THE SPANISH SERIES
LEON, BURGOS
AND
SALAMANCA
THE SPANISH SERIES
_EDITED BY ALBERT F. CALVERT_
GOYA
TOLEDO
MADRID
SEVILLE
MURILLO
CORDOVA
EL GRECO
VELAZQUEZ
THE PRADO
THE ESCORIAL
ROYAL PALACES OF SPAIN
GRANADA AND THE ALHAMBRA
SPANISH ARMS AND ARMOUR
LEON, BURGOS, AND SALAMANCA
CATALONIA, VALENCIA, & MURCIA
VALLADOLID, OVIEDO, SEGOVIA
ZAMORA, AVILA, AND ZARAGOZA
LEON, BURGOS
AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE
ACCOUNT. BY ALBERT F. CALVERT,
WITH 462 ILLUSTRATIONS
LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY MCMVIII
Edinburgh: T. and A. CONSTABLE, Printers to His Majesty
_To_
_THE MARQUIS OF VIANA_
_The History of whose House
Is indissolubly connected
With the Grandest Traditions
of Spain
This Volume is Dedicated
With a Sincere Expression
Of the Author’s Esteem_
PREFACE
In the plan of this book, as in the other volumes of the Series, the
text has been made subordinate to and explanatory of the illustrations,
which, I venture to hope, will be found to form a complete and useful
panorama of the monumental glories of these grand old cities. I have not
proposed to write a guide-book for the tourist, but rather to supply him
with a souvenir, and to provide a manual for those interested in
architecture and archæology. I have avoided technology as much as
possible, as my appeal is not to the professional student, but to the
amateur (in the true sense) of the arts. In order to supplement my own
knowledge and revise the impressions derived from personal observation
in the three towns, I have availed myself freely of the works of others
who have laboured in the same field, and have been at much pains to
consult all the writings I could find upon the subject. The lengthy list
of authorities I have consulted need not be recited here, as they are
duly acknowledged in the text.
As in the case of all the cities dealt with in this Series, I have
prepared a brief historical sketch of Leon, Burgos, and Salamanca.
Their early history is largely of a speculative and debatable character,
and much of it has been learnedly discounted by modern writers. Let me
explain at once, that while recounting incidents which may be suspected
of merely traditional origin, I neither accept nor reject the criticism
of these recent historians, and if I do not quote their conclusions, it
is because they are often too conflicting to be embodied in so slight a
work. I would also add, that a quotation is not to be taken as a blind
acceptance of the accuracy of the dicta or as a recognition of the
writer as an absolute authority.
In conclusion, I may explain that I have dealt more briefly with the
architecture of these Gothic cities than with the Moorish monuments of
Seville, Cordova, and Granada, my reason being that the general reader
is more familiar with Gothic and Renaissance styles than with the rarer
work of the Arabs.
To Mr. E. B. d’Auvergne I offer my grateful acknowledgment of the
assistance he has rendered me in the compilation of the text, and my
thanks are also due to Señor J. Lacoste and Messrs. Hauser y Menet for
their permission to reproduce many of the photographs which appear in
this volume.
A. F. C.
CONTENTS
CHAP. PAGE
I. LEON 1
II. BURGOS 33
III. SALAMANCA 96
ILLUSTRATIONS
LEON
SUBJECT PLATE
General View of Leon, 1
View from the Cemetery, 2
Cathedral: View from the North, 3
Cathedral: General View, 4
Leon Cathedral, 5
Cathedral: Door of the Cross-Aisle (restored), 6
Leon Cathedral, 7
Lateral Façade of the Cathedral, 8
Longitudinal Section of the Cathedral, 9
Cathedral: Stained Glass Window of the Thirteenth Century, 10
Cathedral: Stained Glass Window of the Fourteenth Century, 11
Plan of the Cathedral, 12
Cathedral: Central Gate of the Principal Porch, 13
Cathedral: Right Gate of the Principal Porch, 14
Cathedral: Detail of the Lower Part of the Principal Portico, 15
Cathedral: Arch of the Central Portico, 16
Cathedral: Arch of the Right Door, 17
Cathedral: Left Gate of Principal Porch, 18
Cathedral: Gate of the Coro, 19
Cathedral: Door of the Chapel of St. Andrew, 20
Cathedral: Painted Walls, 21
Cathedral: Statue of Our Lady La Blanca in the Principal Porch, 22
Cathedral: A Sepulchre, 23
Cathedral: Sepulchre of Don Ordoño II., 24
Cathedral: Sepulchre of Martin, First Bishop of Leon, 25
Cathedral: Detail of the Door of the Chapel of St. Andrew, 26
Cathedral: The Cloisters. Our Lady Del Foro and the Offerings
of the Kings, 27
Cathedral: Spandril of Central Gate. The Last Judgment, 28
Cathedral: Spandril of Central Gate. The Last Judgment, 29
Cathedral: Detail of the Right Gate, 30
Cathedral: Detail of the Gate of the Chapel of St. Andrés, 31
Cathedral: Various Statues from the Cross Aisle, 32
Cathedral: Detail of the Right-hand Portico, 33
Cathedral: The Back of the Choir, 34
Cathedral: The Choir Stalls, 35
Cathedral: The Choir Stalls, 36
Cathedral: Detail of the Choir, 37
Cathedral: Choir Stalls. The Guardian Angel of Paradise,
and the Archangel St. Michael, 38
Cathedral: Choir Stalls. Noah, Adam and Eve, 39
Cathedral: Choir Stalls. The Archangel Gabriel and Abraham, 40
Cathedral: Choir Stalls. Isaac and Jacob, 41
Cathedral: Choir Stalls. Esau, 42
Cathedral: Choir Stalls. Samson, 43
Cathedral: Choir Stalls. St. Mathias and St. Mark, 44
Cathedral: Choir Stalls. St. Luke and St. Bartholomew, 45
Cathedral: Choir Stalls. St. Andrew and St. Peter, 46
Cathedral: Choir Stalls. Santiago Alfeo and St. Philip, 47
Cathedral: Choir Stalls. St. John the Evangelist and Santiago, 48
