The Cathedrals of Northern Spain.
by Charles Rudy.
PREFACE
It is _a la mode_ to write prefaces. Some of us write good ones, others bad, and most of us write neither good nor bad ones.
The chapter ent.i.tled "General Remarks" is the real introduction to the book, so in these lines I shall pen a few words of self-introduction to such readers as belong to the cla.s.s to whom I have dedicated this volume.
My love for Spain is unbounded. As great as is my love for the people, so great also is my depreciation for those who have wronged her, being her sons. Who are they? They know that best themselves.
Spain"s architecture is both agreeable and disagreeable, but it is all of it peculiarly Spanish. A foreigner, dropping as by accident across the Pyrenees from France, can do nothing better than criticize all architectural monuments he meets with in a five days" journey across Spain with a Cook"s ticket in his pocketbook. It is natural he should do so. Everything is so totally different from the pure (_sic_) styles he has learned to admire in France!
But we who have lived years in Spain grow to like and admire just such complex compositions as the cathedrals of Toledo, of Santiago, and La Seo in Saragosse; we lose our narrow-mindedness, and fail to see why a pure Gothic or an Italian Renaissance should be better than an Iberian cathedral. As long as harmony exists between the different parts, all is well. The moment this harmony does not exist, our sense of the artistically beautiful is shocked--and the building is a bad one.
Personality is consequently ever uppermost in all art criticism or admiration. But it should not be influenced by the words pure, flawless, etc. Were such to be the case, there would be but one good cathedral in Spain, namely, that of Leon, a French temple built by foreigners on Spanish soil. Yet nothing is less Spanish than the cathedral of Leon.
Under the circ.u.mstances, it is necessary, upon visiting Spain, to discard foreignisms and turn a Spaniard, if but for a few days.
Otherwise the tourist will not understand the country"s art monuments, and will be inclined to leave the peninsula as he entered it, not a whit the wiser for having come.
To help the traveller to understand the whys and wherefores of Spanish architecture, I have written the "Introductory Studies." I hope they will enable him to become a Spaniard, or, at least, to join the enthusiastic army of _Hispanofilos_.
C. RUDY.
MADRID, _July, 1905_
_PART I_
_Introductory Studies_
_The Cathedrals of Northern Spain_
I
GENERAL REMARKS
History and architecture go hand in hand; the former is not complete if it does not mention the latter, and the latter is incomprehensible if the former is entirely ignored.
The following chapters are therefore historical and architectural; they are based on evolutionary principles and seek to demonstrate the motives of certain artistic phenomena.
Many of the ideas superficially mentioned in the following essays will be severely discussed, for they are original; others are based on two excellent modern historical works, namely, "The History of the Spanish People," by Major Martin Hume, and "Historia de Espana," by Senor Rafael Altamira. These two works can be regarded as the _dernier mot_ concerning the evolution of Spanish history.
Unluckily, however, the author has been unable to consult any work on architecture which might have given him a concise idea of the story of its gradual evolution and development, and of the different art-waves which flowed across the peninsula during the stormy period of the middle ages, which, properly speaking, begins with the Arab invasion of the eighth century and ends with the fall of Granada, in the fifteenth.
Several works on Spanish architecture have been written (the reader will find them mentioned elsewhere), but none treats the matter from an evolutionary standpoint. On the contrary, most of them are limited to the study of a period, of a style or of a locality; hence they cannot claim to be a _dernier mot_. Such a work has still to be written.
Be it understood, nevertheless, that the author does not pretend--_Dios me libre!_--to have supplied the lack in the following pages. In a couple of thousand words it would be utterly impossible to do so. No; a complete, evolutionary study of Spanish architecture would imply years of labour, of travel, and of study. For so much on the peninsula is hybrid and exotic, and yet again, so much is peculiar to Spain alone.
Thus it is often most difficult to determine which art phenomena are natural--that is, which are the logical results of a well-defined art movement--and which are artificial or the casual product of elements utterly foreign to Spanish soil.
