CHAPTER X_Sculpture in Spain

THE SCHOOL OF GRANADA AND ALONSO CANO--THE DECLINE OF

SCULPTURE--FRANCISCO ZARCELLO

The school of Granada was an offshoot from the school of Seville, and it

owes its glory chiefly to one man, who must be considered as the pupil

of Montañés.

Alonso Cano was born at Granada, on the 17th of March 1601, and was

baptized in the parish church of San Ildefonso, where the register of

his baptism may still be seen. His father, Miguel Cano, was a carver of

retablos, and it was with him that the young Cano learnt the rudiments

of his art. Before long his talent gained the notice of the painter Juan

del Castillo, who recommended the removal of the Cano family to Seville

for the sake of better instruction. Cano entered for eight months the

studio of Francisco Pacho, where he learnt painting, having for his

fellow-student Velazquez. Afterwards he became the assistant of Juan del

Castillo. In sculpture he was the pupil of Montañés, and for several

years he worked under his guidance. There seems to have been a great

friendship between the master and pupil. Cano’s debt to Montañés was

very great, and his early works in Seville, executed under the direction

of the master, are proof of how completely he assimilated his style.

Cano’s earliest sculptured works were three retablos, designed, carved,

and painted, one for the College of San Alberto, and two for the

Conventual Church of Santa Paula. Zurbaran and Pacheco were employed

with Cano in executing the altar-screen of San Alberto, and Cean

Bermudez tells us that his work surpassed theirs in merit. In the

execution of the two altar-screens for Santa Paula he was helped by

Gaspar de Ribas, who worked with him under the direction of Montañés.

These screens remain in the Church of Santa Paula--one over the altar of

St. John the Baptist, the other over that of St. John the Evangelist.

They are pieces of harmonious work, altogether praiseworthy, which show

Cano’s combined power as architect, sculptor, painter, and damask

worker. The finer is the altar of St. John the Baptist. The statue of

the prophet and a bas-relief representing the Baptism of Christ are at

either side, and between a beautiful representation of figures carrying

the head of St. John on a charger; then to right and left, between the

columns, are placed statues of the Saints, and these surmount figures of

the Virtues and Cherubim. The hand of a master is seen everywhere.

Besides the altar-screens of Santa Paula, there are a few good carvings

that belong to this period of Cano’s youth. There is a Conception in the

nunnery of Santa Paula, placed over the doorway, and a second, and

perhaps finer, Conception is in the parish church of San Andrés, and

there is also in the same church a very beautiful Child Jesus,

unfortunately dressed in a satin robe which quite hides the body. These

statues are all good, and indeed might be ascribed to Montañés except

for a weakness in the modelling of the nude portions, a fault which Cano

afterwards overcame. The few other carvings in Seville that are ascribed

to Cano are less certainly by him, and are works of little interest.

An important undertaking belongs to the year 1628. Miguel Cano had been

employed to erect a new high altar for the church at Lebrija, a small

town situated forty-five miles from Seville on the way to Jeréz. The

altar was already designed, but the actual carving was not started, when

Miguel Cano died. It fell to his son to complete the work. Four pieces

of sculpture were executed; a Crucifixion to be placed above the altar,

colossal statues of St. Paul and St. Peter for its second storey, and a

small and exquisite image of the Virgin enshrined within a curtained

niche above the slab of the altar. This last is perhaps the most

pleasing sculpture of this early period; it is one of those really

beautiful pieces which cause us to forgive much of Cano’s commonplace

work.

It was soon after this that Cano left Seville. He could not bear any

superior in his art except his master to be near him, and he challenged

a fellow-painter, Sebastian de Llano y Valdés, whose success had enraged

him. He stabbed and wounded him, and, to escape the action of the

ecclesiastical authorities, he fled to Madrid. Here he renewed his

friendship with Velazquez, and through his influence gained an

appointment to work in the royal palaces, besides having the honour of

being professor to Prince Baltasar Carlos.

During this period, and in the years that followed, Cano did more

painting than modelling, and we have many pictures from his hand, some

of which may be seen in the Prado Museum. In 1643 we find Cano at Toledo

soliciting work in the cathedral. He did not obtain it, and returned to

Madrid, where, soon afterwards, he was accused of murdering his wife.