Cathedral: Choir Stalls. Saint Mary Magdalene and Santo
Domingo, 49
Cathedral: In the Choir. St. Nicodemus and Valour, 50
Cathedral: Choir Stalls. St. Martha and St. Lucy, 51
Cathedral: Choir Stalls. St. Francis and St. Catherine, 52
Cathedral: Choir Stalls. St. Froylan and St. Nicholas, 53
Cathedral: Choir Stalls. San Vitorino and San Martin, 54
Cathedral: Choir Stalls. Santa Cristina and Santa Elena, 55
Cathedral: Choir Stalls. San Gregorio and San Geronimo, 56
Cathedral: Choir Stalls. San Silvestre and San Lupercio, 57
Cathedral: Choir Stalls. San Lorenzo and San Vicente, 58
Cathedral: Choir Stalls. San Celedonio and San Esteban, 59
Cathedral: Choir Stalls. A Saint, 60
Cathedral: Detail of the Choir Stalls, 61
Cathedral: Detail of the Choir Stalls, 62
Cathedral: Statue of the Virgin, 63
Cathedral: Detail of the Cloisters, 64
Cathedral: Bas-reliefs in the Cloisters, 65
Façade of the Collegiate Church of San Isidoro, 66
Gate of Pardon: Collegiate Church of San Isidoro, 67
Collegiate Church of San Isidoro, 68
Principal Gate of the Collegiate Church of San Isidoro, 69
Panteon of the Kings in the Collegiate Church of San Isidoro, 70
Spandril of Gate of Pardon: Collegiate Church of San Isidoro, 71
Fresco of the Panteon of the Kings in the Collegiate Church of
San Isidoro. End of Eleventh Century, 72
Sections and Details of the Panteon of San Isidoro, 73
Collegiate Church of San Isidoro: Painting on the Wall of the
Panteon of the Kings, 74
Collegiate Church of San Isidoro: Paintings on the Walls of
the Panteon of the Kings, 75
Collegiate Church of San Isidoro: Chalice and Paten of Doña
Urraca, and Cross, 76
Collegiate Church of San Isidoro: Ivory Cross of King Fernando
I. and Sancha his Wife, 77
Collegiate Church of San Isidoro: Relics, containing St. Martin’s
Hand, St. John Baptist’s Jaw, one of St. Isidoro’s Fingers,
and some of the Virgin’s Hair, 78
Collegiate Church of San Isidoro: Chalice and Crucifix in
Filigree Gold, 79
Collegiate Church of San Isidoro: Ivory Coffer, 80
Collegiate Church of San Isidoro: Gothic Crucifix in Gold, 81
San Miguel de Escalada: General View of the Convent, 82
San Miguel de Escalada: Exterior of the Temple and Portico, 83
San Miguel de Escalada: Interior of the Church, 84
San Miguel de Escalada: Interior of the Church, 85
San Miguel de Escalada: Southern Façade, Plan, and Details
(Town Hall, Gradefes) 86
San Miguel de Escalada: Longitudinal and Transverse Sections
and Details. (Town Hall, Gradefes), 87
Details of San Miguel de Escalada. (Town Hall, Gradefes), 88
San Miguel de Escalada: A Capital in the Church, 89
Our Lady Del Mercado, 90
Our Lady Del Mercado: Barred Window in the Principal
Façade, 91
Church of San Pedro de Los Huertos, 92
General View of the Convent of San Marcos, 93
Principal Façade of the Convent of San Marcos, 94
Detail of the Façade of the Convent of San Marcos, 95
Entrance to the Convent of San Marcos, 96
Detail of the Façade of the Convent of San Marcos, 97
Detail of the Façade of the Convent of San Marcos, 98
Detail of the Façade of the Convent of San Marcos, 99
Detail of the Façade of the Convent of San Marcos, 100
Detail of the Façade of the Convent of San Marcos, 101
Sacristy in the Convent of San Marcos, 102
Stalls in the Convent of San Marcos, 103
Church of San Marcos: Detail of the Choir, 104
Church of San Marcos: Detail of the Choir Stalls, 105
Church of San Marcos: Detail of the Stalls, 106
Church of San Marcos: Detail of the Choir Stalls, 107
Church of San Marcos: Detail of the Choir, 108
Provincial Museum of San Marcos: Tray, Crucifix, and Vase, 109
Provincial Museum of San Marcos: Cross of Santiago de
Peñalva, 110
Provincial Museum of San Marcos: Christ in the Byzantine
Style, and the Virgin in the Gothic Style, 111
Provincial Museum of San Marcos: San Francisco, 112
Don Ordoño II. presenting his Palace to the Virgin, 113
Standard of Alfonso VII., Emperor, now belonging to the
Illustrious Families of Leon, 114
Tower of the Ponces, 115
Las Casas Consistoriales, 116
House of the Guzmanes, 117
Bastions of the Ancient Walls, 118
Calle de Santa Ana, 119
Corner of the House of the Guzmanes, 120
View of the Railway Station, 121
General View of Astorga, 122
Mountaineers of the Province, 123
Ivory Casket of the Ninth Century, from San Isidoro at
Leon, now in the National Archæological Museum, 124
Two Statues in the Archæological Museum, 125
BURGOS
View of Burgos, 126
General View of Burgos, 127
La Plaza Mayor, 128
General View from the Castle, 129
Mansion of the Cid, 130
El Paseo del Espolon, 131
View from the Provincial Museum, 132
A View of Burgos, 133
The Cathedral, 134
Façade of the Cathedral, 135
Cathedral: Puerta de la Pellegeria, 136
Cathedral: View from the Cloisters, 137
Cathedral: Upper Part of the Tower, 138
Cathedral: The Constable’s Chapel, 139
Cathedral: Principal Front, 140
Cathedral: From the Cloisters Garden, 141
Towers of the Cathedral, 142
Cathedral: One of the Spires, 143
Cathedral: Bosses--Detail, Spire Windows--Angle and
Crocket of Spire, 144
Cathedral: Interior of Spire--Doorway to Spire, 145
Court of the Cathedral, 146
General Plan of the Cathedral, 147
Burgos Cathedral, 148
Cathedral: View of the Principal Nave and High Altar, 149
Burgos Cathedral, 150
Cathedral: View of the Nave from the Gate of the Pellegeria, 151
Cathedral: Back Part of the High Altar, 152
Cathedral: Choir Stalls, 153
Interior of the Cathedral, 154
Details in the Cathedral, 155
Details in the Cathedral, 156
Details in the Cathedral, 157
Details in the Cathedral, 158
