little information by which we can judge of the merits of the objects
produced. A Guild of Armourers existed at Barcelona as early as 1257,
and of Sword makers from the 14th century; but the information given
concerning this subject is very slight. We find more details in the
Ordinances of Toledo, Seville, and Granada, whence we learn that
manufactories of arms existed in these towns.
The sword manufactory of Toledo acquires its greatest importance during
the Renaissance period until the end of the 17th century, when it
terminated. It was re-established again in 1760 under the patronage of
the Government, and continues to work in the present day. Don Francisco
de Santiago Palomares wrote, in 1772, an "Account of the Sword
Manufactory of Toledo," the manuscript of which exists at the Academia
de la Historia (E. 41). The most interesting part of this study consists
in the details given upon the manner of tempering the blades. The names
he has collected of the most remarkable artists, are taken from the
original dies of their marks which existed at the Archives of the
Ayuntamiento at Toledo. These marks have been published in the "Catalogo
de la Armeria," Madrid, 1849, from which I copy them. It must be borne
in mind that Palomares, after quoting the text by the Poet Gracio
Falisco, which I have given at the beginning, does not establish any
definite fact which enables us to study the historical progress of this
manufactory during the Middle Ages. The author says, p. 111: "At the
beginning of this industry there was no centralization or monopoly in
this manufactory, some armourers formed a guild, placing each artist in
his proper place. The kings of Castille granted them privileges of
different kinds."
Bowles says, in his "Introduction to the Natural and Geographical
History of Spain," that the steel used at the manufactory of Toledo was
taken from an iron mine existing at a league from Mondragon, the only
one then known in Spain.
The celebrity of Toledo blades has excited the curiosity of many who
wished to ascertain the cause of their great excellence and renown. Some
supposed the sword manufacturers of Toledo possessed a secret for
tempering their arms: it was not so, however; their only secret being
the waters of the Tagus and the fine white sand on its banks. This sand
was used for cooling the steel: when the steel was red-hot, and began to
give forth sparks, it was uncovered a little and sprinkled with sand,
and sent on to the forgers. As soon as the blade was ready it was
tempered in the following manner: a line of fire was made and the blade
placed in it in such a manner that only four-fifths of its length should
touch the fire. As soon as the blade was red-hot it was dropped
perpendicularly into a bucket of Tagus water; when cold, if it was found
to be bent, a small portion of sand was poured on the yoke, the blade
was placed upon it, and beaten until properly straightened. After this
the fifth part of the blade was fired, and when red-hot was seized with
tongs and rubbed with suet, which soon began to melt; after this the
blade was sent to the grinding-stones, and finished by being polished by
wooden wheels with emery powder.
Charles the Third, a year after he became King of Spain, re-established
officially the manufactory of arms of Toledo. He placed it in a
building near the Miradero Alto, and the works began in 1761. The king
soon found the building too small for the purpose, and ordered his
architect, Sabatini to build the present one, outside the town near the
river Tagus, which was finished in 1783, and from this time has been
under the superintendence of the Royal Artillery. Not a single sword
maker existed in 1760 of any note who was competent to be placed at the
head of the works, and it was found necessary to bring a proper person
from Valencia.
Palomares, who was present, says: "As soon as the building was ready and
disposed for working, Luis Calisto, a famous sword maker, began to work.
Calisto was a native of Valencia, and more than 70 years of age when he
was appointed. Other artists were chosen at the same time by the
Director. In the short space of time in which that chief master armourer
lived, he made most excellent weapons; he was most skilful, and was
probably imitated by his successor."
NAMES OF THE SWORD MAKERS OF TOLEDO.
The numbers given correspond to the plates of their marks, given in
"Catalogo de la Real Armeria."
