Part 23 (1/2)
In A.D. 1340 the Chapter determined to erect cloisters, under the direction of an architect named Sancii, and bought a site for them to the north of the church; and the _operarius_ or canon in charge of the work seems to have raised alms for them even so far off as at Valencia and in the Balearic Isles. The work was begun in A.D. 1357 and finished in 1368, in which year the Chapter entered into a contract[342] with an architect, one Pedro Zacoma, for the erection of the campanile. In A.D.
1363, however, it was deemed necessary, on account of the position of the church just outside the old walls, and on the north of the town, that it should be fortified; and to accomplish this work, and others of the same kind ordered in A.D. 1374 and 1385, the cloisters so recently built were destroyed. The steeple is said to have been finished in 1392,[343] Pedro Zacoma having acted as architect as late as A.D. 1376.
The church bears evident marks of many alterations and additions. It consists of nave and aisles, transepts, central apse, and two apsidal chapels on the east side of the south, and one on the east of the north transept. The piers are plain square ma.s.ses of masonry, and the main arches are semi-circular, unmoulded, and springing from a very plain abacus. There is a kind of triforium, an arcade of three divisions in each bay, and a fair pointed vault of ten bays--two to each bay of the nave arcade--carried on groining-shafts corbelled out from the wall. The north transept retains a waggon-vault, the axis of which is north and south, whilst the south transept has two bays of cross vaulting. The eastern apse is circular in plan, but divided into seven groining bays, and lighted by three windows of three lights. The apses of the south transept are also circular, lighted by lancets, and groined with semi-domes, though the arches into the transept are pointed. The general character of the later part of this church is, I should say, that of late first-pointed work; yet it is pretty clear that it is almost all a work of the fourteenth century. There is a fine fourteenth-century south porch, with some good arcading in its side walls, in which the tracery is all executed with soffeit-cusping.
Of the western steeple I need not say very much, as my sketch shows the nature of its design, and the evidence as to its date is evidently very accurate. The character of the architectural detail is quite that of flamboyant-work, and the outline is bold, original, and good. It is seldom indeed that the junction of the tower and spire is more happily managed than it is here; and before the destruction of the upper part of the spire, the whole effect must have been singularly graceful. This is the more remarkable in a country where a genuine spire is so rare a feature; but the architect was fortunate in following the customs of the country when he made his steeple octagonal in plan, for it is extremely difficult--one may almost say impossible--to put a spire upon an octagonal tower the outline of which shall not be graceful. In an arch against the wall of this tower is a tomb resting on lions jutting out from the wall, and with the date 1387 in the inscription. It is a good example of the late date to which this early-looking type of monument continued to be used in Spain.
[Ill.u.s.tration: Spire of San Feliu.]
This church has a rather elaborate wooden Retablo, carved and gilt with subjects painted on its panels. The pulpit is also old, and has rich, late flamboyant tracery panels: it is placed against a pier on the south side of the nave, and a second modern pulpit faces it on the north. The old metal screen also remains: it is rather rude, and has p.r.i.c.kets for candles along it, each of which has a sort of frame which looks as though it were meant to hold a gla.s.s.
There are also a few remains of old domestic buildings. A house near the cathedral has the usual Catalan features of trefoiled _ajimez_ windows, and a doorway with a prodigiously deep archivolt. Another house near San Feliu has a broad window with a square-headed opening; the head is an ogee arch, with tracery in the tympanum, and over all is a square-headed label-moulding. It is not an elegant window, yet it has some value as an example of an opening as large as we usually adopt now-a-days, and with a square head. The most interesting house, however, is the Fonda de la Estrella, the princ.i.p.al inn in the town. The windows here are capital examples of shafted windows of the end of the twelfth century. The shafts are very delicate (4 inches by 6 ft. 1 inch); the capitals are well carved with men and animals, and the carved abacus is carried from window to window. The windows are of three lights, and with only a narrow s.p.a.ce of wall between them. The back of this house is less altered than the front: on the ground it has an arcade of four round arches, on the first floor five windows of the same sort as these just described, but simpler, and above this a series of pilasters, which now carry the roof. There must have been arches I think to this open upper stage.
There is another house in the same street, and just opposite the inn, of rather later date, but also with early _ajimez_ windows, and this had also an open stage below the roof.
The whole city looks picturesque and old, and I daresay a more careful search than I had time for would be rewarded with further discoveries of old remains. Most of the houses are arcaded below, and their lower stories are groined, the cells of the vaults being filled in with bricks laid in herring-bone patterns.
From Gerona to Barcelona there are two railways branching from the station at Empalme. That which follows the coast pa.s.ses by several small towns facing the sea, in which there are many remains of old walls and castles, and not a few _ajimez_ windows. It is, in short, a charming ride in every way. The other line going inland also pa.s.ses a very striking country, and some old towns. Hostalrich is a very picturesque old walled town, with its walls and towers all fairly perfect. Fornelles has a good church, with a low crocketed spire on an octagonal steeple, brought to a square just below the belfry-stage. Granollers has a rather good fourteenth-century church, of the same general character as the Barcelona churches of the same date. It has a nave of five bays, and an apse of seven sides, with a tower at the north-west angle. Some trace of an earlier church remains in a round-arched western door. The western bay is occupied by a late fifteenth-century groined gallery carried on an elliptic arch, with a parapet pierced with richly-cusped circles. The staircase to this gallery is in a sort of aisle or side chapel, and has an extremely well managed iron hand-railing, supported by occasional uprights, and quite worthy of imitation. The tower has a delicate newel staircase in its angle: the newel has a spiral moulding, and the under side of the steps is very carefully wrought. The upper part of the steeple is like those of Barcelona cathedral--an irregular octagon, and has a traceried parapet and low spire. There is a very rich late wooden pulpit, corbelled out from the wall, through which a door is pierced, and some rich woodwork is placed at the head of the steps leading to it.