Details in the Cathedral, 159
Details in the Cathedral, 160
Cathedral: Exterior of the Constable’s Chapel, 161
Cathedral: Interior View of the Constable’s Chapel, 162
Cathedral: The Constable’s Chapel, 163
Cathedral: Details of the Constable’s Chapel, 164
Cathedral: Details of the Constable’s Chapel, 165
Cathedral: The Constable’s Chapel from the Altar, 166
Cathedral: Entrance to the Constable’s Chapel, 167
Cathedral: Details of the Constable’s Chapel, 168
Cathedral: Altar-piece on the Epistle Side of the Constable’s
Chapel, 169
Cathedral: Windows of Sacristy, the Constable’s Chapel, 170
Cathedral: Doorway and Window in the Constable’s Chapel, 171
Cathedral: Santa Ana, in the Altar-piece of the Constable’s
Chapel, 172
Cathedral: St. Margaret with the Monster at her Feet, in
the Altar-piece of the Constable’s Chapel, 173
Cathedral: Details of the Principal Chapel, 174
Cathedral: Details of the Exterior of the Principal Chapel, 175
Cathedral: Exterior of the Principal Chapel, 176
Cathedral: Chapel of St. Anne, 177
Cathedral: Details of the Altar-piece in the Chapel of
St. Anne, 178
Cathedral: Chapel of Santa Tecla, 179
Cathedral: Staircase leading to Puerta Alta de la Coroneria, 180
Cathedral: View of the Cloisters, 181
Cathedral: Gate of the Old Sacristy in the Cloisters, 182
Cathedral: The Cloister Gate, 183
Cathedral: Puerta Del Sarmental, 184
Cathedral: Gate of Pardon, 185
Cathedral: A Doorway, 186
Cathedral: A Doorway, 187
Cathedral: Porch of the Pellegeria, 188
Cathedral: Puerta Alta de la Coroneria, 189
Cathedral: Puerta Alta de la Coroneria, 190
Cathedral: The Famous Coffer of the Cid, 191
Cathedral: Central Dome in the Cross-aisle, 192
Cathedral: Processional Door in the Cloisters, 193
Cathedral: Entrance to the Cloisters, 194
Cathedral: Detail of the Door leading to the Gothic
Cloisters, 195
Cloisters of the Cathedral, 196
The Lower Cloisters. Eleventh Century, 197
Cathedral: The Cloisters, 198
Cathedral: The Cloisters, 199
Cathedral: The Cloisters, 200
Cathedral: Detail of the Cloisters, 201
Cathedral: Bas-relief in the Lower Cloisters. Eleventh
Century, 202
Cathedral: Bas-reliefs in the Lower Cloisters. Eleventh
Century, 203
Cathedral: Soffits of Cloister Arches and Ornaments from
Doors, 204
San Fernando and Doña Beatriz of Swabia in the Cathedral
Cloisters, 205
Cathedral: Longitudinal Section of the Cloisters. Eleventh
Century, 206
Cathedral: Details of the Sepulchre of Don Fernando Diez
de Fuente-Pelayo, 207
Niches with Tombs in the Cathedral Cloisters, 208
Cathedral: Puerta Del Sarmental, 209
Cathedral: Sepulchre of Don Fernando Diez de Fuente-Pelayo,
Abbot of St. Martin, 210
Details of Screens in the Cathedral, 211
Cathedral: El Cristo de Los Huevos, 212
Cathedral: Sepulchre of Archbishop Luis de Acuña, 213
Cathedral: Sepulchre of the Founder of the Cathedral, 214
Cathedral: Our Lady la Mayor, Statue of Silver, 215
Cathedral: Processional Crucifix in Silver Gilt, the Work of
Juan de Arfe in 1592, 216
Cathedral: Gold Enamelled Vase with Cover and Antique
Medallions, two Silver Gilt Goblets, and Jug, 217
Cathedral: Double-handled Vessel with Cover, the Work of
Dom. Urquiza de Madrid, in 1771, 218
Cathedral: Statues of Saints and Ecclesiastics, 219
Cathedral: Details of Balconies, 220
Cathedral: Remains of Altar--Relievo from Portal. Eleventh
Century, 221
Cathedral: Compartment of Apsis, 222
Cathedral: Part of the Open Gallery or Triforium, 223
Cathedral: Details of the Choir Stalls, 224
Altar-piece of the Church of San Nicolás, 225
La Cartuja: General View of the Church, 226
La Cartuja: Gate of the Church, 227
La Cartuja: Sepulchre of the Infante Don Alonso, 228
La Cartuja: Interior View of the Church, 229
La Cartuja : Sepulchre of the Infante Don Alonso, 230
La Cartuja: Sepulchre of the Sovereigns John II. and Isabel
of Portugal, 231
La Cartuja: Sepulchre of the Sovereigns John II. and Isabel
of Portugal, 232
La Cartuja: Statue of San Bruno, 233
La Cartuja: Details of the Sepulchre of the Sovereigns
John II. and Isabel of Portugal, 234
La Cartuja: Details of the Sepulchre of the Sovereigns
John II. and Isabel of Portugal, 235
La Cartuja: Details of the Sepulchre of the Sovereigns
John II. and Isabel of Portugal, 236
La Cartuja de Miraflores: Details of the Choir Stalls, and
Stall of the Officiating Priest, 237
La Cartuja de Miraflores: Stalls of the Lay Brothers, 238
La Cartuja de Miraflores: A Side Door, 239
La Cartuja de Miraflores: Detail of the Choir, 240
La Cartuja de Miraflores: Choir Stalls, 241
La Cartuja de Miraflores: Detail of the Choir Stalls, 242
La Cartuja de Miraflores: The Prior’s Stall, 243
La Cartuja: Detail of the Sepulchre of Don Juan II. and his wife, 244
La Cartuja: Sepulchre of the Infante Don Alonso, brother of
Isabel I., 245
La Cartuja: Tomb of the Infante, 246
La Cartuja: Compartment of King’s Tomb, 247
La Cartuja: Portions of Cornice, King’s Tomb, 248
La Cartuja: Ornament from the Infante’s Tomb, 249
La Cartuja: King’s Effigy--Infante’s Robe--Infante’s Prie-Dieu
Cloth, 250
La Cartuja: Panelled Wall--Alabaster Crown and Tassels, 251
La Cartuja de Miraflores: A Sixteenth-Century Chimneypiece, 252
Cathedral and La Cartuja: Effigies from Tombs, 253
La Cartuja: Ceiling Ornaments--Cathedral: Details from
the Constable’s Monument, 254
Convent of Las Huelgas: View of the Temple, 255
Convent of Las Huelgas: Façade of the Monastery, 256
Convent of Las Huelgas: Patio de San Fernando, 257
Convent of Las Huelgas: Entrance to the Church, 258
Convent of Las Huelgas, 259