1. Alonso de Sahagun, el _viejo_, 1570.
2. Alonso de Sahagun, el _mozo_.
3. Alonso Perez.
4. Alonso de los Rios; he also worked at Cordova.
5. Alonso de Cava.
6. Andres Martinez.
7. Andres Herraez; he also worked at Cuenca.
8. Andres Munesten; worked at Calatayud.
9. Andres Garcia.
10. Antonio de Baena.
11. Antonio Gutierrez.
12. Antonio Gutierrez, a son of the former.
13. Antonio Ruiz, 1520; he used the initial letter of his name.
14. Adrian de Zafra; worked at Sn. Clemente.
15. Bartolomé de Nieva.
16. Casaldo y Campañeros; worked at Cuellar and Badajoz.
17. Domingo de Orozco.
18. Domingo Maestre, el _viejo_.
19. Domingo Maestre, el _mozo_.
20. Domingo Rodriguez.
21. Domingo Sanchez; called el Tigerero.
22. Domingo de Aguirre.
23. Domingo de Lama.
24. Domingo Corrientes; worked also at Madrid.
25. Fabrian de Zafra; hijo de Adrian.
26. Francisco Ruiz, el _viejo_, 1617.
27. Francisco Ruiz, el _mozo_.
28. Francisco Gomez.
29. Francisco de Zamora; worked also at Seville.
30. Francisco de Alcozer; worked at Madrid.
31. Francisco Lurdi.
32. Francisco Cordiu.
33. Francisco Perez.
34. Giraldo Reliz.
35. Gonzalo Simon, 1617.
36. Gabriel Martinez.
37. Gil de Almau.
38. Hortuño de Aguirre, 1604.
39. Juan Martin.
40. Juan de Leizalde; worked at Seville.
41. Juan Martinez, el _viejo_.
42. Juan Martinez, el _mozo_, 1617.
43. Juan de Almau, 1550.
44. Juan de Toro.
45. Juan Ruiz.
46. Juan Martinez de Garata.
47. Juan Martinez Menchaca; he lived at the beginning of the 16th
century, and worked at Lisbon, Seville, and Madrid.
48. Juan Ros.
49. Juan Moreno.
50. Juan de Saludo.
51. Juan de Meladoria.
52. Juan de Vargas.
53. Juan de la Horta, 1545.
54. Juanes de Toledo.
55. Juanes de Algruniva.
56. Juanes de Muleto.
57. Juanes, el _viejo_.
58. Juanes de Uriza.
59. Julian del Rey, the Moor; he worked for Boabdil, King of
Granada, 15th century.
60. Julian Garcia; worked also at Cuenca.
61. Julian de Zamora.
62. José Gomez.
63. Jusepe de la Hera, el _viejo_.
64. Jusepe de la Hera, el _mozo_.
65. Jusepe de la Hera, el _nieto_.
66. Jusepe de la Hera, el _visnieto_.
67. Jusepe del Haza.
68. Ignacio Fernandez, el _viejo_.
69. Ignacio Fernandez, el _mozo_.
70. Luis de Nieves.
71. Luis de Ayala.
72. Luis de Belmonte.
73. Luis de Sahagun.
74. Luis de Sahagun.
75. Luis de Nieva; worked at Calatayud.
76. Lupus Aguado, 1567.
77. Miguel Cantero, 1564.
78. Miguel Sanchez.
79. Melchor Suarez; worked at Lisbon.
80. Nicolas Hortuño de Aguirre, 1637.
81. Pedro de Toro.
82. Pedro de Arechiga.
83. Pedro Lopez; worked at Orgaz.
84. Pedro de Lerzama; worked at Seville.
85. Pedro de Lazaretea; worked at Bilbao.
86. Pedro de Orozco.
87. Pedro de Belmonte.
88. Roque Hernandez.
Sarabal; used no mark.
89. Sebastian Hernandez, el _viejo_, 1637.
90. Sebastian Hernandez, el _mozo_; he worked also at Seville.
91. Silvestre Nieto.
92. Silvestre Nieto.
93. Tomas de Ayala, 1625.
94. Zamorano, el Toledano.
Nos. 95, 96, 97, 98, and 99, are the marks of sword makers whose names
are unknown.
Miguel y Manuel Fernandez; worked at Toledo in 1786.
Pedro de Barreta; at Bilbao at the end of the 16th century.
The following names may be added to this list--
Luis Calisto, 1760; and the four following artists are mentioned by
Palomares as working at Toledo.
Juan de Valladolid.
Sebastian Herbás, 1617.
Manuel Ruiz, 1700.
Ignacio Fernandez, 1708.
Juan Orenga, 15th century; worked at Tortosa, and mentioned in the
"Corvacho" of the Arcipreste de Talavera, fol. xi.
Martin Garro, v. p. 120, "Almanaque de la Industria."