This was the beginning of a period of turmoil and wandering. Cano fled

to the city of Valencia and afterwards took refuge in the Cartuja of

Portacali. But later on, returning to Madrid, he fell under the tribunal

of the Inquisition. After suffering the torture, he was adjudged

innocent of the crime with which he was charged, and appointed Majordomo

of the Brotherhood of Nuestra Señora de los Dolores. This was a source

of fresh trouble, and Cano was fined a sum of a hundred ducats for

refusing to assist in the procession in Holy Week beside the _alguazils_

of the court--a characteristic incident, for Cano was a man who never

crossed his own wishes. Cano again left Madrid, and we find him in

Toledo, employed by the chapter to inspect the works in the octagon

chapel. Afterwards he must have gone to Valencia and Malaga, then he

appears again at Madrid. But he seems to have sought an opportunity to

leave the royal city, and a canonry being vacant in the Cathedral of

Granada, he petitioned the post from Philip IV., which was granted by a

royal decree, dated September 11, 1651, under conditions that he should

take orders within a year. But the year passed and Cano was not

ordained, and his prebendaryship was declared vacant. Whereupon Cano,

who was still governed by self-will, took his grievance to the courts. A

chaplaincy was conferred on him by the Bishop of Salamanca, and the

artist was ordained a sub-deacon. Then the king ordered, by a decree

dated April 14, 1658, that the Granada prebendaryship should be restored

to him, with the condition that he adopted ecclesiastical dress, which

hitherto he had refused to wear. At last, in 1659, Cano returned to

Granada, and took possession of his prebendaryship, which he occupied in

peace for the remaining eight years of his life.

This was the period of Cano’s greatest activity. The only sculptured

works achieved during these turbulent years were the design for the Holy

Week monument of the Church of St. Gines, Madrid, and also the design

and the superintending of the building of the triumphal arch erected at

the Guadalajara gate for the entry of Queen Mariana on her marriage with

Philip IV. But now the restless artist had found a fixed home in the

city of his birth, with unhindered opportunity for the exercise of his

facile gifts.

Granada, and especially the cathedral--in the bell tower of which

building his studio was--owe much to these years of Cano’s residence.

His activity seems to have been unwearying. But, indeed, it must be

granted that the city possesses more works than Cano could possibly have

accomplished in a period of eight years. It has been usual to attribute

to him every good piece of polychrome statuary in Granada. This is not

surprising, for it is often impossible to distinguish with certainty

between his work and that of his pupils Josef de Mora and Pedro de Mena,

who imitated his style and made copies of many of his works. And the

confusion is increased by the habit which Cano had of himself working on

the carvings of his assistants; were they in difficulty, he would finish

their work with his own hand. Thus it is impossible to pronounce with

certainty as to the authorship of many of the reputed Canos in Granada.

Among the statues in the cathedral that are ascribed to Cano, and are

certainly his work, we may place first the Purissima, which is kept in

the sacristy. It is a small and very beautiful statuette which has the

qualities that belong to Cano’s paintings. Even more interesting is the

group of the Virgin and Child, with Santa Ana, also in the cathedral,

where it is hidden in the gloom of a dark side-chapel. Quite unknown,

this beautiful statue is almost certainly Cano’s work; it has all the

qualities that belong to his art. The Virgin, who is seated on the knee

of Santa Ana, holds the Child Jesus. The figures are half life-size; the

three faces and the hands are of exquisite delicacy. The Virgin

resembles the Purissima in her sweetness. What a dainty fairness is

here; with what exquisite taste the veil and the robe are arranged! The

polychrome, too, is very beautiful, and fortunately it has not been

restored. The Virgin wears a white tulle turban, which is black striped

and gold fringed; her robe is light red, damasked in gold, and partly

covered by a drapery of indigo blue, which is fastened with gold clasps

at the shoulders and waist. Santa Ana’s robe is black, gold embroidered,

while her cloak is a deeper shade of the same red-brown as the Virgin’s

tunic.

