circumstances, in England, in the shape of a public walk,
or "paseo." In these popular airing places in the summer-heats the
inhabitants turn out, take exercise, meet and chat with one another, the
poor with the rich (by mutual consent) under the shade of green trees,
usually within compass of the scent of flowers, and almost invariably
within hearing of the pleasant trickle of some pretty fountain. Such
places, which, as their name imports, the Spaniards have inherited, with
almost all that makes life pleasant, from the Moors, are called
"Alamedas." In this particular Malaga is especially favoured, for not
only is her Alameda, which forms the principle Plaza of the city, cooled
by refreshing breezes from the sea,
"La que baña dulce el mar
Entre Jazmín y Azahar,"
but it is adorned by one of the prettiest fountains in the world. It is
made of pure white marble, and of such exquisite workmanship that it
would betray its Italian origin at a glance, even if it did not possess
a history of its own which places the fact beyond a doubt.
Ordered originally at Genoa by Charles V. for his Palace at Granada, it
was shipped, on its completion for conveyance thither, on board a
Spanish galleon.[35] On the voyage the vessel was captured by
Barbarossa, and recovered by Don Bernardino de Mendoza, General de
Galeras. Ford remarks that the costume (_à la_ fig leaf) of the nymphs
and Amorini which adorn it is somewhat too slight for Spanish ideas of
propriety, and O'Shea caps his observation by commenting on its perfect
suitability to the Malagan climate.
[Illustration: PLATE 63
MALAGA
RENAISSANCE HOUSE IN THE CALLE SANT' AUGUSTIN
MDW 1869]
PLATE LXIII.
_MALAGA._
RENAISSANCE HOUSE IN THE CALLE SANT' AUGUSTIN.