Alonso Gutierrez, master of sword making at Madrid in 1625.
This artist, and the eleven following, are mentioned in original
documents at the Academia de San Fernando.
Francisco de Borja, sword maker and gilder; Madrid, 1634.
Gaspar Martin, sword maker; working at Madrid in 1637.
Juan Mazon de Santorcas, sword maker and gilder; Madrid, 1636.
Juan de Medina; Madrid, 1620.
Lorenzo de los Rios; Madrid, 1585.
Miguel de Berrio; Madrid, 1575.
Pedro Casado, sword maker; Madrid, 1636.
Francisco de Elias, an apprentice of Pedro Casadós.
Francisco de Salinas; Madrid, 1636.
Acheza----; Toledo.
Camilo, 1500.
Two fine rapiers are in the Kensington Museum, Nos. 626, '68, and 2214,
'55, which belong to the 16th and 17th centuries, and give a good idea
of this industry of Toledo. Woodcuts of these appear on the opposite
page. One of the blades is marked with the name of Francisco Ruiz. A
large and most important collection of rapiers, swords, and other arms
exists at the Royal Armoury of Madrid.
The breastplates are unusually fine, but the finest among them are by
Milanese artists. A good example, which has been considered Spanish, was
formerly in the Bernal Collection (see woodcut on p. 98); it gives an
excellent idea of the artistic importance attained by this industry.
[Illustration: SPANISH RAPIERS. SOUTH KENSINGTON MUSEUM.]
The saddles used in Spain were similar to those of other European
countries, for we find the same names adapted to the Spanish language.
In the poem of the Cid, 13th century, and other works of the Middle
Ages, _gallega_ and _barda_ saddles are mentioned which were peculiar to
Spain. The _gallega_ saddles were called so from being made in Gallicia;
the _barda_ proceeded from the Moors. We find no details which explain
their exact structure.
[Illustration: BREASTPLATE, FORMERLY IN THE BERNAL COLLECTION.]
A very remarkable collection of saddles of every description may be
studied at the fine collection of armour at Madrid; among them are two
of special interest--No. 2311 of "Catalogue of Armoury"--traditionally
supposed to have belonged to the Cid, and No. 1310, which was used by
King James the Conqueror in the 13th century. The Cid's saddle (see
woodcut) is intended for a war-horse; its bows are covered with black
metal plating, ornamented with a design of leaves and pilgrims' shells,
partially gilt, and the word "Fides," considered to be the Cid's
devise. Much has been written on the origin and authenticity of this
saddle. Cervantes alludes to it in the 49th Chapter of "Don Quixote,"
Part I. For further details see "Catalogue of the Armeria."
[Illustration: SADDLE OF THE CID. ARMOURY, MADRID.]
The greatest novelty which was introduced during the Renaissance period
was the use of fire-arms. The only names of ancient artists that I have
met with, who had any connection with the manufactory of large pieces of
artillery were Pedro Burgues, an iron master of Barcelona, who lived in
1393; Rodrigo de Almanza, and Pedro Colomer, who made fire-arms at
Barcelona in 1413; and the Moor, Alfarax Darhin, an iron master of
Tarazona; V. Fernandez Duro. [Museo Español, vol. v. p. 18.]
Portable fire-arms were introduced into Spain towards the middle of the
15th century. Count Clonard, in treating this subject in the "Memorias
de la Academia de la Historia," ix. p. 214, says:--"Alfonso de Palencia
tells us the _espingarda_, or large hand musket (see woodcut), and
_arbatana_ culverin, were used in the insurrection at Toledo in July,
1467. He assures us they had been very recently invented and named. They
had been mentioned as early as 1449. In the siege of Toledo, Don Alvaro
de Luna could not be kept back from the dangerous position in which he
had placed himself, notwithstanding the shower of stones, rockets,
arrows, and shots of _espingardas_ which were thrown into the town."
[Illustration: SPANISH MUSKETS.]
