Gothic Architecture in Spain

Influences

i. Geographical. Spanish architecture cannot be understood without a knowledge of the

geography of the country. The existence of rival races and kingdoms within the
peninsula was rendered possible by the mountainous character of some parts, and the
subdivision of the country by sierras, or chains of low rocky hills. The kingdom of
Granada, where the Moors held out until the close of the Gothic period, was surrounded
by mountains which enclosed a fertile plain, the finest in the country.

ii. Geological. Stone was the material generally employed, but granite and some of the
semi-marbles, which the country throughout possesses, were used in places. Rubble-
work, with brick bonding courses and quoins, was used under Moorish influence with
much taste and success, as in the towers and gates of the city of Toledo.

iii. Climate. This varies with the structure of the country, which is that of a series of
table-lands of varying elevations, divided by sierras. Burgos, in the north, 3;ooo feet
above the sea, is cold, and exposed to keen winds even in the summer, while in the
south the climate is sub-tropical.

iv. Religion. Constant warfare with the Moors gave a certain unity to Spain, the struggle
being a war of religions as well as of races. Allegiance to the Papacy has been a
characteristic of Spain, and Santiago was a pilgrimage center of more than national
importance. The arrangement of the choirs and the size and
importance of the chapels attached to the cathedrals were due to the ritual.

v. Social and Political. In the Spanish peninsula, the Christian states of Castile, Leon,
Navarre, Aragon, and Portugal were all growing up and gradually driving the
Mahometans into the southern part called Andalusia. After many intermittent successes,
as the capture of Toledo (1084) by Alfonso VI., the battle of Tolosa (1212), gained by
the Christians, was the turning point, after which Mahometan influence gradually
declined. It was during the reign of S. Ferdinand (1217-1252), who united Castile and
Leon, and won back Seville and Cordova, that Gothic art took root, sown by the spirit of
conquest and aided by the wealth of the conquered Moors. James, called the
Conqueror (1213-1276), King of Aragon, pressed into the east of Spain until the
kingdom of Granada was the only portion left to the Mahometans.

vi. Historical. The study of the history of a country, always necessary in order to
properly understand the development of its architecture, is specially required in the case
of Spain, which has been occupied at different times by peoples of various races. After
the Romans left Spam the Vandals and Visigoths took possession, after which, A.D.
710-713, the country was invaded by the Moors from North Africa, and for 800 years
their influence was continuous. The evidence of this is to be seen in the stronghold of
their power the south of Spain where the curious construction, the richness of the
architecture, and the exuberance of intricate, and lace-like, detail are every- where
apparent. This influence occasionally reached far into the north, owing to the superior
education and ability of Moorish workmen, for although Toledo was captured by the
Christians in 1085, the Spanish conquests were gradual, and the final expulsion of the
Moors did not take place till 1492.

Architectural Character

In the south, as already mentioned, there was always more or less of Moorish
influence, and from Toledo, the Moorish capital, this influence made itself felt in
Saracenic features, such as the horseshoe arch, and, in later times, the pierced
stonework tracery of Moorish design. These fretwork screens occupy the whole window,
and are rich in detail. Elsewhere buildings, under Moorish influence, were covered with
intricate geometrical and flowing patterns and rich surface decorations, for which the
Saracenic art is everywhere remarkable, as in the Jews' synagogue at Toledo.

The curious early churches of the Spanish conquerors seem to have been
executed by the aid of Moorish workmen.

The Gothic style was best developed in Catalonia, where, though on French
lines, as in most parts of Spain, it has a special character, owing to the grand scale of
the single-span vaulted interiors. Leon Cathedral goes beyond its French original at
Amiens, in the expanse of window opening and tenuity of its supports. The exteriors
usually are flat in appearance, owing to the space between buttresses being utilized
internally for chapels, and generally, it may be said that a liking for excessive
ornamentation without any regard to its constructive character is apparent. Contrary to
Northern Gothic, broad wall surfaces and horizontal lines are special features of the
style. The cloisters of many of the cathedrals, as Barcelona, Toledo, and Lerida, are
characteristic. In the later period, the grafting of classical details on to Gothic forms
produced some of the most picturesque features imaginable.
Architectural Example