In these two statues we see Cano’s power in expressing tender human

emotions. It is the quality that marks his works--both his painting and

his carvings--among the Spanish masters. His art never touches the

passionate Conceptions of Ribera or Zurbaran in painting, or of

Hernandez in sculpture: it is on a lower level than the ecstatic emotion

of Murillo or the beautiful carvings of Montañés. Cano is mild and

touching; he neither excites nor thrills us. His Virgin is the happy

earthly Mother who takes sweet pleasure in her Child, not the Mater

Dolorosa, suffering for the sorrows of her Divine Son. She has the

fairness which he gives to all women. It was this understanding, so

uncommon in Spanish art, whose object was “to persuade men to piety and

to incline them to God,” of the joy of life with its human

relationships, that was Cano’s special gift. He changed the dramatically

serious religious compositions common to his country into scenes that

speak charmingly of tender joyousness born of earthly love. To him

alone, it would seem, it was given to find joy, and not sorrow, in the

divine drama from which the Spanish artists drew their inspiration.

Other carvings in the cathedral that are ascribed to Cano, though his

authorship in some of the pieces is disputed, are the colossal busts of

Adam and Eve placed very high to the right and left of the entrance to

the Capilla Mayor, and the heads of St. Paul and St. John the Baptist,

which are hidden in the darkness of the Chapel of Nuestra Señora del

Carmel. These carvings, and especially the bleeding heads of the saints,

are subjects that do not properly belong to Cano’s art, but were

undertaken by him to meet the popular taste of his day, and for this

reason they are of less interest. Yet their importance is great on

account of the excellence of the polychrome. The Adam and Eve, larger

than life-size, are carved in oak, and harmoniously coloured with

excellent care. Unfortunately the height at which they are placed makes

it very difficult to see them. The head of St. Paul and that of the

Baptist--if this is Cano’s work, and the skill of the craftsmanship

points to its being so--must be classed with the similar head of St.

John the Baptist in the Church of Santa Paula, which is also ascribed to

Cano. This last piece seems to have been copied from the head of the

Prophet sculptured by Montañés for the Church of Santa Clara. There is

also a most excellent Head of St. John the Baptist in the Camarin of the

Chapel of San Juan de Dios, which must certainly be Cano’s work (Plates

154-156). None but a master could have carved this head; it is the

finest example in Spain of a polychrome of this subject. The livid face,

which shows the death-marks, is surrounded with tumbled locks of black

hair and a beard of the same colour. Both it and the bleeding neck are

faithfully and splendidly rendered: there is beauty in the horror. The

charger on which the head is placed is of gold, and forms a sort of

aureole around it. At the top an eagle has seized it in its beak to

carry the relic to heaven; the bird is painted a deep warm black with

beautiful reflections.

The cathedral has other works which it owes to the years of Cano’s

residence. The beautiful frescoes of the Capilla Mayor, illustrating

scenes from the life of the Virgin, were his work. The lower stage of

the west façade we owe largely to him. He designed and superintended the

execution of two silver lamps for the principal chapel; he carved the

elaborate lectern of the choir, formed of fine woods, bronze, and

precious stones; and executed new portals for the sacristy. Two

medallions on copper of great delicacy were wrought for the Chapel of

the Trinity. Here the figures recall the Virgin in the group of Santa

Ana and Virgin and Child. In addition several important pictures were

painted for the dome of the Capilla Mayor, and others as altar-pieces

for the chapels. Some of these canvases disappeared when Granada was

stripped of so many of its treasures by the French. But a few fine

pictures remain. The Trinity in the chapel of that name, the Way of the

Cross in Nazareno Chapel, and the Virgen de la Soledad, which hangs over

the altar of San Miguel, are the most important.

This last-named painting is especially interesting to us, for there are

two pieces of sculpture certainly copied from it, one in the parish

church of Santa Ana, the other in the Church of Santa Paula. Both are

excellent. The Virgin has the delicacy and beauty that we expect from

Cano. The polychrome is subdued; the flesh of the face and the beautiful

folded hands are a dull pallor, befitting grief; the eyes and the tears

are formed by crystals, after the custom used by Gregorio Hernandez and

Juan de Juni. The dress, which is white, and the mantle, of bluish

black, are perfectly harmonious. These colours are a repetition of the

cathedral picture. And the question arises, are the sculptures also by

Cano? That of Santa Paula has always been ascribed to Josef de Mora. If

we accept this, we must account the Soledad of Santa Ana as the work of

Cano, and the Santa Paula as a splendid copy. But both statues are so

equally good, especially in the colouring, that the pupil’s work must

have been touched by the hand of the master. It is impossible to believe

that Josef de Mora could have achieved this masterpiece unaided.