Willingly the author leaves to other and wiser heads the solving of the above riddle. He hopes, nevertheless, that they (those who care to undertake the mentioned task) will find some remarks or some observations in the following chapters to help them discover the real truth concerning the Spaniard"s love, or his insensibility for architectural monuments, as well as his share in the erection of cathedrals, palaces, and castles.
Spanish architecture--better still, architecture in Spain--is peculiarly strange and foreign to us Northerners. We admire many edifices in Iberia, but are unable to say wherefore; we are overawed at the magnificence displayed in the interior of cathedral churches and at a loss to explain the reason.
As regards the former, it can be attributed to the Oriental spirit still throbbing in the country; not in vain did the Moor inhabit Iberia for nearly eight hundred years!
The powerful influence of the Church on the inhabitants, an influence that has lasted from the middle ages to the present day, explains the other phenomenon. Even to-day, in Spain, the Pope is supreme and the princes of the Church are the rulers.
Does the country gain thereby? Not at all. Andalusia is in a miserable state of poverty, so are Extremadura, La Mancha, and Castile. Not a penny do the rich, or even royalty, give to better the country people"s piteous lot; neither does the Church.
It is nevertheless necessary to be just. In studying the evolutionary history of architecture in Spain, we must praise the tyranny of the Church which spent the millions of dollars of the poor in erecting such marvels as the cathedral of Toledo, etc., and we must ignore the sweating farmer, the terror-stricken Jew, the accused heretic, the disgraced courtier, the seafaring conquistador, who gave up their all to buy a few months" life, the respite of an hour.
And the author has striven to be impartial in the following pages. Once in awhile his bitterness has escaped the pen, but be it plainly understood that not one of his remarks is aimed against Spain, a country and a people to be admired,--above all to be pitied, for they, the people, are slaves to an arrogant Church, to a self-amusing royalty, and to a grasping horde of second-rate politicians.
II
HISTORICAL ARABESQUES
The history of Spain is, perhaps, more than that of any other nation, one long series of thrilling, contradictory, and frequently incomprehensible events.
This is not only due to the country"s past importance as a powerful factor in the evolution of our modern civilization, but to the unforeseen doings of fate. Fate enchained and enslaved its people, moulded its greatness and wrought its ruin. Of no other country can it so truthfully be said that it was the unwitting tool of some higher destiny. Most of the phenomena of its history took place in spite of the people"s wishes or votes; neither did the different art questions, styles, periods, or movements emanate from the people. This must be borne in mind.
The Romans were the first to come to Spain with a view to conquering the land, and to organizing the half-savage clans or tribes who roamed through the thickets and across the plains. But nowhere did the great rulers of the world encounter such fierce resistance. The clans were extremely warlike and, besides, intensely individual. They did not only oppose the foreigner"s conquest of the land, but also his system of organization, which consisted in the submission of the individual to the state.
The clans or tribes recognized no other law than their own sweet will; they acted independently of each other, and only on rare occasions did they fight in groups. They were local patriots who recognized no fatherland beyond their natal vale or village.
This primary characteristic of the Spanish people is the clue to many of the subsequent events of the country"s history. Against it the Romans fought, but fought in vain, for they were not able to overcome it.
Christianity dawned in the East and was introduced into Spain, some say by St. James in the north, others by St. Peter or St. Paul in the south.
The result was astonishing: what Roman swords, laws, and highroads had been unable to accomplish (as regards the organization of the savage tribes) Christianity brought about in a comparatively short lapse of time.
The reason is twofold. In the first place, the new form of religion taught that all men were equal; consequently it was more to the taste of the individualistic Spaniard than the state doctrines of the Roman Empire.
Secondly, it permitted him to worship his deity in as many forms (saints) as there were days in the year; consequently each village or town could boast of its own saint, prophet, or martyr, who, in the minds of the citizens, was greater than all other saints, and really the G.o.d of their fervent adoration.
Hence Christianity was able to introduce into the Roman province of Hispania a social organization which was to exert a lasting influence on the country and to acquire an unheard-of degree of wealth and power.