Church of Las Huelgas, 260
A Sepulchre in the Convent of Las Huelgas, 261
Details of the Exterior of Santa Maria La Real commonly
called de Las Huelgas, 262
Cloisters and Sepulchre in the Convent of Las Huelgas, 263
A Sepulchre in the Convent of Las Huelgas, 264
A Sepulchre in the Convent of Las Huelgas, 265
Sepulchres in the Choir of Santa Maria La Real de Las
Huelgas, 266
Convent of Las Huelgas: View of the Choir, 267
Convent of Las Huelgas: The Cloisters, 268
Convent of Las Huelgas: Cloisters of San Fernando, 269
Convent of la Huelgas: Entrance to the Nave of St. John, 270
Convent of la Huelgas: Door in the Chapel of San Salvador, 271
Convent of la Huelgas: The Cloisters, 272
Convent of la Huelgas: Flag taken by Alfonso VIII. at the
Battle of Las Navas, 273
Gate of the King’s Hospital, 274
Façade of the Church of the Hospital of the King, 275
Interior View of the Courtyard of the Hospital of the King, 276
Cloisters in the Monastery of Santo Domingo de Silos, 277
Monastery of Santo Domingo de Silas (Silos), 278
Caskets and Chalice in the Monastery of Santo Domingo de
Silos, 279
Reliquary, Details, and Paten in the Monastery of Santo
Domingo de Silos, 280
Detail of an Altar: Monastery of Santo Domingo de Silos, 281
The Arch of Fernan Gonzalez, 282
Gate of the Hospital of St. John, 283
Monastery of San Juan de Ortega: Sepulchre of the Founder, 284
Gate of the House of the ‘Cordon,’ 285
House of the ‘Cordon,’ 286
Church of San Gil: Chapel of the Nativity, 287
Altar-piece of the Buena Mañana in San Gil, 288
Church of San Gil: Altar-piece of the Chapel of the Kings, 289
Gate of the Church of San Lesmes, 290
Altar-piece in San Lesmes, 291
Porch of the Church of San Estéban, 292
Entrance to the Parish Church of San Nicolás, 293
Altar-piece in San Nicolás de Bari, 294
Archway of Santa Maria, Sixteenth Century, 295
Gate of Santa Maria, 296
The Arco de Santa Maria, 297
Provincial Museum: Arabesques of the Arco de Santa Maria, 298
Exterior View and Detail of the Arch of Santa Maria, 299
Provincial Museum: Sepulchre of Don Juan de Padilla in
Fresdelval, Fifteenth Century, 300
Provincial Museum: Sepulchre of Don Juan de Padilla, 301
Interior View of the Provincial Museum, 302
Provincial Museum: Front of an Altar in Enamelled Bronze,
Eleventh Century, 303
Provincial Museum: Visigothic Sepulchre of Sixth Century,
found at Briviesca, 304
Coffin of Briviesca: Preserved in the Provincial Museum, 305
Provincial Museum: Roman Statue found in the Ruins of
Salonica, 306
Transverse Section and Details of the Church of San Juan (Baños), 307
Church of Gamonal, 308
Interior of the Church of Gamonal, 309
Portal of the Church of the Villa de Sasamón, 310
Tower of the Church of the Villa de Santa Maria Del Campo, 311
Chapel of Our Lady of the Valley in the Rodilla Monastery,
General View of the Exterior, 312
Chapel of Our Lady of the Valley in the Rodilla Monastery,
Porch--Interior, 313
Monastery of Fresdelval: Portal, 314
Monastery of Fresdelval: Hospice, 315
Monastery of Fresdelval: Cloisters, 316
Monastery of Fresdelval: Window in the Ruined Temple, 317
Monastery of Fresdelval: Window in the Ruined Temple, 318
Olmillos Castle, 319
A Courtyard, 320
Lerma: The Duke of Lerma’s Palace and the College, 321
Lerma: The College, 322
Lerma: Interior of the Collegiate Church, 323
Lerma: Sepulchre of the Cardinal Duke of Lerma, 324
Lerma: Details of the Sepulchre of the Cardinal Duke of
Lerma, 325
Lerma: The Magdalene. (Copy of a Picture by Leonardo
Da Vinci), 326
Lerma: Our Lady of the Silla. (Copy of a Picture by Raphael), 327
Bridge of Horadada, 328
SALAMANCA
Cathedral, from the East, 329
General View from the School, 330
General View of Salamanca, 331
General View of Salamanca, 332
A Portion of Salamanca, 333
Roman Bridge over the Tormes, 334
Bridge of Bejar, 335
View of the Ancient Wall, 336
Principal Nave of the Old Cathedral, 337
Nave of Cross-aisle of the Old Cathedral, 338
Sepulchres in the Old Cathedral, 339
Longitudinal Section of the Old Cathedral, 340
Sepulchres in the Old Cathedral, 341
Sepulchres in the Cross-aisle, Old Cathedral, 342
Sepulchre in the Cloisters of the Old Cathedral, 343
Sepulchre in the Cloisters of the Old Cathedral, 344
Sepulchre in the Cloisters of the Old Cathedral, 345
Capitals of the Sepulchres in the Cloisters of the Old Cathedral, 346
Capitals of the Sepulchres in the Cloisters of the Old Cathedral, 347
Capitals of the Sepulchres in the Cloisters of the Old Cathedral, 348
Capitals and Effigies in the Old Cathedral, 349
Capitals in the Old Cathedral, 350
The Old Cathedral, 351
Details of the Outside and Plan of the Cupola of the Old
Cathedral, 352
The Cathedral, 353
View of the Cathedral from the ‘Seminario,’ 354
Cathedral: East Façade, 355
Tower of the Cathedral, 356
Cathedral: The Tower del Gallo, 357
Principal Façade of the Cathedral, 358
Principal Nave in the Cathedral, 359
Cathedral: View of the Cross-aisle, 360
Cathedral: Entrance to the Chapel of the Bishop of Seville,
Don Diego de Anaya, 361
Cathedral: View of the Sacristy, 362
Cathedral: Chapel in the Cloisters, 363
Chapel of St. Barbara in the Cathedral Cloisters, 364
Cathedral: Dome of the Tower of the ‘Gallo,’ 365
Cathedral: General View of the Puerta del Nacimiento, 366
Cathedral: Gate of the Nativity, 367
Cathedral: Gate of St. Clement, 368
Cathedral: Gate of the ‘Ramos,’ 369
Cathedral: Gate of the Patio Chico, 370
Cathedral: Right-hand Gate; or, Gate of the Bishop, 371
Cathedral: The Beheading of St. John Baptist. (By Jac.