The same difficulty of authorship between the master and the pupil

confronts us in the two statues of St. Bruno, both in the Cartuja

(Plate 158). One, life-size, is in the sacristy, and this work is

reported to have been ordered from Josef de Mora; the other, a

statuette, which is placed over the high altar, may with little question

be ascribed to Cano. At least, if it is not his work, then it is a copy

of a lost original. Josef de Mora could not by himself have designed so

exquisite a work. The statuette exceeds the statue in beauty. Both the

carving and colouring are equally fine; the latter is a triumph of

polychrome. The monk’s pale face and hands, his white robe, and his

scapular of the same colour, are perfectly transcribed, a richness being

given to the white of the dress, in contrast to the pale flesh, by the

device of the old damask workers of painting over a gold ground. This

small work is another masterpiece which Cano achieved. It takes rank

with the St. Anthony in San Nicolas of Murcia, a better known work,

which belongs to an earlier period of Cano’s art. The Cartuja formerly

contained a fine statue of the Magdalen, which is ascribed to Cano

(Plate 159). It was taken away, with many works of art, during the

invasion of the French.

There is almost hopeless uncertainty with regard to the remaining

commissions carried out by Cano for the religious orders of Granada.

Cean Bermudez catalogues many paintings and sculptures that have

disappeared. For the Convent of the Angel we read that Cano carved in

marble a figure of the Guardian Angel to be placed over the portal, and

designed an elaborate altar-screen, which was carved by Pedro de Mena,

though Cano chiselled several of the statues with his own hand. He also

painted a picture of our Lord parting from the Virgin in the Via

Dolorosa. Other pictures were painted for the Convent of San Diego, and

a series of half-length figures of the Apostles were designed and

executed for the Dominican Monastery of Sta. Catalina. Then Cano worked

for private patrons. Palomino tells of a statue of St. Anthony of Padua,

carved for the Auditor of the Chancery, which Cano, becoming enraged

with his client about the payment of the work, dashed to pieces: a

characteristic incident, which recalls the action of Torrigiano.

Unfortunately the disappearance of many of these churches and

monasteries with all their contents, and the change of the names of

others, makes it impossible to estimate these works or to hazard an

opinion as to their present whereabouts.

Cano closed his activity with a series of works for Malaga Cathedral. He

designed the Capilla Mayor, and undertook to carve new stalls for the

choir, but a dispute arising about the payment, he threw up the work

with his usual impetuosity and returned to Granada. A group of important

pictures were also painted in these last years.

Cano died in his house in the Albaicin quarter on the 5th October 1667;

he was then sixty-six years old. His body rests in the Pantheon of the

Canons beneath the choir of the cathedral.

It is worth noting that Cano died in poverty. His disposition was

generous, and the old Spanish writers tell us that his gains, as soon as

he won them, were divided among his friends and among the poor. We find

numerous anecdotes of his life, and one story of his death is too good

not to be recorded; moreover it helps to complete our knowledge of the

man. The priest summoned to offer extreme unction to the dying Cano was

accustomed to labour among penitent Jews, towards whom the artist had

always displayed a curiously passionate antipathy. The sick man

recognised the priest. “Go, Señor Licenciado,” he cried, “go with God

and do not trouble to call again: the priest who administers the

Sacraments to Jews shall not administer them to me.” A fresh priest was

summoned. The new-comer placed an old-fashioned crucifix in the hands

that had carved so many beautiful pieces. Impatiently Cano pushed it

aside. “My son,” gently remonstrated the priest, “what dost thou mean?

This is the Lord who redeemed thee and must save thee!” “I know that all

very well,” was Cano’s answer, “but do you want to provoke me with this

wretched ill-wrought thing in order to give me over to the devil?”

Cano was a gallant soul storming through life, who in spite of his

violence and restlessness was loving and charitable, displaying

boundless graciousness towards his friends and his pupils. No master

ever took greater interest in his pupils; he gave freely to them of his

knowledge and his work. These contradictions in Cano’s temperament

explain his art.