At the same time as these portable fire-arms were used in Spain, the
ancient _ballestas_, crossbows, so generally used in the Middle Ages,
were very popular. Several artists became very famous in their
manufacture. Alonso Martinez de Espinar enters into many details of this
implement in his rare volume on the "Arte de Ballesteria y Monteria,"
Madrid, 1644, 4to, from which I copy the following passage, p. 11:--"The
crossbow is more secure and less dangerous than the arquebuse; for it
has never been known that a man's life has been lost by breaking the
string or cord, two things which are dangerous, but not to a
considerable extent. The crossbow has many advantages over the
arquebuse: it kills, but does not frighten game; this cannot be done
with the arquebuse, for the sound it makes alarms and frightens the
game, and is heard everywhere. Once set, its shot is secure; which is
not the case with the arquebuse, which often misses fire.
"This weapon has been used in Spain from very early times, and has been
made by the best masters; the most famous among them were--
Azcoitia el Viejo.
Pedro de la Fuente.
Christoval de Azcoitia.
Juan Hernandez.
Juan Perez de Villadiego.
Juan Azcoitia.
Vzedo.
Hortega.
"The only famous maker of crossbows of the present time is Juan de
Lastra."
Espinar does not mention the name of Miguel, a crossbow maker of
Zaragoza, or another celebrated maker who lived at Barbastro. The
ambassador Salinas alludes to them both in an hitherto unedited letter
written to King Ferdinand of Hungary, the brother of the Emperor Charles
V. He says:--"Before I was able to find a lodging in this town of Monzon
(Aragon), which was about five or six days, I went to Balbastro,
Barbastro, and there occupied myself in making a pair of crossbows for
your Majesty. I believe they are so made that they will satisfy the
desires which were required; they were made in my presence and according
to my wishes, and as your Majesty is annoyed when they do not go off as
you wish, I determined to make them in the following manner: One of them
weighs l. ounces, which is considered here a very great weight. I,
knowing your Majesty's wishes, had another made of lvi. ounces, that is
to say 3-1/2 lbs. of Castille, carved and worked in such a manner that
the cords should not break; and that it be pleasant to shoot, I can
affirm your Majesty that the maker is the best which exists in Spain,
and yet he has never made so fine a crossbow as this one which is now
sent to your Majesty; and if not to your liking, I do not expect you
ever will be pleased with one. I have sent them to Victoria in order
that the screws may be made to fit the cords, and have ordered them to
be made without delay; and as soon as they are ready they are to be sent
to Bilbao to be forwarded to Flanders to the Queen, to whom your Majesty
must write, in order that whatever you may wish may be done with them.
When we leave here, it is said, we are to go to Zaragoza, where your
Majesty will stay ten or twelve days. I will order two crossbows from
_Maestro Michel_, who competes with the maker at Barbastro. I will do
the same with these as the others. I entreat your Majesty should provide
that the best of the two should not be lost. I am thoroughly satisfied
with it, and am sure it will please your Majesty. From Monzon, 27th day
of August, MDXXXIII." (Copy of a letter by Martin de Salinas to
Ferdinand, King of Bohemia and Hungary, MS. fol. Acad. of History, c.
71).
Martinez de Espinar gives in his "Arte de Ballesteria," p. 41, the names
of the best Spanish arquebuse or musket makers, and says: "The first
cannon brought to Spain came from Germany; the artist who made them used
the following marks:--
"Two heads.
"A vase.
"A vase and pine.
"A pair of tongs.
"Flames.
"A knife.
"An excellent artificer worked formerly in Italy called Lazari Cominaz,
but many bad cannons have been attributed to him.
"The best Spanish masters were--
"Maestre Simon, el viejo.
"Maestre Pedro, his brother, who made at Madrid excellent cannon and
locks.
"They came over with the Emperor Charles V., and worked also for the
Kings Philip II. and III., and marked the pieces they made with three
sickles.
"Maestre Simon had four sons; all of them followed his profession.
Felipe and Simon Marcuarte have worked for Philip III. and IV. Simon
Marcuarte is still alive. They mark with a sickle in a shield, and make
also excellent hunting-knives, archers' knives, halberds, and other
things. Pedro, their brother, is also an excellent artificer.
"Juan Salado worked in several localities, and died at Salamanca. He was
an excellent arquebuse maker. His mark was the letter of his name and a
horse.
"Sanchez de Mirveña, his son-in-law, followed him. He marked with a lion
and his initials.
"Gaspar Fernandez was brought by King Ferdinand from Salamanca, and the
arms he makes are the best in Spain.
"Pedro Muñoz worked at Seville. He was surnamed El Toledano, and marked
with all the letters of his name.