Geronimo Espinosa), 372
Cathedral: The Virgin holding the Dead Body of her Divine
Son. (Pietá in wood, by Salvador Carmona), 373
Cathedral: Wooden Crucifix with which the troops of the
Cid were harangued. The Smaller Crucifix the Cid carried
beneath his Armour, 374
Cathedral: Chair and Table in the Chapter Hall, 375
General View of the Church of Santo Domingo, 376
Detail of the Façade of Santo Domingo, 377
Façade of the Church of Santo Domingo, 378
Detail of the Façade of Santo Domingo, 379
Cloisters of Santo Domingo, 380
Interior of the Church of Santo Domingo, 381
Arches in the Choir of the Church of Santo Domingo, 382
Interior View of the Sacristy of Santo Domingo, 383
Door of the Conference Hall of Santo Domingo, 384
General view of the Cloisters of Santo Domingo, 385
Cloisters of Santo Domingo, 386
Fresco in the Church of Santo Domingo, by Palomino, 387
Door of the church of St. Martin, 388
Gate of the Church of St. Martin, 389
Door of the Church of San Justo, 390
Church of the Augustines: The Conception of the Virgin, by
Ribera, 391
Gate of the Church of San Benito, 392
Parish Church of the Holy Spirit, 393
Portal of the Parish Church of the Holy Spirit, 394
Church of the Third Order of St. Francis, 395
View of the Seminary from the Irlandeses, 396
View of the Seminary, 397
Chapter Hall in the Seminary, 398
The Seminary: Abraham offering Melchisedech Bread and Wine, 399
The Seminary: The Queen of Sheba visiting Solomon, by
Rubens, 400
The Seminary: Christ scourged. Statue in wood by Salvador
Carmona, 401
General View of the University, 402
Façade of the University, 403
Upper Part of the Façade of the University, 404
Lower Part of the Façade of the University, 405
University: Medallion representing the Catholic Sovereigns
over the Principal Entrance, 406
Façade of the University, 407
Library in the University, 408
University: Altar of the Chapel, 409
Gallery in the University, 410
Portico of the University, 411
Details of the Porch of the University, 412
Details of the Porch of the University, 413
Door of the Library of the University, 414
Court of the College of the Irlandeses, 415
Façade of the College of the Irlandeses, 416
Porch of the College of the Irlandeses, 417
Portico of the Chapel of the College of the Irlandeses, 418
Court of the College of the Irlandeses, 419
Details of the Court of the Archbishop’s College, now of the
Irlandeses, 420
Gate of the Santa Maria de las Dueñas, 421
Provincial Museum: Model in wood for an Altar for the
Cathedral, by Manuel Rodriguez, 422
Provincial Museum: Arm-chair of Fr. Antonio de Sotomayor, 423
Provincial Museum: St. Michael overcoming Satan. Silver
Statue. The work of John de Arfe, 424
Cloisters in the Ruins of the School of the Vega, 425
Capitals in the College of the Vega, 426
Statue of Our Lady of the Vega, 427
The House of Salinas, 428
Courtyard of the House of Salinas (Upper Part), 429
Detail of the Courtyard of the House of Salinas, 430
General View of the College of Calatrava, 431
Staircase in the College of Calatrava, 432
Tower of the ‘Clavero,’ 433
General View of the School, 434
Façade of the School, 435
Interior Gate of the School, 436
Entrance to the School, 437
Porch of the Archivos of the School, 438
Courtyard of the School, 439
Back of the School, 440
Courtyard of the School, 441
Principal Façade of the House of the Shells, 442
Grated Window of the House of the Shells, 443
Triple Grated Window of the House of the Shells, 444
Balcony and Triple Grated Window of the House of the Shells, 445
Doorway in the House of the Shells, 446
Courtyard in the House of the Shells, 447
House of Monterey, 448
Tower of the House of Monterey, 449
House of Monterey, 450
La Plaza Mayor, 451
The Town Hall, 452
Patio de la Gobernación, 453
Ancient College, now the House of the Provincial Deputation, 454
River Gate through which Hannibal entered, 455
House of Doña Maria the Brave, 456
Avenue of the Campo of San Francisco, 457
Statue of Fr. Luis de Leon, 458
The Pacification of the Factions of Salamanca. A Relief by
Don Aniceto Marinas, 459
Market, Province of Salamanca: ‘A Bad Bargain,’ by J.
Aranjo, 460
Peasants’ Dance, by D. Fierros, 461
Charro, or Peasant of the Province, 462
LEON, BURGOS, AND SALAMANCA Leon, Burgos, and Salamanca
I
LEON
There is something cold and forlorn about the little city of Leon, that
one-time capital of Spain; something chill and wintry, not explained
even by the snowy peaks of Asturias bounding the horizon on the north.
It is the chill of age. Other cities there are, even in Spain, older
than Leon, but with them time has dealt more gently. It was but natural
that this town should wither and grow old. Very much out of the world it
lies, in as remote a situation as could be found in southern Europe. It
has long outlived its destiny--and that was an honourable one. The blood
of no new race has ever been infused into its veins. Founded by S.