The apse has two-light and single-light windows in the alternate sides, and the nave the latter only. Small chapels are formed between the b.u.t.tresses, and these are also lighted with small windows. On the whole this church has a good many features of interest, and its very considerable height gives it greater dignity than our own churches of the same cla.s.s have.
On the road from Gerona into France I have seen only one or two churches. At Figueras the cathedral has a steeple extremely similar to that just described at Granollers, and evidently of the same date. The sides of the octagon are not equal, and bells are hung in the windows, and one in an arched frame at the top. This tower is on the north side of the nave, which has four bays, transepts, and a Renaissance central dome covered with glazed tiles. The fabric of the nave seems to be of the thirteenth century, having lancet windows and b.u.t.tresses of great projection rather well designed, chapels occupying the s.p.a.ce between them. The west door label runs up to, and is terminated by, a long cross. At la Junquera, between Figueras and the frontier, the little Parroquia has the date of A.D. 1413 on the door. Its only feature of interest is the tower, which has a staircase carried on arches thrown from side to side of the tower, and having a square opening or well-hole in the centre. The same kind of staircase has been described in the church of San Roman at Toledo.
From hence a pleasant road among the mountains, beautifully clothed here with cork-trees, and disclosing charming views at every turn, leads by the frontier fortress of Bellegarde, over the Col de Pertus, and so on down the eastern side of the Pyrenees to Perpinan. Here, if we look only at the map of modern France, my notes ought to stop. But Perpinan was of old a Spanish city, and its buildings are so thoroughly Spanish in their character that I may venture to say a very few words about them.[344]
The church of San Juan is of very remarkable dimensions. The clear width of the nave is sixty feet, but in the easternmost bay this is gathered in to fifty-four feet, which is the diameter of the seven-sided apse.
Guillermo Sagrera, master of the works of this cathedral, was one of the architects summoned to advise about the erection of the nave at Gerona, and I think there can be but little doubt that the plan of this church was his handiwork, and that it was erected, therefore, at the beginning of the fifteenth century. It will be seen that he was one of the architects who spoke most strongly in favour of the erection of a broad unbroken nave. The vault he erected here is of brick with stone ribs, and the brickwork is rather rough, with very wide mortar joints, and looks as if from the first it were intended to plaster and paint it. The roofs of the chapels which are built between the large b.u.t.tresses have flat gables north and south, and the same arrangement is carried round the apse. The most striking feature in this cathedral is that very rare thing--a very fine mediaeval organ. It is corbelled out from the north wall of the nave, and is of great size and height. The pipes are arranged in traceried compartments at five different levels. This complicates the machinery for the supply of wind, but adds greatly to the picturesque character of the instrument. Originally this organ had great painted shutters, which are now nailed up against the wall close to the south porch. The width of its front is about twenty-five feet, its projection from the wall three feet six inches, and the organist sits in a gallery at its base.[345]
There are several good old houses here: but I must content myself with the mention of one only in the Rue de la Barre. Here we have the peculiarities of the Spanish houses, as they are seen along the coast from Gerona to Valencia, very decidedly developed: the windows are all _ajimez_, with the usual delicate trefoiled head to the lights, and slender shafts between them, and the arch-stones of the doorway are more than usually enormous, being little less than six feet in length.
A drive of a few miles from Perpinan leads to the extremely interesting church at Elne, consecrated in _A.D._ 1058.[346] Here, as in San Pedro, Gerona, and to the east of it in the cathedral at Agde, there are occasional lines of black volcanic scoriae used in the Romanesque steeple and west front, and with good effect. The nave of the church has a pointed barrel vault, and the aisles half-barrel vaults, but all the cross arches are semi-circular. At the west end is a sort of thirteenth-century narthex, and the three apses at the east have semi-domes. On the north side of the church is a n.o.ble cloister, planned just like that in the cathedral at Gerona with the most complete disregard to symmetry. It is extremely similar to it also in general design: but it is very remarkable as having its east and north sides erected about the end of the thirteenth century in evident and very close imitation of the earlier work on the other two sides. The vaulting throughout the cloister is of the later date, and raised considerably above the level of the old vault. The whole of this cloister is wrought in a veined white marble, and a door from it into the church is built in alternated courses of red and white marble.
On the whole S. Elne well deserves a visit, not only on account of the extreme interest of its church and cloister, but, to the student of Spanish architecture, on account of the very important link which it supplies in the chain which connects the early Spanish with the early French buildings of the middle ages.
The history of Cataluna shows how intimate was the connection of the people and towns on both sides of the mountains, and it is here and elsewhere in the south of France that we see the germ of almost all the mediaeval Spanish art.
[Ill.u.s.tration: GERONA:--Ground Plan of Cathedral &c.
S. Daniel or(?) S. Nicholas.
S. Pedro De Los Galligans.
Plate XVIII
Published by John Murray. Albemarle Street 1865]
CHAPTER XVI.
MANRESA--LeRIDA.