Among Cano’s pupils special mention must be made of Josef de Mora and

Pedro de Mena; both imitated their master so closely that, as we have

seen, their works have been confused with his. This is perhaps the best

praise that can be accorded to the pupils. Joseph de Mora was born at

Majorca in 1638, where he passed his youth learning his art from his

father. The fame of Cano brought him to Granada, and he at once became a

pupil in the studio of the master. He acquired considerable skill as a

carver, and a few years later he went to Madrid, where he was appointed

sculptor to the king. But the climate of the capital being unsuited to

his health, he returned to Granada. From this time Mora became wholly

the imitator of Cano. He had a curious habit that is worth recording; no

one ever saw him at work, for when in his studio with his model the door

was always kept bolted. This explains perhaps why he was able to copy so

successfully the carvings of Cano. We have pointed out the various

statues in which confusion has arisen between the authorship of the

master and that of the pupil. The St. Bruno of the Cartuja and the

Virgen de la Soledad of Santa Ana cannot be given to Mora as wholly his

own work; a Conception in the Cartuja, if it is by his hand, must also

be considered as a copy of Cano. Fortunately for Mora’s personal

reputation there is in the Church of Santa Ana a statue by him of St.

Pantaleon, which reveals some individual characteristics. The figure of

the young martyred saint was modelled from a woman, and the spiritual

effect gained by this means is increased by the unusual device of

placing the statue in a glass case. The figure is very graceful and

delicate, which contrasts with the severity of the face. But there is a

weakness in the modelling of the legs and feet, and also in the folds

of the vestments, which the artist has striven to hide by the

polychrome. This is good, in the style commended by Pacheco, made in

subdued tones and with no gilding. The personal qualities of this statue

make us regret the practice of imitation of his master in which Mora

lost his own talent, which must have been considerable.

This is even more true of Pedro de Mena, Cano’s second pupil, who had

much greater originality and talent. A native of Alpujaras, where, in

collaboration with his father Alonso de Mena, he had established a

considerable local reputation, like Mora he came to Granada, attracted

by the renown of Cano. It is reported that when he saw the master’s

works in the cathedral his enthusiasm was so great that he determined to

do no more carving until he had become a pupil of Cano. He brought his

family to Granada and at once entered the studio of the master. Cano

recognised his talent, and passed over to him all the work which he did

not wish personally to execute. Under these conditions Mena gained the

commission, refused by Cano, to carve forty statues of the saints for

the choir of Malaga Cathedral. The work occupied four years, 1658-1662,

and for it Mena received payment of 40,000 reals. These statues prove

the great talent of Mena. The figures are carved in cedar-wood and are

not coloured. What is remarkable is the individuality which Mena has

succeeded in giving to the different saints; each is a living character.

Professor C. Justi says of these statuettes: “They are among the most

singular and startling products of Spanish art, if not of all modern

sculpture.” Mena had the Spanish gift of impressive rendering of

character, and it is for this quality he claims recognition.

In 1667 Mena was appointed sculptor to the Chapter of Toledo. Probably

it was at this time that he carved the statuette of St. Francis (Plate

160), now in the Cathedral Treasury, which has erroneously been ascribed

to Cano. This ascetic figure, so Spanish in its conception, could never

have been carved by Cano. The popularity of Mena increased, and on the

death of Cano he took his place, fulfilling many commissions for the

different religious orders. The city still contains several of his

works. The equestrian statue of St. James and the praying statues of the

Catholic Kings in the cathedral are the best known. But these works are

of much less merit than the saints in the choir of Malaga. Certainly

they have some individuality, but Mena here relies too much on what he

had learnt from Cano; or perhaps popularity had made him careless.

But Mena’s fame spread, and he was called by Prince John of Austria to

Madrid to execute a Virgen del Pilar with St. James at her feet. The

success of this work gained a second commission, and Prince Doria

ordered a Crucifixion which was sent to Italy, where it gained much

praise--a rare honour for a Spanish sculptor.

Mena did not remain in Madrid, and after a period of residence in

Cordova, Malaga, and Salamanca, where he carved a statuette of St.

Francis which is still in the city, he returned to Granada, where he

died in 1693.