Sulpicius Galba in 70 A.D. as the headquarters of the Seventh Legion
(Legio Septima), when it grew into a town, doubtless its first
inhabitants were the unconquerable Celts of the Cantabrian Mountains.
When the wild Suevi took refuge in this north-western corner of the
peninsula, _Legio_, as it was then called, was nominally subject to
them. Leovigild added it to the dominions of the Visigoths in 540, but
despite this change of masters it probably remained Celtic to the core.
The Moorish yoke endured here but twenty-five years. So near to the
great mountain barriers, where the new Spain was born, which contained
the nucleus of the new monarchy and nation, it was naturally among the
first prizes of the kings of Pelayo’s line. Issuing from those passes
which had proved a death-trap to the Moorish hordes, the Christians of
Asturias wrested this city from the invader in the year 742, and with a
very brief interval it was henceforward to know none but a Spanish yoke.
We do not hear of much effort on the part of the Saracens to recover or
to hold it. We can fancy that the spirit and resolution of those
children of the South were numbed in these wintry plains, within sight
of the everlasting snows, almost within reach of the tempests of the
northern seas. But it was a place that suited well the temper of the
champions of Christendom in Spain. It was grim, it was stern, it was
rude and simple. Behind was the glorious cradle of the nation, the
citadel of Spanish freedom; before were the plains whereon to do battle
with the Moor, the streams that flowing south pointed the way for the
Spanish knight. Leon was the first stage of a journey which was to end
only at the Pillars of Hercules. Every town in the peninsula marks a
forward step of the Christian, a backward step of the Moslem. Leon was
outpost first, capital after. It seems to have been attacked and perhaps
destroyed by the enemy during the ninth century, for we read that Ordoño
I. rebuilt it. Under Alfonso III. the frontier of the nascent kingdom
was carried forward to the Douro. At Leon men slept more peacefully.
Alfonso, upon his abdication in 912, pursuing the policy afterwards so
harmful to Spain, divided his dominions among his children. Leon was
allotted to Garcia; and two years later, on the death of that prince and
the accession of his brother Ordoño II., it became the capital of the
united realms of Galicia and Leon, to which in 923 with the crowning of
a third brother, Froila II., was added the ancestral province of
Asturias.
In the Middle Ages, where the Court was the scaffold was not far away.
And the new capital was soon to see something of the darker side of
regal authority. Ordoño II. attributed his defeat at Val de Junqueras
to the defection or mutiny of the Counts of Castile, the wardens of the
eastern marches. Summoning four of them into his presence at his palace
at Tejares, he placed them under arrest, and sent them in chains to
Leon, where after a painful captivity they were put to death. This was
not the last tragedy to cast a shadow over the little capital.
Meanwhile, under Ramiro II., the name of the town began to be applied to
the whole kingdom. It was the scene of the imprisonment of the aspiring
Fernan González, Count of Castile; and by him and a Navarrese army it
was besieged during the reign of Ordoño III. Under the terrible Al
Mansûr, the Moslem tide swept up to the very peaks of Asturias. Leon was
submerged, the city taken and burned, and Fernando II. was glad to find
an asylum in the mountain fastnesses of his ancestors.
This was but a temporary check to the Christian fortunes. In 1002 the
announcement was made from every pulpit in free Spain, ‘Al Mansûr is
dead and buried in Hell.’ Emerging once more from their retreat, the
Leonese recovered their capital, which was henceforward to remain
uninterruptedly in Christian hands.
Alfonso V., the Restorer of Leon, mindful of the precedents set by
Visigothic kings, held an ecclesiastical council at his capital in the
year 1020. There was a great concourse of prelates and nobles from all
parts of Christian Spain. The conference took place in the cathedral
church of St. Mary, founded by Ordoño II., and King Alfonso and Queen
Elvira presided in person. Of the fifty-eight ordinances and
resolutions, thirty-one embodied the municipal constitution of the town
of Leon--the first town in Spain to receive a charter. Indeed, it was
probably the first town in mediæval Europe to obtain the privilege of
self-government.
The history of the city thenceforward becomes merged in the history of
the kingdom and in that of Spain generally. But here and there in the
annals of the time certain events stand out as specially associated with
it. In the year 1029 the young Count Garcia of Castile came hither to
espouse Sancha, the sister of King Fernando III. His movements were
watched by the three sons of the Count of Vela, whom his father had put
to death. Their manner towards the young Count implied rather friendship
than enmity. But one morning, as he entered the church of San Isidoro,
they fell upon him and slew him. The assassins were burned to death; but
their deed served to intensify the bitter rivalry of Castile and Leon.
There were other ecclesiastical councils held here in 1106, 1114, 1134,
1228, and 1288. And in 1137 the church which had been defiled with the
young Garcia’s blood was the scene of the impressive coronation of
Alfonso VII. as Emperor of all Spain--a title which no Spanish king
could justly bear, till Charles came from Flanders in 1517 to rule over
a Spain for ever united.
For a hundred years longer the little city by the northern hills posed
from time to time as an imperial capital, but with the union of the
crowns under San Fernando the headship of the kingdom passed to Burgos
and Toledo. For a century more the court of the Spanish kings was in the
ever-moving camps, on the ever-shifting battlefield. The claims of Leon
to rank as capital were forgotten. The echoes of warfare far away on the
banks of the Jucar and Guadalquivir hardly reached her walls. She fell
asleep. She had harboured the founders of national independence; she had
borne the brunt and stress of battle, had been in the van in the fierce
strife between Christian and Moslem. Everything that happened to Leon
happened a very long time ago; and it might all have seemed a dream if
the genius of the architect had not bequeathed to our own day great
memorials of the glory made by kings and prelates.
* * * * *
Leon, as we know, does not derive its name from ‘the lions introduced by
the Carthaginians,’ as some old chroniclers believed, but from the
legion quartered here in the first century of the Christian era. The old
name of the place was Urbs Legionis. Remembering the peculiar
pronunciation of the Spanish G, the modification of the Latin word into
its present form is easily explained.