1. León Cathedral

The León Cathedral, dedicated to

Santa María de la Regla, was
declared of Cultural Interest in 1844. It
is known as the Pulchra Leonina and
is a masterpiece of the Gothic style
dominating the mid-13th century, by
master architect Enrique. By the late
16th century it was virtually
completed. The main façade has two
towers. The southern tower is known
as the 'clock tower'. The interior
represents a combination of
architecture, painting, sculpture and
other arts. The Renaissance
retrochoir contains alabaster
sculptures and the choir was built by
three great artists: Jusquin, Copin of
Holland and Juan de Malinas. Particularly noteworthy is the Plateresque screen in the
wall behind the sepulchre of King Ordoño. It has three portals decorated with sculptures
situated in the pointed arches between the two towers. The central section has a large
rose window. Particularly outstanding is the image of the Virgin Blanca and the Locus
Appellatione, where justice was imparted.
Its almost 1,800 square meters of stained glass windows are one the main touristic
attractions of the cathedral. The great majority of them are original, which is a rarity, and
date from the thirteenth to the fifteenth century. They are among the world's finest
stained glass works.

2. Burgos Cathedral

Burgos Cathedral was dedicated to the

Virgin Mary and is famous for its vast size
and unique architecture. Its construction
began in 1221 and it was in use as a
church nine years later but work continued off and on until 1567. It was primarily built in
the French Gothic style, although Renaissance style works were added in the 15th and
16th centuries.
The cathedral was declared a World Heritage Site by UNESCO on October 31, 1984. It
is the only Spanish cathedral that has this distinction independently, without being
joined to the historic center of a city.The architects who directed its construction were a
Frenchman in the 13th century and a German in the 15th century. In 1417, the bishop of
Burgos attended the Council of Constance and returned with the master builder John of
Cologne (Juan de Colonia), who completed the towers with spires of open stonework
tracery.

3. Toledo Cathedral

The cathedral of Toledo is one of the three

13th-century High Gothic cathedrals in
Spain and is considered, in the opinion of
some authorities, to be the magnum opus of
the Gothic style in Spain. It was begun in
1226 under the rule of Ferdinand III and the
last Gothic contributions were made in the
15th century when, in 1493, the vaults of the
central nave were finished during the time of
the Catholic Monarchs. It was modeled after
the Bourges Cathedral, although its five naves
plan is a consequence of the constructors'
intention to cover all of the sacred space of the
former city mosque with the cathedral, and of
the former sahn with the cloister. It also
combines some characteristics of the Mudéjar
style, mainly in the cloister, and with the
presence of multifoiled arches in the triforium.
The spectacular incorporation of light and the
structural achievements of the ambulatory vaults are some of its more remarkable
aspects. It is built with white limestone from the quarries of Olihuelas, near Toledo.

4. Avila Cathedral

 The Cathedral of Ávila is in the south of Old Castile. It was planned as a cathedral-
fortress, its apse being one of the turrets of the city walls. It is surrounded by a number
of houses or palaces, the most important being: the Palace of the Evening, the Palace
of the Infant King, and the Palace of Valderrábanos, which were responsible for the
defence of the Puerta de los Leales (The Gate of the Loyal Ones) also known as La
Puerta del Peso de la Harina (The Flour Road Gate). It is not known exactly when the
construction of the Cathedral began, there being two theories. One states that Alvar
Garcia started its construction in 1091 inside the remains of the Church of the Saviour,
which was in ruins as a result of successive Muslim attacks, and that Alfonso VI of
Castile raised the money necessary to build it. Other historians believe the Cathedral to
be the work of the maestro Fruchel in the 12th century coinciding with the repopulation
of Castille led by Raymond of Burgundy.