* * * * *

The last years of the seventeenth century saw the death of the great

sculptors of Spain, and with the opening of the eighteenth century we

may say that the art of sculpture itself was dead. A corruption in taste

had become general; it was evident in painting and in architecture as

well as in sculpture. Churriguera was the great offender, but his

contemporaries, following his lead, had sought by bad taste, displayed

in excessive decoration and vivid colour, “to correct” the simplicity of

art. The decline of sculpture in the South was more rapid and perhaps

greater than in the Northern schools. Many of the old altar-screens

were replaced by modern works of the new false art. A popular desire

arose for works of the coarsest materialisation. The custom grew of

dressing the statues in real garments. Then eyes of glass and real hair

were in many instances added, and apparatus was invented for moving the

head, mouth, eyes, and limbs of the statues. Many pieces of fine

sculpture were actually destroyed to meet this degraded demand. The

Virgins, and notably the las Doloras, were subjected to this treatment.

One example of these “dressed images” is a Virgin in Seville Cathedral.

The limbs of this carved doll move at the joints, while a contrivance in

the body enables the head to turn to the right or the left. The body is

covered with rose-coloured taffeta which is glued to the wood, the hair

is of silk plaited with gold threads, and shoes of white kid encase the

feet. Sometimes the figure sits, and sometimes stands, and the Child

Jesus is placed in the arms or upon the knees according to the position

of the mother.

There is little more to add. A dying tradition of art with no master to

reanimate its life--that is the record of the eighteenth century.

One artist alone claims remembrance. Francisco Zarcello was the son of

an unimportant Neapolitan artist, who had settled in Murcia at the close

of the seventeenth century. It was from his father that Francisco

Zarcello gained what training in art he had. It is said that he purposed

going to Italy to study, but the project was not carried out. Probably

Zarcello gained from thus pursuing his art alone, as he was saved from

the error of imitation, especially baneful in this period of decadence.

And though the renown he gained must be admitted to be in excess of the

merit that his works claim, he did possess a considerable talent, with

real feeling and something of the old Spanish religious sincerity. Had

he lived in a different epoch, with conditions more favourable to art,

he might have been a great artist.

Zarcello executed numerous works: indeed a greater number of statues and

statuettes--no less than eighteen hundred--than several men’s lives

could have sufficed to have produced are catalogued to his name. Many of

these present really admirable qualities. He was especially successful

in the grouping of his figures, many of which, though showing

exaggerated attitudes, are true works of art. His retablos in the

churches of Murcia, and the realistic groups of the “Pasos,” guarded in

the Ermita de Jesus (Plate 161), are remarkable examples of his power.

We are able to forget the materialistic devices used--such, for

instance, as the embroidered velvet robes which the Christ wears--by

reason of the truth and religious passion which has inspired the artist.

But all Zarcello’s figures display his faults, excited gestures,

confused drapery, and a want of care in the modelling of the

extremities.

Among his single statues we may mention the St. Jerome in the Cathedral

of Murcia, of which there is a replica in the convent of the saint,

three miles from the city. This statue is said by Antonio Alix, the

latest historian of Zarcello, to be equal to Torrigiani’s St. Jerome, an

estimate of praise which is surely excessive. Then there are the two

busts of St. John the Baptist in the Church of San Juan, a St.

Anthony--copied from Cano’s statue--a St. Francis, a Conception, and a

Purissima, as well as numerous representations of the saints. Every

church in Murcia contains some work of Zarcello. The statue of St.

Veronica (Plate 162) in Ermita de Jesus is the best single figure that

he achieved.

Zarcello stood alone. He was assisted in his studio work by the members

of his family, but no one of them inherited his talent. He seems to have

had no outside pupils. With his death, which occurred in the year 1748,

the history of ancient Spanish sculpture closes.

[Illustration: PLATE 1

Visigoth Crowns found near Toledo]

[Illustration: PLATE 2

Byzantine Crucifix and the Virgin in the Gothic Style. Provincial Museum

of San Marcos, Leon]

[Illustration: PLATE 3

Wooden Crucifix with which the Troops of the Cid were harangued. The

smaller Crucifix the Cid carried beneath his Armour. Salamanca

Cathedral]

[Illustration: PLATE 4

Byzantine Chest, Toledo Cathedral]

[Illustration: PLATE 5

Roman Statue found in the Ruins of Salonica. Provincial Museum, Burgos]

[Illustration: PLATE 6

El Santo Cristo, Burgos Cathedral]

[Illustration: PLATE 7

Façade of the Cathedral, Santiago de Compostella]