The legion which preserved the _pax Romana_ in this remote corner of the
empire may have varied in strength from six to seven thousand men of all
arms. The camp was rectangular, and measured 380 by 570 metres. It was
confined by the wall, of which the northern, eastern, and part of the
western sides remain,--or rather the bases, for the masonry of the upper
part reveals the handiwork of various subsequent ages. Walking round the
city, you notice the stout round bastions outcropping between the houses
which frequently obscure the trace of the wall. Of the four Roman gates,
faced with marble slabs and inscribed with the names of the commanders
of the legion, two remain--the eastern, or Bishop’s gateway, behind the
cathedral, and the low semicircular arch in the Plazuela del Conde de
Luna.
Embedded in or against these walls many profoundly interesting relics of
the Roman domination have been discovered. These are now to be seen in
the Provincial Museum. There is the white marble altar dedicated to
Diana by the legate Tullius Maximus, as the inscription on one side
records. The three other faces bear respectively these inscriptions:--
(1) ‘Aequora conclusit campi, Divisque dicavit,
Et templum statuit tibi, Delia virgo triformis,
Tullius è Lybia, rector legionis Hiberae,
Ut quiret volucris capreas, ut figere cervos,
Saetigeros ut apros, ut equorum silvico lentum
Progeniem, ut cursu certare, ut disice ferri,
Et pedes arma gerens, et equo jaculator Hibero.’
(2) ‘Cervôm altifrontum cornua
Dicat Dianae Tullius,
Quos vicit in parami aequore
Vectus feroci sonipede.’
(3) ‘Dentes aprorum quos cecidit Maximus
Dicat Dianae, pulchrum virtutis decus.’
This Tullius Maximus seems to have loved the chase, and elsewhere we
find him dedicating a bear’s skin to his favourite goddess. The people
of the Urbs Legionis were probably mighty hunters. On a sepulchral
monument the son-in-law, daughter, and grandson of the founder are
represented as a boar, a hind, and a fawn. The Provincial Museum also
contains an altar consecrated to the genius of the legion.
Where the cathedral now stands were the Roman baths, which are said to
have been converted into a castle or palace by the kings of Asturias.
The building was utterly destroyed by Al Mansûr, and on its site arose
the basilica of Ordoño II. The royal residence then seems to have been
situated near where the monastery of San Salvador del Palaz del Rey was
built by Ramiro II. (930-950). Another palace occupied the square in
front of the church of San Isidoro. Rebuilt by Berenguela, the mother of
San Fernando, it was pulled down in the time of Isabel the Catholic. It
was no doubt from this building that Count Garcia passed to his death in
the opposite church.
SAN ISIDORO,
after the Roman walls the most ancient building in Leon, occupies the
site of a chapel and nunnery consecrated in 966 and rebuilt by Alfonso
V. Fernando I., who reigned over Leon and Castile from 1033 to 1065,
obtained from the Amir of Seville the body of the doctor, San Isidoro.
To receive this venerated relic a new church was built, and solemnly
dedicated on December 21, 1063. Two years later the bones of the martyr
San Vicente were transported hither from Avila. In the next century the
church was greatly enlarged and richly endowed by Alfonso VII., who
attributed his victory at Baeza to the miraculous intervention of the
Doctor of Seville. To provide for the service of the church, the regular
canons were transferred here from Carvajal, and exchanged quarters with
the nuns who had continued to occupy the old tenth-century convent.
The church is in the Romanesque style, the oldest portion being the
chapel of Santa Catalina, which Street thinks was the original fabric of
Fernando I. The chapel was intended as a mausoleum for the royal family
of Leon, but twelve tombs only remain out of thirty. The only
inscriptions are on the resting-places of Alfonso V. and Sancha, the
sister of Alfonso VII. Here were buried Alfonso IV., Ramiro II., Ordoño
III. and his queen, Sancho I., Ramiro III. and his queen Urraca,
Fernando I. and Queen Sancha, Sancho the Great of Navarre, and the
murdered Count Garcia. Here, before the Pantheon was despoiled by the
French in 1808, might have been seen the marble and porphyry sepulchre
of the brave princess Urraca of Zamora, and the urns of the Moorish and
French wives of Alfonso VII. Now, the inscriptions having been wantonly
defaced, it is impossible to identify the few remaining sarcophagi.
The arches of this gloomy Pantheon are decorated with curious frescoes,
probably of the twelfth century. The crude drawing and tints rather add
to the impressive effect of these solemn paintings. Among the subjects
are the ‘Massacre of the Innocents,’ the ‘Last Supper’ (painted, as
Street points out, without the least regard to the angles formed by the
groining, and as if the vault were a flat surface), scenes from the
Passion, and the Visions of the Apocalypse--terrible conceptions. One of
the designs represents the Supreme Judge with two swords issuing from
His mouth; another shows a hand, inscribed _Dextra Dei_. The
compositions are surrounded by foliage, rich and conventional. On the
altar is an interesting ivory cross, the gift of Fernando I. and Sancha,
whose names are engraved upon the reverse. While the figure of Christ is
rude in the extreme, the foliage and figures of the four evangelists at
the back are exquisitely chiselled.
Leaving this place consecrated to wrath and tears, we re-enter the
church. The plan is roughly cruciform, an apsidal chapel projecting to
the east of each arm of the transept, on either side of the Capilla
Mayor. We are now in that part of the fabric which was built by order of
Alfonso VII., evidently on the model of St. Sernin at Toulouse. The name
of the architect is given on an inscription in the flooring as Petrus de
Deo--Peter of God. The most interesting features in the church are the
very ancient mural paintings in the Byzantine style, with the same
profusion of foliage and richly moulded capitals to be noticed in the
Pantheon. The dentated and horse-shoe arches reveal traces of Moorish
influence, showing that even in the far north of Spain architects could
not have closed their eyes and ears altogether to the doings of the
detested infidels.
Among the treasures of the church might fairly be included the font,
with its Byzantine reliefs, while objects of special veneration are the
relics of San Isidoro contained in an ancient silver urn, supported by
four lions, and the hand of San Martino, holding a pen, and encased in a
rich reliquary. Here also you may see a chalice of agate, the donation
of the Infanta Urraca, and (in the Sacristy) the standard embroidered
by order of Alfonso VII. with the image of San Isidoro as he appeared at
Baeza, and last displayed at the taking of Antequera in the fifteenth
century. Many other priceless treasures and relics were lost when the
church was plundered by the French; while in 1811 the building was
struck by lightning, and--as if that were not enough--white-washed
throughout!