5. Cuenca Cathedral

Cuenca Cathedral lies in the Castile-La Mancha region of south-eastern central Spain
and is an exceptional expression of Gothic Anglo-Norman, begun in 1196. The wife of
King Alfonso VIII, Eleanor Plantagenet of England, daughter of King Henry II
Plantagenet of England and Eleanor of Aquitaine, Duchess of Aquitaine, Sister of
Richard the Lionheart, who inspired this cathedral. The influence of the Norman court of
King Alfonso VIII, defined the construction of this cathedral, the first Gothic cathedral of
Castile, together with that of Avila. Work began in the year 1196 and was completed in
1257.
It has a Latin cross plan, the arm of the cross reaching from the main entrance to the
altar is considerably longer than the other arms, and a seven-sided polygonal apse. The
facade was rebuilt by Vicente Lampérez in the early twentieth century.

6. Seville Cathedral

Seville Cathedral was built to demonstrate

the city's wealth, as it had become a major
trading center in the years after the
Reconquista in 1248. In July 1401 it was
decided to build a new cathedral since the
structure of the current building, an ancient
Muslim mosque which had been converted
into a Christian church, was so badly damaged by the 1356 earthquake. According to
local oral tradition, the members of the cathedral chapter said: "Let us build a church so
beautiful and so great that those who see it built will think we were mad". Construction
began in 1402 and continued until 1506. The clergy of the parish gave half their
stipends to pay for architects, artists, stained glass artisans, masons, carvers, craftsman
 and laborers and other expenses.
Five years after construction ended, in
1511, the dome collapsed and work on the
cathedral recommenced. The dome again
collapsed in 1888, and work was still being
performed on the dome until at least 1903.
The 1888 collapse occurred due to an
earthquake and resulted in the destruction
of "every precious object below" the dome
at that time.

7. Segovia Cathedral

The massive cathedral was built between 1525-1577 in a late Gothic style, an
architectural style that was becoming retardataire elsewhere in Europe. The prior
cathedral of Segovia had stood adjacent to the Alcazar, and had been used by the
besieged royal armies in their defense. The rebellious Comuneros were intent on taking
the Cathedral to protect its holy relics, and to use its position against the walls of the
Alcazar in order to defeat its defenders. In a famous exchange, prominent city officials
urged the comuneros to halt their attacks on the church that they should consider the
injustice of razing a temple, so sumptuous, while making war against those who serving
their king, defended his Alcazar. But their plea fell on deaf ears, and the comuneros
replied: la Iglesia era de la Ciudad (the Church belonged to the City). After a bitter siege
lasting months, the cathedral lay in ruins.
Fearful of a repeat assault, the cathedral was relocated to the present site and built
using a design by the Trasmeran mason named Juan Gil de Hontañón, and the work
was continued by his son Rodrigo Gil de Hontañón.
The building has a structure in three tall vaults and ambulatory, with fine tracery
windows set, and numerous stained glass. The interior is characterized by unity of style
(late Gothic), except for the dome, built around 1630 by Pedro de Brizuela. Gothic
vaults rise to 33 meters high and measures 50 meters wide and 105 long. The bell
tower reaches almost 90 meters. The current stone spire crowning the tower, dating
from 1614, was erected after a major fire
caused by a thunderstorm. The original
spire, entirely Gothic, was built of American
mahogany had pyramidal structure, and was
the tallest tower in Spain.

8. Barcelona Cathedral

Barcelona Cathedral, is the Gothic

cathedral and seat of the Archbishop of
Barcelona. The cathedral was constructed from the 13th to 15th centuries, with the
principal work done in the 14th century. The cloister, which encloses the Well of the
Geese (Font de les Oques) was completed in 1448.In the late 19th century, the neo-
Gothic façade was constructed over the nondescript exterior that was common to
Catalan churches. The roof is notable for its gargoyles, featuring a wide range of
animals, both domestic and mythical.
It is a hall church, vaulted over five aisles, the outer two divided into chapels. The
transept is truncated. The east end is a chevet of nine radiating chapels connected by
an ambulatory. The high altar is raised, allowing a clear view into the crypt.
The cathedral is dedicated to Eulalia of Barcelona, co-patron saint of Barcelona, a
young virgin who, according to Catholic tradition, suffered martyrdom during Roman
times in the city. One story says that she was exposed naked in the public square and a
miraculous snowfall in mid-spring covered her nudity. The enraged Romans put her into
a barrel with knives stuck into it and rolled it down a street (according to tradition, the
one now called Baixada de Santa Eulàlia). The body of Saint Eulalia is entombed in the
cathedral's crypt.