[Illustration: PLATE 8

Portico of La Gloria, Santiago de Compostella Cathedral]

[Illustration: PLATE 9

Detail of Carvings of the Portico of La Gloria, Santiago de

Compostella]

[Illustration: PLATE 10

Colegiata de San Isidoro, Leon]

[Illustration: PLATE 11

Spandril of Gate of Pardon in the College of San Isidoro, Leon]

[Illustration: PLATE 12

Two Statues in the Archælogical Museum, Leon]

[Illustration: PLATE 13

San Vicente, Avila]

[Illustration: PLATE 14

Basilica of San Vicente, Avila, Principal West Entrance]

[Illustration: PLATE 15

Zamora Cathedral]

[Illustration: PLATE 16

Cloisters of San Pablo del Campo, Barcelona]

[Illustration: PLATE 17

Cloisters of the Monastery of Las Huelgas, Burgos]

[Illustration: PLATE 18

Tarragona Cathedral]

[Illustration: PLATE 19

Portal, Tarragona Cathedral]

[Illustration: PLATE 20

Burgos Cathedral]

[Illustration: PLATE 21

Toledo Cathedral]

[Illustration: PLATE 22

Leon Cathedral]

[Illustration: PLATE 23

Detail of the Choir Stalls, Leon Cathedral]

[Illustration: PLATE 24

Detail of the Choir Stalls, Leon Cathedral]

[Illustration: PLATE 25

St. Mary Magdalene and Santo Domingo (Choir Stalls), Leon Cathedral]

[Illustration: PLATE 26

San Celedonio and San Esteban (Choir Stalls), Leon Cathedral]

[Illustration: PLATE 27

Noah, and Adam and Eve (Choir Stalls), Leon Cathedral]

[Illustration: PLATE 28

Samson (Choir Stalls), Leon Cathedral]

[Illustration: PLATE 29

Esau (Choir Stalls), Leon Cathedral]

[Illustration: PLATE 30

Detail of Portico, Santiago de Compostella]

[Illustration: PLATE 31

San Francisco. San Marcos Museum, Leon]

[Illustration: PLATE 32

Various Statues from the Cross Aisle, Leon Cathedral]

[Illustration: PLATE 33

Our Lady del Foro and the Offerings of the Kings, Cloisters, Leon

Cathedral]

[Illustration: PLATE 34

A Sepulchre in the Convent of Las Huelgas, Burgos]

[Illustration: PLATE 35

Sepulchres in the Old Cathedral, Salamanca]

[Illustration: PLATE 36

Statues of the Portico, Tarragona Cathedral]

[Illustration: PLATE 37

Puerta Alta de la Coroneria, Burgos Cathedral]

[Illustration: PLATE 38

The Cloister Gate, Burgos Cathedral]

[Illustration: PLATE 39

The Cloisters, Burgos Cathedral]

[Illustration: PLATE 40

Detail of the Cloisters, Burgos Cathedral]

[Illustration: PLATE 41

Detail of the Cloisters, Burgos Cathedral]

[Illustration: PLATE 42

A Sepulchre, Las Huelgas, Burgos]

[Illustration: PLATE 43

Sepulchre of Archbishop Maurice, the Founder of the Cathedral, Burgos]

[Illustration: PLATE 44

Sepulchre of Archbishop Maurice, Founder of the Cathedral, Burgos]

[Illustration: PLATE 45

Sepulchre of the Infanta Doña Berenguela, daughter of San Fernando,

Monastery of Las Huelgas, Burgos]

[Illustration: PLATE 46

Tomb of Jaime de Aragon, Tarragona Cathedral]

[Illustration: PLATE 47

Sepulchre of Martin, First Bishop of Leon, Leon Cathedral]

[Illustration: PLATE 48

Sepulchre of Don Ordoño II., Leon Cathedral]

[Illustration: PLATE 49

Sepulchre of the Martyrs, Basilica de San Vicente, Avila]

[Illustration: PLATE 50

Sepulchre of Archbishop Lopez de Luna in the Church of La Seo,

Zaragoza]

[Illustration: PLATE 51

Our Lady la Mayor, Statue of Silver, Burgos Cathedral]

[Illustration: PLATE 52

Statue of Our Lady de la Vega, Salamanca]