"Juan de Metola did the same.
"Leguizamo worked at Seville. He marked with his name and two stags.
"Francisco Hernandez used his full name.
"Andres Herraez was a native of Cuenca. He made every sort of arm, and
marked with an eagle and his initials.
"Maestre Cristoval de Ricla marked with an X.
"Pedro Palacios with P P."
A fine musket exists by Palacios at the Royal Armoury of Madrid--No.
427. By Cristoval de Ricla there is a cannon of worked iron, No. 2319,
mounted on its gun-carriage, with the following inscription, "Hizome en
Ricla Cristoval Frisleva año, 1565." A fine gun, also at the Armeria, is
by the same artist.
Juan de Espinar does not mention the following artists, who lived at his
time at Madrid. I find their names given in original documents in the
Library of the Academia de San Fernando.
Bartolomé de Orgaz 1643
Juan de la Cruz 1629
Juan de Mazo 1613
Juan de Pozo 1625
Juan de Zuazo, armourer of his Majesty 1645
Lucas de Ros, armourer of his Majesty 1623-1628
Matias Suezo, was arquebusier of the guards of Seville in 1625
Rafael Villato in 1625
Pero Matia appears in documents of the archives of Simancas as musket-maker
living at the Alhambra at the end of the 16th century.
By extracting the information on this subject which is given in the
introduction to the Catalogue of the Armoury, we find this list can be
brought down to our time:--
Gaspar Hernandez had two excellent pupils.
Domingo Garcia and Juan Belen, who marked with a lion with a lifted paw.
He was appointed gunsmith to King Charles II. in 1699.
Alonso Martinez was an excellent artist; he marked his work with the
letters of his name.
Luis Santos, 1739.
Nicolas Bis.
Matias Baeza, gunsmith of King Philip V., 1739.
Alonso Martinez, 1732.
Diego Esquivel.
Juan Fernandez, appointed in 1726.
Diego Ventura, appointed gunsmith to Charles III., 1760.
Luis Santos.
Matias Baeza, 1740.
Francisco Bis.
Ignacio Barcina.
Sebastian Santos, 1752.
Gabriel de Algora, appointed gunsmith to Ferdinand VI., 1746.
Juan Fernandez.
Manuel Sutil, an excellent artist.
José Cano, 1740.
Joaquin Celaya, 1749.
José Lopez.
Diego Ventura.
Benito San Martin.
Juan Santos.
Francisco Lopez, a great artist, gunsmith of King Charles III., in 1761.
José Cano.
Diego Alvarez, 1775.
Joaquin Celaya.
Salvador Cenarro, 1762.
Antonio Gomez, 1762.
Pedro Ramirez.
Agustin Bustindui.
Sebastian Santos.
Pedro Fernandez.
Gabriel de Algora.
Agustin Ortiz, 1761.
Miguel Cegarra, 1768.
Francisco Lopez.
Francisco Garcia, 1788.
Isidoro Soler, 1792.
Francisco Targarona, 1792.
Gregorio Lopez, 1792.
Agustin Ortiz.
Pedro Fernandez.
Carlos Rodriguez.
Antonio Navarro.
Diego Alvarez.
Valentin Lopez.
Juan de Soto.
Carlos Montargis, 1783.
Manuel Cantero, 1792.
Hilario Mateo.
Antonio Gomez.
Juan Lopez.
Ramon Martinez.
Basilio Escalante.
Manuel Soler.
Melchor Alvarez, the first gunsmith who forged spiral cannon in Spain,
and made double-barrelled guns.
Gregorio Lopez.
Aquilino Aparicio.
Ramon Zuloaga.
Eusebio Zuloaga.
*** The marks used by these artists are given in plate 9 of "Catalogo de
la Armeria de Madrid," 1849.