COMPARATIVE.
A. Plans.
 In regard to the plan of the cathedrals, the great width and comparative
shortness of many of the naves is a prominent characteristic. The position of the choir is
generally to the west of the crossing of nave and transepts, as at Burgos, an
arrangement probably derived from the Early Christian basilicas, as S. Clemente,
Rome, and also seen at Westminster Abbey, and NorwichCathedral. Chapels are
numerous and large, and the parish church is often included in the area of the
cathedral, 'as at Seville.
Thecimborio, or dome, at the crossing of the nave and transepts, is similar in
treatment to examples in the
south of France. S. Sernin, Toulouse, and Burgos Cathedral resemble each other in
plan, and Valencia and S. Ouen, Rouen, in design. Internally octagonal vaults, which
are intricate in design and ingenious in construction, are characteristic, and were
probably inspired by Moorish work.

B. Walls
In design French models were favoured, the later work being characterized by extreme,
and even wild, ornamentation. There is much flatness and absence of skyline in the
exteriors, Burgos having in place of gables effective horizontal arcades, on the lines of
the facade of Notre Dame at Paris. Traceried open-work spires, as in Germany, were
favoured, those at Burgos being worthy of attention.

c. Openings

These were carried to excess in Leon Cathedral, which has not only a glazed triforium,
but also a large part of
the wall surface of the clerestory glazed as well. Even in the south, as at Seville,
openings are of large size, stained glass being much used.

D. Roofs

Vaulting was used freely, but developed in decoration, rather than in construction, such
features as tracery, bosses, and ribs producing a rich effect, although the lines are not
always good, and nothing to compare in interest with English vaulting was
accomplished.
In the south, wide interiors, in one span, were successfully vaulted in a simple style, that
at Gerona being no less than 73 feet span, and having a total length of 270 feet,
including duvet. The boldest and most original vaults are the great flat arches, that form
galleries across the western ends of the churches, extending through nave and aisles in
three spans. Their rich
soffits attract attention on entering, and their curves frame the view of, and give scale to,
the interior of the church beyond.

E. Columns

The favourite feature of a lantern at the

crossing gives importance to the central piers, which at Burgos are circular in plan
(rebuilt 1567), and contrast with the great octagonal piers at S. Sernin, Toulouse. In
Seville Cathedral great column-like piers are employed for all the arcades, similar in
effect to those of Milan, but without the tabernacle capitals. Carved capitals of
characteristic form are indicated in No. 190 E, j. F. Mouldings. Refinement is not the
usual characteristic of Spanish art. Original and arbitrary forms were mingled
with features borrowed from France. In Catalonia the best and most artistic work was
produced in a restrained manner.

In S. Maria del Mar, Barcelona, every moulding has its purpose and expression, but this
is far from being the character of other more numerous examples in Spain.

G. Ornament
The most decorative feature in Spanish churches is the vast retablo (reredos), which is
often as wide as the nave, and reaches up to the vaulting. This feature is usually
constructed of wood, stone, or alabaster, and is crowded with niches, figures, canopies
and paneling.
 Gothic Architecture in Portugal

The architecture of Portugal has been very little in- vestigated. The great church
at Batalha is probably the most important in the country. This building, though
interesting in plan, is more remarkable for a lavish amount of florid ornament, of which
our illustration may furnish some idea, than for really fine architecture. The conventual
church at Belem, near Lisbon, a work of the beginning of the sixteenth century, and
equally florid, is another of the small number of specimens of Portuguese Gothic of
which descriptions or illustrations have been published.

In the late 1300s, construction began on another important Gothic monastery,

this time in gratitude to the Virgin Mary for a victory over the Castilians (Spanish) in
1385. The Monastery of Batalha (the word batalha means 'battle') took over one
hundred years to complete and its stunning mix of elements influenced other buildings
throughout Portugal.