[Illustration: PLATE 53

Statue of Our Lady de la Blanca, in the Principal Porch, Leon

Cathedral]

[Illustration: PLATE 54

St. Michael slaying the Devil, Silver Statue by Juan de Arfé. Provincial

Museum, Salamanca]

[Illustration: PLATE 55

Diptych in the Camarin of Santa Teresa, Escorial]

[Illustration: PLATE 56

Detail of the Altar-screen of the Capilla de Santiago, Toledo

Cathedral]

[Illustration: PLATE 57

Altar-screen in the Capilla de Santiago, Toledo Cathedral]

[Illustration: PLATE 58

Chapel of Santiago, containing the Sepulchres of Don Alvaro de Luna and

that of his wife Doña Juana, Toledo Cathedral]

[Illustration: PLATE 59

Detail of the Altar-piece in the Capilla de la Trinidad, Toledo]

[Illustration: PLATE 60

Altar-piece carved in Wood, end of XVth Century. Valladolid Museum]

[Illustration: PLATE 61

Centre of a Wooden Altar-piece, end of XVth Century. Valladolid Museum]

[Illustration: PLATE 62

Chapel of St. Anne, Burgos Cathedral]

[Illustration: PLATE 63

Details of the Altar-piece in the Chapel of St. Anne, Burgos Cathedral]

[Illustration: PLATE 64

Sepulchre of Don Juan II. and Doña Isabel, La Cartuja, Burgos]

[Illustration: PLATE 65

Sepulchre of Don Juan II. and Doña Isabel, La Cartuja, Burgos]

[Illustration: PLATE 66

Detail of the Sepulchre of Don Juan II. and Doña Isabel, La Cartuja,

Burgos]

[Illustration: PLATE 67

Sepulchre of Infante Don Alonso, son of Isabella I., La Cartuja,

Burgos]

[Illustration: PLATE 68

Sepulchre of Don Juan de Padella. Provincial Museum, Burgos]

[Illustration: PLATE 69

High Altar, La Cartuja, Burgos]

[Illustration: PLATE 70

Detail of the High Altar, La Cartuja, Burgos]

[Illustration: PLATE 71

Detail of the High Altar, La Cartuja, Burgos]

[Illustration: PLATE 72

Choir Stalls, La Cartuja, Burgos]

[Illustration: PLATE 73

High Altar, Santa Gadea del Cid, Burgos]

[Illustration: PLATE 74

High Altar of the Church of Our Lady del Pilar, Zaragoza]

[Illustration: PLATE 75

Bas-relief in the Altar-piece, Chapel Royal, Granada]

[Illustration: PLATE 76

Detail of the Sepulchre of the Catholic Sovereigns, Royal Chapel,

Granada]

[Illustration: PLATE 77

Sepulchre of the Infante Juan, only son of Ferdinand and Isabella,

Church of Santo Tomás, Avila]

[Illustration: PLATE 78

Carvings of the Principal Chapel, by Borgoña, Burgos Cathedral]

[Illustration: PLATE 79

Back Part of the High Altar, Burgos Cathedral]

[Illustration: PLATE 80

Tras-Sagrario, by Felipe de Borgoña, Burgos Cathedral]

[Illustration: PLATE 81

Tras-Sagrario, by Felipe de Borgoña, Burgos Cathedral]

[Illustration: PLATE 82

Upper Part of the Choir Stalls, carved by Berriguete and Borgoña, Toledo

Cathedral]

[Illustration: PLATE 83

Upper Part of the Choir Stalls, carved by Berruguete and Borgoña, Toledo

Cathedral]

[Illustration: PLATE 84

Upper Part of the Choir Stalls, carved by Berruguete and Borgoña, Toledo

Cathedral]

[Illustration: PLATE 85

Upper Part of the Choir Stalls, carved by Berruguete and Borgoña, Toledo

Cathedral]

[Illustration: PLATE 86

Upper Part of the Choir Stalls, carved by Berruguete and Borgoña, Toledo

Cathedral]

[Illustration: PLATE 87

Upper Part of the Choir Stalls, carved by Berruguete and Borgoña, Toledo

Cathedral]

[Illustration: PLATE 88

Upper Part of the Choir Stalls, carved by Berruguete and Borgoña Toledo

Cathedral]

[Illustration: PLATE 89