The exterior is interesting. A doorway admits to the middle of the nave
on the south side. The arch is semicircular and triple, the tympanum and
spandrils being filled with sculpture, representing the Offering of
Isaac, the Lamb of God, figures of Saints, and the signs of the Zodiac.
‘The whole detail of this sculpture,’ says Street, ‘is very unlike that
of most of the early work I have seen in Spain; the figures are round
and flabby, and very free from any of the usual conventionality. All
this made me feel much inclined to think that the execution of this work
was at an early date, and soon after the first consecration of the
church.’ The appearance of the whole front was not improved by the
Renaissance work above this gateway--the elaborate cornice, the imperial
shield of Charles V., and the colossal equestrian statue of San
Isidoro. The Romanesque portal of the southern transept, now closed, is
adorned with a relief representing the Descent from the Cross, the
statues of Saints Peter and Paul, and other sculptures. Detached from
the church is a square tower or steeple built between two bastions in
the adjoining city wall. Generally speaking, the eastern façade is
strictly Gothic, much of it having been added to the Romanesque
framework in the sixteenth century.
The adjoining cloister is mainly of the same period and style. The
decorations are in the plateresque style, and the staircase, leading to
the council chamber of the Provincial Deputation, is a daring and
admirable example of Renaissance work. The library contains the
beautiful Bible written in 960 by the priest Sancho, ‘whose
illuminations and vignettes’ (says a native writer) ‘with their sinister
figures with black faces, curious dresses, and gloomy fancies, display
the artistic tendencies of that age of turmoil.’
In the Plaza del Conde de Luna is the mean little church of San Salvador
del Palaz del Rey, built by Ramiro II. as a convent for his daughter
Elvira--she who ruled as regent during the minority of her brother,
Ramiro III. Nothing of the original structure remains; but the site is
that of one of the oldest royal residences in Leon, and of the first
burying-place of her kings, before their ashes were transported to San
Isidoro.
THE CATHEDRAL
of Leon marks the second period of the city’s history and of the
architecture of northern Spain. San Isidoro stands for the infant
monarchy, with its Byzantine traditions handed down from the Visigothic
kings; the cathedral, for the strong, ever-expanding realm of Leon and
Castile, in close touch and sympathy with the great Catholic world of
the west. San Isidoro is Romanesque; the cathedral is not only Gothic,
but purely French, closely resembling Amiens and Rheims. It is a
magnificent exotic. It symbolised the reunion of Spain with Western
Christendom, after its long night of isolation, the infusion into its
art and its people of the European spirit.
This beautiful cathedral--_pulchra Leonina_--occupies the site of the
basilica of Ordoño II. (of which no trace remains). Planned about the
first years of the reign of San Fernando, it was not completed in 1258,
when an episcopal congress was held at Madrid to discuss the progress of
the works and to grant an indulgence of forty days to the faithful who
should assist with alms. In 1303 the Bishop Gonzalez proclaimed that
the work was done, ‘thanks be to God.’
The beauty of this wonderful church consists largely in its lightness.
Its supports are so slender, its walls so freely pierced with windows at
every stage, its details everywhere so delicate, that the term ‘frozen
music’ applied to architecture seems here indeed no mere hyperbole. ‘A
mere lantern,’ Street calls the church, and blames the architect for his
extreme daring and for his excessive use of windows. Though the vaults
had been filled in with very light stone or concrete, the fabric was
ever trembling on its fragile foundations. In 1631 the vault above the
crossing collapsed, and was replaced by a dome. A hundred years later
many of the arches of the aisles succumbed. Meanwhile Renaissance and
Churrigueresque additions were made; but the whole was restored between
the years 1850 and 1901, and now the cathedral exists in almost pristine
symmetry and airiness.
The eastern end, or chevet, projects beyond the city wall, which forms
the eastern boundary of the adjacent cloister. The transept, if that
term may be applied to the whole space between the Capilla Mayor and
Coro, is of unusual breadth, and may be said to include a nave, two
aisles to the east and one to the west. North and south it projects but
slightly beyond the nave. The west front is flanked by two steeples,
which stand on each side of, and do not terminate, the aisles. They are
heavier than the rest of the structure, and of different heights and
ages. Ugly, too, is the empty space left between their side walls and
those of the clerestory over the main entrance. The northern steeple is
the older, lower, and simpler; it is surmounted by a spire with a vane.
The other tower is more ornate, and contains the belfry. Its traceries
are in a debased Gothic style.
The façade between these steeples is very beautiful. It is surmounted by
a pediment with ‘acroteria’ or pedestals to receive statues. Beneath
this is a very large wheel-window above a row of windows corresponding
to the triforium. The three magnificently sculptured doorways extend
from steeple to steeple. The arches are pointed and triple. Byzantine
influence is visible in the statuary and foliage. The figures, forty in
number, are rather more than life-size, and represent saints and
apostles, martyrs and confessors, kings and queens. On the north-west
doorway is seen the half-defaced figure of Justice, bearing a sword
inscribed with the words ‘Justitia est unicuique dare quod suum est.’
Beneath this portal cases of appeal were tried in the thirteenth
century. A small column between this and the central doorway is engraved
with the words _locus appellationis_ and the arms of Leon and Castile.
The tympanum of the arch is adorned with reliefs, illustrating the
earlier episodes in the life of Jesus. The doors themselves show scenes
from the Passion and Risen Life.
The central shaft of the middle door is disfigured with a dressed-up
image of the Virgin enclosed in glass. The sculpture of the tympanum is
spirited and elaborate. In a composition depicting the Last Judgment
devils are seen stirring their fires and plunging the reprobate into
seething cauldrons. On the side of the blessed a young man extracts
cheering music from what is perhaps a harmonium. The attitudes of the
just express the liveliest satisfaction, whereas a crowned personage,
striding boldly into Paradise, is met and warned off by a celestial
Janitor. The naïve and fantastically horrible are curiously blended in
this skilful work. The southern doorway is the least interesting of the
three; the subjects of the reliefs are the death and coronation of the
Virgin.