Daggers, knives, scissors, and other small arms made in Spain, have been
famous from early times. A good example of a dagger is No. 2238, 55 at
the Kensington Museum. A great number of towns have been distinguished
for this industry, such as Albacete, Murcia, Alcazar de San Juan, and
Guadix, where even in the present day much cutlery is produced. The
cutlery made in Spain preserves the traditional Moorish forms. Al
Makkari says, in speaking of these objects, in his "Moham. Dyn. in
Spain," vol. i., p. 93:--"Murcia was likewise famous for the manufacture
of coats of mail, breast-plates, and steel armour inlaid with gold; all
kinds of instruments of brass and iron, such as knives, scissors, and
other trinkets, and especially weapons and other warlike instruments,
wrought in such perfection as to dazzle with their brightness the eyes
of the beholder." The translator adds, p. 393: "Several towns in the
province are renowned for this industry. At Albacete there are several
manufactures of well-tempered scissors, daggers, and knives, which, from
the shape of their blades, betray their Moorish origin. Since the
expulsion of the Moriscos, the Spaniards have kept up this manufacture,
and daggers and knives of the end of the last century are often met with
bearing Arabic inscriptions and verses from the Koran. I have seen one
which on one side has the following inscription, 'I shall certainly kill
thy enemies with the help of God,' and on the reverse, 'Fabrica de
Navajas de Antonio Gonzalez, Albacete, 1705.'"
Sr. Rico y Sinovas has published an interesting article on ironwork in
the "Almanaque de el Museo de la Industria," 1872. He gives the names of
the following artists who were famous in this industry.
Aguas, Juan; he worked at Guadix in 1735.
Albacete, signed Cel, 18th century.
Ambrosio, worked at Mora in the 18th century.
Arbell, Ramon, worked at Olot, Cataluña, in the 17th century.
Beson, Manuel, worked at Madrid.
Castellanos, el _viejo_, worked at Albacete in 1766.
Castellanos, el _mozo_, worked at Albacete in the 18th century.
Castello, Gregorio, 16th century.
Cerda, Miguel de la, worked at Madrid and Segovia in 1590.
Diaz, Pedro, worked at Albacete in the early half of the 18th
century.
Escobar, Cristoval, 16th century.
Escobar, Juan, 17th century.
Fernandez Manso de Payba, Jose, master cutler of the 18th century.
Garcia de la Torre, Teodoro, 18th century.
Garijo, master cutler of Albacete; he worked in 1771.
Gomez, Mateo, worked at Albacete in 1659.
Grande, Juan, 1643.
Gutierrez, worked at Chinchilla, 1701.
Herrezuelo, el _viejo_, worked at Baeza in 1643.
Herrezuelo, el _mozo_, worked at Baeza in 1643.
Horbeira, Angel, worked at Madrid in the second half of the 17th
century.
Lallave, Juan, locksmith of Madrid in 1820.
Leon, worked at Albacete early in the 18th century.
Llorens, Pablo, worked at Olot in 1699.
Moro, worked at Madrid late in the last century.
Ramirez, Juan, worked at Mexico in 1590.
Romero, worked at Albacete in 1769.
Rosel, worked at Mora.
San José, worked at Jaen in 1673.
Selva, Juan, worked at Cartagena in 1780.
Segura, worked at Mora towards the end of the last century.
Sierra, Juan, worked at Albacete in 1771.
Sosa, Madrid, 17th century.
Torres, Albacete, 17th century.
Vicen Perez, worked at Albacete in 1674.
Vilarosa, Antonio, worked in the 17th century.
Vicen Perez, Julian, worked at Albacete in 1710.
Zervantes, Francisco, Toledo, 17th century.
The following artists' names may be added; they consist of master
cutlers of Madrid, and are to be found in a bundle of original documents
at the Academy of San Fernando.
Alcocer, Francisco, 1635.
Baltanos, Lucas de, 1611.
Castillo, Rafael del, 1625.
Cuenca, Francisco de, 1613.
Fuente, Pedro de la, worked at Mora and Madrid in 1628.
Garcia, Bartolomé, 1642.
Gonzalez, Marcos, 1624, 1625.
Heras, Antonio de las, 1611.
Luzon, Andres de, 1611.
Martin, Alonso, 1643.
Martinez de Machuca, Pedro, 1611.
Morel, Alonso, 1643.
Rodriguez de Quiñones, Pedro, 1611.
Torres, Antonio de, 1622.
Valsarias, Lucas de, 1611.
The following names of artists are given in Calomarde's "Historia
Politica de Aragon."
Ferrara, Andres, Zaragoza, 16th century.
Picado, Jeronimo, Calatayud, 1722.
Nieva, Luis, Calatayud, 17th century.
Munester, Andres, Calatayud, 18th century.
FURNITURE.